The CITE Program: 3-D from CAD

Museum of Holography: What Future?

AJexander:Retrospeotive
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-------------- C 0 NT EN T S ---------------
Summer 1989
Number 6
Editor /Publisher
Sunny Bains
Deputy Editor
Martin Taylor
Contributors
Simon Brown
Susan Cowles
David Jones
Paul Hubel
Vito Orazem
David Pizzanelli
Graham Saxby
Stefan Smith
Glen Wood
Published quarterly by:
Holographies International
BCM-Holographies
London WC1N 3XX
Britain.
Tel: (+44) 01 642-8381
ISSN 0951 -3941
Advertisement Department:
Geoff Harris
Communi cations House
George Lane, Royston
Hert SG8 9AR
Britain.
Tel: (+44 ) 0763 245322
Fax: (+44) 0763 245505
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Summer 1989
Editorial
News
High tech art in Japan/ niversal lighting ystem/
Holomart takes over SEE 3/Stereograms from a PC/
Ne\\ Applied acqui itions/ IBN taken over
Graphic Design
Simon BroJJJn
How to make 2-D and 3-D work together
Commercial
A new venture in dichromated gelatin from Raven
People
New works from ossette and Kaufman/ Mini Miller
Calendar
Reviews
Graham Saxb)'
How Ross Books' new directory shape up
Vito Orazem
Peter Zec's book examining artistic method and ideas
Stereography
David Pizzanelli
Taki ng holography out of the darkroom
Museum of Holography
Susan CoJJJles
The good, the bad and the ugl y in New York
Art
David Jones and Martin Taylor
Alexander s retro pective in America
Literature Review
Sunny Bains
Using hol ograms in Optical Associative Memory
Holographies International
Subscriptions/ Adverti ing Index/ Back op1es
Number 6
4
6
14
17
18
19
20
22
26
30
32
34
!>ummtr 1989 Holographies lnt<rnJnonJI 3
--------------EDIT 0 RIAL --------------
Editorial
I am again baffled by the lack of letters
for publication. I get the odd favourable
comment from those who I've met, but
no letters of outrage or condemnation.
Perhaps you think the magazine is so
wonderful that it is beyond critici m, or
so terrible that no improvement would
be good enough . Either way, I would ap-
preciate some more feedback on my ef-
forts and the efforts of my stafi- if only to
let us know what our oengths and
weaknesses are.
In June I visited the Museum of Ho-
lography in New York and had talks with
new adminisoation there. The MoH is a
unique institution. ot only is it ex-
pected to put together interesting and
worthwhile shows, but it has to preserve
and archive papers, photographs and ho-
lograms from over forty years of holo-
graphic history. With the huge rent rise,
up by 60% this year, and with the cost of
preserving the MoB's collection, Mar-
tha Tomko, Bronwyn Albrecht and the
other on the team will not find it easv
to make ends meet.
ow, I understand that many of you
may be disillusioned by the record of the
MoH in the recent past. Its reputation
for paying bills and honouring contracts
has not been good. But, in my personal
opinion, the new adminisoators are hon-
est and intelligent people, and if anyone
is likely to secure the MoH's future,
without deceiving others, they are. I, for
one, intend to a ist the Museum as far
as I am able, and hope that my readers
will do so also.
I recently started to wear holographic
jewellery for two reasons: because it cre-
ates interest in the medium and becau e
it makes it easier for me to explain what
I do for a living. However, I must say
tl1at I find the qual ity of some pieces less
tl1an adequate.
One pair of earrings I have has holo-
graphic stickers on it so that the sticker
can peel off and the hair can get swck to
the excess glue on the edge . Also tl1e
paint on tl1e back is wearing away. An-
otl1er piece has an insufficiently robust
surround, though I know the manutac-
turer is aware of this and is taking steps
to remedy it .
Also, some of tl1e images leave a lot to
be desired. Whv would anvone want to
buy a of a when they
would not dream of wearing the charm
in the first place? Why use a new medium
to copy things that look better in real life?
Especially when those things have no
style or cachet to start with? I have seen
some attractive pieces with objects in ab-
soact patterns which appeal to me, but
they are few and far between. I am sure
that I am not alone in finding a lot ofho-
lographic jewellery twee and uninteres-
ting.
Many people, especiall y men, prefer
badges to necklaces. So \\'hy not make a
pin with an interesting, durable mount,
and a well designed hologram that fits
into the whole concept and that uses
space in a way that only holography can.
You could have lots of small abstract ho
lograms, embedded like jewels in wood,
metal or brightly coloured pia tic. I have
seen many piece of jewellery which were
designed to have gems in them but
where their loss didn't make the jewel -
lery unwearable. I have rarelv seen the
equivalent in holographic jewellery.
The only reason why holographic
jewellery is stuck in the novelty market is
that, so far, the holographic industry has
kept it there.
Bet Wishes.
Sunny Bains
Wide range of stock film holograms-off the shelf-2%"x2
1
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limited editions also in stock
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4 Holographies Internati onal Summer 1989
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PHONE, FAX, OR TELEX FOR DETAILS
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TELEX: 903117.
-----------------NEWS -----------------
Zodiac by Wenyon and Gamble.
Art in Japan
The above work, Zodiac by
Wenyon and Gamble of Bri-
tain, will be just one of over
forty new high-tech piece on
display at the AR TEC exhibi-
tion in Nagoya, Japan from
July 15 to ovember 26 this
year. Along with four other
holographers (Rudie Berk-
hout of the United States,
Margaret Benyon of Britain,
Paula Dawson of Australia
and Setsuko Ishii of Japan),
Wenyon and Gamble and ex-
hibitors in other media will be
competing for the ARTEC
first prize of about 45 000
(US$70 000) and five second
prizes of about 9000
(US$14 000).
ARTEC
1
89 will have its
own pavilion as part of the
Wodd Design Expo
1
89. Spon-
sored by Meitec Corporation
and the Chunichi Shimbun
newspaper, it is thought that
AR TEC
1
89 will be the largest
yet exhibition of art with
technology as its means or
subject. Other media repre-
sented include video, com-
puter graphics, robotics ,
architecture and light sculp-
ture.
Zodiac was inspired by We-
nyon and Gamble's residency
at the Royal Greenwich Ob-
servatory. Through the nar-
row hologram, the viewer
sees stars which extend out
into space. An electronic con-
trol will fade the Lighting be-
tween the stars and back-
ground, mimicking the ap-
pearance of stars at twilight.
Zodiac is just one piece in a
series which also includes Ze-
nith which is currently on
show at the Tate Gallery in
Liverpool, Britain.
6 Holographies International Summer 1989
Nurelllberg Fair
Taking place in the urem-
berg Exllibition Centre, FR
Germany Hologmphics 1990
intends to cover all aspects of
the subject. Its organizer in-
tend to combine commercial
and art exhibition with a
conference, thus making it a
holographic trade showcase
or fair.
The commercial exhibition
is to cover aspects of holo-
graphic measuri ng and test
equipment, HOE's, laminat-
ing systems and laser . Opti -
cal and opto-electronic com-
ponents, production equip-
ment, reconstruction sources,
and recording materials are
also to be featured, as well as
applications of display hol o-
grams such as on product
packaging and jewellery.
The fair, which has been
organised by Mesago of FR
Germany, was originally in-
tended to take place on dates
in 1989, but wiU now be held
between October 16 and Oc-
tober 18 1990. Additional in-
formation can be obtained by
contacting Mesago, Mes e
und Kongress GmbH, Rote-
buhlstrasse 83-85, D-7000
Stuttgart 1, FR Germany.
Tel : ( +49 ) 0711 61946 0.
Ne"' Face ofiDI
IDI Marketing recentl y
changed its nan1e to Holo-
graphic Products Incorpor-
ated, and are also changing to
what it describes as a
11
new
look II. The company says this
will mean higher quality
goods and a corresponding
increase in price. It is updat-
ing its holographic watches,
and re-introducing a range of
sunglasses.
The firm specialises in small
consumer items, and pro-
duces mainl y circular dichro-
mated gelatin holograms,
which can be mounted as
badge or necklaces etc. It
also makes calculators, watch-
es and framed holograms
from cu tom artwork or the
company' s library of standard
holograms.
Holographic Products can
be contacted at: 755 South
200 West, Richmond, Utah
84333, USA. Telephone:
(+1 ) 801258 2483.
OPTCON '90
OPTCON
1
90, a trade fair
and conterence in the field of
lasers and electro-optics, wiJJ
be taking place at the Hynes
Convention Center in Bos-
ton, USA. Managed by SPIE,
it will feature lectures and
panel discussions, short
courses on laser and optical
technologies and a technical
exhibition of optical pro-
ducts . The first OPTCON
had an attendance figure of
over 7000 witl1 a total of237
exhibiting companies. The
conference is due to take
place from ovember 4-9
n x ~ year.
SPIE in association witl1
the Environmental Research
In titute of Michigan
(ERIM), will also be releasing
a substantial update to The
Infrared Handbook. The
third edition, to be called The
Infrm'ed and Electro-Optical
Handbook, is due to be pub-
lished within the next two
years, and will be edited by
Joseph Accetta and David
Shumaker of ERIM. The
book will contain electro-op-
tical systems analysis, illus-
trated by data and examples.
SPIE can be contacted at
PO Box 10, Bellingham, WA
98227, U A.Telephone :
(+1) 206 676 3290.
---------------- - NEWS -----------------
SEE 3 Deal
SEE 3 Holograms Ltd is to be
taken over by Holomart Plc
of Britain. The 100 000
(US$160 000 ) deal is due to
be concluded this summer.
vVith the company, Holomart
will acquire a package of ho-
lographic masters and pat-
ents, mastering facilities and
experience gained over ten
years in the industry.
Established in 1978, SEE 3
is the longest surviving UK
holographic company and
has several major achieve-
ments to its name. In 1981,
in partnership with Hollu-
sions Ltd, it originated what
is believed to be Europe's first
embossed hologram, as well
as organising several sub-
sequent holographic exhibi -
tions, and producing laser ef-
fects for television.
More recently, the com-
pany has concentrated on the
origination of holographic
embossing masters and the
development of new formats
for mass produced ho lo -
grams . The company's joint
managing directors, Jonathan
Ro s and David Pizzanelli,
said they had "been looking
for a suitable partner for some
time " when Holomart of-
fered what they considered to
be an "acceptable financial
package ".
Holomart's main interest
in SEE 3 was the acquisition
of its origination facility, but
the company's directors say
that they also felt that it is a
A wodl by Patrick Boyd lit with one of Robinson)s Lighting
SyJtems.
A SEE 3 P1'0ject: the hologram and music nm'c cvtt on this silver
plastic record at the same time.
business providing a good
quality service, which should
be maintained.
SEE 3 is to become a part
of Holomart Pic, and will be
moving to new premises. Ho-
I oman's corporate trategy is
to provide all the services
necessary to complete a holo-
graphic project, from graphic
design and printing to origin-
ation and hot-stamping, en-
tirely in-house. SEE 3 is one
of a number of companies it
plans to acquire in order to
fulfil this plan.
