Surfing the Web today I found this simple image; simple at a glance. There were so many images taken during the Inauguration, but this one was taken differently. Take a closer look.... and closer, and closer.... and then move to the right or to the left - everything is in sharp focus.

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David Bergman made this Gigapan image from the North Press Platform during President Obama's Inaugural Address at the U.S. Capitol in Washington, D.C. on January 20, 2009. It's made up of 220 images and the final image size is 59,783 X 24,658 pixels or 1,474 megapixels.

A New Dimension for Photography

GigaPan Systems was established in 2008 as a commercial spin-off of a successful collaboration between researchers at NASA and Carnegie Mellon University that developed the breakthrough GigaPan System for creating high-resolution panoramic images. GigaPan Systems was founded to bring this powerful, high-resolution imaging capability to a broad audience.

A New Dimension for Photography

The GigaPan System allows experienced and novice photographers to create high-resolution panorama images more easily than ever before and the resulting GigaPan images offer viewers a new, unique perspective on the world. The GigaPan System is the first solution that offers everything needed to take high-resolution panoramic images in a single system: the robotic GigaPan Imager attachment for most digital cameras; the GigaPan Stitcher software that automatically combines the thousands of images taken into a single image, and the GigaPan Viewer on the GigaPan.org site that enables the unique mega-high resolution viewing experience.

I found that GigaPan.org is not just an informational site but its a community of people who is interesting about the GigaPan System. You can also take a Snapshot and share it with others.

Links:

President Barack Obama's Inaugural Address by David Bergman
Gigapan.org
Gigapansystems.com

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With a Presidential Inauguration approaching, we've been thinking what kind of shots to get on this historic day. Unless you have press credentials, chances are you're not going to come close to photograph Obama, but not to worry: there's plenty to photograph around town, even if you don’t live in DC. Here are some of our images and stories from 2009 Presidential Inauguration (including pre and post).

From Presidential Inauguration 2009 shot by Serge

From Presidential Inauguration 2009 shot by Sergei

With citizen journalism rising, you have a chance to document a different view: people's reactions, and activities dedicated to the Inauguration.

Myself and Sergei are going to document various activities happening on the streets on this historic day. Because of restrictions imposed on photographers on 20 Jan 09, we can only take our cameras, one lens each, no tripod, no bags or backpacks, so it's wise to equip ourselves with a medium zoom lens, plenty of memory cards, and worm clothes.

Since I am not really interested in photographing Obama, I'm going to photograph the people in the streets, celebrating, and embracing diversity, change and hope for a better future.

Stay tuned for our report from the streets of DC. We will post our images and comments about this historic day.

What are you going to photograph on Inauguration Day?


Related News
Inauguration Day Security: Is a Police State Necessary? - TIME
The Obama family on the move - Christian Science Monitor
Post Metro Columnist - Washington Post
Ky. college students gear up for inauguration - Kentucky.com
News Nets Brace for Inauguration Mayhem - TV Technology
Obama photographer got started at K-State - Kansas City Star
FC Residents’ Key Roles In Tuesday’s Inauguration - Falls Church News Press

Yahoo Answers
How do you attend the presidential inauguration?
Is a invitation needed to attend the Presidential Inauguration in January. ?
Elementary Classroom ideas for the Presidential Inauguration?
Where Can I Get Presidential Inauguration Tickets?
What time is the Presidential Inauguration (January 20th) ?
How long does the presidential inauguration run?
what should I wear to the presidential inauguration?

Product Details from Amazon
Presidential Inaugurations
Manufacturer: Harvest Books
ASIN #: 0156007592
Price: $14.00

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The spaces around us, even in our absence, tell a story. In this series, there's no one to flip the light switch on, no one to twist the door knob, no one to plug in the coffee maker. The lack of human interaction makes these images documents of our existance, even after we're long gone.

In this project I wanted to create images that would evoke emotions of loneliness and would make the viewer think about the lack of human element in them.

