P. John, J. Gates University of Southampton, UK Play (15min) Download: FLV | MOV | Ogg | mp3

A case study in teaching holography as a problem based learning project to engineering and physics foundation year students.

James D. Trolinger Metrolaser Inc., USA Play (18min) Download: FLV | MOV | Ogg | mp3

Holography is one of the rare scientific discoveries that provided a medium for art. As a result, many interesting and unique relationships formed between scientists and artists fostering new ways of looking at both science and art. Since its invention (1948) and reinvention (early sixties) holography experienced multiple false starts, and we can only guess its future course. To date embossed holography stands out as a killer application while many other potential applications still remain as great challenges as well as opportunities. This paper describes a course of study called “Holography, art and science,” beginning in the Fall of 2006 at the Irvine Valley College in Irvine, California. The objective of the course is to provide students with graphical knowledge that will allow them to comprehend the fundamental science behind holography as well as to appreciate, enjoy, and judge holograms and holographic art. We will consider the course successful if students become more active participants in any way in the fields of holography or art. The course will be taught with little or no mathematics and will have laboratories in which all students will produce the various kinds of holograms.

Sean F. Johnston University of Glasgow, UK Play (22min) Download: FLV | MOV | Ogg | mp3

Emmett Leith is recognized today as one of a handful of key innovators in the subject that became holography. He can be remembered for distinct accomplishments and attributes. During the 1950s, Leith played a crucial role in synthesizing a new subject from previously quite separate ones. During the early 1960s he dramatically extended the possibilities of wavefront reconstruction and, with equal modesty, publicized them. His ideas and competence inspired a generation of colleagues at Willow Run Laboratories, many of whom went on to contribute to the modern subject, art and business of holography, and he displayed an uncommon coherence in his own intellectual interests, although his own career mutated from classified work, to popularization, and to an academic role.

Sean F. Johnston University of Glasgow, UK Play (10min) Download: FLV | MOV | Ogg | mp3

When Yuri Denisyuk began his investigations on what he dubbed “wave photography” some 48 years ago, connectionswith Dennis Gabor’s “wavefront reconstruction” were not evident, and the field of holography did not exist. The originality of his early research impeded Denisyuk’s early recognition, but from the mid 1960s he was almost continuously involved in the subject and made further major contributions to modern holography.

S. Miller RMIT University, Australia Play (17min) Download: FLV | MOV | Ogg | mp3

The daguerreotype process, invented in the late 1830s, was the first photographic technique to be commercialised. Images are recorded on polished silver plates that have been sensitised with iodine or bromine vapour, exposed with short-wavelength light, and developed with mercury vapour. Exposed areas become coated with fine diffusely-scattering particles, and under the right conditions of illumination are seen as bright against the dark background of the specularly-reflecting polished silver surface. Daguerreotypes are well known for their ability to record very finely detailed images, but few quantitative studies of their spatial resolution exist.

An investigation was undertaken to determine whether it is feasible to use the daguerreotype process to record holograms. Two-beam interference fringe patterns with periods as small as 0.8 µm were recorded on daguerreotype plates in argon laser light at 488 and 458 nm, and diffraction efficiencies of up to 3% were obtained with exposures in the range of 1–10 J/cm². A rainbow hologram was successfully recorded on daguerreotype with a 5 min exposure of 0.7 J/cm² in 458 nm light.

The technique is of interest because it combines one of the oldest image recording techniques with one of the newest. Practical applications also exist in the fields of art, decoration and silver smithing.

Sean F. Johnston University of Glasgow, UK Play (21min) Download: FLV | MOV | Ogg | mp3

Holography has always been a subject combined from distinct visions. Scientists, engineers, artists, artisans and entrepreneurs give divergent accounts. Holography can be dissected into a series of two-dimensional views: an intellectual subject; an imaging technology; a throng of disparate communities; and a cluster of niche markets. It became widely recognized as a subject during the 1960s, but its history has always been contentious. The discordant tales of its past have been told and retold, mutated and disseminated for different audiences, for nearly sixty years. This paper examines some of those perspectives and the disputes, careers and forecasts they influenced.

E. Mirlis NEWI/OpTIC Technium, UK Play (15min) Download: FLV | MOV | Ogg | mp3

The need for ultra-fine-grain silver halide emulsion for recording colour holograms is explained. The lack of suitable commercial materials for colour holography was the reason behind the European SilverCross project. The two-year RD project is introduced with its expected outcome. The work carried out by one of the seven partners NEWI/CMO is described. A range of experimental panchromatic silver halide emulsions have been produced and tested. High-quality materials with a low-level blue light scattering and good colour rendition have been obtained. Work on improving the current formula and procedure is in progress in order to increase the sensitivity and the stability of the emulsion.

P.-Y. Berken University of Liège, Belgium Play (19min) Download: FLV | MOV | Ogg | mp3

As the best holographic recording material can lead to bad holograms if recording and development conditions are not optimal, we need an objective evaluation of the quality of these holographic recording materials. A coherent suite of methods enabling an evaluation as objective as possible of these materials is presented. These methods are designed for a silver halide emulsion characterisation but some of them can be used for other materials. When needed, devices have been built to permit rapid and maximum human handling free characterisation. By this mean we first determine the characteristic curve (the so called Hurter and Driffield curve) of the emulsion for any needed visible wavelength. Ten partial characteristic curves can also be recorded in a single exposure to lead to a spectral sensitivity curve. In addition we can provide the emulsion normalised modulation transfer function (MTF) thanks to an easy to build and use device. Finally a transmission electron microscope and an X-ray diffractometer are used to measure the silver halide grain size of the emulsion. Extended practical considerations are given for each of these methods. Results obtained by the developed methods on a commercial Fuji holographic film are presented.

G. Jackson Fuji Hunt Photographic Chemicals (UK) Ltd., UK Play (23min) Download: FLV | MOV | Ogg | mp3

FUJI PHOTO FILM CO., Ltd JAPAN Company info
President: Mr. Shigetaka Komori; Established: January 20, 1934; Head Office: Tokyo, Japan; Consolidated Subsidiaries: 223 companies; Employees: 75,000 (March 31, 2006); Revenue: $ 23.2 Billion (March 31, 2006)

FUJIFILM – Technologies
Technological systems covering:
Photographic film to optical design technology, Organic material design technology, Electronics, Software

Highly Advanced Technologies:
Super CCD (Digital Imaging Technology), Nano technology, Film with optical functionality used with polarising plates of liquid crystal display, Plastic optical fibres, High density magnetic storage materials

FUJIFILM Philosophy— Imaging & Information

• To constantly strive to develop superior technologies
• To continue creating an “Imaging & Information” culture

Stanislovas Zacharovas Geola UAB Play (17min) Download: FLV | MOV | Ogg | mp3

A new ultra-fine grain silver halide photofilm for pulsed colour holography has been developed. The film is now being manufactured on an industrial basis and is commercially available. The photo-emulsion used has an average silver grain size of 10 nm and is sensitive to emissions at 440 nm, 532 nm and 660 nm – the emission wavelengths of the pulsed lasers commonly used in modern digital holographic printers. In the article we present the basic characteristics of the new material.

L. Dünkel TFH Berlin, Germany Play (17min) Download: FLV | MOV | Ogg | mp3

DESA emulsions have been developed at the TFH Berlin, University of Applied Sciences, in recent years. They represent an ultra-fine grained silver bromide emulsion system with mean grain sizes below 20 nm, which provides holographic recording in ultra-high resolution. Monochromatic sensitization has already been realized successfully for laser illumination in the whole optical wavelength range, reaching from blue (488 nm), via green (530 nm) up to red (632.8 nm). But panchromatic sensitization is handicapped by serious restrictions, if single-layer systems are used. Monochromatically sensitized materials are already on optimum level, which leaves little possibility to increase the sensitivity and diffraction efficiency further.

