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Holography is innovativeand exciting-itmakes alasting impression. So it isvial to be sure thatyourhologram creates the rightimpression.

Ughtlmpressions offeran unrivalled service in thedesign and production ofembossed hologams.Having invented the 2D / 3Dhologram, and leading thecommercial development ofnew concepts such as thest€reogram, we Ne ideallyplaced to advise customerc

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mpres$onson the state-of-the-art andits profiable application.

Our commitrnent toresearch into holographyensures tfutt our customentare the first to benefit fromnewideas and technicalirurovations. Our e:<pertisein hologaphy, applicationsscience and technologytransfer guarantees a levelof quditywhichisboundto impress.

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Light Imprersiona lnc., PO Box 832, Ben Lomond, CA 95005, USATcl: 408 4581991 Tcle* 3808160LIGHTPreridcne Steve McGrcw

Lirht Imprcarionr Europe Ltd, 1 2 Mole Bueincgs Park, Leathcrhca d, S,tncy Kf22 7 AQ' Enghndtilt oszt geCilz Telex: 0lllT4HOLO G Fr* 0372 386548Managing Director: lohn D. Brown

Hologramar dc Mexico, SA de CV, Pino 343, local 3 Col Sta Me la Ribcra' 06400 MexicoTejli47 9046/541 3413 Telcx: 177S942TrAWEPrcridcnt Don Lieberman

Autumn 1987Number I

Editor/PublisherSunny Bains

Deputy EditorMartin Taylor

Consultant EditorKaveh Bazargan

Contributors PhotographyNancy Gorglione Roddy CanasJudith Hackney Greg ChenyDavid Rowe Tobi CorneyPippa Salmon Steven HartKamala Sen John KaufmanPeter Woodd Craig NewswangerDuncan Young Dave Smedley

Published quarterly on the thirdMonday of January, April, July andOctober by:Holograph ics InternationalBCM-HolographicsLondon WC1N 3XXBritain.Tel.: 01 584 4508(International + 44 I 584 4508)rssN 0951-3914

Cover: "Talk to Me", 8"x10"multicolour reflection hologram editionof25 by Greg Cherry. Photo by GregCheny.

@ Copyright Holographics International 1987. All r ightsreserved. No part ofthis publication may be reproduced, storedin a retrieval system, or transmitted in any form or by anymeans, electronic, mechanical, photographic, recording orotheruise, without prior permission of the publishers. Printedin Canada by New Concept, Toronto.

CONTENTS

l|OhTAutumn 1987 Number I

Editorial

NewsZandra Rhodes' holographic window dressing/ADD' Holodisc'/Pulse colourhologram from IC/Holographic sweaters from M & S/Holos Gallery designhologram for space shuttle

Commerical: SurveyPippa SalmonHow holograms are selling

PeopleAlexander's late$ hits/Paula Dawson gets backing from Bell

Computer Aided DesignMartin TaylorUsing holograms to view computer aided design output

California FocusNancy GorglioneA look at the father of Californian Holography and some of his followers

Review/PreviewUkrainian holograms in Paris/John Kaufman's one man show/Events

Lab NotesA look at Vignetting and how to prevent it

Imperial College FocusSunny BainsBlazed lenses and multiplexing for medicine in London

Literature ReviewHow work at CSIRO and Alicante is helping to unravelthe my$eries ofholographic chemi$ry

Holographics InternationalClassified/Subscriptions/Advertising Index

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16

20

23

25

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Autumn 1987 Holographics International 3

EDIIORIAL

elcome to Holographics Interna-tionall We have worked long andhard to produce this first issue

and we hope you enjoy it. Firstly, however, Iwould like to tell you a little bit about Hi andthe people who work on it.

Editorial Policy

Holographics International was set up par-tially due to the fact that there did not seemto be a publication whose sole concern washolography and which was set up for its ownsake, ie. was not set up as an appendage tosome other organization or body. As journal-ists, we take our magazine and the industryit serves seriously. We have no axe to grind(nor holograms to sell). We will report on theindustry as accurately and objectively as wecan.

Hi is privately owned and does not answerto anyone. My feeling has always been thatthe ownership of a publication has a tangibleeffect on its content, and if the owners have astake in the industry, then it is almost inevi-table that conflicts of interest will arise. Inthese situations, the newspaper almost alwaysloses.

Another feature of the existing holographicpress is that holographers, who produce andsell holograms, are allowed to criticise otherholographers in the same market. In the smalland competitive art market, the effect of adamning critical article can not only seriouslyundermine the reviewee but, in certain cir-cumstances, could benefit the reviewer. This,as far as I am concerned, is an unacceptablesituation.

In saying this, there are great difficultiesinvolved in finding individuals who are qual-ified to review holographic art but who arenot "art" holographers themselves. We havenot cracked this one yet and therefore thereis no "critical" review in this issue. We wouldrather have a hole in the content than riskdamaging a holographers reputation becauseof some rival's prejudice. Hopefully we willbe able to solve this problem shortly.

Another area where thought is required isin the acceptance of advertisements. One ofthe aims of the magazine is to promote theholographic industry outwith itself and wecannot do this successfully if we present poorquality holograms in the magazine. We have,therefore, told potential advertisers that wemust be allowed to see the holograms whichthey wish to include before accepting the ad-

vertisement. I take great pleasure in sayingthat, as yet, we have not had to turn anyholograms down, but we will certainly do soin future if necessary.

The two main planks of our policy are,therefore, the prevention of conflicts-of-in-terests situations taking place and improvingthe image of the holographic industry in theeyes of the people who might want to use it.In general this means getting non-hologra-phers to write the bulk ofthe copy (except inthe cases of "Lab Notes" and "LiteratureReview" where this is obviously inappro-priate). Where we do have holographers writ-ing in non-technical sections, there will be alimitation on the scope and subject matter oftheir articles, they will be edited (where nec-essary) and the author's background will bepresented in order to allow the reader deeperinsight into why they wrote the article. Wewill not claim that such articles are objective.

In this issue there has only been one suchauthor, Nancy Gorglione. We thank her fotthe work she has put in and for taking aninterest in the magazine.

Holographics International aims to look atall applications ofdisplay holography in everycountry. We know that this is a vast area tocover, but we will be as comprehensive as wecan.

Campaigns

There are two issues on which I feel thismagazine should take a strong stand. Firstly,the issue of cliqu6ness within the holographicindustry is not a trivial one. There is toomuch infighting and backstabbing amongstwarring factions and this is having an effecton the way potential users ofholography per-ceive the industry.

Another question which deserves some at-tention is that of professionalism. There aremany who feel that there are too many "ar-tistic temperaments" in holography who areeither unwilling or unable to deliver contractson time. This barrier to industry growth mustbe overcome. Holographics Internationalcannot promote the industry if it refuses topromote itselfby providing an efficient, qual-ity service to customers.

Letters

We would be more than delighted to receiveletters (as caustic or sycophantic as you like)on our handling of any subject or issue. Sug-gestions for further articles and further infor-mation on subjects already discussed areequally welcome. In future issues, the Edito-rial will be restricted to a column at most, therest ofthis page being devoted to your letters.

Press Releases

Please send us as much information about

your work or your company's work as oftenas possible. The more we know, the more wecan write. We are interested in all applica-tions of holography and all of the ins and outsof the holographic world. Put us on yourmailing list or phone us when you're doing,or know of someone who is doing, somethinginteresting.

The Staff

The staff of Holographics International is arather nebulous entity, but there are a fewindividuals who I would count amongst my"regular staff".

Martin Taylor, Deputy Editor, has a BSc inPhysics and an MSc in Nuclear Technology,both from Imperial College, London. At dif-ferent times he is responsible for all aspectsof magazine production and promotion.

Dr Kaveh Bazargan, of the Applied OpticsGroup at Imperial College, is consultant edi-tor. In this capacity he advises Hi on all tech-nical matters and writes for the technical sec--rons of the magazine.

Duncan Young is doing the MA in holog-raphy at the Royal College of Art, his firstdegree having been in fine arts. As cartoonistfor Hi he will hopefully help holographers totake themselves less seriously.

Pippa Salmon is studying Physics at Impe-rial College. She has been involved with writ-ing and editing since her arrival at college.Her contributions will generally be businessand commercial features.

My name is Sunny Bains and I am theeditor and publisher of Holographics Interna-tional. I also study Physics at Imperial Col-lege and have been involved in writing andjournalism for some time. I saw my first hol-ogram at the Ontario Science Centre in Can-ada, and have been obsessed with holographyever since. It is my job to run the magazine,and to take the flak if I get it wrong.

Imperial College

Readers may notice that 80% of the regularstaff have or have had some connection withImperial College, and that we have focusedon IC in this issue. We felt that it would behypocritical of us not to start off with theplace that we all know best, but we will betravelling around finding out as much as wecan about other places so that in future wecan write about them with as much authority.

Subscriptions

This is the point at which I point you to-wards the back page and ask you to send usmoney. At fl2, $20 US, per year we feel thatHolographics International is good value. Youwill not get another free copy! From now onyou have to pay. We think we're worth it.

EDITORIAL

4 Holographics International Autumn 1987

DOT]BLEVISION

Pilkington, a British companywho manufacture glass prod-ucts, wil l soon be marketingholographic contact lenses.

The lenses are bifocal, allow-ing people who would normallyneed, say, reading and drivingglasses to have the benefit ofboth at once. This is achieved byhaving two zone plates etched onthe surface of the contact lens.Each presents an image to thebrain depending on how the cor-nea is focused. The more blurredimage will be ignored by thebrain.

The idea for the lenses cameafter work on "head up" dis-plays for aircraft. The contactlenses require the same proper-ties of the hologram that the dis-play does, ie. with both the usermust be able to see more thanone image, allowing the user tochoose which image is most use-tuI.

The contact lenses will costabout f250, $400 US per pair.

Advanced Dimensional Dis-plays, based in Van Nuys in theUnited States, has developed aholographic stereogram calledthe "Holodisk" which projectsan image on top of a flat plane.The hologram is top lit and asthe disc turns, the object alsomoves.

The first hologram of this typewas produced one year ago andsince then ADD have been ex-

NEWS

Zandra Rhodes, the famousBritish clothing designer is usingholograms to display her wares.Two 50x60cm white light trans-mission holograms by PatrickBoyd, who is studying hologra-phy at the Royal College of Art,went on display in her shop inGrafton Street, London on Oc-tober 5th.

Patrick, who was interested inthe use ofholography in fashion,approached Zandra Rhodesthrough a friend in March. Theywent ahead with the shoot inApril at the Royal College of Artwith two models and made fourpulsed portraits, one of eachmodel in each of their twof2000 dresses.

Zandra is said to be very hap-py with Patrick's work and atrial hanging of the holograms inthe shop went well. It is hopedthat the holograms will attractcustomers in the Christmas par-ty season ahead.

