notes.husk.org. scribblings by Paul Mison.

SatTrack Cam Leiden (via iamdanw):

In the evening of June 25 I by chance captured a GPS satellite that was decommisioned last year on photograph: Navstar 39 (USA 128, GPS 2A-27, 1996-056A). It showed up as a very bright small trail  and was flashing at a rate of  2-3 flashes per 10 seconds. 

thingsmagazine (via letsdolaunch, adactio, and radar):

Helmet

Originally by Eric Ulrich, I annotated all but four of the source images back in March.]

Instead of listing the sources again, here’s some statistics.

Films: 21 (60%)

• 7: 2001
• 2: Alien, Moon Solaris (2002)
• 1: Apollo 13, The Astronaut Farmer, Barbarella, Cargo, The Right Stuff, Space Camp, Space Cowboy, Up in the Air

People: 3; Anna Fisher (US astronaut), Hubert Vykukal (spacesuit designer), Richard Branson (entrepreneur)

TV: 3; Battlestar Galactica (2), Space Odyssey

Music: 2; Radiohead (No Surprises video), Sbtrkt (Atomic Peace cover)

Sky images with Pantone-style colour labels on Flickr.

There’s more at the artist’s website.

dailymeh:

Muybridge is mostly known for his photographs of horses in motion. Above is part of one sequence. These pictures were taken in order to settle the question of whether or not all the horse’s hooves at any time during the trot are off the ground simultaneously. As can be seen here, the answer is yes. But that’s precisely it: it can only be seen because Muybridge has frozen the motion. By animating these pictures, you negate their whole reason for existing: they exist because they allow us to see something we can’t see when the horse is in motion.

The whole post is worth reading. That said, I stand by my posting of an animated gif re-animating the Muybridge photographs, because of the format; there’s something odd about that analogue-digital repurposing split.

There’s also something zoetropic about Google’s presentation that is a nice effect, even if the 

A selection of linkmachinego’s Flickr set, Evening Standard Headline Crisis, 2005-2010.

See also: the collection by year.

Iterations of map widths from the development of the Watercolor Process of the new maps.stamen.com.

Another Magnum contact sheet, this time from Marc Riboud’s series on the Eiffel Tower, along with Man Painting the Eiffel Tower, one of the images from that roll.

From an interview with Kristen Lubben, author of a book on Magnum’s contact sheets and curator of the exhibition in New York:

Martin Parr was the photographer representative on the project and was a guiding force throughout.  He was the person who really identified that the contact sheet would make a good subject now because of the transition to digital.  We were meeting in Paris to do the first edit and he just sort of tossed out the comment that the book would function as an epitaph to the contact sheet. His words really stuck with me and gave me a lens through which to see the project and its timeliness. None of us think that any of these things are going to end, but of course they are.

From an exhibition of Magnum contacts sheets:

Magnum Contact Sheets reveals how Magnum photographers have captured and edited their best shots from the 1930s to the present. The contact sheet, a direct print of a roll or sequence of negatives, is the photographer’s first look at what he or she has captured on film, and provides a uniquely intimate glimpse into their working process. It records each step on the route to arriving at an image—providing a rare behind-the-scenes sense of walking alongside the photographer and seeing through their eyes.

The contact sheet and image are by Jonas Bendiksen, from his series on space junk in Kazakhstan. It’s interesting seeing how this now famous image is surrounded by some which wouldn’t be anywhere near as noteworthy.

Shuffling of map tiles using the Pinterest bookmarklet: London edition.