Easy Lights
Arevolutionaryintegrallight- lighting area of 50x60cm
ing system suitable for all and, with two different power
types of hologram has been units available, it can operate
launched by Robinson Holo- whatever the user's require-
gram Lighting Systems of ments or conditions. The mo-
Britain. dule can also be mounted in
The portable device con- several different ways, so that
sists of a power pack, lighting it can be attached to objects
unit and curved mirror. It has such as a wall or table, or a
a power output of either 50 window display.
or 100 watts, with shutters to One of Robinson's earlv
adjust the beam size. The customers, John Vogel o.f
manufacturer claims that this Holographies UK said that at -
will eliminate peripheral light though he had not used the
as well as increasing bright- modules much, he felt that
ness, and reducing distortion they ,,ere very useful in siw-
and dispersion effects. ations where a spot- Light is
The angle of incidence of not suitable. He added that
the light source is ai o ad- the display units look good,
justable, to allow for holo- and are quite a breakthrough
grams of different reference in holographic technology.
angles. This effectively means The system costs about
that the lighting unit can be 120 (US$200). For more
used with almost any holo- information, contact Robin-
gram available, and that the son Hologram Lighting Sys-
image can be changed fre - tems, 5 Hillside Cottages,
quently with only minor ad- Owlsmoor Road, Camberley,
justments necessary. GU15 4SU, Britain. Tele-
The unit has a m ~ x m u m phone: ( +44) 0344 762739.
Summer 1989 Hologrophics Inrernorional 7

The Amiga Centre Scotland stand rvhere Munday's stereog1'am was exhibited.
Munday Makes It
With an Amiga
A hologram by Rob Munday
of the Royal College of Art in
London, Britain, was ex -
hibited at the UK Commo-
dore Computer Show in
June. Made using CITE pro-
gramme equipment (see page
22 ), the holographic stereo-
gram consists of images from
computer equipment which
costs less than 1000
(US$1600).
Rob Munday, who origin-
ally studied Electronic Im-
aging, has recently been con-
ducting re earch into using
low-cost computer systems to
produce stereograms. In par-
ticular he has been using the
Commodore Amiga, which is
capable of solid modelling
with realistic rendering of full
colour images. The software
allows for multi -coloured
light sources which give the
scene highlights and sha-
dows, texture mapping, and a
choice of surfuces including
metal, mirror and glas . Full
animation capabilities enables
tl1e generation of the 200+
views needed to make a holo-
graphic stereogram.
The first Amiga hologram,
which was part of the display
pictured, was monochrome
and of a imple wire fiame
image, tl1ough Munday is al -
8 Hologr,lphi<s I nrcrnarional Summer 1989
ready working on a colour se-
quel. He chose a simple sub-
ject partl y due to tl1e process-
ing time nece sary which, for
a complicated subject, can be
several hours for each frame.
Commodore has now
given tl1e CITE programme
some more powerful compu-
ters, and a project designed to
link personal computers wiili
fast CRAY supercomputers
has been initiated. It is there-
fore hoped tl1at it will soon be
a straightforward matter to
produce complex colour ho-
lograms, using personal com-
puter and the CITE project,
in a relatively short time.
Holographers
Meet in Bath
The Second International
Conference on Holographic
Systems, Components and Ap-
plications is due to take place
in Bath, Britain, from Sep-
tember ll-13.
Organised primarily by tl1e
Institute of Electrical Engin-
eers, tl1e conference will in-
clude sessions on holography
in measurement, display ho-
lography, computer gener-
ated holograms, photorefrac-
tion and phase conjugation,
and holographic optical ele-
ments.
For registration details
please contact Conference
Services, lEE, Savoy Place,
London WC2R OBL. Tele-
phone: (+44) 01 240 1871.
Zec Chairs
FRG Holo
Society
A holographic society was
formed in ilie Federal Repub-
lic of Germany on March 3 of
tl1is year. Its chairman is Peter
Zec, auilior of Holographie-
Geschichte, Technik, Kunst
(see reviews page), and its vice
chair is taken by Brigitte
Blirgmer, author of Holo-
g1'aphic A1't/ Perception/ Evol-

The society was founded to
promote awareness of holo-
graphy, and its members are
mainly holographers and ar-
tists. To iliis end, ilie group
intends to organise exhibi-
tions, and has access to two
holographic studios, in Osna-
bruck and Munich, in which
members can produce tl1eir
own vvork.
For further information
contact Peter Zec, Deutsche
GeseUschaft der Holografie,
Lerchen Strasse 142a, 4500
Osnabrlick, FR Germany.
Tel: (+49 ) 0541186059.
---------------- NEWS ----------------
Vegas
Twinkles
By the end of the summer,
passers-by will be able to see
holographic billboards and
holograms covering the fa-
cades of three hotels in Neva-
da, USA, as well as a 30ft high
holographic sculpture in Ca-
nada. The holographic dif-
fraction gratings used in these
projects are made by Spectra-
tek Corporation, based in Los
Angeles.
The Rivera Hotel in Las
Vegas will have 360 holo-
graphic diamonds positioned
on it. Each one consists of a
truncated diamond-shaped
pyramid with a further dia-
mond-shaped pyramid cut
into the top. Each face is
made up of square gratings,
which consist of a series of
triangular segments radiating
from the centre, which are
laminated onto aluminium.
The facades of the other
two hotels, the Flamingo Hil -
tons in Reno and Las Vegas,
will be entirely covered with
diffraction gratings laminated
onto glass.
At the Amoco Plaza in Cal-
gary, Canada, a space frame
sculpture, designed by Mi-
chael Hayden of California
and containing 56 acrylic
sheets measuring 24x48in
each, is to be erected. Costing
in excess of US$150 000 to
manufacture, the sculpture is
said to be quite spectacular.
Michael Wanlass and Mi-
chael Foster, who own Spec-
tratek, are interested in colla-
borating with anyone who
can supply 2ft square holo-
graphic masters in either
nickel or photoresist. Using
their seamless wide-web tech-
niques, they say they can pro-
duce a roll of2500 holograms
of this size in one week.
Spectratek is at 1510 Cot-
ner Avenue, Los Angeles, CA
90025. Tel: (+1 ) 213 473
4966.
Ne"W Laser Po"Wer Meter
One of the new power meten from Lase1' Instrumentation Ltd.
Applied
Acquires ADD
and Cablebook
Applied Holographies Pic of
Britain has recently taken
over Advanced Dimensional
Displays of California, USA,
and Cablebook, a retail pro-
ducts manufacturer.
The acquisition of ADD
through an American subsi-
diary, Appl ied Holographies
Corporation, was announced
last December. As well as the
company's stocks, assets, pat-
ents and intellectual rights,
which it acquired for
US$700 000, Applied Holo-
graphies Corporation has se-
cured the transfer of all staff
including the nvo ADD sen-
ior executives, Chris Out-
water and Craig News -
wanger.
It was through coll abora-
tion between ADD and AH
that the colour holograms of
Shakespeare on British
cheque cards were produced.
In February, AH acquired
Cablebook for 300 000
(US$480 000), and the com-
pany is now functioning as
AH's retail division. The in-
tention is to use Cablebook's
retail expertise to develop the
market in gift wrap, novelty
and greetings cards.
To meet the costs of dlis
latter acquisition, 150 000
ordinary Sp shares were
placed at 240p. Dealings in
these shares started in March.
Pictured is one of a new range
of power meters, which its
manufacturer, Laser In -
suumentation Ltd of Britain,
says are stable, accurate and
rugged. The instruments
range in sensitivity from 0-
lOOmW for the 7101 model
to 0-2kW for the 7105, with
three intermediate models.
Each instrument includes a
higher sensitivity section for
measurements at the lower
end of the given range.
A particular feature of these
meters is the uniform re -
sponse of the 15 or 25mm de-
tector target. This, says the
manufacturer, make posi -
tioning less crucial. Prices
range from 680 to 1150
(US$1100-$1900).
For further information
contact: Peter Hurley, Laser
Instrumentation Ltd, The
Forge, The Street, Binstead,
Hampshire GU34 4PB, Bri -
tain. Tel: (+44) 0420 22464.
Holotiles
Halo GmbH ofFR Germany
is now marketing holographic
floor tiles for use in disco-
theques, shops, airports and
stations. Called AENA or
Holotiles, the manufacturer
claims that they are tough,
durable and damp-proof.
There are a number of stock
images avai lable, which can
be reproduced in custom
sizes, accordjng to consumer
requirements.
Halo describes its product
as a high tech signpost, as well
as a medium for advertising
slogans and corporate logos.
The tiles are clamped to the
floor by a metal frame, allow-
ing tl1em to be easily replaced.
Furtl1er details about the
tiles can be obtained from:
Halo GmbH, Holografiela-
bor Osnabri.i.ck, Mindener
Strasse 205, D-4500 Osna-
bri.ick, FR Germany. Tel:
(+49 ) 0541 7102 173.
Summer 1989 Holographi es International 9
----------------NEWS -------------
Researchers at IBM, MIT (Massachusetts Imtitute . of
Teclmology) and Polmoid iu the United States fmpe collaborated
to P1' oducc a staeogmm from compute1' gmphics fo1 the COJIC1' of
the IBM Joumal of Rescmc/; autf DerJC!opmeut, pictlt1ed abo11e.
IBM p1ovidetf the mat/;cmatics, MI T the graphics, anti the final
hologmm 111as assembled at Polaroid. 6.5 000 copies of the
hologram JPen produced. PIJoto by Stcfa11 Smit/1.
Embossing File
Light Impressions has com-
piled a collection of copy-
ri ght-free ho lographic im-
ages, which it is making avai l-
able to the general public.
The company calls the col -
lection a H olofilc. 1 t consist
of a binder containing sam-
ples of about l 00 diftlaction
gratings and l 00 holographi c
stickers. The tile is to be used
as a catalogue tiom \\'hich
tack images can be ordered,
thu avoiding the need for the
cost!)' and time consuming
process of origination.
The Holofilc is available for
25 or S$40. To obtain a
copy, or to obtain further de-
tails, contact John Brown or
Carol Breuer at Li ght 1m-
pre sions Europe, 5 Mole
Business Park, off Station
Road Leatherhead Surrey
KT22 7BA, Brit ai n. Tel:
(+44) 0372 386677.
Shelf Wobblers for

tain is using holograms in a grams to bob up and down in
point-of- ale promotion for an insect -like manner. They
two of its insecticides, Rose- are also handed out at chec-
clear and Rapid, which, it is kouts.
claimed, attack only greenfly I CI's Product Manager,
and no other insect . igcl J upe, said that the com-
IC! commissioned Light pany was, "del ighted with the
fanta tic Plc to design and finished results " . He also
produce holograms teaturing added that he looked forward
bees and ladybirds, which are to usi ng holograms in future
not aflccted by the product . promotions. T he holograms
T he ho lograms are sus- were made usi ng ICI 's own
IBN Tal(en
Over by
US Banlmote
The International Banknote
Compa ny ( IBN ) of the
nited States, parent com-
pany of American Bank :--Jote
H o lographies (ABN ), ha
been taken O\'er by US Ban-
knote. As it is uncl ear
how this will affect the acti -
vitie of ABN.
IBN had sold a 20% stake
in ABN to the De La Rue
ompany Pic of Britain tor
S$15 milli on. In return, De
La Rue sold IB the ame
percentage of its subsidiary,
Amblehurst Ltd, tor US$5
milli on. The S$10 million
surplus on the deal allowed
I BN to repo rt an ove rall
profit for the fir t quarter of
1989.
Chairman of International
Banknote, Edward Weitzen,
said that the agreement with
De La Rue would increase the
worldwide marketing poten-
ti al for holograms. He also
believed that ho logra m
would rejuvenate his com-
pany's traditi onal secu ri ty
priming business. prints
stock certitlcate , govern -
ment toad coupons, etc, as
well as banknotes.
But the management of
IB J had been critici zed lw a
group of stockholders, who
controlled 11 .7% of the com-
pany's stock, tor not
enough ,utcntion to tradi -
tional security printing.
pointed to the USS 1.2 mil -
lion operating lo which IBN
made in the first quarter of
this year, before the De La
Rue deal was included.