• Equipment used: Nikon D200, 24-85mm D Lens set to macro mode, Nikon SB-800 flash unit (connected by Promaster Sync Cord).
• EXIF data: ISO100, Shutter 125 to 250, f/16 to f/22, recorded in RAW.
• Flash in Manual Mode on 1/16th to 1/32nd power, about 10-15 inches from the subject. Flash head had a plastic diffuser on.

To create a bit of a glowing effect, the flash was taken off camera via a sync cord. I held the camera with my right hand, and the flash with the left hand, thus having more control of direction of light. I wanted the light to come from the side to reveal the textures on the walls.

The images were processed in Adobe Lightroom. A green tone was added to unify the series and to have a bit of a futuristic abstract look ( a bit Matrix-like ;).

Click HERE to see this project in a full-screen gallery.

What do you think of this concept and the way it was done? Can you relate to the message? What do these images make you think of?

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Interesting idea to capture your life in photos! I found this video on Vimeo.com published by c71123.  It was his daily photo project for over 8 years.

If you want the total experience, visit the project site HERE.


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Today, when we have the technology to take the photograph, freezing a moment, and are able to print it in minutes, many photographers take a step into the world of alternative processes. Read on, to find out about this method that may be making a comeback.It may be out of the joy of making something by hand; from start to finish, or it may be that a specific process, enhancing the idea or expression of the artist.

The reasons for choosing to work in a specific alternative process are many and varied; to get closer to understanding of these reasons I have deceived to explore one of the processes “Wet Plate” Collodion.

In efforts to advance photography in the mid-19th century, Fredrick Scott Archer, an English sculptor and photographer, experimented with collodion in the hope of producing a photographic negative on ordinary glass plates. In 1851, four years after the introduction of the albumen plate he recognized that collodion was more suitable than albumen for holding the silver salts. It yielded a much shorter exposure time (from 15 seconds) and remained in general use for 30 years. (Photography Remembered R.W. Lisle1990).

Collodion is a thick and syrupy liquid, is made by dissolving nitrated cotton in a mixture of alcohol and ether. It was widely used by surgeons and physicians as protective dressing for minor lacerations. Archer used collodion to hold light sensitive salts to his glass plates. Once the salts, such as potassium iodide, were in the mixture of collodion, the viscous liquid was poured onto the plate. Allowing the alcohol and ether to evaporate, a thin film containing the necessary iodides was left on the plate. Ready for sensitizing, the plate was placed in a bath of silver nitrate. This formed a light sensitive compound of silver iodide on the surface of the plate. Once sensitized, the plate was exposed in the camera before the collodion began to set and dry. If the plate dried before development, it would have had practically no sensitivity and would be therefore useless. For this reason alone, the process Archer invented became known as "Wet Plate" collodion process. After exposure in the camera, the plate was quickly returned to the darkroom. Using an acidic solution of ferrous sulfate, the plate was developed, then rinsed and fixed in a mild solution of potassium cyanide, or hypo (Collodion-artist.com, 2007). The wet plate photographers could now produce multiple images from a single negative or offer a collodion positive, such as the ambrotype or ferrotype, with speed and consistency.

The ambrotype, made by the wet plate collodion process, is simply an underexposed glass by bleaching a collodion plate negative and backing it with dark velvet or black varnish. It became the poor man’s daguerreotype. When placed against a dark background, it appears as a positive image. The image is reversed, left to right. It can be used only one time. Unlike albumin paper prints taken from dense glass negatives, the ambrotype requires additional sittings for duplicate copies. Ambrotypes were often varnished to help protect the image surface and were always sold in cases or frames. Thus, the ambrotype is extremely durable and has withstood well the test of time.