On the contrary, for panchromatic materials, the diffraction efficiency decreases normally if multiple exposures with different laser wavelengths are applied. The problem may be avoided by using multi-layer systems that are composed of monochromatically sensitized single-layers according to the different laser wavelengths as used by the multiple laser illuminations. In this case, excellent brightness and colour rendition should be obtained. This report gives a survey of the fundamentals and results of this new branch in DESA technology.

M. Ulibarrena Colourholographic Ltd., UK Play (22min) Download: FLV | MOV | Ogg | mp3

Colourholographic Ltd is proud to announce the launch of the new ultra-fine grain panchromatic emulsion BBPan. This emulsion uses the already known big storage capabilities of the red, green and blue monochromatic emulsions, together with the extremely low scatter levels in all of them. These properties, combined with a new panchromatic formulation, have resulted in a material that can be used to store several images of the same object recorded with different laser wavelengths. The emulsion is user-friendly, and it can be exposed, processed and dried in normal laboratory conditions, rendering bright images with good colour reproduction. This emulsion is the result of some years of research carried out within the company.

J. Blyth University of Cambridge, UK Play (21min) Download: FLV | MOV | Ogg | mp3

The UV–Visible range absorption spectrum of unexposed dichromated gelatin film (DCG) shows almost no absorption by the dichromate ion at 532 nm. By using a post exposure baking step with a small quantity of glycerol we have managed to produce bright holograms with light energy levels below 50 mJ per cm2. This is better than has been achieved with the aid of dyes in DCG and perhaps better than has been achieved so far with any photopolymer system using 532 nm light. Also using 514 nm light from an argon laser, we have achieved a 4 fold increase in photosensitivity over that obtained using conventional procedures. We postulate that this increase in photosensitivity may be the result of an actual amplification of the changes caused by the laser light, and that this effect does not occur in the traditional method using Kodak Rapid Fix plus Hardener. The experimental method detailed here is written with the amateur holographer in mind now that for example powerful green 532 nm cw lasers are readily available at much lower cost. A particular additional feature about the method is the use of potassium dichromate and specifically not the traditional ammonium dichromate.

K. Y. Hsu National Chiao Tung University, Taiwan Play (19min) Download: FLV | MOV | Ogg | mp3

We develop a new photopolymer, in which a photoinitiator, eosin Y, and a radical generator, triethanolamine, are dispersed in a poly hydroxyethyl methacrylate and methyl methacrylate copolymer matrix. The fabrication and characterization of material for volume holographic recording are presented.

V. I. Girnyk Optronics Private Company, Ukraine Play (8min) Download: FLV | MOV | Ogg | mp3

Two different methods to receive 3D images in conventional 2D holograms in view of their applications with currently used materials are discussed. For optical and E-Beam registration of 3D holograms, three types of organic and inorganic resists were used. Their resolution capability and exposure sensitivity were analyzed with respect to 3D hologram registration in structures with complex diffractive optical variable elements.

A key problem for recording digital 3D holograms is the registration of high (more that 2500 lines per mm) spatial frequencies of synthesized interferogram on to the recording medium. Most of the existing organic and inorganic resists have a substantial reduction of the gain-frequency characteristic in areas of frequencies that have more than 3–4 thousand lines per millimeter, and therefore need extra correction depending on the type of resist.

Based on early research of organic and inorganic resists and a series of trial recordings, three widely used resists were chosen with the intention of carrying out detailed comparative analysis, testing their efficiency for e-beam recording of holograms with 3D CGH elements.

In this research two organic PMMA resists were studied, Shipley 1800 (c) Series and electronic resist “EPR-40”, and one inorganic semiconductor chalcogenide resist As40S60−x Sex (where x = 0, 10, 20, 30, 40).

S. Noehte Tesa Scribos GmbH, Germany Play (22min) Download: FLV | MOV | Ogg | mp3

This paper describes the possibilities and the limits of physics for computer generated holograms (CGHs) used as a small data carrier and security hologram. Security holograms are well known and established. Basically these holograms are produced as batches. That makes it efficient for counterfeiters to reproduce these holograms. This gap is closed by the technology of individualized holograms. In particular, individualized computer generated holograms (CGH) have excellent properties to solve this task, and can also do much more.

The holograms discussed are calculated as Fourier holograms using a fast algorithm. The calculation is optimized for contrast of the readout pattern and recognition of machine readable information by using dedicated software. The information is coded in a holographic pattern as a projection hologram or machine readable information. The manufacturing process will be described by an ultra fast lithographic system, writing small holograms in one second. The holographic materials used here are polymeric foils that do not need any chemical processing.

The physical limits of reflection- and transmission holograms will be discussed in detail. Representative examples will be shown.

The application, a smart data carrier, for product tracing and fraud protection will be illustrated with different examples. Different variations of reading the analogue- or machine readable information will be shown.

M.-L. Hsieh National Taiwan Normal University Play (13min) Download: FLV | MOV | Ogg | mp3

We propose and demonstrate a three-dimensional object reconstruction technique that uses complete amplitude and phase information of a phase-shifting digital hologram by cascading liquid crystal spatial light modulators with a nearly full range complex modulation. The cascaded liquid crystal module is performed by operating both in amplitude-mostly and phase-mostly modulation modes. The amplitude-mostly modulation is applied by minimizing the phase variation, whereas the phase-mostly mode is achieved by minimizing the amplitude variation during the voltage-driven period. The transfer characteristic of the cascaded liquid crystal module is analyzed by the Jones matrix method to yield the suitable polarization states for realizing full-range complex modulation. It is well known that a digital hologram can store both amplitude phase information of an optical electric field and can reconstruct the original three-dimensional object by numerical calculation. This work demonstrates that it is possible to reconstruct optically three-dimensional objects using complete amplitude and phase information of the optical field calculated from the phase-shifted digital holograms. The use of both amplitude and phase information enable us to reconstruct optically three-dimensional objects with fair image quality by selecting the orientation of polarization and the modulation conditions of the cascaded liquid crystal module. Both analytical and experimental results are presented and discussed.

H. Yoshikawa Nihon University, Japan Play (13min) Download: FLV | MOV | Ogg | mp3

It is becoming possible to calculate computer-generated holograms of three-dimensional objects that have more than one billion pixels, even with normal personal computers. On the other hand, it is not so easy to output the calculated result as a hologram that must have micron order resolution for practical three-dimensional display. We have been developing a fringe printer, which consists of a laser, an X–Y stage and a liquid crystal panel as a spatial light modulator. A fractional part of the entire holographic fringe is displayed on the liquid crystal panel, and the demagnified image of it is recorded on a holographic plate. Then the plate is translated by the X–Y stage to write the next part of the fringe. In this report, a 0.5 M pixel transmission LC panel is replaced by a 1.3 M pixel reflection type panel. Since the number of exposures is reduced, a more than fourfold improvement in the printing speed is obtained. We were able to print a 3 Giga-pixel hologram with 0.87 µm pitch in 137 min.

V. Markov Metrolaser Inc., USA Play (24min) Download: FLV | MOV | Ogg | mp3

A variety of applications, such as entertainment, medical, design and engineering, can significantly benefit from the development of a goggles-free 3D imaging system. Although a number of such systems (spatially multiplexed, volumetric, autostereoscopic and electro-holography) have been suggested, practically examined and modeled, their practical implementation is far from complete, mostly due to unsatisfactory imaging quality. Recent technological advances, both with hardware and data processing software, open a new perspective in the development of advanced non-goggles based 3D displays. Approaches of special interest include temporal multiplexing and point-aspects, as they offer a goggles-free solution to 3D imaging. In this paper, we discuss the initial results in the development of 3D displays with an improved image quality and increased refresh rate based on the new concepts, namely, temporally multiplexing and point-aspect. The paper presents a thorough review of the current state-of-the-art of these two techniques and a perspective in their further practical engineering and realization.

K. Sato Shonan Institute of Technology, Fujisawa, Japan Play (12min) Download: FLV | MOV | Ogg | mp3

Recently, many types of 3-D displays have been developed. We would like to see 3-D moving images with comfortable and more expanded depth. Holography is different from the other 3-D display because a natural stereoscopic image can be obtained. We previously developed an electro holographic display using a virtual image. But the viewing area is small because the pixel size of the LCD is not so small.