Tom mith , a spokesman
for the disatfected tockhol-
ders, said that the group be-
lieved that management had
not done enough to properly
value its assets, or to raise
enough capital tor expansion.
In an apparent response to
this criticism, IB 's manage-
ment hired Rothschild Inc to
examine options to maximi e
it stock value, but hortlv
aften\'ards the company wa
taken over bv U Banknote.
pended from "she lf wob - Staufen 80 mi cron materi al. Light Fautasti c "shclfrPobblcn"fo1'JJ1'et.'11 c/;cmicals.
I() Hol o!lr.1phoc' lnrcrn.n ion.l l Summer 1989
LOOK AROUND THE CORNER.
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international break-through in brill iance and
sharpness. In 1986 triacetate film with the best
optical quality was introduced.
Agfa Holotest. For know-how and experience.
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Telephone : 01 560 2131
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Telephone : 03444 .82 .42
AGFA HOLOTEST.
25Years of the highest quality in holographic emulsions.
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----------------NEWS ----------------
Uncertainty
in Beijing
Plans for the International
Confe1'ence on Holog1'aphy
Applications to be held in
Beijing, China, in 1990, are
going ahead as normal , but
will be reviewed in two or
three months.
The conference organisers
recentl y i ued a ca ll for
papers on any of the follow-
ing subjects: the fundamen-
tals of holography, interfero-
metry, display, materials ,
HOEs, instrumentati on, me-
trology, DT, education,
optical computi ng and other
applications. Due to take
place from May 22-24 at the
Beijing F1iendship Hotel, the
conference ha s Emmett
Leith, G von Bally and Yu
Deni yuk among its chair-
men.
Dr Tung Jeong, JOint
American Subcommi tt ee
Chairman with HJ Caulfield,
has said that for the moment,
plans will continue as normal
in the hope that the political
turmoil in hina will lessen.
However, should this not
happen, it is possible that the
conference might be can-
celled. A meeting on another
topic, which had been due to
take place just three months
after the army took over Beij -
ing, has been postponed.
The deadline for the sub-
mission of papers is at present
set for September 30, 1989.
Full details of where ro send
papers can be obtained fi-om:
Prof Hsu Dahsiung, Beijing
University of Posts and Tele-
communications, Beijing
100088 China.
Optics Fair in Netherlands
Inte1optex ' 90, an exhibition
of optical technology, will
take place in The Hague,
etherlands, in conjunction
with ECO 3, an PIE-run
conference.
The exhibition, organised
by Mesago ofWest Germany,
'vvill focus mainly on the fol -
lowing topics: optical sen ing
and meuology, optical sys-
tems and components, opti -
cal materials, lasers and laser
processing, and optical com-
puting. The audience is ex-
pected to consist mainly of
scientists, experts from re-
search and development, and
the decision-makers of user
indusuies. Over 4000 visitors
are expected, among them an
esti mated 2000 opto-electro-
nics speciali sts.
The exhibition will take
12 International Summer 1989
place at the letherlands Con-
ference Centre from March
12-14, 1990, with the con-
ference extending to March
16. For further details, the or-
ganizers of Interoptex '90 can
be contacted at the foll owing
address: Mesago, Messe und
Kongre s GmbH Rote -
bi.ihl trasse 83-85, D-7000
Stuttgart l , FR Germany.
Tel: (+49 ) 0711 61946 45 .
Frisco
Images
I mages in Time and Space,
the long running Canadian
holographic exhibition, op-
ened in San Francisco, USA,
on May 3 of this year. It "ill
be open until August 31.
The exhibition, which has
been described as the
"world's largest international
exhibi tion of holography", is
organised by Associates of
Science and Technology Inc,
a Canadian non-profit organ-
ization founded to promote
public awareness in this area.
This year' s display will fea-
ture over 180 holograms
from fifteen countries along
' ith lecn1res, videos and live
demonstrations. The show
explores themes such as fine
art, architecture, engineering,
information storage, optical
research, aerodynamics, dis-
play advertising and med-
icine.
Images in Time and Space
is at Fisherman's Wharf, Pier
45, Shed A, San Francisco
California, U A.
----------------NEWS ---------- ------
Gorbachev Signs
Disasterous Agreement
An international cenue for re-
search into uses of display ho-
lography for art and archaeo-
logy is to be set up in Kiev,
USSR, under a co-operation
agreement between the
Council of Europe and the
Soviet Union. The agreement
was signed during the visit of
Soviet President Mikhail
Gorbachev to Strasbourg,
France, in early July.
The agreement is aimed at
improving co-operation in
the prevention, prediction
and relief of major natural and
technological disasters, and
covers research into the use of
interferometry, including ho-
lographic interferometry, in
predicting earthquakes and
damage to buildings.
The European Centre for
Cultural Research in Ravello,
Ital y, and the European Asso-
ciation of Photonics will par-
ticipate in the new centre.
They will also attend the UN-
ESCO-organised holography
conference to be held in Kiev
in September (see Calendar
on page 19) at which many
related issues will be dis-
cussed.
East Meets West at
Bulgarian Conference
Holography )89, billed as
"The International Con-
ference on Holography, Op-
tical Recording and Process-
ing of Information with In-
ternational Exhibition, " was
held in Varna, Bulgaria, on
May 21-24.
The conference was hosted
by Dr V Sainov and the large
group working at the Bulga-
ria Academy of Sciences Cen-
tral Laboratory of Optical
Storage and Processing ofin-
formation . The conference
showed the extent of Bulga-
ria's scientific research in ho-
lography and optics, with
many Bulgarian papers and
posters, all of a very high
standard.
Of more than 70 papers
presented, over half were
from the USSR, with Eastern
Europe also well represented.
Only 17 papers were from
Western countries . Among
the 90 plus poster presenta-
tions almost half were Bulga-
rian, 'vVith just eight from the
West . The conference was
marked by openness and free
exchange of information
an1ong all the participants.
Ke ynote lectures were
given by conference chairman
Yuri Denisyuk on "Some
properties and applications of
thick 3-D holograms " and HJ
Caulfield on "Holograms for
Left to Right: NM Ermolaev and V Bryskin from the USSR and
host V Sainov from Bulgaria
neural networks ".
An interesting develop-
ment was the appearance of
two new companies, or co-
operatives, from the Soviet
Union: Holex, specialising in
holographic interferometry
and optical components; and
Photon, which produces
Ruby and d:YAG lasers.
The material on display ho-
lography included two Soviet
papers: 0 B Serov on holo-
graphic cinema and NM Er-
molaev on practical imagi ng
holography application pur-
poses. JJ Lunazzi fiom Brazil
spoke on "A new proposal for
holography in white light ",
which is a technique that uses
the dispersion blurring in ho-
lograms to create a 3-D hori -
zontal paralla..x image from a
photograph. A paper from
China on holographic stereo-
grams and computer graphic
images was given by Qu
Zhimin.
Other papers related to dis-
play included an analysis of
silver halide and DCG materi -
als fiom the Bulgarian group,
conference co-chairman
Tung Jeong on applications
ofHOEs for holography, and
S Shetka on the inclusion of
holography in The World Art
Project .
The International Holo-
Light Impressions
of Britain made a
series of six "Tony
the Tige1'
11
4x5in
holograms, JVhich
JVere featured on
millions of pacltets
of the Kellogg's
breakfast cereal
Frosties.
The company
handled the com-
plete process from
model-making to
the embossing of
the finished holo-
gram. For Light
Impressions' ad-
dress, please see
page 1 0 article
entitled "Emboss-
ing File ".
graphy Exhibition was a small
collection of some high
quality reflection holograms.
It included some artistic
works by V Btyskin of the
USSR using real image tech-
niques with mixed media and,
as expected, there were many
outstanding Denisyuk holo-
grams from Bulgaria and the
USSR. Colour holograms
were shown by Paul H ubel
and by TG Ovechki.na from
IKFI in Moscow. The
group at the State Optical In-
stitute in Leningrad showed
two high quality real image
portraits made with a
d:YAG laser.
Highlights from the non-
display sessions included So-
viet papers on data recording
in optical disks, holographic
memory, holographic investi-
gation in space with a light-
weight holographic camera,
holographic testing of artitl -
cial heart valves, synthesis of
HOEs, and liquid ctystal re-
lief grating holograms. Hans
Bjelkhagen from the US gave
an update on his work on
holendoscopes .
Full details of these and
many other works presented
in Varna will be published in
SPIE proceedings volume
1183 which is expected to be
out by the end of the summer.
Summer 1989 Holographies lnrcrmtioml 13
------------GRAPHIC+ D ESIGN -----------
Graphic
Attack
by Simon Brown
Where they have broken through into
the commercial world, holograms have
often looked cheap and tacky. This is
often because the graphics surrounding
the hologram are either completely un-
imaginative or unsuited to the hologram
used. Examples of how this can happen,
and how this problem can be overcome
to make a project successful, are two pro-
motions by Applied Holographies, the
second of which was launched earlier this
year. .. after a false start.
The holographers were first ap-
proached by abisco to produce 3-D
multi -charu1el reflection holograms as
overlay pieces on cards printed in four
colour process. The theme of the pro-
motion was Dungeons and Dragons. For
this job, the graphic de igners simply left
a black rectangle where the hologram
ne1v and old, n1ith a copy of the final card.
was to go and worked in the remaining
space. The final graphics bore lirde rela-
tion to the holograms, and though d1e
promotion was successful, it was not a
creative success.
Nabi co returned to Applied Holo-
graphic in June 1988 with a second pro-
motion: this time the product was Trio
biscuits and the theme was to be Ghost-
busten, based on the uccessful film and
cartoon series. The idea was to have the
"ghosts" in the hologram and the
11
ghostbu ters
11
andsurroundingsin2-D
graphics. The reflection hologram were
to be laminated onto a 4x5in printed
card.
Concept line drawings were presented
and approved by AH, Nabisco, Marvel
and Columbia, and from these the model
maker set about to produce models
which would fit in context. In the two
channel holograms there had to be two
models: one of the
11
ghost
11
attacking the
11
heroes
11
and another of it being zapped
and fleeing from them. A the finished
card wa rotated, the viewer would see
the
11
ghostbuster
11
attacked, and then see
him repel the
11
ghost
11

The team at AH were eventually
presented with approved models and line
artwork to show the approximate loca-
tions and desired animation. The holo-
grams were produced using these as a
guide and the design team felt confident
that all areas of confusion had been
avoided. However, the fmal colour art-
work turned out to be unsuitable a a
background for a reflection hologram. lt
was simply too light and bright: there
The complete set: four ghostbusters and foul' ghosts. Continued on page 16.
14 Holographi es International Summer 1989
In the last two years alone ILFORD research has created . ..
Red sensitive film products
for the mass production of holograms with
Ruby or He-Ne lasers incorporating the
BIPS factor to avoid the need far preswelling.
Machine compatible processing chemicals
in concentrate farm far convenient
replenishment on long production runs.
All countries except UK & USA
Glenn Wood
ILFORD LIMITED
Town Lone
Mobberley, Knutsford
Cheshire WA16 7HA, England
Telephone: 0565 50000
Blue/ green sensitive plates
which have now become the industry
standard for mastering for embossing.
The low scatter enables blue recording for
blue transfer to photo resist.
Emulsions for full colour holograms.
For furt her information please conta ct:
UK
Marketing Deportment
ILFORD PHOTO Company
14-22 Tottenhom Street
London WlP OAH, England
Telephone: 01-636 7890
. . . and now
newSP737
A new red sensitive emulsion on triacetate
base for use in educational programmes.
