**8. Printed synthetic hologram**

Printed synthetic reflection holograms are composed from thousands of perspective views of a static or moving 3D scene. The viewing zone for these images is deep, the images being readable from both near and far with no particular point along the z-axis from which they seems best. The subject can appear in full colour and holograms are played back with a white light source. The side- to- side movement available to the viewer within the viewing

The Visual Language of Holograms 351

of the viewing zone. Richardson introduces a large black border in the background making the wipe of the image zone less noticeable, Dawson uses 2D imagery for a large surrounding of the figure, which is in a niche, and Debiens employs the rolling scroll. The tapering of the z-axis space near to the edge of the holographic plate where it will be cropped has some similarly to the tolerance of the framing of film scenes. As Peter

Fig. 10. Paula Dawson, *Shadowy Figures*, 2003, printed synthetic optically formed fringe

Greenaway comments:

digital hologram, 120 X 120cm.

zone is wider than the holographic plate, approximately 25 degrees, which encourages the viewer to move in a random way.

The recording process of this hologram type involves the sequential exposure at the film plane of tiny holographic elements, or holographic pixels known as 'hogels', which are recorded in such a way, that corresponding yet different views of the same scene are distributed to each of the beholders eyes. The parallax and disparity effects enable the beholder to perceive the scene as three-dimensional. The smaller the size of the 'hogel', the higher the resolution of the image.

In *Holographic Imaging*, Michael Klug and Mark Holzbach, the authors of Chapter 20 Holographic Stereograms and Printing refer to the approach:

Holographic printing represents an amalgamation of 3-D hardcopy concepts proposed, developed and refined over the last one hundred years…In addition, image processing algorithms, derived from models of optical recording system and applied to perspective imagery made it possible to anticipate distortions and pre-distort component imagery to preclude their effects (Benton, 2007).

A three channel, synthetic, optically formed, fringe digital hologram *Shadowy Figures* by Paula Dawson simulates three scenarios of light and darkness identified by Michael Baxandall as important case studies in the analysis of shadow(Baxandall, 1995). If the beholder is standing to the left hand third of the image, at every position, high and low and side to side, the light relative to the figure seems to originate from the position of the viewers eyes. This effect was achieved in the CG environment by moving the light source to the position of the capture camera for each of the holographic pixels making up the image. If the viewer stands in the centre of the field of view, a static light from the back left shines towards the front right and illuminates the side of the figure,while on the right a source of darkness is projected from in front of the hologram plane very low out of the field of view. Thus by moving side to side the role of the beholder is radically transformed. On the right the viewer witnesses by movement of their body the interaction of the darkness source obliterating the light. In the centre they are a passive witness to a scene in which the lighting and subject are locked together whereas to the left, the effect of the light source being decoupled from the scene and instead attached to the viewer position has the effect of implying that the beholder is a light source. Conceptually, luminosity of the beholder is indicated by the changing composition (Gage, 2003).

Martin Richardson's *Over the Rainbow* incorporates within an overall spatial scene, a montage of animations, which are replayed out at the speed that the viewer moves in front of the hologram film plane. The embedded animations activate and disrupt the pictorial space. The spatial field is in the first instance composed of disparate montage elements. These retain their spatial fidelity while introducing an uneven flow of space-time over the image surface. A woman is holding crumpled surfaces in front of her eyes, while behind her is a landscape – a still of the yellow brick road from the *Wizard of Oz*.

Returning to *Broken Window*, the key elements : the broken window, the light and the treebranch signifying the holographic picture plane, the replay light, and the subject traversing the space of the picture plane have been discussed. The motion of the scroll is of critical importance as it is possible to track through this visual element the moving boundary of the image zone.