Now, we have developed a projection type electro-holographic display system. For projection type holography [1] a 3-D screen has to be used in order to project the reconstructed image clearly and for the viewing angle to become wide. We developed an electro-holographic display system using a mist 3-D screen. However, a reconstructed image with a mist 3-D screen flickers due to gravity and air flow. Then we considered how to reduce the flicker of the image, and we found that flicker could be reduced using a flow controlled nozzle.

Hence, at first we considered the most suitable shape of 3-D screen, and then we constructed the array of flow controlled mist 3D screen. Through our experiments, we were able to obtain a considerably high contrast 3-D moving image and to achieve a viewing area of more than 30 using this flow controlled nozzle attached water particle 3-D screen and make clear the efficiency of this method.

K. Matsushima Kansai University, Japan Play (21min) Download: FLV | MOV | Ogg | mp3

General idea of polygon sources of light for numerical synthesesis of object fields in CGHs. Problems to be solved for realizing polygon sources: Numerical algorithm for obtaining light from arbitrarily tilted polygons, control of diffusiveness and direction of light, control of brightness of polygons in its optical reconstruction. Examples of process to synthesize objectives. Examples of optical reconstruction. Performances of the polygon source method.

N. George The Institute of Optics, University of Rochester, USA Play (16min) Download: FLV | MOV | Ogg | mp3

We describe a new holography system for recording holograms that is practical from 1 mm through 3 µm wavelengths. These hitherto inaccessible bands of wavelength can now be recorded with excellent sensitivity and resolution using microbolometer arrays that have improved greatly in the past few years. These spectral bands are useful for biomedical imaging as an alternative to x-rays in some situations, for astronomy, for industry and for night vision devices. In holography following Leith and Upatnieks, one records an interference pattern using a coherent source; and thereafter, reconstructs a wavefront which reproduces the phases and amplitudes of the original object waves. For our first experiments we will describe the verification of our assertion that one can truly record interference patterns. We use a simple Mach–Zehnder interferometer with laser illumination at 10.6 µm. It is interesting that one can record the carrier frequency fringe of a hologram using a thermal detector even with a time constant of tens of milliseconds. For reconstructing the object wavefront in holography there are several well-known techniques. First, one needs to choose between an original illumination beam and a reversed beam. Then one can consider scaling the hologram to the visible band. Finally, with the hologram digitally recorded, one can use modern computer-generated visual displays. We will describe our experiments in which we use the efficient, direct sampling of the carrier frequency fringes [9,10]. Using well-known theories for the inverse scattering and the digital computer, one can calculate the field and the intensity back in the object space. Details of the phase unwrapping process will be described. This talk is dedicated to Professors Emmett N. Leith and Stephen A. Benton, eminent scholars and beloved colleagues.

P. Dawson The University of New South Wales, Australia Play (33min) Download: FLV | MOV | Ogg | mp3

My interest in developing a hologram along the lines of what most people expect as the subject of a hologram… a little Princess … began in 2001 when I painted a self-portrait for the Portia Geach Memorial Award, S.H. Irvin Gallery, Sydney, entitled Dr Dawson and Daughter after Forbidden Planet. The painting (oil on canvas and retroreflective glass beads), depicts me in a pose of the Magdalen by Piero della Francesca (fresco; Duomo, Arezzo) but painted over black so as to be a silhouette somewhat like Casper David Friedrich’s Wanderer over the Mist. Instead of the view beyond the wanderer being of interest, the cape forms the background to a light-emitting painted image of a hologram showing my daughter playing with her puppy. The painting refers directly to the moment in Forbidden Planet when Dr. Edward Morbius demonstrates to the amazement of the onlooking space voyagers his ability to project an image of his daughter Altara from his mind “… because my daughter is alive in my brain from microsecond to microsecond, while I manipulate it…”

S. Ishii Independent Artist, Japan Play (41min) Download: FLV | MOV | Ogg | mp3

It has been 20 years since I began applying holograms to architectural spaces. Since then, a number of works, which are permanently installed in architectural spaces, have been created. However, some of my works had to be removed from their original places or moved to new places. This thesis is a report on three works that had to be moved from their original spaces to new ones. A change of location for works requires a special type of effort, which is required not only for art in general but also for holograms. This thesis will describe two different cases: the case in which the works were moved and installed without changing their original forms, and one in which the works were modified and re-installed.

Sally Weber Independent Artist, USA Play (23min) Download: FLV | MOV | Ogg | mp3

The Strata Series explores the relationship between the physiology of matter and the depth of mind. While the black and white photographic works delineate the surface contours of the figure, the pulsed light images use holographic interferometry to capture the micro-motions of breath, muscle and blood from within the body. Currently on exhibition at the Center for the Holographic Arts in New York from May 6–June 30, 2006, the pulsed light images are reconstructed using high-powered LED illuminators designed by Craig Newswanger which offer an alternative to laser illumination.

J.-Y. Lee Korean National University of Arts, South Korea Play (14min) Download: FLV | MOV | Ogg | mp3

Holography Art : Art gallery, Collection of Landscape, Photo collection, Holography Lab, Light Impression etc.,

R. Garcia-Robles University of Seville, Spain Play (28min) Download: FLV | MOV | Ogg | mp3

Art movements such as Op-Art, Kinetic Art, Light Art and Conceptual Art have been predecessors as well as contemporary tendencies to the use of holography as an art media. Apart from the obvious historical nexus, there are relevant technical, formal and significant similarities and differences in relation to some of the works created by relevant artists as well as to the main features of those art tendencies. This paper explains the conclusions on a study from a triple semiotic approach: lexical, semantic and pragmatic. On the other hand, holography is an art media, such as painting, sculpture, printmaking, photography, cinema, etc. Like all of these, holography offers some essential features that are unique and representative of the possibilities of the media itself. In this paper we explore those features as well as some key issues in relation to the aesthetics of holography media. An ontological review is undertaken for contextualizing holography according to the Perception Aesthetic, the Participative Aesthetic and the Generative Aesthetic related concepts. Finally, in order to contextualize holography in relation to the most contemporary art tendencies, we explore the relationship between holography and digital media. As photography forced painting to redefine itself in the nineteenth century, nowadays computers have a similar effect on both traditional and other emerging artistic media such as holography. According to experts in the field, some of the most outstanding characteristics of digital media are: Immateriality, Reproducibility, Time Essence, Interactivity and Non-Linearity. This paper explores the possibilities offered by holography in that emerging digital framework.

M. Richardson De Montfort University, UK Play (5min) Download: FLV | MOV | Ogg | mp3

As we move into the digital epoch the prime illusion, holography, waits patently to further a vision in Art that may be traced back to the invention of perspective by Italian architect, Filippo Brunelleschi, in the middle of the fifteenth century. As physics explores our quantum universe it conspires the development of a holistic theory. Indeed, some scientists have even suggested that the universe may be compared to one giant hologram as the information of the whole exists in every constituent part; each particle containing all of the information pertaining to everything that exists or ever will exist. Quantum holography combined with powerful computing technology forms digital-holography, a modelling tool that helps explain and “un-lock” baffling forces such as gravity, the very glue that binds our atoms together and even the big bang theory. A holographic theory interestingly endorsed by cults including the Institute of Noetic Sciences (IONS), founded by the astronaut Edgar Mitchell who walked on the moon with Al Shepard during NASA’s 14th Apollo mission. However as we shall see, the holographic principle itself is a spectacular tool of deception and arguably the most advanced form of technological visual deception to date, certainly one of the most intriguing.

P. John University of Southampton, UK Play (12min) Download: FLV | MOV | Ogg | mp3

This paper explores the tradition and current usage of text in fine-art holography. Transporting written material from a page or a computer screen into another medium profoundly alters or influences the meaning of the words and the visual context they then inhabit. Fine-art holographers have used text and lettering in their work in many ways to enrich the communication between artist and audience. Some of these explorations have included: using text to escape the mimetic element of the medium of holography; expanding on the effects of concrete poetry using movement in three-dimensions; incorporating text and lettering in holographic images as a metaphor for the storage of knowledge; and using fragments of text and lettering to depict or emphasise the difficulties inherent in communicating through both media – art and writing. This paper examines some of these approaches and argues the interactive effect of text and image allows the holographic artist to reach towards a deeper communication with the audience.