The models' hair was styled byEugene of Trevor Sorbie in Lon-don, the make-up was by PhyllisCohen, and the photographs weretaken by Tobi Corney. Theframes were by Andrew Logan.

Patrick Boyd says his next am-bition is to produce an embossedholographic cover for a fashionmagazine, though he has no spe-cific plans to do this as yet.

Wars" hologram of Princess Leiathan other types of hologramhave been.

Interest in these products hasbeen expressed by various toycompanies and it is expected thatthey will find their way intoAmerican shops by Christmas1988.

A patent for the "Holodisk"is pending.

HOLOGRAPTTYCOMESTOHAT]'TE

HOLODNKperimenting with the new formto test its limitations and to seewhich images are most effec-tive. The idea for the holoeramstarted evolving in 1985.

The 360 degree stereogramhas one frame per degree, andthough higher ratios have beentried the resulting hologramstend to be more noisy. The ex-

com

perimental images included hol-ograms of computer generatedimages, of an aircraft shootinginto space, and one of a womancalled "Lovely Rita".

Kevin Rankin of ADD ex-plained people who had little as-sociation with holography likedthe holodisks very much as theyare much closer to the "Star

Autumn 1987 Holographics International 5

NEWS

HOLOGRAPHIC COMIC BOOK:

Holographic International, aFrench company based in Parisand not connected with this pub-lication, brought holography toa mass market when it producedholograms to be sold in conjunc-tion with the Mickey Mousemagazine.

The magazine was publishedon March lOth of this year andincluded in its inner pages a setof holographic stickers and asticker book. A total of six setsof stickers was required to com-pletd the comic which wouldthen be completely holographic.

Four hundred thousand copiesof the magazine were soldthroughout France, Belgium andLuxembourg. Sets of holograph-ic stickers were then sold in22 000 shops at FF4 per set.Nicola Baskevich, director ofHolographic International, said

Marks & Spencer, the wellknown Brit ish clothing chainstore, is now selling a range ofholographic T-shirts and sweat-shirts which bear hologramsmade by Light Impressions. Thehologram theme has provedpopular, and new orders havebeen placed for Spring and Au-tumn 1988.

Light Impressions has knownfor some time that it is possibleto use embossed holograms ontextiles, according to ManagingDirector John Brown, but it tookthe involvement of Marks &Spencer to make it work in prac-'tice. The company used an ap-plication technique devised byHeat-Seal (Textiles) Ltd, whichenabled the garments to passM&S's rigourous machine-washtests.

Light Impressions is claiming

AFRENCHFIRSTthat the publishers of the maga-zine were very happy with theresponse they got from the publicand are likely to want to collabo-rate on future projects. He alsosees potential in sell ing toFrench-speaking Quebec, Can-ada.

The only part of the produc-tion of the holographic stickersactually done in France was thedesign. The master hologramswere produced by Light Impres-sions in the United States, theembossing by Light ImpressionsUK, the hot stamping was donein Italy, and the wrappers wereput on in Belgium.

HOLOGRAPHIC HASHIONa technological first for the suc-cessful application of hologramsto fully washable textiles.

The bonding of holograms toclothing will also be useful forthe permanent application ofbrand and designer labels whichveriff the authenticity of a gar-ment, says Light Impressions, asthey cannot be removed.

The holographic garments areM&S's fastest selling boyswearitems, according to Frank Wood,the company's Senior Technolo-gist for children's wear. M&Splan to stock them in over 100stores.

The new ranges for Spring andAutumn 1988 wil l carry holo-gram application a stage furtheronto cotton/acrylic knitwear.They will feature cartoon char-acters, including Popeye (with a3D hologram of a spinach tin),

the Flintstones, and Disney char-acters, A range for older childrenwill denict drive-in movies and

holograms in the form of catseyes on dark sweaters.

LEONARDOCALI"SFORPAPERS

Leonardo, the journal of theInternational Society for theArts and Sciences, will be pub-lishing a special issue devotedcompletely to holography in thelate summer or early autumn ofr988.

The journal, which is based inBerkeley, California, UnitedStates, has chosen Louis Brill,ex-editor of LASER News to be

managing editor of the specialissue. A call for papers has goneout and artists, engineers andscientists interested in this proj-ect have been asked to provideabstracts by December of thisyear.

Those who wish to contributeshould write to ISAST, PO Box421704, San Francisco, CA94142, USA.

6 Holographics International Autumn 1987

The Shanghai Institute of Laser Technology in China has producedan He:Ne laser which can supply more than 25mW in its singlefrequency mode, ie. with infinite coherence.length. The laser, calledrhe MSI20, is being sod commercially and is shown above with oneof its designers. Further information can be obtained from the Shang-hai Institute of Laser Technology, 3/9 Yue Yang Road, Shanghai,China. Telephone *8621 379650.

MIRAGEGALI,ERYOPEI\S

Mirage Holograms of Britain,which recently became incorpo-rated in the United States,opened a new holographic gal-lery in New York in the firstweek of October.

The gallery, which is situatedin the Herald Centre, HeraldSquare, presently occupies 1500square feet and has a permanentexhibit ion of holograms and aholographic shop. The gallerywill also be marketing a pulse

portrait service.Mirage has been trading since

early 1986 and specialises in thewholesaling of holograms, onboth fi lm and plate. The com-pany have been working on thegallery project since January ofthis year.

Early in 1988 Mirage intendsto open the first of a series ofchanging exhibit ions of collec-tions by holographic artists.

NEWS

U.S.BNKNOTESETTI,ES

US Banknote, which wasbeing sued for breach of patentby International Banknote, theparent company of AmericanBanknote Holographics, has set-tled the case out of court.

The agreement allows for afederal injunction to be taken outagainst US Banknote in theUnited States, preventing thecompany from breaching the'ABN Holographics patent again.The patent refers specifically tothe use of holoerams for secu-

rity applications, ie. the preven-tion of counterfeiting.

Light Impressions, which isalso being sued, will not be af-fected by the US Banknote set-tlement. ABN Holographics hassaid that it wil l be continuingcourt proceeding against LightImpressions. In turn, LightImpressions has challenged thevalidity of the patent in questionand has said that it will continueto defend the litigation.

NAIT]RAL COLOTR PULSEHOLOGRAN,IMADE

Imperial College, London,and Ilford, of Britain have col-laborated to create what isthought to be the first naturalcolour hologram of a living ob-ject using a single laser.

The new technique makes useof "Stimulated Raman Scatter-ing" to produce a three colourpulse from a single green pulseof laser light. A green pulseis emitted from a frequency-doubled Nd:Yag laser and thenpassed into a pressurised gas, or"Raman" cell. In the cell, col-lisions between photons in thelaser pulse and the gas mole-cules cause the wavelength of thepulse to be shifted. In this casethe system is set up so that onethird of the pulse is shifted tored and one third to blue, withone third remaining green. Thepulse which emerges is thereforeideal to produce a multiple pulsehologram.

One of the main diff icultiesfaced by holographers workingwith real colour is that the onlyfilm and plates available to themare either green and blue or redsensitive, and therefore real-colour holograms have had to bemade by matching two pieces offilm together. However, Ilfordhas produced an experimentalfull colour holographic filmwhich it allowed the IC re-

searchers to use for the newsystem.

The connection between Ra-man scattering and colour hol-ography was made by Dr MikeDamzen and Dr Kaveh Bazarganin this case, although it isthought that there is a earlierRussian paper which discussesthe question. The actual workon the project was done by Wil-l iam McGuigan as part of anMSc in Applied Optics.

The hologram made at IC,which was not of very high qual-ity, was a single beam reflectionhologram of a human hand hold-ing a credit card. It is now in thepossession ifllford.

The work was done in thesummer of 1986 and the equip-ment has since been dismantledand redistributed to others in theApplied Optics group. There hasbeen discussion about trying toget research council funding, butas yet no one in the group hasfound the time to make an appli-cation. At least f50,000 wouldbe needed to properly investi-gate and develop this potentialholographic "dream system".

A year has passed since thecompletion of this project butWill iam McGuigan's resultshave still never been submittedto be published.

Autumn 1987 Holographics International 7

HOLOGRAN{SIN SPACE

In July Holos Gallery of SanFrancisco, United States, com-pleted a project for GeneralElectric of the USA to make ahologram which could eventual-ly be used to guide robots tospace shuttles and orbital sta-tions.

The hologram is designed tobe viewed by the robot with aspecial arm equipped with alight source and video camera.The hologram is of a targetwhich allows the robot to get itsbearings and find its way to thedoor control which will let it intothe spacecraft. The hologramhas to be viewed and illuminated

HOLOGRAPIIYINSTTTUTE MOVE

The Holography Institute hasmoved from Emeryville inNorthern California, UnitedStates, to a more scenic locationat Petaluma, outside the city.-

The work of the institute islargely educational and includescourses for both children andadults. In April of this year acourse was held at their Emery-ville laboratory for students ofthe Berkeley campus of the Uni-versity of California.

The new site will be more sta-ble vibrationally as well as beingless expensive than the city lo-cation. The Institute, which isrun by Jeffrey Murray and PattyPink, will now be able to offerresidential courses to those in-terested in practical holography.The new address of the Instituteis 423 Wilson Street, Petaluma,California, USA.

NEWNEWSThe first issue of Holography

News described as "The Inter-national Business Newsletter of'the Holography Industry" waspublished in September.

The newsletter is edited byLewis T Kontnik and is pro-duced in Washington DC in theUnited States. It wil l be pub-lished monthlv. and its format of

the first issue was six "legal"size pages of text. HolographyNews will be'subscription fund-ed and will cost $295 within theUnited States.

Further details can be ob-tained from Holography News,PO Box 9796, Washington DC20016. usA.

POPPORIRNTDavid Byrne of the pop group

Talking Heads and contemPo-rary artist Keith Haring wereimmortalised holographically atthe New York Museum of Hol-ography's laser pulse studio inAugust.

These holograms will be partof the Museum's current exhibi-tion "The Holographic Instant:Pulsed Laser Holograms" untilthe exhibition changes on Octo-ber 23rd. These works wereproduced with a pulsed laserloaned by the JK Lasers Divi-sion of Lumonics Inc and theMuseum claims that they are theclearest, brightest form of 3Dportraiture.

The studio holographer wasAna Marie Nicholson of Holo-graphics, Long Island City.

OI\EWORTD

A hologram, designed andproduced in Britain, may helpease hardship in the third world.

The "ActionAid" hologramwas designed by Andrew Pepperand produced by Light Fantas-tic, using Agfa Gevaert Platesand a model by Albatross. Alllabour and materials were givenfree of charge, and the proceedsfrom hologram sales will go to-wards specific edubational andagricultural projects in some ofthe poorest parts of the world.