He-Ne laser compatability
BIPS factor gives gold holograms without
preswelling
Safe to handle processing chemicals
USA
Ek Sochtler
ILFORD PHOTO Corporation
West 70 Century Rood
Paramus
New Jersey 07653, USA
Telephone: 201 265 6000
--------- ---GRAPHIC DESIGN ------------
Continued from page 14.
were no areas that were sufficiently dark
to give the holograms a chance.
Apart from t!Us, no gutter had been
left between the printed cards to allow
enough space for cropping. The ystem
for mass producing reflection film holo-
gram at AH i based around exposing
area of film measuring 200x250mm on
a roll of film 400ft long. It was proposed
that each frame contain four images per
exposure. These were to be laminated to
a transfer adhesive backing, sheeted, and
applied by hand to the printed card
which would then be flat-bed die cut.
With no gutter , there would be no
margin for error at any of the e many
rages. Thi meant tl1at there would be a
significant number of finished cards
where the registration was millimetres
out and would therefore have to be re-
jected.
Because of this, it was decided that the
artwork would have to be reoriginated.
Since the holographic images were al-
ready finished, it was easier to identify
RICHMOND

STUDIOS LTD
One of the longest established independent
holography st udios, with a worldwide
reputation for innovation, qual ity and design.
Our services indude: Custom mode product
commissions Live o!lion pu lsed holography,
including o porlroit service Traditional continuous
wove loser holography Volume production of
film holograms Hand processed
gloss plate holograms All formals up to
700mm x 700mm Lorge range of stock imagery
the areas on the card which \\ ould have
to be dark. The artist and printer were
quickly given dimension to work to that
would allm the minimum 3mm be-
tween images. Thi meant that the holo-
graphic film could be stuck to the
printed card at a reasonable rate of pro-
duction and finished with losses at a
mllllmUm.
At this stage it was decided to increa e
the physical size of the "heroes" with re-
spect to the "ghosts " and to make them
more bold and distinctive. Unfortunate-
ly tlus had one drawback, in that the ho-
lograms no longer fitted the space quite
as ' ell as tl1ey had pre iousl , . On the
new artwork, the "ghosts " occupy the
same space a the "heroes" at some
point . The apparent time of the scene
was a! o changed from day-time into
night -time which made the areas of
black, needed to make the holograms
stand out, more ju tifiable.
In January and February ofl989, the
artwork was reoriginated, proofed and
approved. By early march the contract
was complete and tl1e thousands of card
for sole Consultancy Special techniques ...,.,. "-. __

available Animat ion Multiple exposures
Reduction of image size Holograms mode for
block and white reflection holograms
Show1oom VIS/Is by oppoinlment
Nor
6 Modbolough Rood. Richmond,
Su11ey TW/0 6JR. Englond
Int. Tel +44 I 940 5525 tnt Fox +44 T 948 6214 Telex 932905 LARCH G
16 Holographies International ummcr 1989
were sent to a handling house where they
would hopefully be snapped up for 2
each by the Trio eating public.
The traditional complaint about holo-
graphy is that outside the viewing win-
dow tllere is noming but black or ilver
pace. With the print on the "gho tbu -
ters" cards, ho\ ever, the viewer can ee
an attractive image even when the holo-
gram i completely invisible. When the
hologram does emerge, therefore, it is
that much more dramatic.
The concept of the real and spirit
worlds being eparate was a particularl y
appropriate subject to treat holographi -
call y since gho ts are intangible and
sometimes im i ible. Thi property ofho-
lography was also used extremely well in
the Palin, Lee and eymour book 11Je
Min'orstone. But the main thing these
two project have in common is that the
graphic were an integral part of the ho-
lographic composition, not an after-
thought. Successful u e ofholography in
print demands consultation between,
and dedication from, both the holo-
graphic and grapluc design teams.
Selected client list:
PILKINGTON BROTHERS
BGW (GERMAN GAS AUTHORITY)
BASLE UNIVERSITY (SWITZERLAND)
THE SCIENCE MUSEUM (LONDON)
PHOTO PRINTING COMPANY (JAPAN)
ALCAN INTERNATIONAL
BBC
BRITISH AIRWAYS
THE BRITISH MUSEUM
BOC CRYOPLANT
ESSO PETROCHEMICALS
HEUGA {NETHERLANDS)
HONEYWELL COMPUTERS
MIDLAND BANK
OMAN UNIVERSITY
SONY {NETHERLANDS)
TANDEM COMPUTERS
THE TATE GALLERY
THORN EM/
-------------C 0 M MERCIA L -------------
Raven's
Colour
DCG
by Sunny Bains
The hologram shown on the cover of
this issue was made by Raven Holo-
graphies of Hampshire in Britain. The
company is run by Stuart Ainslie-Brown,
who originally got into the business by
backing a yOLmg holographer who was
working in silver halide. His interest in
DCG started when he saw some of the
work done by Pilkington in this area,
work which he thought was far superior An ea1'l)' broad band piece of a fish fossil, done at Raven Holographies.
to anything he had seen in silver.
DECADE OF LEADERSHIP
AT THE
HOLOGRAPHIC CENTER
1134 W. WASHINGTON BLVD.
CHICAGO, IL 60607
312-226-1007
CUSTOM HOLOGRAMS
PORTRAITS
LARGE FORMAT
EMBOSSED HOLOGRAMS
MOTION HOLOGRAMS
Flat : Circulaf
COMPUTER HOLOGRAMS
WEEKLONG WORK SHOPS
--
ClASSES OUARTE Rll
TUTORIALS
R.wen was founded in January 1988,
and initially the company concentrated
on researching broad band work. The
company has produced some impressive
experimental holograms of coins and
similar objects whi ch look surprisingly
lifelike. The fish fossil shown is another
piece which they did to show the possi-
bilities of broad band.
When Ainslie-Brown joined forces
with Richard Rallison, well known for
his dichromate work in the USA, they
moved further along this path of colour
conuol, hence the cover picntre which
was made by Raliison while he was in
Britain to work with Raven. Since they
did this piece, Ainslie-Brown has said
that they have improved the colour satu-
ration even further.
The piece was done using a two col-
our method vvhich produces rich red-
oranges and bright blue-greens which
mix to a creamy white. The system is part
nantral and part pseudo-colour and re-
quires two laser lines and two emulsions.
Blue is obtained naturally by using the
458nm argon line and red derived from
the 514nm line.
Raven has just started to approach dis-
tributors with 1:\vo- colour pendants, one
of a rose in red and green, and another
of a Tutankhamen in blue and gold.
There have so far been two trial produc-
tion runs during which they made about
500 holograms in a day. Raven is very
keen to make sure that they do not allow
any holograms with sub-standard colour
balance to get onto the market, and their
single plate/ two colour process will
mean that they are unlikel y to have a re-
jection rate much lower than 15%. How-
ever, they say, the new pendants are un-
likel y to cost much more than any single
colour dichromate pendant.
Ainslie-Brown expects to be able to
produce two colour 4x5in plate holo-
grams within a year and has hopes to go
even larger. He says that Raven has man-
aged to produce some 8x 1 Oin holo-
grams which do not have blue streaks:
one of the many problems that people
working with dichromated gelatin have
been trying to overcome.
Ainslie-Brown, who was not a holo-
grapher until he started Raven, has taken
on Mike Medora, formerly of Medora
Waves and who has also done work in
colour, and Richard Rallison as directors
of the company. Together they hope to
be able to produce affordable holo-
grams, both colour and otherwise, with
images people want to buy.
Raven Holographies is at The Old
Sawmills, yewood, r Petersfield,
Hampshire GU31 5HX. Tel: ( +44 )
0730 80612.
Summer 1989 Holographies Internati onal 17
---------------P E 0 P L E ---------------
Pictured is Patrick Boyd shown in front of the gallery which
recently exhibited his one man show. The show, which fin-
ished in the spring, was held at the Discreetly Bizarre gallery
in London's advertising district. It included many of his pulse
fashion pieces, as well as some of tl1e earlier work he did at the
Royal College of Art from which he graduated last year. This
was the first holographic show to be put on at the Discreetly
Bizarre gallery, and its success may open the way for other such
exhibitions. Le seigneur des Anneaux: From MA Cossette
1
s recent shoJV.
And Baby
Makes Five ...
Below: Joan Scott (ex Light Impress-
ions ) with daughter Charlotte, cat
Cosmo, Peter Miller and tl1eir son Ross
Madron Scott-Miller, born on January
18 Holographies Internati onal Summer 1989
28 of this year.
At present, Peter Miller divides his
time between Laser Lightvvorks in Lon-
don, where he primarily works on com-
missions witl1 partner Dominic Welby,
and his home at Mousehol e, near Land's
End in Cornwall, where he is busy witl1
his personal artwork, in pired by tl1e
countryside and Joan's landscape garde-
rling.
Laser Lightworks is at BlA Hatton
Square, l6/ 16A Baldwins Gardens
London ECl 7RJ, Britain. Telephone:
(+44) 01430 0028.
To view stereographs: hold the print
so that they are evenly lit, at arm' s length
and at eye level. Look under me bottom
edge of the page at ome distant object.
Position tl1e prints so that this object can
be seen beyond the middle of me left
print with your left eye open and beyond
the middle of tl1e right print wim the
right eye open. Blink alternate eyes to
check.
Keeping your gaze fixed on me object,
move tl1e prints into your line of vision.
You will find you can see mree images
wl"lich are out of focus . Keep your eyes
fLxed as if looking tight through me ma-
gazine at the object, concentrating on
the middle image.Once you have
11
locked on
11
to it, it should resolve into
focus in 3-D. Slowly moving the prints
to your normal reading distance may
help.
--------------CALENDAR--------------
Events
Calendar
May 3 - August 31
Images in Time and Space
exhibition in San Francisco,
U A. ee page 12 Frisco Im-
ages
June 17 - Jul y 29
Andrew Pepper's exhibition
Beyond the Surface: W01'ks
rvith Light at the Inter -
ference Hologram Gallery,
008 - ll 79A King Street
We t , Toronto, Canada .
Phone (+1) 416 535 2323
for further information.
Until August 2
Recent Acquisitions, exhibi-
tion of holograms made a
part of the Museum of Ho-
lography's Artist in
Re idence programme.
ALSO: Charles Lysogorski ,
one-man show in lower gal -
lery. The Museum ofHolo-
graphy i at ll Mercer
St reet, 1 ew York, ew
York U A. Please phone
(+1 ) 212 925 0581 for fur-
ther detail .
Mid-August onwards
As We See It: Exploring the
World Through Holography.
A coll aboration between the
Museum of Holography
and the National Geo -
graphic ociety in the USA,
this exhibition was pre-
iously hown at the a-
tiona! Geographic Head-
quarter in Washington DC.
ALSO:Sue Cowles, one-
woman show in lower gal -
lery. ee previous entry for
MoH details.
August 30 - October 30
Visiona '89 a multi-media
exhibition, is to be held in
Zurich, witzerland. Exter-
nal exhibition of the Mu-
eum for Holography and
New Visual Media in Pul -
heim, near ologne, FRG.
Phone ( +49 ) 02238 51054
for further information.
September 5-8
International UNESCO
Seminar on 3- D Holo-
graphy '89: Science, Cul -
ture, Education. For further
information contact Dr
Markov 3-D Holography,
In ritute of Physics, 46
Prospect auky, Kiev 28,
U R. Telephone :
(+7) 044 212 2158.
September 11-13
Second International Con-
ference on Holographic Sys-
tem , Components and Ap-
plication . University of
Bath, Britain. See page 8
Hologmphe1'S Meet iu Bath
for further details.
September 12
Rob Murray, sculptor and
holographer, talks to the
Roya l Photographic So-
ciety's Holography Group
in Britain. Meeting starts at
7 .30pm at the Challoner
lub, 61 Pont Street, Lon-
don SWl .