I. Beguiristain Light Impressions Ltd., UK Play (24min) Download: FLV | MOV | Ogg | mp3

We are all familiar with the traditional monochromatic reflection hologram, which the invention of the laser made practical. Many will also be familiar with the 3D photographic reality of true colour holography achieved using red green and blue lasers together. Bridging the gap between these two processes is the pseudo colour reflection hologram. This uses a modification of the monochromatic process to achieve full colour but with much greater artistic input and control over the final result.

Essentially a pseudo colour reflection hologram contains two or more individually created single colour holographic images, all recorded using one laser of a particular wavelength. Together these form a full or multi colour image. Each colour element is shot separately, and from an optical point of view can be considered as a completely unique hologram. The desired colours are created by swelling the emulsion, in this case silver bromide, by a carefully controlled amount prior to each exposure. Up to four exposures for different colours can be satisfactorily recorded onto one silver bromide plate, but it is normally two or three.

R. Munday Spatial Imaging Ltd., UK Play (33min) Download: FLV | MOV | Ogg | mp3

This paper seeks to provide an accurate account of the project to create a holographic portrait of Her Majesty Queen Elizabeth II.

A. Affolderbach Choolips, UK Play (19min) Download: FLV | MOV | Ogg | mp3

Future dreams and visions are an inherent part of human nature. The ultimate indulgence of these takes place in writings & films of Science Fiction. Beyond indulging in fantastic possibilities & paying homage to new developments, Science Fiction may even shape our futures; dreams become reality. Science Fiction expresses innovative ideas based on research drawn from Technology, Science & Life Style. I want to propose that, vice versa, Technology, Science & Life Style seem to draw on elements created in Science Fiction.

M. Mrongovius Holographics/RMIT University, Australia Play (17min) Download: FLV | MOV | Ogg | mp3

This paper describes a series of holograms resulting from my experimentation and research over the last four years. In the process of making these pieces I began to articulate and explore methods of reconstructing scenes through holography.

While traditionally holography records a ‘whole’ optical field, my interest is in capturing other dimensional relationships, particularly the connections made between different perspectives and temporal patterns, with holographics.

This artistic inquiry involves developing techniques of sampling, compiling and recording images into holograms. To illustrate the development of my methodology I will to refer to a number of holograms which are largely self portraits – depicting my relationship to and navigation of the urban environment.

T. Cvetkovich Chromagem Inc, USA Play (25min) Download: FLV | MOV | Ogg | mp3

The following is a review of holographic art works spanning several different themes. Each theme could be an exhibition in its own right. In 2004 I staged an exhibit at the Butler Institute of American Art which included several pieces from each group. It was my intention to get some of these works out and into the public and see what they looked like before expanding on a given theme. Many of them had remained unframed and unviewed for years. Some were new.

The themes addressed were; Nature Studies, Portraits, Abstracts and Gilded Lilies-religious art holographically visited.

R. Bruck Richard Bruck Holography, USA Play (20min) Download: FLV | MOV | Ogg | mp3

This paper examines the intent and the resulting content of some of this artist’s current work in pulsed, large-format holography. It discusses shifting the starting point for working. Instead of specific pre-visualization, a more open and organic structure is proposed. Gently and patiently, a question is repeated hoping to prompt a gracious resolution. In their own time, image answers will float into view and ascend to the center of attention. Lightly held, and the work flows with its own compass, without pressure, unconstrained, and unfolding revelations. Some of the work discussed:

1. Obtruded Purity: Impede the reference beam and subsequent areas of ‘negative volume’ become content.
2. Dance in Quantum Time: A complex multitude of simultaneous creations and destructions results from a simple and direct recording.
3. Transcape 6,7,10: Questions the limited volume of the exhibition site with an apparent unlimited volume within the hologram.
4. Reference Trinity: Two transmission images and one reflection image produced with one exposure result in images that refer to themselves and the process of their conception.
5. Sum of Many Whispers: Uses light as a material and recalls the science of emergence theory. Individual ‘cells’ work independently and still combine with others to produce larger organized ‘content patterns’.

H. Bjelkhagen NEWI/OpTIC, UK Play (33min) Download: FLV | MOV | Ogg | mp3

The state of the art of colour holography is presented. The laser wavelength selection issue is investigated through computer simulation, showing that more than three wavelengths are needed for accurate colour rendition in holograms. In addition, the recording material is very important for creating high-quality colour holograms. The demand on the material and suitable products currently on the market are covered. The future of colour holography is highly dependent on the availability o improved panchromatic recording materials. Recording colour holograms, either directly or by computer, as well as digital printing of such holograms are mentioned. The light sources for displaying the holograms are important. Small laser diodes as well as powerful white LEDs and OLEDs with very limited source diameters are important for colour holography to improve image quality over today’s commonly used halogen lights.

D. Brotherton-Ratcliffe Geola Technologies Ltd., UK Play (48min) Download: FLV | MOV | Ogg | mp3

RGB pulsed laser technology provides a natural way to circumvent the problems of vibration inherent in conventional CW holographic printer schemes. Using such technology we have been able to print 1-step dot-matrix digital holograms at speeds of up to 50 RGB colour pixels per second in relatively compact printer configurations. Typical hologram pixel sizes that have been employed are around 1 mm diameter. Both full parallax and single parallax digital reflection holograms have been generated in this way with sizes of up to 1 m × 1.5 m. RGB transmission rainbow holograms have also been generated using this approach. Quicker generation of digital holograms is possible using a variety of 2-step pulsed laser printer schemes, the simplest of which consists of the contact or close copying of an original master dot-matrix hologram that has been specially processed. Other 2-step techniques such as H1:H2 schemes have required more powerful RGB pulsed lasers and yet have shown that they are capable of producing one–off smaller format holograms at high speed.

K. Sato University of Hyogo, Japan Play (24min) Download: FLV | MOV | Ogg | mp3

A phase-shifting recording system is developed using a color CCD, a high-resolution reflective LCD panel, and red, green, and blue lasers. The phase of RGB reference lights can be precisely shifted by changing fringe patterns displayed on a reflective LCD panel. Since the phase shift in the present method is independent of the wavelength of the light, RGB in-line holograms for practical color images can be recorded at the same time by adopting a high-resolution color CCD. Wide 3D color images of high quality are reconstructed from the recorded complex amplitude in-line hologram. We record complex amplitude in-line holograms with the multi-channel CCD and reconstruct 3D images from the holograms with the multichannel LCD modulator in order to extend the viewing zone or the visual field of the holographic system.

S.-G. Pettersson Lund Institute of Technology, Sweden Play (29min) Download: FLV | MOV | Ogg | mp3

Several physics courses are given at Lund Institute of Technology. In the basic courses on ray and wave optics, holographyhas played an important role both in stimulating the students to curiously investigate the optical world and as an important visualisation of some obvious and interesting parts of the courses. To meet the need for basic laboratory experience, a holographic laboratory has been built based on three holographic tables. One large set-up is designed for making full colour holograms. Normally the students make holograms in the size 4” x 5”, but it is also possible to make holograms up to 30 x 40 cm. For students interested in a deeper understanding of holography we have another large table where they can make one step rainbow holograms on film in the size 30 x 40 cm.

S. Zacharovas Geola Technologies Ltd., UK Play (23min) Download: FLV | MOV | Ogg | mp3

For proper reproduction of real-life scenes as digital full-colour holograms, HPO digital holographic printers require a set of scene images prepared according to certain rules. As the visual field of view characteristic of modern digital printers now approaches 100 degrees, previous “camera on a rail” technologies have been largely incapable of generating the required images. Here, we describe a new type of “camera on a rail” device which allows one to prepare high-resolution undistorted image sets appropriate for modern high-resolution high-FOV digital printers such as those developed by the Geola Group and XYZ Imaging Inc. The device described is based on latest generation digital camera technology, a specially programmed linear and angular camera trajectory and software image distortion. The sets of real-life scene images prepared by our device are also compatible with images sets produced by 3D design programs; this allows combinations of real-life and virtual scenes to be printed as digital colour holograms.