The hologram is a white lightreflection hologram of a globeinside a skeletal cube. It costsf145 and is available from LightFantastic Gallery of Hologra-phy, 48 South Row, The Mar-ket, Covent Garden, LondonWC2 8HN, UK. Credit cardholders can phone 0l 836 U23l4 (+44 | 836 642314), For moreinformation about ActionAidcontact them at Hamlyn House,Archway, London Nl9 5PS,UK. Telephone 01 281 4l0l(+44 | 281 4 l0 l ) .

NEW

from the same angle, 90 de-grees.

Init ially Vince Di Biase ofHolos Gallery, who helped de-sign the hologram, thought therobot would be confused by thedirect reflection of the l ightsource obscuring the target im-age. General Electric, however,assured him that this would notbe a problem and was provedcorrect: initial tests were verysuccessful.

General Electric was appar-ently very pleased with the hol-ograms and intend to patent thisapplication of holography.

LASERSNIITHLABELS

Steve Smith of Chicago,United States, now trading un-der the name "The Lasersmith",has just completed a contract toprovide labels for bottles ofjew-ellery cleaner and silver glaze.

Tarn-x, the manufacturer ofthese products, approached MrSmith via its packaging compa-ny and decided to go ahead witha pilot project although TheLasersmith had never made My-Iar holograms for labels before.An initial run of 50 000 labelsfor each product has been testmarketed and Tarn-x has al-ready asked for 100 000 moreof each to be made.

The images on the labels show,respectively, a jewellery boxoverflowing with gold and gemsand a silver tea set. each withthe name of the product over-printed.

Newport Corporation of theUnited States has introduced thecompact model HC-1034 Hol-ography Workstation designedfor use in non-destructive testingand design evaluation.

The compact model is the lat-est addition to the company'srange of holography work-stations, and is intended for usewhere space is limited. Newportdescribes the system as fast, withhigh quality holograms beingproduced in ten seconds of ob-jects up to l8in in diameter. Theholograms are viewed with abuilt-in TV camera.

The workstation features theNewport Thermoplastic Record-

er which should ensure "user-friendly" pushbutton operation.It is also completely self-con-tained as it includes a high-per-formance honeycomb opticalplatform and pneumatic vibra-tion isolation system: no specialfacilities are required.

Other advanced features in-clude console-operated moto-rised zoom and focus for preci-sion under test. The system priceis $50 975.

Further details can be obtainedfrom Rudy Garza, Product Man-ager for Holography, NewportCorporation, PO Box 8020,Fountain Valley, CA 92728,uSA. Tel (+ r) 714 963 9811.

NEWPORTWORKSTATION

8 Holographics International Autumn 1987

IL

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With over 1b years experience we offer a consultancy service in design and equipingof holographic laboratories including DCG holography.

Contact: Ralph Gullen, UK Optical Supplies84 Wimborne Road West, Wimborne, Dorset, BH21 2DP, EnglandTelephone: 102021886831 Telex: 418253 PROTLX G Fax: (02021742236

NEWS

HOLOGRAPTTYDIRECTORY

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CONFERENCECONTROVERSYThe "Third International Con-

rr'rcDCs on Holography ,97',,

:neduled to be held in Cooen_:.rgen. Denmark, this ,tugust,ir) cancelled. The Chairman of:r.' Conference Board of Direc-: 'rr. Dr Teit Rizau, said that the-rn.c l la t ion was due to a munic_.:.rl strike in Denmark shortly\lore the conference was due t;i : i r ' p l ace . Howeve r , i t i s:r,)usht that few people were:.rnnlng to attend in any case,\iruse of reservations about the,: 'grnization of the event.

\tanr holographers were un-:.rDp.\ that in order to attend the, , 'n ference they would be re-iu i red to submit a holoeram^rrch would be kept for sp-ecial

exhibit ions by the conferenceorganizers. Also. the res isna_tion from the Board of Direc-torsof Dr Tung Jeong, who wastroubled about the lack of con_sultation between the organizersand himself, caused ;oncernabout the event. In addition.Dr Nils Abramson of Sweden.whose name was included on thelist of Conference Directors. saidthat he did not give permissionfor his name to be used in thisway.

It is now planned that the con_ference will be held in Denmarkin 1989, wi rh the lggg confer_ence being held at Lake ForestCollege in the United States.

A new edition of the Holos-raphy Directory, produced b'ythe Museum of Holography inNew York. wil l be publi ihed inNovember.

The publication, whicn wasdue to come out in July, is beingedited by John Reii ly. It wil l

"Wavefront". the holographyjournal associated wi th theNorth West Coast HolographySociety (United States and Can-ada), will not be published againuntil June 1988 at the earhest.

The journal, edited by Al Ra-zutis. has lost the funding it re_ceived from the Canada iounciland has been unable to find anvother sources of revenue for thetrme being. Mr Razut is ex_

CRITICAL PERIOD FOR WAVEFRONT

contaln the names, addresses andof business interests of holosra-phers around the world. It ianbe obtained from the Museum ofHolography, 1l Mercer Street.New York. NY 10013. USA, ata cost of $50.

plained that this was becausethose in a position to help"Wavefront" had been offendedby various crit ical commentsmade in the last few issues, es_pecially in a review of the Exno_tec Show in Montreal, and anarticle on holography patenrs.

Mr Razutis wil l be lookine forindustrial or orher rponroirhipln order to resume publishing themagazine in June.

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Autumn 1987 Holographics Internat ional l l

COMMERCIAL

I

ass-produced holograms first cameinto the public eye in the early1980s, when American Bank Note

Holographics of the United States began toproduce small, embossed holograms for cred-it card companies. To ABN it was a logicalextension of their security printing operation,but it came at the start of an important stagein the development of holograPhY.

Advances in production methods had madeholograms relatively cheap and easy to man-ufacture, particularly where large numberswere required. Because they were very diffi-cult to forge, however, the potential of holo-grams for use as security markings wasquickly recognised.

To prevent counterfeiting, holograms havebeen applied to machine parts, perfume con-tainers, video tapes and many other items.Bank books, high security bonds, ID cardsand passports are also being protected by hol-ograms, and most people regularly carry atleast one hologram on a credit or cheque card.Holographic security marks have the addedadvantage of being easy to check, as well asbeing inexpensive and almost impossible tocounterfeit.

The Holocopier from Applied Holographicsof Britain is an example of a new generationof hologram production methods. It looksrather like a photocopier and has a micropro-cessor to guide the operator through the proc-ess.

It was originally developed for sale toprinters and studios. However, only two ofthe machines have been sold. Dr SimonBrown of Applied Holographics, explained,"We carefully control the transfer of infor-mation", ensuring that the security of holo-gram production is maintained.

The company uses its Holocopiers to pro-vide a bureau service for its customers at arate of up to 52 000 reflection or transmis-sion holograms per copier hour. Among thebest known projects they did using the Hol-ocopier was a range of fantasy game charac-ters, which were given away with Nabisco'sShreddies breakfast cereal earlier this year.

More recently, Tonka Toys have launched aline of action toys called "Supernaturals",centred around dual channel holograms. Ap-plied Holographics made holograms whichshowed the good and bad characters Tonkahad designed depending on the angle of illu-mination. A spokesman from the Leslel: Bish'op Compant, which deals with Tonka's Pub-

lic Relations, described sales as "absolutelyamazing". These two projects look set to bethe first of many, as holograms can now beproduced at the same rate as the rest of theDroduct.

Holograms are used in an increasing num-ber of promotional displays and in packaging,thanks to their remarkable visual impact.Large plate holograms like those often seenin holographic galleries can form the centreof static display stands, as was demonstratedby a striking I4sa promotion at FrankfurtAirport.

On a smaller scale, holograms can be in-corporated into packets and hand-outs such asthe German Estee Lauder advertising cardwhere the glass part of the product containeris replaced by starfoil. A well produced and

designed hologram can, significantly improvesales of toiletries, food and similar items.

Light Impressions, of the United States andBritain, have produced holograms for severalcompanies, including Kelloggs, Coca-Colaand Bassetts, a confectionery company. Thesewere included with products as free gifts inorder to boost sales. Other holograms pro-duced by Light Impressions have been usedfor products ranging from tote bags for luxu-ry cosmetics to neck hangers for bottles ofhousehold cleaning fluid.

"Rainbow" holograms are particularlypopular as their attractive range of colourscatches the eye. Advertising company S JCorbett of the United States used this prop-erty of the hologram to attract doctors to abrochure for a new medicine that they werepromoting for the pharmaceutical companyUpjohn.

Bill Harrison, in charge of commissioningthe hologram, said that they were quitepleased with the work that American Bank-note produced for them. However, he doesfeel that some other holographic companiescould improve their service as far as gettingthings done on time is concerned. Most com-panies, he said, were more efficient at sellingthan at providing the service.

Corporate identity can also be promotedusing holography, by enclosing holograms incompany reports and other literature or byincorporating them into 'executive gifts' fea-turing the organization's logo. Headed note-paper bearing a hologram has added impactand has been proven to increase response per-centages in direct mail campaigns. However,a poor hologram can have the opposite effect.

As it became possible to make thin, cheapholograms, interest was aroused in combiningholography and printing. In 1984, AmericanBank Note applied copies of an eagle holo-gram to the cover of the National GeographicSociety magazine. The hot stamped rainbowhologram was l/50 000th of an inch thick.

Since then many publications have carriedholograms of increasing sophistication. Hotstamping is used in most cases where holo-grams are applied to publications in largequantities. As well as the economy of theprocess, hot stamped holograms integratewith the surrounding surface more success-fully than pressure sensitive stick on holo-grams and they tend to be less shiny.

Holograms have now been used in adver-tisements in magazines and on the covers of

A scene from 'The Mirrorstone'.

l l Holoeraohics lnternational Autumn I987

COMMERCIAL

Htilograms in Print: making the grade

nunrerous books. Zebra Romance novels arecnrbell ished by embossed holograms whichhlre several interesting features. The main.ubject of each hologram is a model whichrppears to be alternately in sunlight and innroonlight, depending on the viewing angle.Ii r iewed from below. as it would be if thebook were on a high shelf, the words "AZebra Romance" are shown.

Black Market. a thriller published by Hod-,ler & Stoughton in September, has a coverhologram of a hand grenade against a New\brk skyline. The run of 100 000 hologramsrras produced by Light Impressions at theirp lent at Leatherhead in Br i ta in.

A hologram on the cover of the PenguinBoo,ts novel, Stone 588, shows the diamond*hich is the subject of the book. The idea ofusing a hologram on the cover came fromPenguin themselves but it was designed andproduced in foil by Light Fantastic of Britain.

Penguin publicity agent Humphrey Priceremarked that the project had been good val-ue for money. although there were no plansto use a hologram on a book cover in thefuture unless it were particularly relevant.

Peter Woodd. Managing Director of LightFantastic, described the current processes forapply ing holograms to paper as "cumber-some", and said that the company was re-

searching more direct methods.Mr Woodd's company also provided the

holograms for the extremely successful chil-dren's book The Mircorstone, which incorpo-rated holograms in the i l lust rat ions. Thebook. which was written by Michael Palin,i l lustrated by Alan Lee and published by Jon-athan Cape. was joint winner of the ' innova-

tion' section of the 1986 Smarties Prize forChildren's Books.