Mid -September
elebration of the tenth an-
niversary of the foundation
of the Museum for Holo-
grap hy and New Vis ual
Media in Pulheim, near Co-
logne, FRG. Phone
( +49 ) 02238 51054 for fur -
ther information.
Lysog01'ski JVOIkfrom the MoH shoJP. Photo: A1t:hur Fonlm'i.
HOLOGRAM ROTARY
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CONTACT: DAN GALLAGHER
OTAL REGISTER, INC.
180 SUNNY VALLEY ROAD
NEW MILFORD, CONNECTICUT USA 06776
PHONE: 203 354 0091 FAX: 203 354 0513
\ ummcr 1989 Holog:raphics lntcrn.ltlml.ll 19
--- ------------REVIEWS -------------------j
Holography
Marketplace
Review by
Graham Saxby
Holography Marketplace 1989 is the first
edition of a new publication from Ross
Books, publisher of Holog1'aphy Hand-
book (Fred Unterseher et al , 1982),
which is evidently intended to become
an annual directory for tl1e holography
industry.
Such directories depend heavil y on the
contributions of tl1e individuals who
have meir names and businesses in them,
and in view of the fact mat this costs
noming but a stamp, it is extraordinary
how many get left out. It is le s surpris-
ing tl1at a number of individuals and
companies manage to get entries several
times over, and tl1is has certainly hap-
pened in Holog1-aphy Mm'ketplace.
This book is much more man a list of
commercial enterprises and suppliers of
equipment. It also contains a list of indi -
viduals and establ ishments offering tui -
tion in holography and, for tl1e benefit
of tl1ose wishing to enter tl1e market-
place with a mind less tl1an well-dressed
technologicall y, a good deal about holo-
grams and how tl1ey are made. I believe
the autl1or (unnamed, inexcusably) is
Scott Lloyd, who wa formerly re pon-
sible for educational matters at tl1e ew
York Museum of Holography, and one-
time eilltor of Holosphere. In tl1e preface
to this first edition, tl1e editors explain
mat it is concerned chiefly with artistic
holography, and tl1at subsequent edi -
tions will cover more full y tl1e fields of
commercial, applied and scientific holo-
graphy.
The book contains an introduction
and seven further chapters, along witl1 a
bibliography and glossary. The intro-
duction and chapter one deal with tl1e
principles of transmission and reflection
holograms and explain in a very basic way
how tl1ey are made. The principles of
transfer holograms are introduced brief-
ly. Embossed holograms and holo-
graphic stereograms are discussed in
more detail and holographically gener-
ated optical effects and diffraction art-
work are mentioned. There is a very
20 Holographies lnrernari onal Summer 1989
good chart showing the various rypes of
display and ornamental holograms and
the selection of pathways in making
tl1em.
Chapter nvo discusses tl1e rypes of art -
work suitable for decorative holograms
for company promotions, letterheads,
etc, for nvo-dimensional flat and spatial
overlays, and fur multi -channel anima-
tions; and tl1e kinds of model suitable for
mree-dimensional images, 2D/ 3D im-
ages, and images with size reduction.
Advice on me preparation of contracts
benveen holographers and clients fOl -
lows in me mird chapter. Royalty pay-
ments, deadlines and reprint arrange-
ments are discussed in detail, mainly in
terms of current American business prac-
tice. Copyright is discussed, again mainly
in American terms: the new British Co-
pyright Act, tl1e first to mention holo-
graphy specifical ly, seems to have missed
me printer's deadline, which is a pity.
Manufacturers of hol ograms are li sted
in chapter fOur. There are tables drawn
up in alphabetical order by country and
name, with ticked boxes indicating who
does commercial mastering, fine -art
originals, stereograms, large-format
work, pulse-laser hologram , etc. These
are followed by a full list of addresses in
the same order, each one being ref-
erenced to the tables by code letters.
(This seems to me to be complicated and
unnecessary: it takes ages to fmd out
what a particular company offers as you
have to keep referring back to me table.)
Most of the addresses are in tl1e USA,
but many are in the UK; Canada, France
and We t Germany are also well repre-
sented, togemer with fifteen otl1er coun-
tries.
Chapter five covers producers and dis-
tributer of holograms. The text intro-
duces the prospective dealer to me pit-
falls of buying and selling holograms. It
examines the current price ranges of tl1e
different types and size of holograms,
and explains what can be expected for
one's money. It also deals with correct
metl1ods of display, a matter where retai -
lers are often careless. This is followed by
a table and a list of addresses, to which
the comments above apply.
The next chapter looks at holography
in education, li sting the institutions
throughout me world concerned with
the teaching of holography, under ca-
tegories such as "hands-on workshops ",
"curriculum development", "public
school programs ", and "college-level in-
struction ". The list also includes anum-
ber of periodical that include articles o
holography regularl y. The final chaptc
li sts suppLiers of equipment for holo
graphy, again with the majotiry of ad
dresses in the USA.
The bibliography has largel y bee
taken from the library system of th
Universiry of Cal ifornia, and covers pro
ceedings of most ( tl1ough not all ) sym
posia on holography as well as books
and a number of articles from learne
journals. The list is by no means com
plete (a large number of importan
papers are ab ent ), although mis is no
surprising. (A search I made recent!)
produced a li st of more tlun a tl1ousan
papers witl1 the word "holography" (o
a derivative) in the title a complete li
witl1 abstracts would fill a thick book 01
its own. ) There is a barel y adequat
index.
Dealing a it does witl1 so scattered a
population of enthu iasts, no directory
of t!Us rype could hope to be compre-
hensive, and this book does not pretend
to be. In fact , on several page mere arc
appeals for tl1ose who have been omitted
to come out and be counted.
Among the various universities and
colleges listed in the chapter on educa-
tion I was sorry to see no mention of the
British pol ytechnics, particularly my own
at Wolverhampton (where me teaching
of holography on first -degree courses in
the UK was pioneered), and also Liver-
pool and ewcastle-upon-Tyne who,
like Wolverhampton, teach holography
in engineering and applied art and run
short courses in practical display holo-
graphy for me public. The education
chapter is certainly tile weakest in me
book.
In me earlier chapters the instructional
material on holography is a little patchy,
to say tile least; here and mere tile odd
unexplained technical term appears, and
steps in the argument are skipped. I do
not think tllis is the fault of me aumor of
these passages: it looks more as though
he was allowed so tl)any words to tell tilt
story, and mat he did me best he could;
and tl1at, even so, some of me input was
axed. If mis is true, it is a great pity.
There are simply not enough good sub-
editors around.
There are also many important omis-
sions in the list of suppliers of equip-
ment, particularly outside tl1e USA, and
it would have been helpful to have a Eu-
ropean co-ordinating editor. Nevertlle-
less, this is a valuable book for anyone
concerned (or wishing to be o n e r n e d ~
--- ----- ----- --REVIEWS ----- ----------
with holography and its commercial as-
pect .
It is not difficult to envisage a direc-
taty much better laid out than this one,
which is repetitive and often confusing,
and has a whimsical layout (familiar from
Holography Handbooll) with many free-
Peter Zec:
Concepts
of Art
Hologmphie - Geschichte, Technik, Kunst
- History, Technology, Art)
by Peter Zec was published by DuMont
nearl y eighteen months ago. This was
the first time that a book on concepts of
holographic art, whjch had previousl y
been dealt with mainl y in newspaper ar-
ticles and ex hj bi tion catalogues, was
made available to the German- peaking
public, and it is hoped that the book will
be available in English in the near fumre.
Although holography had become
scientifically and technically well-de-
veloped, and had a wide variety of appli-
cations, a coherent iliscussion of ilisplay
holography had not been previousl y
published.
Zec set himself the difficult goal of
creating a basis on which the historical
and aesthetic aspects of the medium
could be defined and explained, whjch
he achieved b_ describing the develop-
ment of holography. He a aids conven-
tional treatments of holography which
emphasize technical and practical areas
or are written in connection with specific
exhibitions.
The book gives special attention to the
logic of holography, that is the perspec-
tive from which it is viewed and thought
about. The emphasis is not on the tech-
nology involved, nor is this a purely hjs-
torical report. Instead the intellecntal
core of the book concerns holographers
themsel ves and the potential of the me-
dium to convey their artistic message.
The beginning of the book does, how-
ever, cover technical aspects of hologram
production in order to avoid the reader
perceiving holography solel y phenom-
enologically.
hand iliagrams and headings that look
like something from a John Bull junior
printing set. But in the end it is the con-
tent that matters, and tills directory con-
tains much valuable information. My
guess i that the serious entrepreneurs in
holography "viii make sure that they have
Thi basic technical knowledge is
presented in comparison with other
three-dimensional technologies and is
therefore easy to understand. It gives the
reader a concepn1al basis from which ho-
lography, and its meaning and impact,
can be judged without it being seen as
some kind of lightplay withou t sub-
stance. This is particularly important be-
cau e the phenomenological view re-
veals the striking emptiness of the holo-
graphic message: an emptiness whjch ap-
pears e pecially strong in comparison to
other visual media.
The conceptual basis, however, is not
founded on the technical hjstory of ho-
lography only. At the end of the book
a copy.
Holography Marketplace 1989 is pub-
lished by Ross Books, PO Box 4340,
Berkeley, California, United States .
US$35 paperback, 179pp. ISB 0-
89496-047-4. Em ted by Franz Ross and
Elizabeth Yerkes.
gina] fascination with it is weakening and
the medium i already beginning to
show some of the signs of premature
agemg.
Thus, besides being a critical appraisal
of the medium, the book is a brave re-
analysis of its historical and aesthetic be-
ginnings. It offers the creative and criti -
call y interested reader an intellectual
basis for thought and action as well for
seeing, compreheniling and enjoying
hol ography.
Holographi c - Geschichte, Technik,
Kunst by Peter Zec is published by Du-
Mont Verlag, Koln, 1987.
by Vito Orazem
after examining the ------------------------
present condition
of holography, Zec
looks at holo-
graphy's arti stic
origins. He firstl y
detaches himself
from the photo-
graphical para -
digm, which shows
it elf mainly in tl1e
prevalent over-em-
phasis of the
11
tl1ird
11
dimension
of holography. In-
read he postulates
the "self-creating
power of light " as
the creative foun-
dation of the holo-
graphic medium.
By presenting
the role of light in
tl1e hjstory of art he
is negating the dis-
cussion about per-
spectivism and re-
lates holograph y
more to the fire -
work tl1an to theta-
bleau. He incor-
porates important
impulses for fur -
ther development
of holography at a
time when tl1e vir-
1.1
II
( Q
1 3
FRONT VIE 'N
J<'ig-. 234 .
n - - - - - b
. .
DIRCcr t ON OF'
S!DC VICW
Fig. 235.

SWH T
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1989 Holographies International 21
-------C 0 M PUT E R + AI DE D +DESIGN --------
3-D From CAIJ
A eminar on three-dimensional imaging
at London's Royal Coll ege of Art in May
marked the start of a new teaching pro-
gramme based on the techniques of
stereoscopic photography, computer-
aided design (CAD) and holographic
tereoscopy.
The project is being run under the aus-
pices of CITE ( the Consortium for
Graphic Intormation Training in Eu -
rope ). ITE was founded in 1987 as a
University Enterprise Training Partner-
hip ( UETP) under the Commission of
the European Communities COM-
METT programme, and has access to
European Community funding pro-
grammes. About 30 companies and in-
stitutions from throughout the EC are
associated with CITE.