N. Abramson Royal Institute of Technology, Sweden Play (43min) Download: FLV | MOV | Ogg | mp3

The further away from a house we move, the smaller it appears. We could say that we are in the centre of a “sphere of observation”, which must reach the house before we can see it. The larger that sphere is, the smaller the house appears. This is natural to us and not difficult to understand. In Einstein’s Special Relativity it is stated that the faster we move past a house, the shorter it appears. We state in this paper that this is because the faster we travel, the more our “sphere of observation” is elongated into an “ellipsoid of observation”. The longer that ellipsoid is, the shorter the house appears. This contraction is not so natural to us, because to be observable the velocity has to be extremely high, almost close to the velocity of light. A similar phenomenon can, however, be studied when holography with ultrashort pulses is used for measurement. In this case the sphere of observation is also transformed into an ellipsoid of observation. Thus, according to our approach objects appear shorter because the definition of length (the metre) becomes longer, just as time moves slower because the definition of time (the second) becomes longer. The transformation of the sphere into an ellipsoid is however hidden to the observer both in the case of holography and in relativity. This spooky behaviour of the ellipsoid has resulted in a new mathematical theorem.

S. Hirsch HFZ Universitäts hospital Basel, Germany Play (19min) Download: FLV | MOV | Ogg | mp3

Planning, simulation and documentation of interventions in maxillofacial surgery require high resolution soft tissue information of the human face. Topometric data may be gained with various methods (CT, optical, contact), and these all have their advantages and drawbacks. We developed a topometry system using pulsed holography to capture the surface of objects.

In topometry it is necessary to avoid movement of the object during measurement. For static objects this is hardly of influence, however, movement artefacts are the primary cause of errors in measurements of living or moving objects. In this case either the recording time needs to be sufficiently short, or the object needs to be immobilized as much as possible. Most current topometric techniques feature overall capture times ranging around or just below one second. Although their nominal accuracy, which is defined on static objects, might be good, the surface quality is often questionable. Therefore, great efforts are being made to speed up the measurement.

K. Takano Tokyo Metroploitan College of Aeronautical Engineering, Japan Play (21min) Download: FLV | MOV | Ogg | mp3

In a remote educating process using a holographic 3D TV system, the technique for transmitting holographic 3D images will play a very important role, and a wireless transmission should be introduced around the area where the wired network system cannot be used. For this reason, a SSTV system has been studied by many authors, however, it requires more than 36 s to transmit one sheet of holographic image. In this report, a transmitting-time reduced SSTV process is presented, and it is shown that this process has nearly the same level of quality of recovered images as previous SSTV, and it is only accompanied by a slight deterioration in the quality of the recovered images.

Kaveh Bazargan The Holographer, UK Play (38min) Download: FLV | MOV | Ogg | mp3

In display holography, when the reconstruction wavelength or geometry differ from those of recording, the image is, in general, distorted and aberrated. These variations from the original object are hard to predict using the usual optical equations, which are best suited to imaging systems where the pupil of the system is known a priori. Here I describe the latest features of a computer program (HoloPov) developed to predict and to graphically display the distortions and aberrations in display holograms. The program has an easy to use graphical user interface, and can produce animations.

I. M. Lancaster Reconnaissance International, UK Play (45min) Download: FLV | MOV | Ogg | mp3

2006: The Reality – Holograms are ubiquitous: financial transaction cards, banknotes, passports, ID cards, driving licences, product packs, Giftwrap and greetings cards, Packaging, Book magazine cover art, Store décor and shelf highlighting.

Not the vision: no wall décor, advertising, art

But are we closer to realising the vision now?

D. Pizzanelli Light Impressions Ltd., UK Play (24min) Download: FLV | MOV | Ogg | mp3

It was June 1981, when I was a Director of Hollusions Ltd, that I saw my first embossed hologram, “Skull & Rocks” by John Caufman.1 Shortly afterwards, I set up a meeting with technicians at the PAT Centre in Royston, near Cambridge, to make “Pierrot with Ball”, one of the first photo-resist rainbow holograms ever made in Europe.

Nigel Abraham, of SEE 3 Holograms Ltd assisted me in making the laser-transmission H1 used for the “Pierrot with Ball” and he subsequently joined me to make the H2 Rainbow hologram master at the PAT Centre. Throughout the rest of 1981 he and I were both working independently to research surface-relief holography, with a view to setting up a facility in the UK. In 1982 I was invited by Nigel and Jonathan Ross to join SEE 3 Holograms, so that we could combine our findings and establish a system for making embossing masters.

M. Crenshaw Ledalite Architectural Products, Canada Play (23min) Download: FLV | MOV | Ogg | mp3

One of the early promises of Holographic technology was to use a hologram or an HOE to guide and control the light from a lighting fixture. Technically there were challenges to overcome, such as the suppression of spectral dispersion and elimination of zero order from the lamp. In terms of manufacturing, a process for high fidelity mass replication from holographic masters had to be realized as well. The resulting manufactured holographic material would also need to be affordable, durable and last up to 20 years in the field. Such technical and environmental challenges have not traditionally been a concern for material produced within the mass production arm of the existing holographic industry.

I. Zhurminsky 3D AG, Switzerland Play (12min) Download: FLV | MOV | Ogg | mp3

3D AG has elaborated a new high level optical security element, which is easily recognizable and identifiable due to the combination of different origination technologies: mostly classical holography, dot matrix, e-beam, combination of these and various optical effects and features.
SWISSGRAM™ is not just a simple arithmetical sum of different technologies and effects. It is a combination of new sophisticated methods, which qualitatively improves the security level of holograms. SWISSGRAM™ is based on the following main technologies: 2D [1], 3D [2], dot matrix [3] and e-beam [4].

J. J. Cowan Aztec Systems Inc., USA Play (12min) Download: FLV | MOV | Ogg | mp3

Holograms that are predominantly in use today as replicable devices for display, security, or packaging can generally be divided into two categories: either surface relief rainbow holograms, which include three dimensional images and intricate grating patterns, or reflection type volume holograms. The Aztec structure is a special surface relief device that combines aspects of both of these types. Its fabrication by holographic means requires techniques of both surface and volume holograms, and thus it is technically more difficult to make than either separately. The structure is deeper than the standard surface relief hologram, and its profile has the characteristic of several well defined steps, such that, when viewed on edge, resemble a stepped pyramid. Thus, replication of the Aztec structure requires special high resolution techniques to faithfully record the submicron features of the stepped profile, and thus is more difficult to manufacture. The visual characteristics of the Aztec structure are similar to the volume hologram, in that single colors, rather than rainbow colors, can be viewed. Also, a combination of single colors can be encoded into a single master, yielding unique visual effects.

Dr. Li-Chien Lin Feng-Chia University, Taiwan, ROC Play (21min) Download: FLV | MOV | Ogg | mp3

We propose and analyze an optical watermarking system based on a digital holographic technique. This system constructs a digital holographic watermark by the modified Mach-Zehnder interferometric architecture, and watermark detection is implemented using an optically VanderLugt 4-f correlator with a weighting matched filter mask. The correlation signal at the output plane can be used to recognize whether there is an authorized mark pattern in the watermarked image. In addition, we examine the nonlinear effect of the optical device on the correlation output. The output of the nonlinear device is considered as a mask of matched filter in the Fourier transform domain of an optically VanderLugt 4-f correlator. Through theoretical results, we provide an analytical solution for the correlation output of the nonlinear watermarking system.

