photographer Eadweard Muybridge- sequential images

Muybridge was born in Britain at Kingston upon Thames in 1830, and died there in 1904. He was actually christened Edward James Muggeridge, but assumed his new identity after emigrating to New York in the early 1850s. It was not until 1867, following the American Civil War, that he emerged as a photographer. Over the following years, he quickly established himself with images that documented his adopted home of San Francisco and charted the progressive dynamism of the new nation.
Where Muybridge learned his skill as a photographer remains unknown. After an accident in 1860 affected his vision, he returned to Britain, where he remained until 1866, his absence coinciding with the American Civil War. after returning to San Francisco, Muybridge's first documented photographs date from 1867, when he worked for five months in the Yosemite Valley. Ever alert to commercial opportunities, he published the majority of his early views as stereographs. These were small cards with two photographs of the same subject, though each offered a slightly different perspective. Looked at through a handheld viewer, the image is transformed into a composite three-dimensional scene. Millions of these cards were sold throughout the 1860s to a public with an unceasing appetite for unfamiliar and extraordinary images. In identifying himself as a 'view artist'.
Muybridge, whose large photographs of Yosemite Valley were world famous, was born in Kingston-on-Thames, England, in 1830. He had taken the strange name Eadweard Muybridge in the belief that it was the Anglo-Saxon original of his real name, Edward James Muggeridge. In California he photographed the Pacific Coast for the government, accompanied the official expedition to Alaska when that territory was acquired from Russia in 1867, and became a specialist in industrial photography. In 1869 he invented one of the first shutters for a camera. His experience was to serve him in good stead.
Muybridge was the man who famously proved a horse can fly. Adapting the very latest technology to his ends, he proved his theory by getting a galloping horse to trigger the shutters of a bank of cameras. This experiment proved indisputably for the first time what no eye had previously seen – that a horse lifts all four hooves off the ground at one point in the action of running. Seeking a means of sharing his ground-breaking work, he invented the zoopraxiscope, a method of projecting animated versions of his photographs as short moving sequences, which anticipated subsequent developments in the history of cinema.
The results of Muybridge's labors were published in 1887 in the form of 781 collotype plates; they were sold separately, or bound in eleven volumes with the title Animal Locomotion. In addition to horses, animals of all kinds were borrowed from the Philadelphia zoo for photographing. But the most significant work was the human figure. Male and female models, nude and clothed, were photographed in all manner of activity - walking, running, laying bricks, climbing stairs, fencing, jumping. Muybridge even photographed one girl throwing a bucket of water over another girl's shoulders, and a mother spanking a child. His specific intention was to create an atlas for the use of artists, a visual dictionary of human and animal forms in action.

comparison of my final image of sequential images to muybridge's work.