Viewing conditions and integration of theholograms with the rest of the i l lustrationswere given very careful consideration by de-signer Richard Seymour. The result is an ex-ample of holograms in books at their best.The seven holograms were precisely posi-tioned by Blockfoil Ltd and Malvern Press ofBritain. who adapted their equipment to im-prove accuracy. To minimise costs, holo-grams for different pages were embossed to-gether on the same sheet of foil keeping thecost of the holograms down to about 50p perbook.

The general public's continuing fascinationwith the hologram has also created a growingdemand for holographic novelties.

The many holographic galleries and exhi-bit ions which have opened in many large cit-ies usually sell a range of holographic novel-ties. including embossed stickers, jewellery,

key rings, greetings cards, etc. as well asmore expensive framed plate holograms. Thetravelling exhibition touring Canada, Imagesin Time and Space is accompanied by a "hol-ographic boutique", operated by GLobaL Im-ages of the United States.

Although large companies such as Ameri-can Bank Note wil l normally not considerorders worth less than $25 000, others mayaccept a minimum run as low as four hundredsquare small holograms, which would costabout 75 pence each. For larger quantitiesthis would drop substantially.

Some companies have built up a range ofstock holograms so that small users can buyoff the shelf and avoid the origination costsof a custom-made hologram. Global Images,for example, claims to have one of the bestselections, offering a number of differenttypes of hologram inc luding f i lm. d ichro-mate, embossed, stereograms, and computer-generated holograms.

Holography is becoming more and morewidely used to promote, to decorate, and tosell. The industry is improving all the time,as professionalism catches up with technicaladvances and users realise that a good holo-gram requires a good model.

Pippa Salmon

Autunrn 1987 Holographrcs Inrernat ional l3

PEOPLE

Alexander, the famous British sculptor and, more recently, holog-rapher, is being featured at the new Power House Museum in Sydney,Australia. The museum commissioned Alexander to make hologramswith the theme of "The Senses" which are thought to make up thelargest ever commission of display holograms.

The museum is moving to a new building where 30 exhibit ions onthe history and creativity of Australia wil l be housed. Alexander'sholograms wil l be placed in the first gallery of the first exhibit ion onthe "Human Experience". As well as the five senses of touch. smell,taste, hearing and sight, the collection includes holograms on the"sixth sense" of intuit ion or awareness, and the sense of balance orproprioception.

Also this October, Alexander is representing Australia at one ofthe world's most important exhibit ions of modern art, the Sao PauloBienale in Brazil. To this exhibit ion he is taking three holograms:"War into Peace2" , "Freedom"; and "Final Gestures - Homage toDurer" as well as his second holographic film entitled "The Dream"'

The new film, longer and more complex than his first film "Masks"will have it's premiere in Brazil and after that will move on to theMuseum of Science and Industry in Los Angeles. United States.

ALEXANDER SENSES ACHIEVEMENT

P

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\

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Scene from Alexander's new film

l4 Holographics Internat ional Autunn 1987

Ultrafine Technology, a Lon-don-based company offering op-tical inspection and testing sys-tems, is now able to provideadvice on the application of hol-ography and related laser tech-niques to industrial measure-ment, following the appointmentofTony Ennos as a consultant.

Tony was formerly head of theHolographic Unit at the UK Na-

FRANCIS GOESHT]NGARYFrancis Tirf|l, a Research As-

sistant working with holographicstereograms at Kingston Poly-technic in Britain, has been givena grant to work in Budapest,Hungary, for five months fromOctober lst under the supervi-sion of Professor Greguss of theApplied Biophysics Departmentat Budapest Technical University.

Mr Tuffu first contacted ProfGreguss after reading some ofhis research papers, which wereprimarily concerned with medi-cal applications of holography.They arranged to meet at ProfGreguss' lab where Mr Tuffywas imDressed with the standard

of the work and the quality ofthe holograms.

On his return to Britain, MrTirffy found out about a BritishCouncil scheme to give scholar-ships to postgraduates wishing towork in Eastern Europe. Whenapproached, Prof Greguss agreedto supervise Mr Tufff and theBritish Council agreed to fundhim. He is on five months unpaidleave from Kingston Polytechnicuntil March 1988.

The work he will be doing inBudapest will apply some of ProfGreguss' work with panoramiclens systems to holographicstereography.

BELLRESOTRCES PAULAPaula Dawson, an Australian

holographer known for her workwith large objects, has obtainedsubstantial financial backing tocontinue her work in displayholography. It has been speculat-ed that her benefactors may alsobe planning to set up a holo-graphic research centre in Aus-tralia.

Bell Resources, a large Aus-tralian company, approached MsDawson in June, on the adviceof the wife of the Chairman oftheir board of directors who hadseen and appreciated her holo-graphic work. According to IanWildy of Bell Resources, MsDawson will be given all theequipment she needs to pursueher holographic interests. Thereis, he says, no set budget, butshe will receive whatever equip-ment she requires within the

"limits of common sense".When asked about the future

of the company's involvement inholography, Mr Wildy said theyhoped eventually to work in the"wide spectrum of holography",and they were especially inter-ested in doing work in non-destructive testing. Although atthe moment "Bell ResourcesHolographics" consists solely ofPaula Dawson, there has alreadybeen collaboration between MsDawson and researchers atCSIRO, an Australian govern-ment research laboratory. in-iluding Dr Hariharan unO ItHegedus.

On the subject of a holograph-ic research centre, Mr Wildywas only prepared to say thatthis was an option that Bell Re-sources had open to them.

PEOPLE

ENNOS JOINS UTIRAFINEtional Physical Laboratory. Hewill be giving applications ad-vice to companies wishing to useholography for detecting faultsin materials and components, aswell as providing back-up tousers of Ultrafine's holographiccamera.

This camera is an ideal low-cost system for companies wish-ing to start using holographic

testing techniques, says Ultra-fine. Typical applications in-clude measurement of the defor-mation of engineeringcomponents under stress, vibra-tion analysis, and non-destruc-tive testing.

Contact Ultrafine at 16 FosterRoad. Chiswick. London W44NY. Britain. Tel 0l 995 2303(+44 | 995 2303).

TLYNGTHERED CROSS

Holodesign is a newly launched Swiss laboratory making large runfilm holograms and custom-made plate pieces, incluling multiplexworks.

It is owned jointly by Geneva-based holographer Pascale Barre, andSimone and Malcolm Ford, who are in Basle. The Fords are possiblythe only people wholesaleing holograms to outlets in Switzerlandthrough their company Laserart Ford AG. They market a range ofstandard stock holograms in distinctive packaging.

Pascale Barre and his fellow holographer Michel Cardinale areflying the flag for holography in French-speaking Switzerland. Theyhave a smnll retail outlet, Holos Art Galerie, in Geneva. In addition,they have made many custom holograms such as the one of Christpictured above, for which Pascale himself was the model.

Autumn 1987 Holographics International l5

he production of holograms fromcomputer-generated images could be-come a useful design aid as a step

between perspective drawings on a flat screenand scale models, which are expensive andtime-consuming to construct. Pioneering workin this field has been done by a team fromBritain's Central Electricity Generating Board(CEGB), but a lack of enthusiasm from theBoard's designers means that the extra fund-ing to further develop the idea has not beenforthcoming.

Of the various techniques which have beensuggested for making holograms of computeroutput, the CEGB team chose the productionof stereograms from a series of perspectivedrawings as the most likely method. Twodemonstration holograms have been made, thefirst a rainbow hologram of the control roomat the Heysham 2 nuclear power plant, andthe second a laser-illuminated 360o hologramof the cooling circuit of the Sizewell B nucle-ar station.

A series of 24 perspective views were usedfor the Heysham hologram, each a view in-wards towards a central point. They werehorizontal views at l.5o intervals around anarc. These drawings were copied onto glassphotographic plates, which were held in aspecial jig to ensure the same relative sizeswere maintained.

The master hologram was produced using a20mW He:Ne laser. The beam was verticallypolarized and split in a 15:1 subject:referenceratio. The subject beam was expanded andscattered by a ground glass plate placedagainst the drawing plate.

The mask slit on the hologram plate washorizontal and was moved vertically by itsown width of 10 mm after each drawing hadbeen exposed. Each strip was given a 50 sec-ond exposure, and the hologram was devel-oped to a density of 3-2 and then bleached.

The resulting image gives a good three-dimensional impression, the CEGB team says,although it does rotate as the viewer moveshis head from side to side. This is becausethe drawings were views from points on anarc, while the holographic plate is flat.

The team have made image-plane rainbowcopies of the master for viewing in whitelight.

The more ambitious hologram of the Si-zewell cooling circuit was set up as an octo-gon formed by 250 x 200 mm plates whichthe viewer can walk around to see the imagefrom all sides.

A total of 224 perspective drawings weremade, 28 for each holographic plate. To avoidlarge jumps in the drawing plane when mov-ing from one holographic plate to the adjacentone, each drawing was rotated to face the

centre of the strip to which it was exposed,rather than being held parallel to the holo-graphic plate.

A pulsed ruby laser was used this time, toavoid earlier problems of movement duringthe exposure, which was reduced to 500ps.The laser was operated at near maximum out-put at fixed Q, giving pulses of 1.5J. Thebeam ratio was set at27:l reference:subject,and 9 mm slits were exposed to 28 drawingsper plate.

A special viewing system had to be set upto illuminate the octagonal set of plates. A20mW He:Ne laser was used together with arotating mirror to scan the beam around theoctagon. The laser was placed pointing ver-tically upwards in the centre of the octagonand the mirror was positioned above it in theroof of the display unit.

The team has identified a number of areaswhere their methods could be improved, butthey believe their holograms have demon-strated that the remaining problems can beovercome to enable a useful extension ofcomputer aided design to be developed. Theyhave coined the term computer holographicaided design, or CHAD, to describe the proc-ess.

With the use of more sophisticated tech-niques and equipment they believe that thewhole process could be carried out by a singlemachine linked to a computer. This could pro-duce holograms on film very cheaply in un-

der an hour, and copies in a few minutes.This would require the use of an alternative

method of producing the images of the per-spective drawings, such as projecting themonto a screen, using a laser written erasabledisplay, or even more futuristic devices like aliquid crystal display or a magnetic-opticaldevice directly connected to a computer.These latter devices would eliminate the needfor an intermediate photographic stage entire-ly.

The holograms produced have aroused con-siderable interest whenever they have beendisplayed, and the CEGB's Generating De-sign and Construction Division conducted asurvey of its staff to find the likely demandfor an engineered production unit should it bebuilt. The response, however, was disap-pointing and the CEGB has now shelved workon the project indefinitely.