T. Hart Hart Coating Technology, UK Play (21min) Download: FLV | MOV | Ogg | mp3

Nickel electroforming is a manufacturing technique that is closely related to nickel electroplating, employing very similar technology. Both of these processes were invented and developed, in parallel, during the 1840s; so nickel electroforming is by no means new. Despite the fact that it has existed for over 160 years and has a host of wide ranging commercial applications, it remains a process that is not well recognised, even by experienced scientists, technologists or engineers.

The applications of nickel electroplating, on the other hand, are much more familiar, since nickel electrodeposits are an essential part of what is generally known as ‘chrome’ or ‘chromium’ plating. Both of these terms are unfortunate misnomers since the coating system that is known by either name actually consists of about 99% nickel. The chromium is present only as a very thin top-coat which accounts for a mere 1% of the thickness of the total deposit system.

J. Ciaudelli Rayvel Holographics, USA Play (18min) Download: FLV | MOV | Ogg | mp3

Rayvel designs, develops, manufactures, markets and distributes holographic products for consumers, industry, and government agencies to provide eye-catching and functional solutions for imaging, advertising, and optical systems. Headquartered in Montville, Connecticut USA, Rayvel not only makes holograms but completely packages them into commercially viable products.

Rayvel operates in four main business areas, or “pillars”:

1. Consumer products
2. Business-to-business trade shows, point-of-purchase (POP), museum displays
3. Industrial and scientific components
4. Education

X. Zhang Xiamen University, China Play (12min) Download: FLV | MOV | Ogg | mp3

This paper proposes a holographic technique to encrypt 2D photonic crystals (PhCs) into embossed holographic security packing materials for anti-counterfeiting. Special diffraction patterns can be obtained from 2D PhCs with certain lattice structures and observed using inexpensive laser pointers. Since there are high technical requirements in fabricating PhCs, packing materials with PhCs encryption have high authentication power. Theoretical design and fabrication of a master with 2D PhC encryption and its application in security packing are presented.

Andrew Pepper Creative Holography Index Play (26min) Download: FLV | MOV | mp3

Much of our understanding of the world comes from looking at the things which surround us. Hologaphy is the first technique, since the invention of linear perspective during the Renaissance, to offer a fundamentally different method of recording and displaying space and the objects within it. If holography reproduces the light which originally came from an object, what is it that we see when we look at the hologram? Does this ‘possible illusion’ have a place in museum culture?

This paper explores key historical milestones in cultural holographic imaging, the paradox of looking at, and interpreting, objects which are not actually there and the creative potential, explored by artists, using objects or the space where they once were.

Matthias Lauk LAUK GmbH, Germany Play (22min) Download: FLV | MOV | mp3

I have been asked to tell you about my experiences as a curator and initiator of over 300 holography exhibitions.

The fact is that the biggest hurdle for curators to organize holography exhibitions is their lack of knowledge, their preconception or even their lack of confidence. Not that curators are too stupid to be interested in our preferred media, holography, but they need, like most of us, guidelines.

The problem is that holography had from the beginning an ambivalent image presented on one hand as new recording technique and as such a fascinating media, and on the other hand a new form of art.

The producers of holography have not been able over all the years, even through distinguished conferences or opinion leaders, to get holography rightly classified. Holography still is an opalescent visual media with a fuzzy image. I may say that I may even have contributed to the confusion by exhibiting holography as in well known art museums in Hanover or Nürnberg, including the Ludwig Museum in Cologne, but also in technical museums, e.g. the Deutsche Museum in Munich or the Museo de Sciencia in Barcelona. The commercial exhibitions I did, I made a living out of my holography exhibitions, in theme parks or commercial malls did not help the matter. However, as over 3 Million people visited these exhibitions, the media was discovered and commented.

Today, holography is still “media” weeds or a media that has still not grown up. It will have to acquire some maturity to be able to develop from a fascination media into a well established and accepted media with diverse and qualitative manifestations

Sarah Maline Farmington, ME USA Play (26min) Download: FLV | MOV | mp3

Since its inception as a display medium, holography has navigated a confusing channel through traditional and contemporary visual languages in art. Holography is unusual and frequently confounding in its ability to access a number of medium-based aesthetic dialogues–those of cinema, video, photography, installation, sculpture and painting. The medium’s surprising and delightful formal properties and complex relationship to other mediums have often overshadowed the significant conceptual content of holographic works. This paper looks at the ways in which ways the multiple, often simultaneous visual languages of holography continue to pose challenges in exhibition and criticism for both holographers and curators. What strategies can holographers and curators employ to encourage the exhibition of holography and foster a contemporary critical response? Further, now that new-media aesthetics and criticism are ascendant, and have begun address many of the critical questions that have confronted holography over the past 40 years, in what ways can holography today engage and find a place in new-media discourse?

Frank DeFreitas*, Bill Pugh** * Pennsylvania, USA, ** Florida, USA Play (8min) Download: FLV | MOV | mp3

The objectives of this project were several–fold. The primary objective was to give high school students an opportunity to experience lasers, optics and holography in a live–project, real–world working environment that had significant value and meaning to their region (Jacksonville, Florida). This was accomplished by recording recovered artifacts from the Maple Leaf shipwreck as large–format (30×40 cm), display holograms, under a tight – and real – production schedule.

Museum objects are extremely valuable – and vulnerable. That is why so few ever leave any museum. If they do leave, there are very high insurance costs due to the ever–present danger of damage or breakage. Keep in mind that even air and light itself can damage some objects over time. Recording the objects as 3–dimensional holograms allow the holograms, rather than the objects, to go on the road – increasing the number of people who can experience their history and their place within our culture. You can only have one “real” object – but you can have numerous holograms of that object being viewed in many different locations, by large numbers of people, all at the same time.

In Ukraine and Russia they have been recording priceless museum artifacts as holograms for decades. They utilize these holograms to educate people who would not make it in to the cultural centers and museums. A good example in England is Lindow Man, a hologram created of a male human body found preserved in the bogs. The actual Lindow Man is on permanent display at the British Museum, but holography has allowed people from all over the world to see it right in front of them as a 3–dimensional hologram.

In the 1980’s, I made holograms of the skeletal remains of a British Revolutionary War solider unearthed at the site of the Battle of Germantown in Philadelphia, Pennsylvania. The remains were given a proper military burial, then the holograms were placed on display at the University of Pennsylvania Museum of Archeology and Anthropology. This was a unique project in that the holograms are the only remaining record of this historical find. There are many other examples as well. So, there are already–existing real world practical applications, and many more new ones to explore.

In setting up the program, both myself and Mr. Bill Pugh of Englewood High School in Jacksonville Florida, discussed having a theme to this program. I suggested recording museum objects as display holograms, and Mr. Pugh suggested the Maple Leaf. Mr. Pugh began meeting with museum representatives. It was then through the willingness and cooperation of the Jacksonville Museum of Science & History (MOSH) – along with Mr. Pugh’s representation of the project objectives, that the Maple Leaf became the theme.

It also bears mentioning that the project would not be possible at all without the support of administration, both at Englewood and at the district level of Duval County. This was my third or fourth project visit to Jacksonville over the past 8 years or so, and they have been extremely forthcoming in their commitment to lasers and holography for students.

My role, as always with an educational project such as this, is as a facilitator. This is different than a coordinator. A coordinator deals primarily (but not always exclusively) with the logistics of a project. A facilitator works in a much broader project context. I’m the third party that provides the necessary catalyst to insure that invested participants, at all levels, are able to easily move from point A to point B to achieve their objectives. In short, its basically someone who has an understanding of group dynamics and processes, along with the necessary content skills (in this case, holography), to help the group get the job done. It is part democratic, part directive. A good facilitator knows which applies at any given moment.

I know that all of the students who participated in this project are very excited to have one of their holograms on display at the Holography in the Modern Museum conference. They feel like pioneers by using holography in a museum and archival setting, and in a sense, they certainly are. Other holograms from this project will be displayed at the National Civil War Museum, Harrisburg, Pennsylvania, and the Museum of Science and History in Jacksonville, Florida. I am honored to have one in my own personal collection and will cherish it, and the memory of the project, forever.