In each of the three above-mentioned examples there is very little z-axis depth and only shallow information on the side edges, which could potentially be cropped by the edges

zone is wider than the holographic plate, approximately 25 degrees, which encourages the

The recording process of this hologram type involves the sequential exposure at the film plane of tiny holographic elements, or holographic pixels known as 'hogels', which are recorded in such a way, that corresponding yet different views of the same scene are distributed to each of the beholders eyes. The parallax and disparity effects enable the beholder to perceive the scene as three-dimensional. The smaller the size of the 'hogel', the

In *Holographic Imaging*, Michael Klug and Mark Holzbach, the authors of Chapter 20

Holographic printing represents an amalgamation of 3-D hardcopy concepts proposed, developed and refined over the last one hundred years…In addition, image processing algorithms, derived from models of optical recording system and applied to perspective imagery made it possible to anticipate distortions and pre-distort component imagery to

A three channel, synthetic, optically formed, fringe digital hologram *Shadowy Figures* by Paula Dawson simulates three scenarios of light and darkness identified by Michael Baxandall as important case studies in the analysis of shadow(Baxandall, 1995). If the beholder is standing to the left hand third of the image, at every position, high and low and side to side, the light relative to the figure seems to originate from the position of the viewers eyes. This effect was achieved in the CG environment by moving the light source to the position of the capture camera for each of the holographic pixels making up the image. If the viewer stands in the centre of the field of view, a static light from the back left shines towards the front right and illuminates the side of the figure,while on the right a source of darkness is projected from in front of the hologram plane very low out of the field of view. Thus by moving side to side the role of the beholder is radically transformed. On the right the viewer witnesses by movement of their body the interaction of the darkness source obliterating the light. In the centre they are a passive witness to a scene in which the lighting and subject are locked together whereas to the left, the effect of the light source being decoupled from the scene and instead attached to the viewer position has the effect of implying that the beholder is a light source. Conceptually, luminosity of the beholder is

Martin Richardson's *Over the Rainbow* incorporates within an overall spatial scene, a montage of animations, which are replayed out at the speed that the viewer moves in front of the hologram film plane. The embedded animations activate and disrupt the pictorial space. The spatial field is in the first instance composed of disparate montage elements. These retain their spatial fidelity while introducing an uneven flow of space-time over the image surface. A woman is holding crumpled surfaces in front of her eyes, while behind her

Returning to *Broken Window*, the key elements : the broken window, the light and the treebranch signifying the holographic picture plane, the replay light, and the subject traversing the space of the picture plane have been discussed. The motion of the scroll is of critical importance as it is possible to track through this visual element the moving boundary of the

In each of the three above-mentioned examples there is very little z-axis depth and only shallow information on the side edges, which could potentially be cropped by the edges

viewer to move in a random way.

higher the resolution of the image.

preclude their effects (Benton, 2007).

Holographic Stereograms and Printing refer to the approach:

indicated by the changing composition (Gage, 2003).

image zone.

is a landscape – a still of the yellow brick road from the *Wizard of Oz*.

of the viewing zone. Richardson introduces a large black border in the background making the wipe of the image zone less noticeable, Dawson uses 2D imagery for a large surrounding of the figure, which is in a niche, and Debiens employs the rolling scroll. The tapering of the z-axis space near to the edge of the holographic plate where it will be cropped has some similarly to the tolerance of the framing of film scenes. As Peter Greenaway comments:

Fig. 10. Paula Dawson, *Shadowy Figures*, 2003, printed synthetic optically formed fringe digital hologram, 120 X 120cm.