It would take about fl million to develop aworking prototype of a machine to produceholograms directly from computer-generatedimages, Dr. Bryan Tozer, the leader of theresearch team, believes. He now expects thatanother company will develop a similar sys-tem to that which he envisaged, even thoughtwo years ago his team was ahead of every-one else in this field.

This work, done at the CEGB\ Marchwod Laboratories in Sou-thmpton, is descibed in a paper presented to the recent conference"Holographic Systerc, Conponents and Applications" held in Can'bridge Jron lTl2 Septenbu 1987, entilled "Hologrophic Disphy o!CAD OutDut" b\ LA. Armur et al.

COMPUTER. AIDED. DESIGN

CHADATCEGB

Martin Taylor

l6 Holographics International Autumn 198?

loyd Cross came to holography froma physicist's background. As part ofthe Willow Brook research lab at the

University of Michigan, he had been workingwith lasers since 1960, and ruby masers be-fore that. Jerry Pethick was a Canadian plas-tics sculptor with a curiosity about hologra-phy. Lloyd made Jerry a hologram, and therest, as they say, is history.

In 1968 they set up a sand-table in the base-ment of a building in Ann Arbor, Michigan,and with a kypton laser made ll x l4in lasertransmission holograms.

They devised the sand-box holographiccamera together as a solution to the problemofvibration isolation. Fine, washed silica sandfilled a large wooden box, mounted on cin-derblocks. Partially inflated innertubes satbetween the cinderblocks and sandbox, fur-ther isolating the system.

Expensive optical mounts were replaced byoptics mounted on PVC pipe and placed inthe sand. They began making holograms ofhitherto unimagined quality. The word gotout on campus and Emmet Leith and his col-leagues came over to take a look at what theyhad to admit were the finest holograms they'dseen.

The Vietnam effort found Willow Brookdoing serious R&D on laser guided bomb sys-tems. Lloyd made his choice and ended up inManhattan, first at the NY School of Music,then on to a theatre on Prince St in Soho.Kinetic kypton and He:Ne laser mandallasfrom sound graced the walls of the small the-atres of New York.

From here, Lloyd made his way to goldenCalifornia, to San Francisco, but first he tooka brief stop off in Verde Valley, Arizona, withPeter and Ana Marie Nicholson. Holographiccameras were set up and pulsed holographyexplored, but Lloyd's mind was on stereo-grams. Here, among the red rock hills andoak creek canyons, he worked out the basicsof multiplex holography.

To understand the impact of Lloyd's teach-ing in California, the aesthetic and culturalmores of the time, as well as the place itself,must be considered.

California lacks a deeply ingrained culture.The original inhabitants, the Indians, were acomfortable lot who took plentiful food fromthe land and sea. They were rapidly enslavedand decimated by European settlers. First toarrive were the Spanish, up from Mexico.They controlled trade and determined eco-nomic growth until Marshall yelled "gold"in 1848.

In the years after 1848, miners and settlersfrom the rest of the country and Europepoured in, while the Spanish-Mexican popu-lation continued to increase. The railroads

CALIFORNIA.FOCUS

LLOYD CROSS

imported the Chinese, and additional Orien-tal folks and Pacific Islanders joined the mi-gration. Today, California is a multi-lingual,diverse and rich ethnic soup with only a briefgroup history and an easy custom of takingwealth from the ground.

At the time of Lloyd Cross' arrival, SanFrancisco (the City, as all her loverp call her)was an alive place full of powerful philoso-phies of life. The Beats with their unwashedpoetry had opened things up; the hippies hadadded their music and space; a personal spacewhere the exploration of consciousness wasthe norm.

We looked to New York as the centre of theart market of the early seventies. We listenedto Andy Warhol, who told us the everydayobject was art. The artist as voyeul the artistas media manipulator, was just being born.Our search for truth had led us to science.We all wondered about technology. Hadn'tartists always made art with the technologytheir contemporary civilizations had pro-duced?

Into this clime came Lloyd Cross and JerryPethick. They got their City legs at the Ex-ploratorium, the giant sensory emporium ofscience started by one of the Oppenheimerbrothers, in karmic reparation for Los Ala-mos and Almagordo, before setting up holo-graphic shop in the Mission district.

Here they rented space at Project One, arental co-operative warehouse. Four sand-ta-bles were set up, and a shingle proclaimingthe School of Holography was hung on thedoor.

The first student to sign up, $7.50 registra-tion fee in hand, was Lon Moore. Soon Lon,joined by other students, Gary Addams andFred Unterseher, began teaching holographyat the School. The school soon moved a fewstreets over to a warehouse on Shotwell St.The warehouse had formerly housed a whitebread bakery, the smells of which still per-meated the air.

Posters about town, a few newspaper arti-cles and a tent at an art fair attracted studentsto the new school, the author among them.You could sign up for a weekend intensiveholography workshop, or meet weekly for theentire sixty dollar six week long course.

The School of Holography during the daysof Lloyd Cross was revolutionary in the de-velopment ofholography. You did not have tobe a physicist anymore to make a hologram.The stable table took it out of the physicist'slaboratories and into the hands of the people.The holograms were brighter than the physi-cists' anyway. Expensive lab equipment wasshunned; we were taught to explore refusecontainers behind industrial parks for ourcomponents. People found lasers this way.

Lbyd Cross demonstrating one of his laserscan stars.

If the sand+able was the stabilizing mass inholography, Lloyd's inherent philosophies andenthusiasm were the inspiration. The atmos-phere, the vibes, at the School were so in-tense; holography was what we had all beenlooking for. Not just holography as the endproduct; all creative paths to holography wereembraced. Suddenly we were artists, usingholography. Lloyd taught and encouraged usall. We all felt at the time that history wasbeing made.

Everyone was very intent on making holo-grams. People wandered in off the street andwere accepted. Exotic and wonderful peoplelike Michael Kan were made so at home thatthey moved into the warehouse. People whohad been thought strange all their lives weresuddenly not just tolerated but accepted andencouraged. Great thoughts manifested,beautiful holograms and machines were made.

The School grew and larger sections ofthewarehouse were released. Eventually, as itevolved into the Multiplex Co, it was to cover15 000ft'? of the warehouse. People carvedout cubby-holes to live in; under a tie-dyedparachute tent, Lloyd lived and perfected hissystem of multiplexing stereogram holo-grams. A business grew, its story worthy ofa book.People spiralled out of the School's labs andinto their own basements and warehouses.Lloyd's students went out to spread the mes-sage of the whole image. Lloyd moved up thestreet. He worked out the equations and per-fected his idea of an optical quality plexiglasliquid-filled lens. He worked on multiplexedstereogram solar tracking systems. He freel-anced, built ever evolving stereogram tensionstructure cameras in Los Angeles and Japan,consulted in Sweden, and organised exhibi-tions in Australia.

Lloyd is toying with a new company name,maybe the Cross Holographic Camera Com-pany of America, for the new mini holo-graphic camera he's been thinking about.

Continued on page 29

Autumn 1987 Holographics International l7

t's five in the evening on a hot day inearly August as we pull out of our drive-way in Sonoma County, Northern Cali-

fornia. After days on the telephone, appoint-ments have been scheduled with holographersin Southern California, and we are now fol-lowing the California yellow brick road. Theasphalt arteries speed us through the startlinglandscapes that are the everyday common-place to Californians. We're off to see thewizards of holography.

We arrive in Los Angeles on the followingday. LA originated as a series of neat littlesuburban towns. These grew in populationand size, until today, Los Angeles is a sprawlof merged townships, each with a distinctculture, criss-crossed by freeways.

Our first call is in Van \.{uys for a visit toChris Outwater and Craig Newswanger ofAdvanced Dimensional Displays.

The first of their two industrial park suiteshouses their holography laboratory. This cur-rently includes facilities for large formattransmission stereograms with full in-housecinema capabilities. Two Newport tables, one8xl2 ft and one l0xl6 ft, occupy a largeportion of the lab. The smaller table stabiliz-es the computer controlled camera used toproduce the stereogram masters. Copies aremade on the larger table.

An optimum assortment of optics are froma variety of sources, including Newport, Jo-don and the neighborhood surplus store. ADDhas recently switched to the Coherent Innovaseries of lasers, including two argon laserswith a 5W single mode outpul and a kryptonwith a lW TEMoo output in the red line.

The second suite houses the offices, show-room, and a smaller R&D holographic cam-era. We are in the second office of this suite,watching Craig Newswanger's holodiscs ro-tate. An 8in diameter reflection fi lm holo-'gram of "Lovely Rita" slowly undrapes herrobe below the shoulder as she rotates through360 degrees,

The holodisc rotates on a turntable with theilluminating light above the centre of the hol-ogram. Rita is image-planed half out of thefi lm surface of this reflection stereogram.Computer animation geometric figures con-volute and evolve in another Holodisc. Mach8 jet planes rocket into space in a third.

Craig, 34, Vice President of ADD, is fullof enthusiasm about plans for other Holodiscimages. The enthusiasm is inspiring to us, asit already has been to Hasbro toy manufac-tures and other clients. These Holodiscs arethe first holograms I've ever seen that ap-proach fulfilling science fiction fed public ex-pectations of the medium.

ONTTIEROAI)

CALIFORNIA.FOCUS

Christopher Outwatet President of ADD,walks into the office. Chris first read aboutholography in Scientific American in 1966,when he was 17. He began trying to makeholograms in his garage, reading everythinghe could find about the medium. After ninemonths of trying, he made his first hologram.

During these garage holographic days andlater, Chris worked with Eric von Hamer-veld. Chris and Eric eventually wrote a booktogether, "A New Guide to Practical Holog-raphy", published by Pentangle Press of Bev-erfy Hills in 1974.

Chris paid his dues as a holography instruc-tor at the University of California at Los An-

"Yog's First Adventure" muhicolour reflec-tion hologram composite by Nancy Gor-glione.

i

ABOT]T THE AT]THORNancy Gorglione was a student at Lloyd Cross' school of holography in San Francisco in

1972, before setting up a holography lab in a .basement with Lon Moore and Randy James,modestly called " Celestial Holograms".

However, the colourless limitations of holography at that time made the study of Jau looklike more fun, and she did this for the next few years. She made stained glass windows for aliving , which lead her to the stu.dy of vacuum deposition of thin films . She also directed '' LaserAffiliated', whose laser light performances were aimed at the synchronisation of light, soundand motion.

Vacuum deposition and laser light shows led her back to holography, where there was nowcoloun She taught holography at a couple of Universities, qnd as a Caffirnia Artist inResidence.

Now she likes to compose large pictures with reflection holography. These have recently beenone-of-a-kind, multicolour reflection hologram composites fashioned of glass plates mountedtogethen Ahhough she didn't know it at the time, the last ten years have, she says, been aUniversity to learn to mske these pictures. Colour relationships within the hologram compos-ites, spatial arrangements and repetition of images are all based on Ja?z patterns.