Prof. Hans Bjelkhagen Centre for Modern Optics at NEWI/OpTIC, Wales, UK Play (36min) Download: FLV | MOV | mp3

An overview of the colour holographic recording technique is presented. Colour holography is the most accurate imaging technology known to science. It is now possible to produce 3D holographic images for display that are almost indistinguishable from the original object or scene. Colour holography offers an alternative route for the display, dissemination, study and investigation of rare or fragile or culturally sensitive artifacts. It also offers a route to novel display techniques and enables museum objects too fragile for normal display to be shown. An advantage is that rare, precious or high value artifacts can be displayed without any concern about theft or damage thus reducing costs for insurance, shipping, etc. Until recently display holography was usually associated with monochrome 3D imaging. After the appearance of colour holography it has become possible to record holographic images of 2D objects, such as oil paintings. A holographic contact recording of a painting reproduces the painting with all its surface texture details preserved, such as brush strokes, the painter’s signature, etc. Possessing an exact copy of the painting could be important for insurance and restoration purposes, in case of theft or damage. The paper also discusses the rendition of colour in a hologram. The major advantages of holographic reproduction are discussed together with its limitations.

Prof. John M Webster University of Aberdeen, Scotland Play (25min) Download: FLV | MOV | mp3

Holography and associated laser based recording techniques have applications in museum situations. The USSR initially lead in this field; namely by the “father” of this type of holography, Professor Uri Denisyuk, who developed the technology to a point where it was used for travelling holographic exhibitions of historic Russian artefacts.

Probably one of the many milestones in the progress of holography for museum (among other) applications was the engineering of the pulsed ruby laser during the early 80’s. It attained a level where it could be reliably used for holography on unstable subjects such as living creatures both in the laboratory and under difficult field conditions; more latterly this system has been succeeded by the ND Yagx2 systems. Examples of making holographic recordings under extremely difficult field conditions will be discussed and illustrated.

The paper discusses the application of laser recording, for three–dimensional display of ancient artefacts and medical dissections, for museum exhibition in hospitals. The paper also discuses non–destructive testing techniques for the detection of subsurface damage on such items such as paintings where debonding between painted surfaces and their supporting background may have occurred. A further associated technique is also discussed which detects defects in ancient metal structures. This latter technique was used on the Marco Aurelio equestrian bronze, located in Rome.

Dietmar Öhlmann Syn4D™ GmbH Play (35min) Download: FLV | MOV | mp3

In these past 30 years, Holography has been mainly used in museum for exhibitions itself. Now, in our digital world, Space – time coordinates can be printed as digital Holograms, giving a new educational tool to museum. Digital 4–dimensional files are available as DICOM in medicine, CAD in Engineering and Architecture, and as 3–D scan format in Geography and digital Archaeology. Our experience with museums shows the interest of digital holography especially for its visual, educational and attractive capacity of presentation. Presentations in museums required from curators almost a scientific approached of what is possible with what they dreams to use for their exhibitions. Syn4D™ is offering a full service of imaging creation and display of synthetic 4dimensional information called Synfograms. The main advantage to use digital holograms lay in the capacity to create, not just reproduce content in time and space, showing what otherwise would not be possible to explain and visualised. The price, the additional lightning, and limited mass production still make the media a luxury. XYZ imaging and Geola uab Zebra or HoloPrint made this wonderful technology available on the market. We provide the interface between the conceptual ideas, printable file, and final display which communicate the museums need, and the technology. According to the museums, we have been working on different applications and presentations types, which will be illustrated in this lecture.

Yves Gentet*, Michael Shevtsov** * Bordeaux, France, ** St. Petersburg, Russia Play (24min) Download: FLV | MOV | mp3

“Ultimate Holography” technologies for museum applications: Denisyuk colour mobile camera, pulsed mobile camera, 3Dholoprint

Dr. Martin Richardson De Montfort University, Leicester Play (10min) Download: FLV | MOV | mp3

On the evening of 13th March 2008, between the hours of 6:00pm and 2:00am, five reflection holograms were recorded of John Harrison’s fourth timekeeper ‘H4’, at the Royal Observatory, National Maritime Museum in Greenwich, London. Arguably the most important timekeeper ever made this watch finally solved one of the greatest scientific problems of its time, that of finding Longitude and marked the beginning of accurate global positioning. In recent years public awareness of the watch has witnessed an unprecedented level of popularity, together with a string of authoritative writings including the release of Dava Sobels book, ‘Longitude’, with introduction by NASA astronaut Neil Armstrong, a filmed drama adaptation and even a television sitcom ‘Only Fools and Horses’ where viewing figures reached a record twenty–four million. The watch, its history and its place in history, remain subject of fascination and curiosity. Now its journey to hologram is traced in this paper through the events of that March evening.

Steven Smith De Montfort University, UK Play (67min) Download: FLV | MOV | iPOD | OGG | MP3

Steven L Smith has a broad research and development background in stereoscopic and holographic imaging technology. He received his Bachelor Science Degree, in Cinema and Photography from Southern Illinois University. Steven received his start in Holographic imaging in 1979 – 1982 under the supervision of Prof. Tung H Jeong at Lake Forest College, where he also taught workshops in Mastering for Embossed holography. From 1983 – 1997 Steven Smith headed up the first Professional Holographic Imaging Studio in the US located in Chicago IL, The Lasersmith Inc. During his Tenure at The Lasersmith many Firsts in the Holographic imaging market were achieved, the first roll out of registered embossed and printed tags for Sears MainFrame clothing line 12- 18 million tags annually, patented Injected moulded compound refractive – diffractive elements. Developed and patented a high speed multi-camera capture system for full color holographic stereograms. During his research studies in stereographic imaging systems at the MIT Media Lab under Dr. Stephen A Benton, Director of the Spatial Imaging Group from 1997 – 2004, Steven Smith developed a novel head tracked autostereoscopic display that tracked multiple viewers in all three axis X, Y and Z with real-time rendering of the stereo views at 1280 x 1024. Another accomplishment, The first optical translation head full parallax full color holographic printer was realized. More details…

Steven L Smith De Montfort University Play (23min) Download: FLV | MOV | mp3

Starting in 1978 until culmination in research with the Spatial Imaging group at MIT in 2004, a Personal Holography Journey details Artistic and Commercial work produced by Steven L. Smith. In the Late 1970’s, advances in holographic films and processing techniques made possible a second wave of artistic and commercial holography. These techniques leveraged the start of the professional holographic imaging studio, The Lasersmith Inc. In house research advanced holographic imaging into new areas of commercial and artistic development. Starting with controlled color reflection holograms, (Pseudo-Color reflection technique), the development of a real time capture system for embossed stereograms and finishing with research that realized a full color full parallax holographic printer at MIT, this paper details aspects of each of the critical technologies that were developed and commercialized along the way. 

Hsu Dahsiung Beijing Tsinghua University Play (25min) Download: FLV | MOV | mp3

A permanent hologram exhibition had been built in Beijing University of Posts & Telecomm since 2005. More than 4,000 university students & visitors visited. The selected holo-grams were collected since 1985 from US/UK/Lithuania/Russia/France & China. A brief review will be given in this paper. 