In the holography programme the in-
by David Pizzanelli
tention is to establish a multiplexing fa -
cility which can interface with data input
from a wide variety of ources. Of pri -
mary interest is the use of CAD/ CAM
systems (computer-aided design/ manu-
facntre ) to generated images of com-
puter-designed non-existent objects and
events and have them preserved as holo-
grams, to provide a "hard copy" of the
information displayed on the monitor
screen. A faci li ty for making holographic
stereograms is already running and is lo-
cated in the Department of Physics at the
Univer ity ofLoughborough in Britain.
Here, pin-registered film strip are con-
verted into holograms .
On display at the eminar were some
of the holograms recently made on tl1e
multiplexing equipment. The "Evere t
hologram" (described last issue ) was a
Crash Impact hologra1n made by Amazing Array Productions from computer
g ene7'ated images. Photo by DaPid Pizzanelli.
22 Holographic> lntcrn.ui on.tl urnmtr 1989
good example of one of the main tenets
of t he CITE programme philosophy:
taking holography out of tl1e confine of
the sntdio.
The very first photograph, taken in
1827, was of a sunlit courtyard, but ho
lography, both continuous wave and
pulse, has always been confined to the
darkness of tl1e sntdio. Even the original
multiplex holograms of the early even-
ties tended to be of girls rotating on
turntables, photographed in the sntdio.
There are some notable exceptions, but
for the mo t part, outdoor hologram
have been a rarity. It is hoped that all that
will change: soon anyone with a video or
film camera and a grasp of stereo photo-
graphy will have access to holography as
"hard-copy" to a sequence of images
shot on land, in tl1e air or underwater.
Perhaps the most progressive aim of
the project, however, i to open up ho-
lography to non-holographers, to teach
scientists, artists and industrial de igners
how to generate stereoscopic footage
uitable for multiplexing into a bolo
gram. The most interesting 3-D image
are to be found in tl1e world at large, not
in the holographer's studio. The concept
of hologram as "hard-copy" relegates
the medium to a position of seconda
importance to the data, which is as i
should be.
o-one considers a photocopy to be
anything of importance in itself: only the
alpha-numeric symbols and figure
which are photocopied have importance.
Yet the hologram has always been prof-
fered to the world a somet hing extraor-
dinary and magical, regardless of the
image. Long-term survival of the me-
dium is dependent on its being taken for
granted rather than being displayed as a
novelty, because it is in tl1e nature of aJl
novelties that they become tiresome after
a while and are put aside, eitl1er forever
or until a new generation comes along
for whom they are again novel.
---------C 0 M PUT E R+ AIDED+ DESIGN---------
A hologram of a car-crash which was
on display at the seminar demonstrated
how holography could be used as a hard
copy meclium. The image was computer
generated by Amazing Array Produc-
tions. Some 200 frames of animation
show the effects on marmequin passen-
gers at the moment of impact. Spanning
an angle of view of ome 40 degrees, the
action is compressed, but still intel-
ligible: the driver and front passengers
are restrained by seat belts, whilst the
dummy in the back takes a fatal pound-
ing and a small child is hurled all the way
from the back to the front of the vehicle,
crashing against the dashboard. The ho-
logram makes an eloquent statement in
favour of rear safety belts, but it is also
an exan1ple of a use of holography to
make 3-D images of" non-existent " ob-
jects and events: scenes which are com-
puter generated, which without holo-
graphy would vanish when the monitor
is switched off.
Equally impressive was a hologran1 of
a fly's head made from images taken
from a scanning electron microscope
(SEM). The stereo-photographic foot-
age was shot by David Burder, one of the
guest speakers at the seminar, who is an
expert stereo photographer. Showing
some 72 degrees rotation over 140
frames, the l Ox8in image magnifies the
fl y's head from a pinhead to tl1e size of
an orange. Modifications had to be made
to d1e chamber of the instrument so tl1at
the subject could be rotated, and the in-
ternal workings of tl1e microscope were
shielded. The image is built up line by
line on a cathode ray tube, as some 6000
volts are bombarded at tl1e specimen in
a vacuum chamber. Specimens are gold
plated and the image is formed by the
emission of secondary electrons fi-om the
metal.
One feature of tl1is imaging system is
a tremendous depm of field (focus ),
relative to optical systems using lenses
and visible light (which partially explains
why the stereo photographs taken from
the original SEM images appear to be so
much sharper tl1an the stereo photo-
graphs of tl1e hologram generated from
them). David Burder shot me stereo se-
quence on 120 roll film (which has no
sprockets). He modified the camera ex-
posures for each image to correct for me
clifferences in luminescence and contrast
between sequential frames shown on the
monitor. The entire job took three hours
of scanning, which is a long time when
one considers me punishment to which
TJVo ft"ames fi'om the sequence of stereoscopic images used to make the Bug hologmm.
Note the clarity obtained using a scanning electron microscope. Photogmphs by David
Burde7'. See stereo viewing inst7'Uctions on page 18.
the specimen is subjected. Indeed, sev-
eral specimens were tested to determine
which one would be most resistant to
electronic bombardment for tl1e dura-
tion of the shoot.
The 120 roll film had to be transferred
onto 35mm film (wi th sprockets) for the
multiplex machine. This was done u ing
a rostrum camera. In tl1e electronic
image, visual markers had been gener-
ated to ensure registration of tl1e image
at the rostrum stage. The location of the
image plane of tl1e fly's head in the final
hologram was done at mis stage. The
ability to manipulate stereoscopic film
sequences at the rostrum camera step
makes the system particularly versatile:
stereo data from almost any source can
be converted, enhanced, colour separ-
ated and altered at d1is stage.
The CITE training course aims to
heighten awareness of how people per-
ceive cues associated witl1 depm and per-
spective and give practical experience of
d1e production processes of holographic
stereography. The course is modular,
divided between Middle ex Polytechnic
in London (which will teach d1e use of
computers in three-dimensional design ),
the Royal College of Art (which will pro-
vide st udies in perspective photo-
graphy), and Loughborough University
Department ofPhysics (where the holo-
graphic hard-copies are made).
Much of tl1e hardware is already in
place. The multiplex equipment is oper-
ational, and Middlesex Polytechnic is re-
ceiving a PCR with an Oxbury head, a
device which will enable high-resolution
images fi-om a computer monitor to be
recorded on pin-registered film. The
RCA is purchasing a linear rail and rot-
ary stage for direct filming of live sub-
jects. These are both computer control-
led, giving exact positioning and reposi -
tioning of tl1e camera, and travel wim a
linear movement of up to ten metre per
second.
The Bug hologram by David Burder, reflection by Steve Done. Photographs by
David Pizzanelli. Fo7' ste1'eo vieJVing instructions, please see page 18.
Summer 1989 Holographies International 23
---------C 0 M P UTE R+ AIDED+ DESIGN ---------1
The RCA already has a ro trum
camera to aid students in formatting
films, and CITE ha provided a FORO X
animation table which allows the precise
positioning control which i vital when
copying material onto pin -registered
film. The college has its own computing
facilities and will also be receiving a PCR
with :1n Oxbury head to all ow students
to shoot pin-registered film from the
monitor.
Amazing results have already been
produced at the RCA by Rob Munday
using the CITE multiplexing equip-
ment. He used a desktop Amiga com-
puter and a pin-registered camera, and
simpl y took photographs of the monitor
Equipn1ent
Details
The multiplex equipment used for the
CIT programme is based on the sys-
tem developed by Steve Benton ( ee
diagram), which utilises an Hl laser
transmission hologram which i trans-
fened to an H2 white light viewable
hologram, rather than the original
one- tep method developed by Lloyd
Cross for cylindtical multiplex holo-
grams.
The use of the two- tep method
gives greater versatility as the white
light hologram can be made from sev-
II
24 Holographies I ntcrnarionJI Summer 1989
creen. See page 8 of thi s issue.
In the corning months the programme
will expand with more equipment aimed
at teaching non-holographers about
three-dimensional imaging. Comma-
dare K are donating Amig:1 2000 com-
puters, and communications software
will be written which will make it
possibl e to use these sm:1ll do mestic
computers as front end gr:1phic work ra-
tions for Cray super-computers.
The Amiga PCs wi ll carry the graphics
programme and communicate with the
"user -savage" Cray computer, which
wi ll do all the he:lV)' number crunching.
This will make it po sibl e for small users
to get into supercomputing for the first
era! strip masters to provide a multi-col-
our minbow hologram. Alternatively, a
reflection hologram can be made from
the Hl or it can be used to make a trans-
fer on photo-resist for embossing.
The mechanism which converts the
stereo copic film snip to a laser tran -
mission hologram (Hl ) is designed to
take 35mm film which has been exposed
in a pin-registered camer:1, 'vith images
et along the length of the film in "Leica
fOrmat" (ie. that of a SLR camera, rather
than a movie camera, where the images
run across the film). The images are
back-projected using the light from an
argon-ion laser onto a diffusing creen.
T he Hl is a 30x40cm plate set in-line to
the screen's centre and horizontal with
respect to the table. The plate is inclined
at Benton's aduomatic angle with re-
time .
The CITE stereoscopic imaging an
hologr:1phy project could prO\ide a brg
number of people with the training re
qui red to make multipl ex holograms an
Jt the s:1 me time it promises to bring nr11
:1nd interesti ng imagery to the medium
T here :11-c no fixed dares available Jt th
time of writing, but the cour e fee is e,
peered to be in the region of 25
(U $400 ).
For more information contact: To
Evans, CITE Proj ect Coordinator, on
( +44 ) 0 l 584 5020 extension 328, or
write to him :1t the Royal Coll ege of Art,
25 Kensin gton Gore, London S\V
2EU, Britain.
speer to the screen (ie. leaning back-
wards away from the creen), and is il
luminated by an overhead reference
beam.
As each frame of the film foot:1ge i
projected onto the diffi.1sing creen in
turn, a narrow slit mask, 2mm wide,
is moved laterall y across the urface of
the Hl plate between expo ures. The
hologram is divided into some 200
2mm ections, each of which form a
thin "window" commanding a view
of a eparate image from the tereos-
copic sequence. Lengths ofHl can be
varied according to the number of
film frames, ranging fiom about 140
to 200 fiames. The final white light
viewable hologram is usually a 1 Ox8in
plate wirl1landscape (hori zontal) for-
mat, either reflection or transmission.
Diagmm fi'om Benton multiplexing
patent: US Patent 4,445,749. May 1
1984, Stevm A Benton. Tht
photographic plate is placed beiJind n
masfl (5) in which there is a11 elongated
slit aperture (6).
5. Mask 13. Mirror
6. Elongated slit 14. Mirror
apertu.re 15. E\.panding
7. Beam splitter lens
8. Pinhole 16. Pinhole
9. Expanding lens 17. Collimating
10. Lens lens
11. Diffusion 18. Laser
screen
12. Lens Ti: Transparency
QUITE SIMPLY:
The Best Narrow Web
Holographic Embossing System
Just Took A Technological
Step Forward.
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---------MUSEUM+ 0 F + H 0 LOG RAP HY -------------1
MoH: Past,
Present and
Future
The history of the Musewn of Holography in New York is an important part of the
history of holography as a whole. Susan Cowles, Director of Education at the MoH,
has sifted through some of the Museum's valuable historical material to produce this
account of its origins and development. She ends with a look at the Museum's present
financial difficulties and the outlook for the future.
There are many people who have been
bitten by the holography bug, and sub-
sequently pioneered its potential to
the full extent of tl1eir imaginative facul -
ties. This was especially apparent in tl1e
1970s on the East Coast of tl1e United
States, \.vhere an interest in holography
was developing a pO\ erfuJ momentum
in the minds of a number of creative in-
clividuals.