The Visual Language of Holograms 353

The painter can pick his own frame, the filmmaker is not so lucky. Having made a selection form the smaller number of film ratios possible, careful composition of a picture into the corners of the frame and right to the very edges is still not dependable when projected. Exact symmetries are not to be relied upon. Tolerances must be permitted. Hence the

Fig. 12. Jacques Desbiens, *The Broken Window*, 2006, Printed Synthetic hologram, CG render

The space is deepest at the centre of the holographic picture plane which has the widest angle of view. This central placement of a protruding image element to avoid cropping as the viewer moves side-to-side is common to many holograms. What is quite unique about this representational system is the ability of altering in very subtle ways, hogel by hogel, the

Synthetic holography offers a solution to the age old distortion problem of accidental linear perspective, the addition of a wide field of view and dynamic observation …movement of the eyes obviously, but also movement of the body, free wandering of observation,

Holographic representational systems types such as the HOE, laser transmission hologram, reflection, rainbow, stereogram and printed synthetic stereogram have expanded the space of representation. They each accomplish this by using the support (holographic plane) the viewing zone, the replay light, the location of the image (behind, in front of or intersected by the support) and the properties of the subject to engage with the beholder in different spatial

Holographic representational systems are chameleon-like; they can operate directly with real-world subject matter or draw from other pictorial systems rendered in a wide diversity of media ranging from film, photographs or arrays of computer graphic rendered frames composited within the holographic diffractive optic environment. The types of aperturing of the viewing zone between the beholder and the holographic plate introduce a non-visible formal element of great importance to the holographic representational system. In some cases the shapes of the viewing zones are echoed in the compositional structure of the work

concept of the floating edge (Greenaway, 1990).

from the left, the first point of view, 140 X 38cm.

structure of the subject as the beholder moves.

nomadism of points of view (Desbiens, 2009).

**9. Conclusion** 

and temporal ways.

in abstract and literal ways.

Fig. 11. Martin Richardson, *Over the Rainbow*, 2009, iLumogram image taped to an invisible plane. The solidity of space is built strongly on occlusion. The taped landscape of the back plane being occluded by the torso, which is occluded by the hands holding up the crumpled surfaces. As the viewer moves side- to- side the surfaces reveal movie animations from the *Wizard of Oz* of the Tin Man kissing Dorothy and the great Oz appearing from the flames. The work, which is a subtle comment on the current place of the rainbow hologram and acknowledgement of *Black Rainbow* by Benyon and Benton, is aligned with what Timothy Murray has called the Digital Baroque as "enfolding the user in the energetic present, as articulated in relation to the analogue past while bearing on the digital future" (Murray, 2008).

Fig. 11. Martin Richardson, *Over the Rainbow*, 2009, iLumogram image taped to an invisible plane. The solidity of space is built strongly on occlusion. The taped landscape of the back plane being occluded by the torso, which is occluded by the hands holding up the crumpled surfaces. As the viewer moves side- to- side the surfaces reveal movie animations from the *Wizard of Oz* of the Tin Man kissing Dorothy and the great Oz appearing from the flames. The

work, which is a subtle comment on the current place of the rainbow hologram and acknowledgement of *Black Rainbow* by Benyon and Benton, is aligned with what Timothy Murray has called the Digital Baroque as "enfolding the user in the energetic present, as articulated in relation to the analogue past while bearing on the digital future" (Murray, 2008). The painter can pick his own frame, the filmmaker is not so lucky. Having made a selection form the smaller number of film ratios possible, careful composition of a picture into the corners of the frame and right to the very edges is still not dependable when projected. Exact symmetries are not to be relied upon. Tolerances must be permitted. Hence the concept of the floating edge (Greenaway, 1990).

Fig. 12. Jacques Desbiens, *The Broken Window*, 2006, Printed Synthetic hologram, CG render from the left, the first point of view, 140 X 38cm.

The space is deepest at the centre of the holographic picture plane which has the widest angle of view. This central placement of a protruding image element to avoid cropping as the viewer moves side-to-side is common to many holograms. What is quite unique about this representational system is the ability of altering in very subtle ways, hogel by hogel, the structure of the subject as the beholder moves.

Synthetic holography offers a solution to the age old distortion problem of accidental linear perspective, the addition of a wide field of view and dynamic observation …movement of the eyes obviously, but also movement of the body, free wandering of observation, nomadism of points of view (Desbiens, 2009).
