Twenty-six gigapixel Paris: Photographer Arnaud Frich and Martin Loyer have created what is being billed as the highest-resolution gigapicture yet made, a super-high-resolution view of Paris. It consists of 2,346 separate images, and, well, talk about resolution—you can make out what individual people are wearing on the steps of Montmartre's Le Sacré Coeur, on the horizon. I've always said resolution is a property that's overrated by hobbyists, and I persist in thinking of "photographs" as prints, yet I admit to a fondness for these peculiarly web-based photographic spectaculars. This one's not particularly intuitive to navigate, but it's worth taking a minute or two to figure it out. The stitching was done using Kolor Autopano.

And speaking of spectacular: Check out Sam O'Hare's 5+ minute video "The Sandpit," a tour of a faux-miniature New York. This one isn't quite what it seems—it looks like that "contratilt" technique that, by using a tilt-shift lens "the wrong way," tricks the eye into thinking real scenes are models—a trope that's getting a tad old for Yr. Hmbl. Edtr. already. And it looks like video speeded up. Wrong on both counts—this is actually time-lapse photography shot mostly with a Nikon D3! There are more than 35,000 separate images. And the contratilt effect is done in post; regular zoom lenses were used. Add an original soundtrack and the effect is quirky yet oddly charming.

Smith x 2: Finally, re models—actual miniatures—there have been not one but two articles in the World's Greatest Photography Magazine (a.k.a. The New York Times) in the past few days about Michael Paul Smith, whose work we discussed in February: this feature from March 11th, and this follow-up from the following day. Both written by Jim Koscs.

Mike
(Thanks to Andre Moreau, Nicolas, and Rob Atkins)

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