Her husband, Greg Cherry taught himself holography in 1977, reading everything he couldfint, and expeimenting. He was, in his own words, a hobbyist holographer. His backgroundin metqls technology and prototype model buiWing for th Califurnian electronics industryfound him making spatial filters, spin coaters, overhead mirror mounts and computer integralmachinery for fun.

He set up a table in his garage in Novato, then moved to Sebastopol in part for theunderground basement. His hobby of holography began to look like a business as his hologramsfound buyers.

Now they have a smnll lab dedicated to reflection copies with a 4x6ft cinderblock with anOEM 30mW He:Ne laser. They painted a steel top on the grid for ease in recording set-upsand eventual computer optics control. Spin coaters, used in tiethanolamine colour control,line on a bench in the front of this lab.

The rest ofthe laboratory was built when they first started living together. They divided theX)0ft2 basement into a darkroom and master camera room. The concrete camera's isolationtable measures 5x9ft. An ISin overhead collimating mirror allows a wide angle of view in thefinished holograms. They master with a hybid small frame Argon laser, and make largereflection copies with a 50mW He:Ne. They are cunently developing a third camera to explorelarge format t ransmission holo grams.

llhen they manied in 1985, they started the Cherry Optical Company.Current products include three lines of glass plate holograms, open and limited editions,

and one-of-a-kind holographic composites. They sponsor touing exhibitions and permanentinstallations of their holograms.

They recently installed a permenent holographic display at Lawrence hall of Science inBerkely, a museum running afull time children's science educational programme. Their displayhas emmples of 24 different types of holograms with illustrated text. It also includes a working4x4ft holographic table which they made.

l8 Holographics International Autumn 198?

geles Extension from 1972 to 1982. Duringthis time he also worked for Laser ImagesInc. Laserium, doing holographic researchand making holographic diffraction gratingsfor laser scanning effects. While at Laser Im-ages he met Craig, an electro-optics engineer.

As holographic consultant for a Walt Dis-ney Enterprises subsidiary, Chris was respon-sible for a programme to use holograms invarious Disney activities. He eventually de-veloped a holographic lab at Disney over aperiod of five years, which became the main-stay of ADD in 1983.

Currently, Chris and Craig are helped inthe darkroom by holography technicians andbrothers, Kevin and Rick Rankin.

We move into the next room, a high-ceil-inged warehouse that serves as showroom forADD's rainbow stereograms. These stereo-grams present a refined evolution of LloydCross' multiplexes. impressive in sizes up to32x70in. They are clean and bright, with lit-tle, if any, visible movement within the ver-tical slits that compose the holographic move-ment.

With clients such as Kray Research, Bur-roughs Corporation, MIT and NASA, ADD'sstereograms often include sophisticated com-puter animation, which lends itself to smooth-ly animated multicolour motion.

Images reflect the gamut of ADD's clients,from a computer animated Toyota with rotat-ing engine, to a beautifully registered multi-colour animated version of a General Electricpower plant. Chris and Craig's laser l ightshow background is obvious in the multicol-our stereogram "Explosion", composed offine-edged and swirling laser diffraction pat-terns.

ADD is gearing up a mass production re-flection copy factory, and is involved in afive person partnership which is opening anew holographic gallery in the Los AngelesMuseum of Contemporary Art. The first ex-hibition, scheduled to open in December, willfeature commercial and fine art holographyfrom a variety of holographers. Partners in-clude Gary Zellerbach from Holos Gallery inSan Francisco.

Soon we are moving on to Bob Hess' apart-ment holographic studio in East Palo Alto.We are in the heart of Silicon Valley, majormanufacturing seat for computers, relatedelectronics and integrated circuits. Coherent,Spectra-Physics. Lexel, and Linconix allmaintain company headquarters and manu-facturing plants here for their laser products.

Inveterate shoppers can find the rare laseror optics bargain at the beckoning surplusstores, giant warehouses with shelves stockfull of dusty components and equipment. BobHess found a like-new Spectra-Physics l5mWHe:Ne laser for $1250 at one such store.

We pass the NASA/Ames Research MoffittField giant aircraft hangers and wind tunnels.Bob Hess' apartment is now visible from the

CALIFORNIA.FOCUS

freeway. It is part of a beehive complex ofbrick buildings housing approximately 250apartments. This provides consistent holo-graphic stability for periods of up to 15 min-utes for masters.

His reflection copies have typical exposuretime ranges from 1.5 to 7 minutes, with norejects because of movement, Although thenearby freeway provides an ever-present lowdrone, the only movement problems arecaused by the beat resonance from prop planeswhich take off and land at the nearby MoffittField.

Bob's apartment is a home subservient toits function as a holography lab. The masterbedroom/bathroom suite houses his two sta-ble tables and darkroom. Both tables are 4x8ft, basic refined Lloyd Cross-HolographyHandbook cinderblock and treaded rod de-sisn.

One table has % in cold rolled steel top withmagnetically mounted optics, while the otherhas a Newport breadboard top with tappedholes which Bob uses to screw down his op-tics. An l8in collimating mirror allows Bob awide angle of view in his finished holograms.

The bathroom shower has been modified toserve as a powerful squirrel fan-poweredlaminar flow hood. Darkroom trays on mod-ified bathroom countertops hold basic reflec-tion processing chemicals of stock Kodak D-19 developer and Nick Phillips' PBQ bleach.The other bathroom shares shower functionswith a triethanolamine resting bed. There isa drill press in the kitchen.

Bob initially taught himself the theories ofholography, then took a course, "Measure-ments in Holography", at the two year Asso-ciate Avocational School at Vincennes Uni-versity, Indiana. He moved to Palo Alto inCalifornia in 1981 to be close to a communityof holographers, to Holos Gallery and toSpectra-Physics, where he began work threeweeks after moving.

Eventually, the success of Bob's stock andcustom holography freed him from the job atSpectra-Physics. His company, Point SourceProductions, produced thousands of 4x5inimage plane reflection holograms in a lucra-tive contract for the Sharper Image. Current-ly Point Source Productions copies its stockimages "Mask", "Boris", "DeRailleur" and

"Eye", which are distributed through HolosGallery in San Francisco, and Another Di-mension in Connecticut.

Back in Northern California, I have an ap-pointment to visit John Kaufman in his PointReyes holography studio. It is a big jump upa steep hill to John's studio. The house issmall with a high ceiling and a view of suchspace and peace and privacy that I'll tell youno more about it.

After welcome and conversation we re-move to the downstairs holographic studio,where everything is consciously placed andarranged in artistic compositions. Old andfamous objects, shadow puppets, bones,rocks. The isolation table is a Lloyd Crossvariant, 4x6 ft sand-table, with collimatingmirrors and a Spectra-Physics 1248 l5mWHe:Ne laser.

Across from the sand-table, John drapes apiece of black velvet, a fitting backdrop forthe scintillating coloured jewels that are dis-played one at a time. John seems to work inseveral basic styles, each of which has pro-duced one or more series of artworks.

His shadowgrams are straight reflectionholograms that use diffusion screen lighting.He makes multiple reflection exposures, eachwith trieth/camera and object change. Theresulting holograms are of rich and complexmixed colouration and composition.

John is perhaps best known for his "Rock"holograms. These multiple exposure imageplane reflection holograms make sophisticat-ed play with texture and plane. Throughshadowy and specific lighting of certain areasofthe rocks during mastering, John is able toproduce overlapping and fragmented rockcompositions which result in much bold andsubtle mixing of colours.

He has also explored inherent holographicmovement in his pieces. Through registrationof two masters of the same object in the copy,one master of which had movement, John wasable to produce interference fringes. In view-ing the cop, the two different colour expo-sures produce a third colour that moves withthe fringes.

The various holographic techniques he useshave in common an exceptional explorationof pseudo-colour control in reflection holog-raphy, a term that he coined to describe hisprocessing techniques with triethanolamine.This process, with subtle variations, allowsthe holographer almost a full palate of coloursfrom which to choose.

I'll end this brief tour here for the moment.But what of Lon Moore, Don Broadbent, Ericvon Hamerveld, David Schmidt, SharonMcCormick, Anait, Allen Shapiro, Jeff Mur-ray, not to mention Steve Provence, SteveMcGrew and Randy James? They are aliveand well and California holographers all,worthy subjects of a separate story.

We all continue in holography, once in theblood. a hard medium.

" large format multicolour stereo-gram by Craig Newswanger of ADD.

Autumn 1987 Holosraphics International l9

I

To the left are photographs of an exhibitionof holograms of Ukrainian artifucts at theMuseum of Holography in Paris. By makingholograms of the museum pieces, peoplearound the Soviet Union and the worU areable to see the collection without any risk ofdamage.

Above and to the right are two hologramsby holographer John Kaufrnan whose one manshow of recent muhi-colour holograms opensin November at Holos Gallery in San Francis-co, Caffirnia. This latest show will be his

fifth at Holos, a record for the gallery.John Kaufnrnn first studied holography back

in 1974 with Fred Unterseher and then withLon Moore in 1975 and 1976. Up until thenhis medium had been photography. In 1980 heshowed his first muhi)colour reflection holo-gram and he has been developing his ovvncolour style ever since.

He is most famous for using pseudocolour,ie. using triethanolamine to swell the plateemulsion. The wider fringes reflect dffirent

frequencies oflight which we perceive as col-our

The hologram shown above is called "SplitRock" and was ueated earlier this year. Thereddish colouring of the inside edges are in-tended to give the feeling of a wound.

To the right is a hologram called "SpringRain". Made in 1986, it is an example of themost skilled use ofpseudo-coloun

I

REVIEW

20 Holographics International Autumn 1987

PREVIEW

Ifyou are planning an event or exhibition which you would like to be listed in our next issue(Jan 17th 1988) please send us all the relevant detsils no later than December lst 1987.

CALENDAROctober lTth - November 28th 1987The Interference Fringe Gallery of Toronto,Canada, presents "Big Stuff", a collection ofholograms by John Perry. The large-formatholograms were produced for large corporateclients - including AT&l Pontiac and Tonka- at Holographics North in Burlington, Ver-mont, US. For further information phone( + l) (416) s35 2323.

October 23rd 1987 - February 7 1988The Museum of Holography in New York,US, is showing an exhibition on "CalifornianHolography", curated by Nancy Gorglione.The exhibition will include, among others,works by Lloyd Cross, Bob Hess, John Kauf-man, ADD, Greg Cherry, and Nancy herself.For opening times etc. phone (* l) (212) 9250526.

October 25th-30th 1987The "First International Symposium on In-dustrial Uses for Holography" will take placein New Mexico State University at LasCruces. For information contact Larryl KMatthews, NMSU, Mechanical EngineeringDepartment, Box 30001, Las Cruces, NM88003, US.

November l6th-20th 1987The "International Symposium on the Tech-nologies for Optics" in Cannes, France, willinclude a technical programme on "Real TimeProcessing, Concepts and Technologies".Telephone ( + 33) 1.45.53.26.67.