The ferrotype, also called the melainotype or tintype, was America's first major contribution to the art of photography. Indestructible and cheap, the tintype enjoyed the longest life of any of the collodion based photographs. It was made the same way as the ambrotype, except that a thin piece of black enameled, or japanned, iron was used in place of glass. Like the ambrotype, the image is reversed. Ferrotypes were made from thumbnail size to as large as 11" x 14". With the introduction of multi-lensed cameras with sliding backs in the early 1860's, their typical small sizes were made in volume. These were usually mounted in card mounts of the then popular cart-de-visit size. Made on a metal plate and with a varnished surface, ferrotypes have proven very durable. (Photography Until Now, J.Szakkowski 1989)

Step 1: Coat with Collodion

The first step in making a collodion negative begins with a solution called, not surprisingly, collodion. Photographic collodion is a mixture of raw cotton (which has been treated with nitric and sulfuric acids) dissolved in ether and alcohol, with a little iodide and bromide mixed in. What exactly it’s made out of doesn't really matter that much, though -- in 1880 you can buy it pre-mixed. What matters is that this solution is transparent and sticks to nearly everything. Pour the collodion onto a glass plate, then the tilt the plate until its entire surface is coated with the solution. Then pour the excess collodion back into its bottle.


Step 2: Dip in Silver Nitrate

Now it's time to move into the darkroom (or, if you're in the field, the dark tent). While the plate is still wet, dip it into a solution that contains silver nitrate. The silver nitrate binds with the iodide a nd bromide to make a silver halide coating, which is sensitive to light. Wipe the silver nitrate solution off the back of the plate with a clean cloth.


Step 3: Plate to Camera

While still in the darkroom, insert the plate into a lightproof holder, which is constructed to fit in your camera. Take the holder to the camera and insert. The silver nitrate solution will drip from the holder, even when it's in the camera. This is normal. There's a slide in the holder that covers the glass plate. Remove the slide. The collodion plate is now ready for exposure.


Step 4: Expose

Expose the plate by removing the lens cap. This will allow light to enter the camera and strike the light-sensitive collodion. Expose the plate for 20 seconds to 5 minutes. (Exposure time depends on how fast the silver halides react to light, how much light enters through the lens, and the amount of light hitting the subject.) Replace the lens cap to end the exposure. Reinsert the holder's slide. The holder can now be safely removed from the camera and taken back to the darkroom or dark tent.

Step 5: Pour on Developer

Remove the glass plate from the holder. While holding the plate over a tray, pour the developer over the plate. The developer is a solution of iron sulfate and acetic acid. It turns the silver-halide grains that have been struck by light into metallic silver. Rinse the glass plate with water to remove the developer. You can now take the plate out of the darkroom.

Step 6: Fix the Plate

The grains of metallic silver are still on the plate, as are the silver halide grains not struck by light. Remove the unexposed silver-halide by placing the plate in a tray of sodium hyposulfite, which acts as a fixing agent.


Step 7: Wash and Varnish

Wash the plate one last time in water to remove the fixing agent, then dry. To protect the delicate image, apply a coat of varnish to the plate. Application is conducted in much the same way that the collodion was applied to the plate. First, heat the bottle that contains the varnish over a flame. Also heat the glass plate over a flame. When both are blood warm, pour the varnish onto the emulsion side of the plate, tilt the plate

until it is fully covered, then pour the excess back into the bottle. On the glass plate is a visible negative image. There is a dark coating of silver where light has struck the plate; the plate is clear where it was not exposed to light.


Step 8: Make a Print

To make a albumen print from a collodion negative, float a sheet of paper on a solution of albumen (egg white) that contains a chloride. Dry. Float the paper on a solution of silver nitrate. This produces a coating of silver chloride. Dry again. Within a printing frame, align the negative over the paper, then place both in direct sunlight. The sun will print the picture. Wash the print in water, then tone in gold chloride. Wash again. "Fix" the print in sodium hyposulfite, then give it a final wash.
Your print is now ready for mounting.

Some information & images in this post were provided by PBS.org (2007)

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