In 1973, the ewYorkSchool ofHo-
lography opened under tl1e directorship
of Joseph Burns. This fast became a
cenoe for budding holographers. Not-
able names who graduated from tlus
school were Dan Schweitzer and Sam
Moree. Burns himself was a
along with Rosemary (POS) ) Jackson,
Tung Jeong's first holography
held at Lake Forest College in 1972.
In the early 1970s, Burns and J ac
worked together as a dynamic
They staged two major holography
hibitions which helped to instntment
idea for the formation of a museum
holography. The first of these wasH
graph)' )75: the First Decade, staged at
International Center for Photograp
(ICP) in New York City.
This was tl1e first major show ofholo
grams which prompted an awareness
the union occurring between the arts
and sciences. On recalling me event,
Burns quoted Emmett Leith as saying:
"it was the first show tl1at brought scien
tists and artists togetl1er ". Jackson ac-
knowledged tlut for the first time "a
sense of community was growing .. .
scientists and artists became simply ho-
lographers ".
Holography '75 also went a long way
towards putting holography into me do-
main of public awareness. This may or
may not have been due to the results of
a review in which Hilton Kran1er, the
well -known New York Times arts critic of
Recent Acquisitions: on currently in the MoH t p p r gallery. See Calendar for other inf01'mation. Photo by Betty Sword.
26 H lographi .: !.lternational Sumrncr 1989
MUSEUM+OF+HOLOGRAPHY
the time, slammed the show. Hi s sca-
thing review had an immediate effect -
everyone wanted to see what he was talk-
ing about and attendance boomed. Here
is an except from Kramer's review:
"The culture of holography ... is ...
suictly concerned with, and immensely
pleased by, its bag of illusionistic nicks,
and completely mindless about what, if
any, expre sive po sibility may be hidden
in its technological resources."
The public awareness of holography
grew at a rapid pace. Mter the how at
ICP, Burns and Jackson mounted an ex-
hibition in Stockholm, Sweden, called
Holografi Det 3-Dimensionnella Mcdict.
The show attracted an estimated 60 000
visitors in two weeks.
Witl1 the growing interest in the me-
dium as the public quickly became more
aware of holography's potential applica-
tion , the climate was right for innova-
tion. In 1976 the melting pot of activity
took shape, focusing on the formation of
the institution we now know as the Mu-
seum of Holography in New York.
The MoH' as granted a charter t-iom
the State of New York later tl1e same
ye:u, and began operating as the first
not-for -profit organization dedicated to
me collection of artistic, scientific, his-
torical, contemporary and commercial
holograms and related materials. The
Burns and Jackson team, whose pioneer-
ing achievements had led to the found-
ing of the Museum, did not carry out the
mission together. Burns went his own
way, while Rosemary Jackson became
tl1e first official director of tl1e newly op-
ened MoH.
The early years of me Museum, in
retrospect, seem almost legendary: Jack-
on and her contemporaries were pion-
eering holography in a way no-one had
ever done before. In March 1977, ap-
proximately four montl1s after the Mu-
seum opened, Dennis Gabor and hi wife
Marjorie paid a visit. Gabor became the
Museum's first official member. He re-
turned tl1e following year and was in-
vited to become honorary chairman of
tl1e Board ofTrustees.
The MoH has a number of Gabor's
books and papers, his obel Prize and a
120 degree integral hologram of Gabor
and tl1e Museum staff members. These
are part of the Gabor bequest to tl1e Mu-
seum, which it is planned to use as the
basis for an exhibition at tl1e MoH about
Gabor and his work in late 1990.
The opening exhibition at the MoH
was Alice Through The Looking Glass.
tudent ofthe MoH Out Reach P7'ogmmme, 1988.
This was mounted without any funding;
holographers generously donated their
work for tl1e show. These works then be-
came part oftl1e permanent collection of
the Museum. Alice became a travelling
show which vi ited 28 venues
d1roughout the nited States. A repor-
ter for tl1e Detroit Free Press remarked
about the show, "as you look be aware
that you are doing omething his-
toric ... ".
In the years that f-ollowed, Jackson and
her staff installed and staged an im-
pressive number of shows. The Museum
always tried to establish a balance be-
tween art and science. A permanent ex-
hibition called In-Perspective was in-
stalled in the Museum's lower gallery.
This was an account of the history of
holography over 35 years, and incorpor-
ated signitlcant holograms, diagrams
and other related information. It was a
unique historical record of the many as-
pects and various methodologies of ho-
lography. In-PerspectiJJe served to in-
form the visiting public up until last year,
when it was dismantled due to its dete -
riorating condition. The pre ent Mu-
seum staff plan to install an up-dated ex-
hibition on the history ofholography by
tl1e end of 1990.
Hologmph_y Works: ApplicationsofHo-
logmphy in Industry and Commerce was
a major exhibit staged in 1983 dedicated
to tl1e industrial applications of the me-
dium. One of the Museum's funue plans
is to curate and exhibit an up-dated ver-
sion, Hologmphy Works II. Among not-
able artists who have had one-per on
shows at the MoH are Margaret Benyon,
Sam Moree, Ruben Nunez, Harriet Cas-
din-Silver, Rick Silberman, Anait Ste-
phens and Dan chweitzer. The MoH
plans to have a one-woman show of
Dori Vila's work sometime in 1990.
The MoH has the world's largest col -
lection of significant holograms, and i a
depository for the early lab notes and ex-
periments of many of the prominent ho-
lographic artists who have participated in
the Mu eum 's Artist-in- Residence pro-
gramme. This was instigated in 1980
under the then education director Ed
Bush, and is still the only programme of
its kind which is held on a consi tent
basis each year.
The AIR programme has erved to
create an admirable collection of artists
works produced in-house at the Mu-
seum. In fact one of the exhibitions cur-
rently on display is Recent Acquisitions,
which is a survey of work completed in
the 1988 AIR programme.
Applications are currently being in-
vited for the 1989 AIR awards. These
should be sent to the Museum no later
tl1an September 1 of mis year. Due to a
shortage of funding tl1ere will nor be a
extensive a programme as in previou
years and only three awards" ill be avail -
able.
Another important aspect oftl1e MoH
is it publication, Holosphere. This was
taken over by the Museum in 1977
under tl1e editorship of Ed Bush. It
forms tl1e most complete historical rec-
ord of developments, inventions and
achievements in holography, with many
ummer 1989 Holographies International 27
---------MUSEUM+ 0 F + H 0 LOG RAP HY---------1
holographers having contributed over
the year to creating this written history.
The Museum is still publishing Holos-
phere, despite financial difficulties which
have delayed recent issues.
The Museum ofHolography has a rich
and complex history. In this article I
endeavoured to present an overall view
of the Museum's origins and both its
early and recent history. A trul y detailed
account would , I am sure, take a sizeable
book. However, as many readers will be
aware, the Museum has fallen on hard
financial times recentl y. What, then, are
its prospects for the future?
Since the end of Rosemary Jackson s
period as director there have been several
directors, each of ' hom has tried to
bring their own style of leadership to
running the MoH. This has resulted in a
mixture of failures and successes. The
relativel y qttick rum-over of leadership
has not had a healthy effect, and has
caused confusion and anxiety in the ho-
lographic community.
Currently, tl1e MoH has a new body
of staff under the able directorship of
Martl1a Tomko, who has extensive ex-
perience in arts administration and not-
for -profit institutions. Her wish is to
make the MoH "a museum again ". She
is conscious of the hard work which has
to be done to restore the balance both
financiall y and diplomaticall y.
She is working closely with ilie Mu-
seum's dynamic new business manager
Bronwyn Albrect, bookkeeper Janice i-
chol, and the Board of Directors to get
the b oks straight and pay the bills. Be-
cause of the recent internal focus on fin-
ancial troubles, the Museum has at times
appeared insular. The Museum staft- are,
of course, keen to continue ilie import-
ant aspects of the Museum's work - but
they want to do it right.
The problems are, however, now
being dealt witl1 ready for a dynamic
push into ilie 1990s. There will be a re-
birtl1 at the MoH, and to achi eve this we
will need tl1e support of ilie people who
helped create its past, together with
others who want to be part of its future.
The MoH has an established ew
York State -wide ed uc ationa l pro-
gramme, which is continuing. Much of
the groundwork for tl1i s programme was
done by the MoH' s previous director of
education, Scott Lloyd. The Museum
worked closel y witl1 the ew York Edu-
cation Department to establish this Ho
logmphy in the Classroom programme.
A major exhibit is planned for this
summer at the MoH, entitled As We Se
It: Explm-ing the World Th1'ough Holo-
graphy. This show was produced by the
MoH in conjunction with ilie ationa
Geographic Society, and is currently on
display at the National Geographic head-
quarters in Washington, DC. This show
i intended to set a precedent for future
innovative exhibitions of a high standard
at t he MoH.
The Museum wishes to continue to
provide a public service to educate and
inform an international audience about
holography. An aggressive fund raising
drive is pre ently under way to rai e
$150 000, and many of you reading this
article wi ll have received a fund -raising
letter from Dr Stephen Benton, a mem-
ber of the Board of Directors.
The Museum is a unique institution.
Please help to retain it as an important
part of the history of holography- help
support tl1e MoH in any way you can
botl1 for posterity and the future of al l as-
pects of holography.
LEONAR_DO JOURNAL OF THE INTERNATIONAL SOCIETY FOR THE AATS, SCIENCES AND TECHNOLOGY
DISCOVER AN ART FORM OF THE
FUTURE: HOLOGRAPHY
L01 ARDO is the foremost inler-
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the arts.
LEO
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th e p ioneer a ni sLS working with ho lo-
graphy as an an medium. A Special
I sue, edi ted by Cue t Edi tor LoUIS M.
BRil.l . a nd a distinguished inter-
national Editorial Board, is being
publ ished in 1989. The issue include
anicle by leading arti t including
MARGARET Bio.NYO:-: , N.\NC:Y GORGLIONE,
EDL'ARDO KAc, L'i'.-\:>1:-:E T. \ R and
SAI.I.Y WEBicR, PHII.IPPE BOISSO:>/ET,
28 Holographies lntanational ummcr 1989
BRJ GITrE B RGMER, GEORGE DYEN ,
OI ETERJ L' :>/G, SH N UK C.
REL
1
TERS\\'ARD and DORIS YIL.A.
An inuoduction by Posy J ackson
Smith a nd hi stori cal a nd theoretical
articl es expl o re the criti cal context or
ho logra phy as a n a n medium.
SPECIAL ANNOUNCEMENT:
The edi tors or LEO ARDO have de-
cided to publi h a second Special Issue
in 1990 devoted to holography. Con-
tact the Editorial O!Ti ce fo r further
details.
Subscribe to LEONARDO.
Publi shed qua rte rl y.
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---------------- ART ----------------------------------
Alexander
Retrospective
by David Jones and Martin Taylor
One of the best- known artists to turn his
hand to holography i Alexander, who,
as an e tablished culptor, began to ex-
ploit the medium in the early 1980s.
Many of his holograms arc featured in a
major retrospective exhibition of his
work since 1981 , which will be shown in
Brazil , Chile, and the United States.
British-born Alexander studied at St
Martin' s School of Art in London, after
which he initiall y became a painter. In
the 1960s and 1970s he made the tran-
sition to culpture, culminating in several
monumental works in the late 1970s.
The best-known of the e include The
G1'eat ToJller at Rutland Water in Leices-
tershire, Britain, which was the largest
bronze culpture of modern times, and
Jubil ee Oracle,
ired on London'
South Bank.