November 19th 1987 - February 28th 1988John Kaufman's fifth one man show is pre-sented at Holos Gallery, San Francisco, US.See Preview. For more information. contactGary Zellerbach at ( t 1) (415) 861 0234.

December 5th 1987 - End January 1988Works of the six artists who participated inthe 1986 Fringe Research Artist in ResidenceProgramme are exhibited at the InterferenceFringe Hologram Gallery in Toronto Canada.For details phone (* 1) (416) 535 2323.

January 10th-l5th 1988"O-E/LASE '88", which wil l take place inLos Angeles, US, wil l include sessions on"Computer Generated Holography", "Holo-graphic Optics, Design and Applications",and "Practical Holography III". Phone (* 1)(206) 676 3290.

January 3lst - February 5th 1988SPIE present "Medical Imaging II" at New-port Beach, California, US. For informationphone (* 1) (206) 6763290.

Autumn 1987 Holographics Internat ional 2 l

LAB.NOTES

VIGNETTNGOne of the most stunning effects in holography is the projection of images in front of

the hologram plane. An easy way to produce such an image is to make a conventionaloff-axis hologram and to look at the pseudoscopic (inside-out) image by flipping theplate through 180 degrees. The image is then seen in front of the hologram. In general,

however, we want to produce a normal-parallax or orthoscopic image projecting intospace. There are two ways of doing this - in one step and in two steps. In the one stepcase a conventional optical imaging system is used to form a real image of the object,which is then used to form the hologram. The imaging system may consist of lenses ormirrors, or a combination of both. Fig. I shows a simple arrangement for producingsuch a hologram. The disadvantage of this technique is that the field of view is usuallyvery small - ie. the image can only be seen from a narrow range of viewing positions,although there are tricks that can be used to improve the result. The more usual way ofproducing a projected orthoscopic image is to use a two-step technique, via a masterhologram.

Recording a two-step projection hologram

Let's suppose that the master hologram isrecorded with a coll imated (parallel) over-head reference beam, as shown in Fig. 2a,and that we want our final hologram to be atransmission one. (The discussions below ap-ply equally to reflection transfers.) To makethe transfer hologram (Hr), the master (H,) isilluminated with the conjugate of the originalreference beam, ie. every ray is reversed indirection. In this case the conjugate beam isanother collimated beam (Fig. 2b). The resultis an undistorted but pseudoscopic imageprojected into space. We now place the platefor the transfer hologram so that the project-ed image lies in between the two plates. Asecond collimated beam is used to record H,.

Fig. 2b: Recording a tansfer holo-

To view the final hologram, we illuminateH, with the conjugate ofthe second referencebeam. For simplicity, let's assume that thefinal reference beam is from a same lasersource. Fig. 3a shows how the final image isobserved. The image seems to float in frontof the hologram, and if all stages have beencompleted correctly, the image is sharp andundistorted (and hence realistic). The imagereconstructed with this technique is not visi-ble from all angles. Here is the rule that de-termines whether a point on the image is vis-ible ot not; in order for an image point to bevisible, the observer's line of sight (ie. thestraight line passing through the eye and theimage point) must intercept Hr as well as theprojected image of H'. Figs 3a and 3b showthe image being observed from two differentpositions. The four lines indicate the field ofview available. It is clearer to look at thescene from above and to consider the hori-zontal field of view - Fig. 4. In Fig. 4a thewhole of the image is visible, because the lineof sight for each image point intercepts bothH, and Hr. The shaded area signifies the

Fig. 1: Producing a one-step projec-tion hologram.

viewing zone or the area in which imagepoints are visible. When the observer movesfrom the central position - Fig. 4b - thefield of view is narrowed and some points inthe image lie outside the viewing zone. In ourexample, two portions of the image have beencut off. More specifically, one portion hasbeen cut off by H', the other by H2. As weshall now see, there is an important differ-ence in the visual perception of the two trun-calions.

Reconstruction beam

rmage

of H1

ObserverFig. 3a: Observing a complete proiect-ed image.

Orthoscopic

Record ing p la te (H1)

Fig. 2a: Recording a master hologram. Fig. 3b: Observing a partially cut offprojected immage.

22 Holographics International Autumn 1987

LAB.NOTES

Fig. 4a: Planview of Fig. 3a.

Fig. 4b: Plan View of Fig. 3b.

Vignetting

Let us first look at the left cut-off portion,A. The image is bounded by the edge of theprojection of Hl. The observer doesn't nor-mally find this effect disconcerting, becauseit is analogous to an object being viewedthrough a window in an opaque wall - fromcertain positions only a portion of the objectcan be seen. The parallax properties of thetwo situations is identical, so the brain ishappy interpreting such a cut-off. Let's nowlook at the other cut-off portion (B). Thistime, the image is bounded by the.edge ofHtl which lies behind the image. We can saythe image is vignetted (not strictly correct,but close enough).

The brain has a hard time interpreting thissituation, because it has no analogue in reallife - if a window lies behind an object, itsedges can't possibly have any effect on the

visibility of the object.When the brain tries to interpret a 3D vis-

ual image, it looks for different depth cues towork out the relative positions of the parts ofthe image. Examples of well-known depthcues are stereopsis - slight differences in theimages as seen by the two eyes, accommoda-tion - focusing of the lens on the imagepoint, and parallan - changes in the imageappearance as the observer moves. It seemsthat vignetting is a particularly strong depthcue, and can override the other depth cues,particularly if two or more edges of the im-age are cut off. In other words, a projectedimage can be perceived to be just behind thehologram plate even when all other cues sug-gest that it is in front. It is no good trying toconvince a casual observer that the image isactually being projected six inches in front -if he (or she) says it's behind the plate, thenthat's where it is!

So, it seems best to try to avoid vignetting.The permissible volume for a projected imagecan be ascertained by the construction shownin Fig. 5 - a line is drawn from each cornerof H, to the opposite corner of Hr. If theimage lies within the shaded volume, then itis always cut off by H, before Hr has a chanceto get in on the act, therefore the image isnever vignetted. In this case the two plateshave the same size and therefore the fourlines meet at one point in space. Fig, 6 showsthe corresponding construction for a rainbowhologram in which case the master is a striphologram. When making a hologram as de-scribed here, it is best to sketch out the set-up all the way to the final hologram, and tomake sure that the image always stays withinthe allowed volume. It is often preferable towork 'backwards', ie. to decide on the exactrequirements of the final hologram, and workback to geometries to record H, and Hr.

Fig. 5: Permissible volume for the ob-ject to avoid vignetting.

Fig. 6: Permissible volume whenrecording a rainbow hologram.

Dr Kaveh Bawrgan

Autumn 1987 Holographics International 23

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BLAZNGffionventionally, zone plates have beenlimited in their usefulness becausethey produce many foci instead of

just one. At Imperial College, London, re-searchers have developed a blazing techniquewhich solves this problem and which can pro-duce lenses whose effects are impossible to

IMPERIAL. COLLEGE. FOCUS

produce in glass.Until now, many zone plates have been

made by etching binary fringes onto a sub-strate. The difference in optical thickness be-tween the rulings diffracts the light to pro-duce the lens effect. The binary pattern zoneplate, however, has its drawbacks because it

Figure 8: Typical ring focus produced byabove element. The ing focus is 5mm inradius, the same as that of the wide ring ofthe dffiactive optical element. The elementhas zones from L\mm to 8.5mm radius. Nozones were written within the central re-pion.

does not produce an undiffracted zero orderas would be required from a lens, but ratherit ideally diffracts about 80% of the incominglight into the first order points.

Ideally, the profile for the zone platesshould not be binary but parabolic (shown).Neil Emerton, who started this project underthe supervision of Dr Robin Smith, and Rod-dy Canas, who took over the project fromhim a year ago, have approximated this idealparabolic blaze to a linear one, and haveshown that this approximation becomes in-creasingly accurate as the number of fringesor zones is increased.

In order to etch these zones, the IC systemuses razor blades to make a triangular aper-ture through which a light source shines ontoa photoresist which is being rotated on anaxis. At positions which conespond to thebase of the triangle, the exposure to the lightsource is longer and therefore more of thephotoresist is removed. Closer to the top theexposure decreases and so less of the pho-toresist is removed. Each such exposure pro-

Figure 6: Interference micrograph ofa typicalblazed element.

duces a triangular ring profile. By adjustingthe set-up correctly, each ring can be etchedin this way, the entire fabrication taking afew hours. The IC system is controlled by amicrocomputer.

A paper on this subject was recently pre-sented to a conference on "Holographic Sys-tems, Components, and Applications", heldin Cambridge. During the presentation by DrSmith, there was a demonstration of a ringfocus lens. The linear blazing technique isvery flexible as fringes can be produced any-where on the plate with any thickness. Forthe ring lens, the widest zone was positionedin a ring at some radius from the centre, withnarrowing rings being etched on either side,ie. out towards the edge and in towards thecentre. The resulting lens gave the ring focusas shown. Due to limitations of the system, itwas not possible to etch zones all the wayinto the centre.

Roddy Canas' next goal is to get the systemworking for kinoform lenses which havenon)circular symmetry. Eventually they couldmake lenses which could produce almost anysort of complex wave form, providing theyare able to calculate the required fringe posi-tion.

Dr Smith emphasises that the new lenseswill be not be most useful in replacing con-ventional lenses, but in carrying out functionswhich they cannot. They can also be used totest whether complex wave forms from as-pheric optics are the complex waveformswhich were expected.

Neil Emerton was and Roddy Canas is sup-ported by Science and Engineering CASEStudentships and Pilkington PE Ltd, UK.

Sunny Bains

Autumn 1987 Holographics International 25

IMPERIAL. COLLEGE. FOCUS

fiIESLICEST]NTING

surgeons and other doctors to make diagnosesetc, but at the moment it seems unlikely thatthis is a role that holography can fill. Holo-grams would have to compete with computersin this field and, at the moment, computersare much more flexible.

The computer systems which are used atpresent in conjunction with MRI and CATscanners are able to give different picturesfrom different views and different angles of

esearchers at Imperial College ofScience and Technology, Universityof London, are applying volumetric

multiplexing techniques to medical, astro-nomical and biological data to produce fullparallax dispersion compensated holograms.

The work was inspired by Mr LawrieWright of the Royal Sussex County hospitaland was initially taken up in 1983 by a privatecompany called "New Holographic Design"(subsequently "Icon Holographics"). Eventu-ally the project moved to Imperial Collegewhere it received SERC funding under Pro-fessor Chris Dainty.

The project which is currently being led byMr Stephen Hart, involves the use of CAT,MRI and Electron scans etc, ie two dimen-sional data, which are holographically laid ontop of each other allowing for a gap betweenthe slices. The holograms are produced usinga collimated reference beam and are playedback using a viewer designed by Dr KavehBazargan.

The viewer compensates for the fact thatthe different wavelengths in white light willbe diffracted by varying degrees when theypass through the hologram, thus causing thecolours to spread out. An HOE in the viewerpre)spreads the beam so that.the hologramplaced on it simply recombines the colouredlight to produce a black and white image.

