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Investigate the remains of the ship and its contents sprawled across a thousand acres of gently sloping seafloor.
The wreck sleeps in darkness, a puzzlement of corroded steel strewn across a thousand acres of the North Atlantic seabed. In recent years explorers like James Cameron and Paul-Henry Nargeolet have brought back increasingly vivid pictures of the wreck. On closer inspection, though, the site appears to be littered with man-made detritus—a Jackson Pollock-like scattering of lines and spheres, scraps and shards.
Here, in the sweep of a computer mouse, is the entire wreck of the Titanic—every bollard, every davit, every boiler. Bill Lange is the head of WHOI’s Advanced Imaging and Visualization Laboratory, a kind of high-tech photographic studio of the deep. This imagery, the result of an ambitious multi-million-dollar expedition undertaken in August-September 2010, was captured by three state-of-the-art robotic vehicles that flew at various altitudes above the abyssal plain in long, preprogrammed swaths.
For some the sheer extravagance of Titanic’s demise lies at the heart of its attraction. But something else, beyond human lives, went down with the Titanic: An illusion of orderliness, a faith in technological progress, a yearning for the future that, as Europe drifted toward full-scale war, was soon replaced by fears and dreads all too familiar to our modern world. The RMST exhibit is well-done, but over the years many marine archaeologists have had harsh words for the company and its executives, calling them grave robbers, treasure hunters, carnival barkers—and worse. In recent years, however, RMST has come under new management and has taken a different course, shifting its focus away from pure salvage toward a long-term plan for approaching the wreck as an archaeological site—while working in concert with scientific and governmental organizations most concerned with the Titanic. Scholars praise RMST for recently hiring one of the world’s preeminent Titanic experts to analyze the 2010 images and begin to identify the many unsorted puzzle pieces on the ocean floor. When I met him in Atlanta, he was parked at his computer, attempting to make head or tail of a heap of rubbish photographed in 2010 near the Titanic’s stern. In essence Sauder was hunting for anything recognizable, any pattern amid the chaos around the stern. Sauder zoomed in on the image at hand, and within a few minutes had solved at least a small part of the mystery near the stern: Lying atop the wreckage was the crumpled brass frame of a revolving door, probably from a first-class lounge. The tragedy of the Titanic has fascinated all since she sank with 1,500 of her passengers and crew in 1912. Advanced new underwater mapping, combined with the latest computer graphics techniques, are today enabling us to virtually ‘drain’ the Titanic, and reveal spectacular 3D images of the final resting place of this most iconic of shipwrecks. Listen to your favorite National Geographic news daily, anytime, anywhere from your mobile phone. In a tricked-out trailer on a back lot of the Woods Hole Oceanographic Institution (WHOI), William Lange stands over a blown-up sonar survey map of the Titanic site—a meticulously stitched-together mosaic that has taken months to construct.


Lange turns to his computer and points to a portion of the map that has been brought to life by layering optical data onto the sonar image.
What was once a largely indecipherable mess has become a high-resolution crash scene photograph, with clear patterns emerging from the murk. A few blocks from Woods Hole’s picturesque harbor, on the southwestern elbow of Cape Cod, the laboratory is an acoustic-tiled cave crammed with high-definition television monitors and banks of humming computers. This has always been a story of superlatives: A ship so strong and so grand, sinking in water so cold and so deep. They are mostly ordinary objects made extraordinary for the long, terrible journey that brought them to these clean Plexiglas cases. Piped-in sighs and groans of rending metal contributed to the sensation of being trapped in the belly of a fatally wounded beast. Robert Ballard, who has long argued that the wreck and all its contents should be preserved in situ, has been particularly caustic in his criticism of RMST’s methodologies.
In fact, the 2010 expedition that captured the first view of the entire wreck site was organized, led, and paid for by RMST.
Government agencies such as NOAA that were formerly embroiled in lawsuits against RMST and its parent company, Premier Exhibitions, Inc., are now working directly with RMST on various long-range scientific projects as part of a new consortium dedicated to protecting the wreck site. Bill Sauder is a gnome-like man with thick glasses and a great shaggy beard that flexes and snags on itself when he laughs. Most Titanic expeditions have focused on the more photogenic bow section, which lies over a third of a mile to the north of most of the wreckage, but Sauder thinks that the area in the vicinity of the stern is where the real action will likely be concentrated in years to come—especially with the new RMST images providing a clearer guide. It is the kind of painstaking work that only someone who knows every inch of the ship could perform—a tiny part of an enormous Where’s Waldo? Much later, scientist Robert Ballard set out to find and explore the wreck, despite difficulties of depth and location. Yanl?s bilmiyorsam Titanic filmindeki bat?g?n goruntuleri bu belgeselden veya ekipten al?nm?st?. Never have we been able to grasp the relationships between all the disparate pieces of wreckage. At first look the ghostly image resembles the surface of the moon, with innumerable striations in the seabed, as well as craters caused by boulders dropped over millennia from melting icebergs. Lange was part of the original Ballard expedition that found the wreck, and he’s been training ever more sophisticated cameras on the site ever since. These ribbons of data have now been digitally stitched together to assemble a massive high-definition picture in which everything has been precisely gridded and geo-referenced. Why, a century later, do people still lavish so much brainpower and technological ingenuity upon this graveyard of metal more than two miles beneath the ocean surface?


More than 25 million people have seen this exhibit and similar RMST shows that have been staged in 20 countries around the world. In a reversal from years past, the company now supports calls for legislation creating a protected Titanic maritime memorial.
Using the research submarine Alvin and a remote-controlled underwater robot, he was the first human in over 70 years to see the giant resting beneath the North Atlantic waves. Yani filmde izledigimiz bat?k goruntulerinin bir k?sm?, gercek Titanic'in bat?g?n?n goruntuleri.
Now we can see the Titanic’s bow in gritty clarity, a gaping black hole where its forward funnel once sprouted, an ejected hatch cover resting in the mud a few hundred feet to the north. Why, like Pearl Harbor, ground zero, and only a few other hallowed disaster zones, does it exert such a magnetic pull on our imagination?
It took two hours and 40 minutes for the Titanic to sink, just long enough for 2,208 tragic-epic performances to unfold, with the ship’s lights blazing. Studded with rivets, ribbed with steel, this monstrosity of black metal reminded me of a T. Secrets of the Titanic tells the story of the events leading up to the sinking using footage and photographs from the doomed maiden voyage and then follows the luckier Dr.
The image is rich in detail: In one frame we can even make out a white crab clawing at a railing.
One coward is said to have made for the lifeboats dressed in women’s clothing, but most people were honorable, many heroic.
The captain stayed at the bridge, the band played on, the Marconi wireless radio operators continued sending their distress signals until the very end. As usual for National Geographic, the photography is excellent, even within the cramped confines of the tiny Alvin. The first views of the Titanic's interior are truly spectacular, especially when contrasted with vintage photos, and the excitement of Ballard and his crew is contagious. How they lived their final moments is the stuff of universal interest, a danse macabre that never ends. The spirit and joys of discovery are well captured and the viewer is reminded that the world is still teeming with opportunities for adventure.



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