Pearl John University of Southampton Play (16min) Download: FLV | MOV | mp3

Learning to make holograms underpins the University of Southampton’s Foundation Photonics course. The Foundation year enables students to develop the skills necessary to gain access to a University degree in Engineering or Physics. The week-long Photonics course utilizes a problem-based learning approach and aims to boost student motivation and increase the Foundation course student retention rate. It is anticipated that by 2010 the number of students taking part in the Photonics course will have almost tripled since it was piloted in 2005. This paper reports on the development of the course, outlining some of the challenges and opportunities associated with educating a diverse student body and managing large numbers of students making holograms 

Tung H. Jeong Lake Forest College, USA Play (9min) Download: FLV | MOV | mp3

We here define an “omnigram” as a hologram which is both a transmission and a reflection hologram recorded at the same time on a single recording medium. Using silver halide emulsion, a high quality omnigram can be created by a beginning student in less than three minutes from exposure through the complete chemical processing. Because of its simplicity and high yield, making an omnigram in front of a live audience at the beginning of a lecture-demonstration is routine. It can be a home project on a kitchen counter or on a sandy beach at night, using the moon as “safe” light. A modified Abramson plate holder(1) is used for real time interferometry. A diode laser operating at 660 nm with an output under 5 mW is used with a modified chemical regime previously developed for student usage(2). Keywords: educational holograms, home holography, pedagogy, making holograms.teaching holography 

William R. Alschuler California Institute of the Arts, USA Play (21min) Download: FLV | MOV | mp3

How can you almost guarantee successful student images in classes with limited space, limited time and limited budgets? Straightforward techniques for table construction are described and compared, as well as photochemistry picks and lab layouts, along with reasons for their choices. Keywords: guarantee student success, lightweight stable tables, non-resonant, safe photochemistry

Mary Harman Visual Artist Play (20min) Download: FLV | MOV | mp3

A Case for the Holographic Object Mary Harman Montreal, Canada ABSTRACT Keywords: hologram, art object, contemporary painting The reconstructed holographic object embodies both the physical reality of the original and its altered, transcendent state; in effect, it is simultaneously the real and the abstract, the body and the soul. When the artist combines the hologram with other elements, creating multiple realms and dimensions, the viewer can glimpse the possibility of a larger, more encompassing reality. This is, perhaps, the experience of Art. The author surveys her own work, beginning with early attempts to simulate three-dimensionality and explore the interfaces between two and three dimensions. Prior to her work in holography, she created trompe l’oeil painted constructions and “vitrines,” windowed boxes that contained objects and layered transparencies. She will discuss her recent paintings and installations in which she continues to use representational images, familiar objects whose allusive nature readily connects to the viewer’s own memory and reality. Through metaphor and symbol, the simple holographic object aids in the exploration of illusion, what is real and what is false, what is permanent about life and what dies. 

Martin Richardson De Montfort University, Leicester Play (16min) Download: FLV | MOV | mp3

On the evening of 13th March 2008, between the hours of 6:00pm and 2:00am, five reflection holograms were recorded of John Harrison’s fourth timekeeper ‘H4’, at the Royal Observatory, National Maritime Museum in Greenwich, London. Arguably the most important timekeeper ever made this watch finally solved one of the greatest scientific problems of its time, that of finding Longitude and marked the beginning of accurate global positioning. In recent years public awareness of the watch has witnessed an unprecedented level of popularity, together with a string of authoritative writings including the release of Dava Sobels book, ‘Longitude’, with introduction by NASA astronaut Neil Armstrong, a filmed drama adaptation and even a television sitcom ‘Only Fools and Horses’ where viewing figures reached a record twenty-four million. The watch, its history and its place in history, remain subject of fascination and curiosity. Now its journey to hologram is traced in this paper through the events of that March evening.

Jacques Desbiens Montreal, Quebec, Canada. Play (27min) Download: FLV | MOV | mp3

By blending holographic imaging and 3D computer graphics, synthetic holography offers new possibilities in visual effects and image composition, some of which are impossible to conceive with any other medium. The multiple points of view and the ability to display content linked to the positions and movements of the observer makes synthetic holography a medium for which there is a whole new pictorial language to develop. This paper describes a series of experiments that shows the particularities of synthetic holography and deduces a few principles in image composition for computer generated holograms. In synthetic holograms, many image composition elements operate in a singular manner. The reversibility, decentralisation, simultaneity and synchronisation of content, the variability of alignments, the relationship between volumes and void, depth clarity and the spatial zones, temporal incoherence and the effects of time-smear, are all linked to the structure of the hologram and the movements of the observers. The optical characteristics of synthetic holograms have an impact on content choices. By understanding the elements of composition, the structure of multiple viewpoints perspective and the dynamics of observation in movements, the holographic artist can compose images that may lead spatial representation into new territories.

Martina Mrongovius RMIT University, Melbourne, Australia Play (13min) Download: FLV | MOV | mp3

This paper describes my practice of installing holograms in unusual spaces. From this work I look at how viewer movement can be activated by the holographic image and the role that this plays in reading that image. The holographic images I create are multiplexed either with hand cut stencils or stereographic printing systems. The imagery captures experiences, relationships to unusual architecture and postcard like messages. The image space is restructured through the capturing, digital composition and multiplexing processes. Space takes on a poetic form, hinged by internal relationships as well as having symmetries to the viewing space. My project based research with design tools, image composition and installation is part of my PhD on holographic image design at the Spatial Information Architecture Laboratory, (RMIT University). By analysing my project work, this paper investigates the potentials of holograms to fold and unfold the space of experience. 

Ya-Ling Huang Ming-Chun Tsai Kun Shan University, Taiwan Play (10min) Download: FLV | MOV | mp3

This thesis presents a record of photographs taken of the more than 400 years old Anping Mazu Temple in Tainan as part of a joint project undertaken in March 2009 by the Hologram 3D Image Laboratory at Kun Shan University and Professor Richardson from De Montfort University in the United Kingdom. The focus of this work was to determine how best to combine a center of historical value and religious importance with advanced technology. Another important factor in the “photographic” process was the “human” element working together to showcase historical value. This project also marks the creation of new opportunities for the development of cultural creative industry. Key Words: Hologram 3D image, Cultural creative industry, Anping Mazu Temple 

Ana Maria Nicholson Center for the Holographic Arts, NY, USA Play (28min) Download: FLV | MOV | mp3

In my talk I will cover my involvement with holography and the wonderful, interesting people who have shared with me this holographic adventure. I will start with our fortuitous meeting with Lloyd Cross in a SoHo street in the early 70’s then to the co-founding of the Center for Experimental Holography under the umbrella of the Smithsonian Institute. I will also cover our stay at the University of Hawaii and my first exhibition of portraits, ” Children of Hawaii”, our return to New York and my work at Holographics, Inc, I will continue with my experiences at the Museum of Holography where our Portrait Studio was located, and my seminal meeting and subsequent close friendship with the late Rudie Berkhout. Lastly, I will cover the founding of the Center for the Holographic Arts with the late Dan Schweitzer and my directorship of the Holocenter for the past eleven years. The Artist in Residence Program was the heart of the Center where more than eighty artists created works of art that have been shown all over the world. Keywords: Holography, Art Holography, Ana Maria Nicholson, Holocenter, Center for the Holographic Arts.

Melissa Crenshaw Canada Play (29min) Download: FLV | MOV | mp3

The language of art describes the palette of techniques used for the expression of content. These techniques offer layers of creative possibilities for analog, digital and emerging hybrid formats for holographic artistic expression. This paper describes the creative techniques used in my analog holographic art. It is presented as it evolved, within a historical context. The limitations and opportunities of studio time, recording materials and processing regimes are discussed as elements which are relevant to the evolution of these holograms. Early techniques associated with “hands on” holography are described and the relation to content is explored. Visual or formal language serves as a vehicle or guide post for passing along information and options to artists. As the separation of the origination of content ,and the final production or printing of the hologram evolves, many creative options may be lost to a new generation of artists. It is important to identify and archive the myriad of creative options available, and define and archive the language used to describe these options.

Prof. Dieter Jung Academy of Media Arts Cologne ,Germany Play (51min) Download: FLV | MOV | mp3

The artist applies natural light and laser beams as his paints; prisms, glass and screens as expended canvas. With varying unusual materials, combinations of wide-ranging technologies and interwoven structures he builds a Garden of Light, illuminated with colors lighter than air, flying colors. Into this modified space the artist invites the viewer to experience a visual journey into the enigmatic maze of art / science / technology and hence to another reality, hovering behind light and shadow. Three projects will be reviewed: 1. Unvisible–Visible, 2008, Solo exhibition, Today Art Museum, Beijing. 2. Looking Forward, 2007, Beijing. Solo exhibitions at The Beijing Imperial City Art Museum and A-Space. 3. Continuum, HoloMobile-2008, Installation, National Health Research Institutes, Taipei. Keywords: HoloMobile, MultiMedia Holography, LightArt