The collimation of the reference beam al-lows the final hologram to have full, undis-torted vertical and horizontal parallax. Thisis obviously an important feature of a holo-gram to be used for scientific purposes.

The rig basically consists of a split beamtransmission set up with the object beamprojecting a slide from a slide projector. Aseach slice is added, the screen moves to thecorrect distance from the recording plate,therefore adding the third dimension. The ex-posures for each slice are ramped to ensureequal brightness. A copy hologram or H2 istaken of the master, using collimated objectand reference beams. This is done in order toincrease efficiency and can also bring the ob-ject image closer to the viewer.

The data which have been processed usingthis multiplexing technique have been quitediverse, but medical data have so far attractedthe most press attention. There has been muchtalk of multiplex holograms being used by

slice. This can be invaluable to a radiologistwho has to first see the data in different waysbefore deciding which slices give the infor-mation he or she needs in the most effectiveway.

Dr Cox, Consultant Neuro radiologist atthe Mordsley Hospital in London, explainedthat their relative inflexibility made holo-graphic multiplexing techniques unsuitable fordiagnostic purposes, especially in neuro sur-gery. The geometry ofthe brain was, he said,simple enough so that two dimensional scans

were straightforward to read once one hadbecome practised at it, and the computer fa-cilities which the MRI and other scannerscame equipped with allowed easy identifica-tion of the relevant slices.

Where he thought volumetric multiplexingmight be useful, was as a hard copy mediumfor communicating MRI or other results topatients, to doctors without access to thecomputer data, and at conferences. In thesecases, the computers would be used to choosethe slices which would be used to make thehologram. Dr Cox also felt that hologramsmight be a good way to compare brain datain research, as holograms can be laid on topof each other to produce two images sharingthe same space, but he admitted that costmight be a prohibitive factor in this field.

Heart data, with its geometric complexity,was thought to be a much more likely candi-date. Dr Donald Longmore, head of the Mag-netic Resonance Unit at the National Heartand Chest Hospital (UK), has a very specificneed to view his data in three dimensions, butrequires an extra facility which the system atIC has not yet got: colour. Dr Longmorewould like to be able to look at a hologram ofthe heart with all the information on it whichhe can get from his computers at the moment.The two dimensional pictures that his com-puters provide contain information about thevelocity at which blood flows into or out ofthe heart, represented by shades of blue andred. If holography could put this informationinto three dimensions then it could be a pow-erful diagnostic tool.

Dr Kaveh Bazargan, who has done muchwork in the field of colour holography, saysthat the technology to provide just this al-ready exists, it is mostly a question of moneyfor the development of the system. Eithermultiple laser or raman scattering colourtechniques (see news pages) could provide thecolour.

Initial experiments with grey scale on theblack and white holograms suggest that themedium is sensitive enough to be able to showcolour or light intensity differences: vital forthe kind of application Dr Longmore is look-ing for. Resolution also seems more than ad-equate for the data represented in the holo-grirms.

Another advantage of the IC system is that

26 Holographics International Autumn 1987

Steven Hsrt and Kaveh Bazargan on the rig at Imperial College.

Mr Hart is a computer specialist. Given rawdata he can enhance images, omitting the un-necessary and accentuating the relevant. Thusevery component in the holographic process,including the data, can be optimised to pro-duce the best possible hologram. He has usedthese image enhancement techniques on as-tronomical and medical data, clearing awaybackground light and grey matter, respective-ly, which obscured the desired images.

IMPERIAL. COLLEGE. FOCUS

The main thrust of the work at the momentis to find the upper limit of the system, finetuning each component and investigating eachparameter to make the system work well andreliably. Dr Geraldo Mendes and Amir Koo-ros have been assisting in this area in orderto get the work completed before the SERCgrant for this project finishes, and it is due toend in December. It is hoped that, by then,the black and white system will be runningsmoothly enough for it to be used as a re-

4.

search tool for people at IC and elsewhere.Whether, once it is set up, it will be allowedto remain that way is largely dependent onwhether the space and/or the equipment thatthe system uses are needed by others in thedepartment.

At the same time, Mr Hart is looking tohave the project funded elsewhere, possiblyby a scanner manufacturer or anyone else en-thusiastic enough to do it justice. Althoughhe would like to continue working on theproject himself, he feels that the project isimportant in it's own right and his only prior-ity is to keep the work going.

I. Skull, ventricles and tumor with fiducial frame.X-Ray CT slices from a GE 8800 scanner at theNational Hospital for Nervous Diseases, Britain.Courtesy of Mr David Thomas. Eleven slices wereused.

2. Dispersion Compensated Viewer. Dolls' Househologram by Francis Tuffy, Kingston Polytechnic.

3. Spyrogyra alga, approximately 60 microns indiameter. Here seventeen slices taken using Con-toural Scanning Law Miuoscopy (courtesy of ProfBrakenhoff, University of Amsterdam, The Nether-lands) are multiplexed together.

4. Hologram of Agfa-Gevaert standard grey scalestep wedge.

5. Colour coded image of gas velocities for theplanetary nebula NGC-5189. Raw data for this con-sist of 150x150 spectra each of X) points: this isequivalent to 4 Megabytes ofinformation. The datawas taken from the ICST/RGO TAURUS instrumenton the Anglo-Australian Telescope.

Sunny Bains

Autumn 1987 Holographics International 27

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L I T E R AT U R E .R E V I E W

COMPREHENDNGCHEMISIRY

Holographic Processing has traditionally involved guesswork, cookery and a bit ofluck. This is because there are so many factors affecting the outcome - the concentra-tion of the grains in the emulsion, the effect of the gelatin, the exact type of developmenttaking place (chemical or solution-physical), etc. Over the past few years several excellentchemical formulae have been proposed, many of which have been the result of empiricaltests. The understanding of the processes, however, has lagged behind their use byholographers. Until now there has been surprisingly little linking, systematically, changesin the developer content to the diffraction efficiency and the signal to noise ratio of thehologram.

Looking at the recent scientific literature, the work of two groups show great promiseof shedding light, at last, on the mysteries of chemical processing in holography. Thetwo groups are that of Hariharan at CSIRO in Sydney, Australia, and the Opticslaboratory at the University of Alicante, Spain.

Work at CSIRO

Hariharan and his colleagues have beenmaking important contributions to displayholography for many years, although displayhas always been a sideline for them. Harihar-an has a refreshingly down-to-earth approachand has a knack of coming to simple, clear,conclusions. In a recent papea [1] he exam-ines the effect of the drying procedure on theefficiency of a hologram. It is found that us-ing an alcohol bath before drying can raisethe efficiency by some 20%. The conclusionis that the alcohol forms a secondary volumephase hologram by local hardening ofthe gel-atin. The drying stage has been investigatedby several authors before, and as the recentresults indicate, it is not a trivial stage in theproduction of holograms.

In another recent publication, [2] the au-thors systematically vary the concentration ofchemicals in a developer and examine the

effect on scattering and diffraction efficiency.They report that most developers in use inholography have a solvent action on unex-posed silver halide grains, resulting in solu-tion-physical development as well as chemi-cal development. The systematic variation ofthe developer constituents pinpoints thechemicals which are responsible for the ef-fect. In a further paper [3] the authors lookat the delicate balance of the halide concen-tration in the developing bath. They reportthat a bleach bath may act as a reversal bleachor as a rehalogenating one, depending on theconcentration of the alkali halide.

Work at Alicante

It is well known that the signal-to-noiseratio of bleached transmission hologramsgenerally decreases as the pre-bleach densityincreases. In 1982 [4,5] the Alicante groupreported that by grossly overexposing the

hologram, ie. by obtaining pre-bleach densi-ties of 5 or 6, the SNR increases. It seemsthat no-one had bothered to expose a plate tosuch densities before. Since that report, sev-eral interesting publications have emergedfrom the group, for example a detailed ex-amination of Hariharan's process of rehalo-genation without fixation [6].

More recently, fine-grained photographicemulsions have been manufactured and tested[i,8]. The emulsions obtained are suitable fortransmission holography. Some of the resultsshow efficiencies identical to those obtainedwith commercial Agfa*Gaevert emulsions,although the speeds are much lower. Thework shows promise of a better understand-ing of holographic recording materials, espe-cially when taken in parallel with the workon processing chemistries.

It seems that we are beginning to get anunderstanding of the complex relationshipsbetween photographic recording materials andprocessing materials. We look forward tomore work in this area including, no doubt,future work from these the two groups men-tioned.

Referencesl. P Hariharan, "Bleached photographic

phase holograms: the influence of dryingprocedures on dffiaction efficiency" Op-tics Communications 56, 318 (/986)

2. P Hariharan and C M Chidley, "Photo-graphic phase holograms: the influence ofdeveloper composition on scattering anddffiaction efficiency" Applied Optics 26,1230 (1987)

3. P Hariharan and C M Chidley, "Rehalo-genoting bleaches for photographic phaseholograms: the influence ofhalide type andconcentration on dffiaction efficiency andscattering". To be published in AppliedOptics.

4. J Oliva, M Pardo andJ A Quintana, "HighSNR in bleached silver-halide holography"Applied Optics 21, 171 (1982)

5. A Fimia, M Pardo and J A Quintana, "lm-provement of image quality in bleachedholograms" Applied Optics 2l, 3412 (1982)

6. J J Crespo, A Fimia and J A Quintana,"Fixation-free methods in bleached reflec-tion holography" Applied Optics 25, 1642u986)

7. A Bonmati, J J Crespo and M Pardo,"Preparation of photographic emulsions

for recording tansmission holograms"Optica Pura y Applicada 19,19 (/986) -

In Spanish.8. J J Crespo, A Bonmoti and M Pardo, "ln-

fluence of Ag+ concentation of the pho-tographic emulsion on the efficiency of re-

flection holograms" Optica Pura yApplicada 19,85 (1986) - In Spanish.

Dr Kaveh Bawrgan

Lloyd Cross, continuedfrom page 17

This camera, designed for educational andtechnical applications comes full circle in de-sign. It is the opposite end of the spectrumform the sand box, no longer relying on thelarge stabil ising mass. This camera, usingtension structure design, is, to quote Lloyd:"isotropic in terms of gravity... any vibra-tions return to the starting point".

Made of stainless steel components, thecamera is tunable by computer control or byhand. Two cubic feet in size, it is geared upto expose 4 x 5in plates. Fringes are comput-er monitored, and the camera tweaks itself inand locks fringes for critical applications.

It is currently in the prototype constructionphase. Lloyd, working with his wife, Cecil,and his son. Llovd Thomas Cross. hones to

introduce production prototypes next year.Nancy Gorglione

Lloyd Cross with wife Cecil and son LloydThomas. blqnketed by laser scan stars.

Autumn 1987 Holographics International 29

H O L O G R A P H I C S . I N T E R N AT I O N A L

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