Photography, as a science has always been used to capture and record, from microscopic images, invisible to the naked eye, or reactions or events which move so fast only the shutter of the camera can capture them.
Muybridge utalised this most famously, in a series of images produced to determine if a horse, when galloping lifted all 4 hoofs of the ground at the same time, as the human eye can not break down the action of trots and gallops, due to the phenomenon of persistence of vision.
The process which Muybridge used allowed him to photograph, the hidden ephemeral nature of the horse's gait. This idea of photographing the unseen, is an interesting idea, especially if we move it into a more artistic field, where we can use it to pose questions around, touch, trace memory, durability and lasting impact of an image.
The two images above show the meticulous detail Muybridge went to in order to obtain his images, such as the setting up of 24 cameras, each one triggering the next to record 24 different stages of motion, in much the way a video camera, or an animated film would today.
Images of this nature have a scientific and technical interest for many people, but can we consider them art. This is a difficult question to answer as it really depends upon the viewer, to make that judgement. The images above, which I took myself, were located in the natural history section of the Manchester Museum, in this context, it is hard to view them as anything but scientific data. ( though, this could still be the case in an artistic presentation, and maybe this could be an aspect which the creator wants to exploit).
These same images along with many similar images are published in book format, by Taschen, as part of their art books series. The books in this series tend to cross over between disciplines, usually with Art and another subject such as Science, politics or Propaganda. This blurring between subject areas is one I would like to investigate further, for this project.