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A great example of non-human photography is the following paper on Computational Imaging on the Electric Grid (http://www.dgp.toronto.edu/ACam/). Using a high-speed camera, researchers were able to sync the frames with the changes in the electric grid. They discovered that instead of providing power to every house in a city, the electric grid instead switches between 3 different groups, providing power to one group at a time to not overload energy throughput. The switch between groups is so quick 1/1000 of a second, that we never notice that our lights are actually flickering.

New technology, as stated by Zylinska, indeed advances our ability to capture non-human photography. Every year, vision conferences are able to find new ways to detect objects invisible to the human eye because of new sensors that can sense past human ability. The saying that technology helps us see the world in a new way is true in that technology strengthens or gives us new senses. The world is full of data, and new technology helps us collect it.

The medium of capture can influence typology in terms of sample size. The capture system developed depends on the capture’s scope and limitations. The goal of typology is seemingly to collect all or find as many possibilities of a certain type and different modes of capture can restrict findings. For instance, a photographer taking photos inputs a personal perspective and arrangement while leaving an automated camera can limit data by having only one angle of view. Either way there is preference present in the systems set up, so it is rare that any data collection is completely impartial.

It’s also difficult to argue that contemporary captures are objective or scientifically reliable because it depends on the case in which the capture is made. However I do think captures can bring out patterns or enforce and detect predictabilities. No capture can be 100 percent reliable, but patterns captured in a larger sample size give a higher chance of reliability.

The reading discusses the use of photography for both measurement and information gathering, as well as representation and articulation. The text points to how photography was used in an effort to observe the transits of Venus – it uses this example to illustrate how difficult it was to use photography in astrological observation. In the case of the the transits of Venus the variations in the photographic plates made the comparison and controlled measurement of the data very difficult. This exemplifies the relationship between capture and the subject captured: in the process of capturing something the collection tool leave a signature on the stored images. Though technology has changed drastically since people were working to capture the transit of Venus, our device for capture still leaves an imprint on the images that we create. Technology has empowered us with greater control over the process of capture, yet the traces of our craft and of our tools are always left in the scenes we store.

With reference to a typology the reading implies that our typological machine leaves an imprint on the multiples that it captures. When it comes to contemporary photography we can achieve predictable and precise results, but it’s a stretch to say that the images we make are objective – because we make so many choices in the process of capture and curation of multiples.