To make a digital image of the Unicorn tapestries was one of the most difficult assignments that Bridgers had ever had. She [Barbara Bridgers] put together a team to do it, bringing in two consultants, Scott Geffert and Howard Goldstein, and two of the Met's photographers, Joseph Coscia, Jr., and Oi-Cheong Lee. They built a giant metal scaffolding inside the wet lab, and mounted on it a Leica digital camera, which looked down at the floor. The photographers were forbidden to touch the tapestries; Kathrin Colburn and her team laid each one down, underneath the scaffold, on a plastic sheet. Then the photographers began shooting. The camera had a narrow view; it could photograph only one three-by-three-foot section of tapestry at a time. The photographers took overlapping pictures, moving the camera on skateboard wheels on the scaffolding. Each photograph was a tile that would be used to make a complete, seamless mosaic of each tapestry.This resultant files were so numerous and large, that an unforeseen problem occurred -- the files couldn't be merged together to create complete images! Read the article for the details.
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Thanks, Elizabeth, for pointing out this article.
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