**4.1 Boundary of the holographic picture plane**

Because laser light is less bright than the typical level of gallery lighting this draws the viewer to the holographic plate. In the case of large format, large-scale holograms in which

Peter Zec in his paper for the International Congress on Art and Holography 1991

As light is not only a generative principal but also a subject and the basic substance of the holographic reconstruction as well, the self –referencing of light represents an essential form

The space represented in the laser transmission image extends from the entire surface of the holographic plate back to the extremities of the subject, exactly in the same way that a windowpane acts as a boundary to a view. This is also true for one step optical reflection holograms.The free viewing zone is the same as viewing an object from any vantage point in through a window, the viewing zone is 180 degrees horizontally and vertically from the plate. The image can be seen just as easily from near or far. The space is unfocused and undistorted – it is an exact spatial replica of the subject and elicits perceptual cues of the

The one- to- one scale of the representation of space occurs at a resolution higher than is perceptible by the human visual system. Other representational systems use scaling, whereby the original image is larger, distorted or smaller than the original subject. All the sources for information of depth come to the beholder as they would for a real world object separated by a piece of glass, in particular the physiological cues of accommodation and fusion which are critical at close range. It stands to reason that a key effect of the one step optical transmission holograms representational system is a strong phenomenological link

The dominant textural property of laser transmission holograms is the grainy quality of laser light known as laser speckle. This minute dotting in three-dimensional volume lends a somewhat worn, aged, yet constantly mobile micro surface to all image elements. A correspondence between physiological operations of the eye in the perception of laser speckle and the need for alterations in aperture of the camera in documenting laser

Laser viewable holograms are particularly difficult to photograph successfully owing to the presence of obtrusive speckle and to the very high contrast they often possess… the speckle size is large and more obtrusive for small lens apertures and in order to minimize the effect

To the beholder it may seem that the real-time movement of the laser speckle directly reflects the constant shifting of their eyes. This gives the effect of a deep silence, which Karl Frederick Reuterswald refers to in his finger language – the silent movement of fish in an

Holographic space has its own time and depth; yet it also has a profound silence, as in an aquarium. To me the silence of the aquarium is more impressive than the colour or the

Laser transmission holograms are generally monochromatic and replayed in the same wavelength in which they were recorded though they can be full colour by using a

Because laser light is less bright than the typical level of gallery lighting this draws the viewer to the holographic plate. In the case of large format, large-scale holograms in which

transmission holograms can be deduced from Graham Saxby's explanation:

it is important to use the largest possible lens aperture (Saxby, 1988).

movement of the fish (Reuterswald, 1989).

combination of lasers to record and replay.

**4.1 Boundary of the holographic picture plane** 

physiological type which are precisely in accord with the perception of real objects.

for the articulation of the holographic message (Zec, 1990).

**4. Laser transmission hologram** 

to its real-world referent.

aquarium.

commented:

the reconstructed image is confined to the space behind the plate, viewers physically lean onto the plate in order to look at the image more closely. The result of the image being very spatially realistic and also behind the picture plane is to necessarily heighten the feeling of exclusion from the scene depicted. The holographic picture plane is not always interpreted as a physical boundary, except in one –step optical, and laser transmission and reflection holograms.

On a physical level the boundary of the plate can cause the viewer to want to occupy the space of the image or a conceptual interpretation could be that the image is a metaphor for an aspect of memory- imagery being present yet physical accessibility being blocked. The interaction of the spectator with the subject with some holograms, which have the image in front of the plate may relate to the way Alex Potts has characterized the work of the sculptor Richard Serra, in contrast to the way that this type of viewing zone behind the plate invites a response analogous to the work of other contemporary sculptors:

Serra was well aware that physically involving the viewer …in an interplay between exteriority and interiority involved not just formal or perceptual effects, but carried a certain psychological charge…but this psychological dimension was a muted one as he conceived it. It is striking how his work which allows the viewer to enter produces a much less psychologically charged sense of interiority than works such as Hesse's or even Judd's where the viewer feels drawn towards an interior space from which he or she is barred, and feels it to be strangely alluring and inviting yet separate (Potts, 2000).

Additionally the distance over which the eyes are able to travel in the x, y and particularly the z-axis has a bearing on beholder reception. Laser transmission holograms can depict scenes up to approximately ten meters in the z axis such as *To Absent Friends* by Paula Dawson (Popper, 1993). The experience of looking towards a distant space can be similar to daydreaming. The size of the support (holographic plate) also determines the distance at which the beholder will decide to stand. As has been discussed, resolution also plays a role in selecting a suitable viewing distance. Therefore z axis movement of the beholder before the hologram picture plane, similar to the viewing of two-dimensional imagery, is primarily dependent on the size of the support.