His route into
holographic art
was not through an
interest in tl1e ho-
lographic tech -
nique itself. Ratl1er
it was an exten ion
of his work with
"four-dimensional"
sc ulptures. The
idea for these
culptures first oc-
curred to him in
1980 after he had
read Ouspen ky's
Tertium Organum
and spent a con-
siderable period re-
flecting on the con-
cept offour dimen-
sions introduced in
the book and how
it could be repre-
sented in sculpture.
In tllese works,
rotated or the observer walks around it,
shapes are seen which do not physicall y
exist, hence the term "four-dimen -
sional" . The simplest are made up of sets
of vertical rods, painted in contrasting
colour so as to make tl1e illusory forms
appear. The retrospective exhibition fea -
tures 27 of these 4-D scu lptures.
At around this time, Alexander was
also producing "three -d imensional
paintings", in which images in an extra
dimension \ ere added to basic two-
dimen ional repre entations. Painted
Lady from 1983 is among those included
in the retrospective.
When Alexander attended a short
course on holography at London
University' Goldsmiths' College in
as the culpture is Horrors ofWar: Installation, 1988
30 Holographi c< Internati onal Summer 1989
1982 he was simply looking for a tech-
nique to record his 4-D sculptures,
which could not be shown fully by ordi-
n<U)' photography. The following year he
successfully applied for an Australia
Council artist-in-re idence fellow hip at
CSIRO. Here he worked with Dr Hari -
luran, one of the leading scientists in ho-
lography, who taught him more about
tl1e holographic proces .
He soon realised tlut holograms had
great artistic potential of their own. "The
holograms produced began as a sort of
extension oftl1e 4-D sculptures and then
moved further and further away from the
physical works while at me same time re-
maining in the same conceptual family, "
he says.
The retrospective exhibition illustrates
how Alexander's holographic work has
developed from simply recording exist-
ing 4-D culprures to making full use of
the unique chruacteristics ofholography.
In particular, he introduced figuration
into his work, which did not feature in
the 4-D sculpntres. This has led him to
make some hologram which have a
strong element of social comment .
During a second period as artist-in-
residence at CSIRO in 1985, he and Dr
Hariharan made technical advances
which enabled him to achieve more am-
bitious artistic goal in holography. In
------------------------------------ ART --------------------------------
Painted Lady: 1983
June of that year he created
was then the large t hologram in
the world , entitled .. . Been a
G7'eat Deal of Talk About Her.
Measuring 6ft by 3ft Sin, thi
white-light tran mis ion hol o-
gram showed a life-like manne-
quin with the words of the title
superimpo ed on the same space.
Soon afterward he created an
even larger work, a white-light
transmission stereogram called
Danielle r Dream. This measured
6ft 6in by 3ft Sin, and consisted
of three separate moving images,
including one of a li ve model
swinging in a hammock. Later in
War into Peace 2: 1984/5
198S he made several more large
hologram , including Meta-
morph.
In 1986, Alexander made 1S
pulse holograms at the Musee de
!'Holographic in Paris. He then
went on to make tl1e first fictional
holographic movie, La Belle et La
Bete, also in France. Technical
limitation evercly re tricted this
first production, for example, the
actors could not look in the di -
rection of the laser for fear of da-
maging their eyes.
Some of these limitations had
been overcome for his second ho-
lographic movie , Masks, also
completed in 1986. This has a
running time of 4 minutes, over
twice as long a La Belle. The fol-
lowing year he compl eted TI1e Dream,
which run for 8 minutes. The latter two
movies arc parr of the retrospective. (An
article on holographic movies, including
Alexander' work, appeared in Holo-
graphies International number 2. )
The Power House Museum of Ap-
plied Arts and ciences in Sydney, Aus-
tralia, commis ioned Alexander to pro-
duce a series of large holograms repre-
senting seven senses: sight, sound, taste,
smell , touch, balance, and awarene .
These are displayed in the first gall ery of
the museum, \ hi ch opened in March
1988. Three of tl1ese holograms arc fea -
tured in the retro pective.
One of the most recent of tl1e 24 ho-
logram on di play in the retro pective is
also one of the most powerful political
images Alexander has produced. En-
titled Ho}-ron ofWa1, it features a soldier
wit h a skull for a head and a body of
barbed wire. As the viewer passes in front
of tl1e image the sound of a gunshot i
heard. AI o featured in tl1e show is it's
powerful forerunner War into Peace 2.
Alexander's Retrospective Exhibition op-
ened at the Musw de Arte Contempo-
ranea da Unive1'Jidade de Sao Paulo,
Brazil, on June 20 and runs July 23.
The same exhibition will also be shown at
the Musco de Bellas A rter, Santiago
Chile, from eptember 13 to October 8,
and The Modern Museum of Art anta
Ana, California USA, from February 24
to Ma_v 13 next year.
Summer 1989 Holographies International 31
-----------LITER AT U R E +RE VI E W ----------
Holographic
Associative
Metnory
Optical information processing systems
can have high processing power because
of the large degree of paral lelism and in-
terconnection capabi li ty that is possible.
Typicall y, more than a million parallel
processing channels are avai lable in the
optical ystem, each of\ hich can be con-
nected to all of the others.
In 1982, JJ Hopfield introduced a 1-
D associative memory model for the
operation of neural networks [ l]. Asso-
ciati ve memory, simply, is the ability to
input some information which al lows
stored information to be retrieved. P al -
tis and Farhat [2] extended this model to
2-D, and it is experimental work done
using this latter model and holographic
components that I will discuss.
In the 2-D Hopfield model , stored in-
formation can be retrieved even if the
ori gi nal signal is not exactly correct, ie.
if the channels of communication be-
nveen the input device and neural net are
noisy. This computation is performed
through the following: when the infor-
mation (external stimulus) is put into the
system, it causes some specific neurons
to be turned off and on.
The interconnections benveen the
neurons cause feedback (related to the
signal to noise ratio) which changes the
external timulus and so changes the
neurons which are on and off, thus
changing the feedback. Thi s process
continues until the system converges
onto the correct information.
Theoretically, the Hopfield model is
given a the multipli cation of vectors and
matri ces. The mathematic are derived in
each of the papers referred to. In the nvo
applications we will look at, it is this
multiplication which is achieved holo-
graphicall y. In one paper [3] , there is a
description not onl y of the mathematics
and a (non-holographi c) method of
achievi ng the model, but there is a step-
by- step discussion of the arithmetic,
showing the thresholding and feedback,
for two cases.
There are two recent applicati ons
whi ch use holography as a means of
achi eving this model. The first [ 4] uses
the circuit shown in figure 1. The net-
work is an osci ll ating ring resonator. The
32 Holographies Internati onal Summer 1989
11
optical neurons
11
are generated within
the saturable, two beam amplifier and
the interconnection is achieved using
Fourier and object-space holograms to
perform the matrix-vector multiplication
algorithm.
Two experiments were used to test the
system. In the first , two views of a tank
were stored in the network. When a par-
tiall y obscured view of one was fed in for
3 seconds, the correct view was fully re-
called. This view remai ned for a further
15 seconds, and, in the ab ence of any
more stimuli, the net\ ork wandered
Figure 1.
FOUAIEA-SPAC(
ttOLOGAAMS
(LIN'bOJ)'\
4'-0
IY
1
otij 1
randoml y between the 1:\vo tank views
with a period ofl5-25 seconds. The sec-
ond experiment demonstrated how, by
varyi ng the angle of the stimulus image,
different outputs could be obtained.
Another intere ting application of this
kind of network is a system for word-
break recognition [5]. This is de igned
to recognise word breaks, insert spaces
and correct spelling in a continuous
stream of letters. The system used varies
from the Hopfield-type holographic as-
sociati ve memory [ 6] in three main ways
(see figure 2): in order to recognise the
words correctly, a correlator is used and
tl1e peaks are detected through a second,
artificial , neural network in the corrcla-
Figure 2.
-
tion plane; to process multipl e inputs
without cross talk memory words are
stored normal to the input word stream;
and finall y, the output is scaled down so
that spaces appear between the words.
The Fourier-transform hologram of
all the memory words (shown in figure
2) is recorded si multaneously on ather-
moplastic plate with a single reference
beam. All the memories are recorded on
a plane hologram, rather than a volume
hologram, to preserve shift-invariant rec-
ogniti on.
The neural net discussed are some
way from the ideal. Unti l more advanced
non-linear optical components become
available, it is not possible for these pro-
cesses to be performed in a purely opti -
cal circuit, ie. at the speed oflight. Other
serious difficulti es which will have to be
overcome before large complex prob-
lems can be solved using optical neural
networks include the question of mem-
ory storage capacity [7].
Sunny Bains
R eferences
[ 1) JJ Hopfield, cum/ Ncmorks nud S.vstcms
n>itb Emergent Col/cctil>c Compumrionnl Abilities, Pro-
ceedings of the National Academy of Sciences USA
79 (1982) 2554.
[2) D Psaltis and Farhat, Opticallnfonnation
Processi ng Based on an Associative-Memory model
of eural ets with Thresholding and Feedback,
Optics Letters 10 ( 1985) 98.
[3) S Lin et al, Optical lmplemw tation of the 2- D Hop-
field Model for a 2- D Associative Memory, Optics Com-
munications 70 ( 1989) 87.
[ 4) L-S Lee et al , COIIfinuom-timc opticnl nwrnlncr-
"'"'k associatiJ>c meuwr_v, Optics Letters 14 ( 1989)
162.
[ 5) EG Paek and A Von Lelunen, Hologmpbic nssocia-
til>e memory for n>ord-brenk recog nition, Optics Letters
14 ( 1989) 205.
[ 6) EG Paek and D Psalti s, Optical Engineering 26
( 1987) 428.
[7] J Hong and D Psaltis, Optics Letters 11 (1986)
811.
y
+-
I OPTICAL NEU
Holographic
Associative
Memory
OPTICAL NEURAL NETWORK
OPTICAL
BELLCORE
NETWORK
NEURAL
In a column
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Richmond Holographic tudios Ltd 16
Total Rcgi tcr Inc 19
.l.f Holog.r.tphK\ lmcrn.Hum.\1 I 989
We hope you have found this issue of Holog1aphics Intenlational informative
and interesting. In future issues we will continue to cover artistic, scientific and
commercial uses of holography and to look at the people and companies who
are researching into, marketing and making holograms. Each issue will feature
technical articles, news of the latest developments in the world of holography
and independent reviews.
Om subscription price is 15 or US$25 for four quarterly issues and a copy
of the Holog1'aphics I ntenuztional Direct01y aud Buye1's Guide.
To subscribe, please send a completed copy of the form below, and a cheque
in sterling or US$ (drawn on a British or US bank respectively) or a Euro-
cheque in sterling (card number must be written on reverse), made payable
to Holog7'aphics International, to: Holographies Intenzational, BCM-Holo-
graphics, London WClN 3XX, Britain. Or, if you prefer, we can invoice you.
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Don't forget that we are always glad to receive news about exhibitions, new
products, technical developments, etc, in all areas of holography.
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A. H. PRISMATIC
presents the
HOLOGRAM CENTRE
A Captivating In-Store Display for All Our Merchandise
The Best Products ... The Best Designs .. . The Best Packaging ... The Best Prices
All enquiries (excl uding U.S.A.) to:
A. H. PRISMATIC LTD.
New England House, New England Street
Brighton, Sussex BN1 4GH. England
Tel : (0273) 686966
Telex: 877668 PRISM G
Fax: (0273) 676692
Enquiries in the U.S.A. to:
A. H. PRISMATIC INC.
285 West Broadway
New York, New York 10013. U.S.A.
Tel : (212) 219 0440
Fax: (212) 219 0443
Pictured above: Floor Standing Unit displaying Film Holograms, Laser Jewellery, Laser Discs,
Laser Spex, Hologram Jigsaws: Stickers and Boxes.