PHI INTERNATION AL

Blyth's

Red

Sensitive

DCG

Hologram ( Industries

Expansion

New:

Science

News

Section

Winter 1989

Number 7

Price 3

US$5

----The International Magazine of Holography----

J

-Winter 1989

Number 7

ISSN 0951-3914

Ytt1'i D enisyull: a pulsed portrait by Ana Mm,ia Nichol-son, 1989. ee page 14. Photo: Ronald R Eticilson.

H olography goes to 1vorlt on an egg. Sec page 30.

Cover: H ologram cou7'tesy of American Ban/mote Holo-graphies, 500 Executive Bm-tle-va7'd, Elmsf01'd, NY 10523, USA. Tel: (+1) 914 592 2355. Photo: Martin Taylor.

4 5

OLOGRAPHIC INTERNATIONAL

Letter MoH, NY: Setting the record straight Editorial

6 News Holomart ceases trading/Shean.vater Awards/ Applied Holographies sells Swiss unit/ US Post issues holographic stamp/Security federation proposed/ Colour mastering from The Lasersmith

16 17 18 20 22 26

29 30

32 33 34

People Denisyuk visits the US/Lightworks moves on Review A well packaged conference David Pizzanelli Calendar

Commercial A look at Hologram Industries of France Martin Taylor Education New York's summer school Doris Vila Lab Notes A recipe for red-sensitive DCGs Jeff Blyth Science & Technology Du Pont's new photopolymers Image correlation at CIT Education Holography courses Science & Technology Seeing in ide an egg A clearer view for underwater holography Products Latest equipment from Newport/New laser power monitor Patents A listing of recent applications Subscriptions/ Advertising Index/Back Copies

Editor/Publisher: Sunny Bains. Deputy Editor: Martin Taylor. Contributors: Steven Benton, JeffBlyth, Lynne Herbert, David Pizzanelli,

Pippa Salmon, Dave Smedley, Doris Vila, Liz Warren. Editorial Address: Holographies International, BCM-Holographics, London WC1N 3XX, Britain.

Tel: (+44) 01 642 8381 (from 6 May 1990,081 642 8381 ). Advertisement Department: Geoff Harris, Communications House, George Lane, Royston,

Herts SG8 9AR, Britain. Tel: (+44 ) 0763 245322. Fax: (+44 ) 0763 245505. Hulogr.1ph ic:s lntc.:rn:utonJII\IJg..\Zinc: is publi5hcd quanc:rly by Holog.raphh:"'i lnt..:rnation.ll. ubco.:ription pric:l' is f l :; or US 25. Sc:..:om.t Class Posugc P.1id Jt R.lln' 'Y NJ . Postmaster send .1ddn.ss

..:orn:l.."tiom 10 Ho logr.lphics ln t..-rn:uicm.l l, .;_f n 1\kn.:ury Ai rfrc:ight Ltd ln..: , 13l3 R.mdolph AH'nm, Aund, ~c" h:rsc~ 07001 .

O Ho log.rJphics lntcrn.n ional 1989 . All rights rcs~: rHd. ~o p.trt o f thi s puhlk.H1n n nuv hL rcprcw.h 1l'cd . !J!On.:d in a n:tril'\.11 systl' nt, or tmnsmin Ld in .uw tCrm or by J. ny mcJns. l'h:t.:m)Jlic, mcch.mkal, photographic, rl't.:ording. or othl' rwi'"-', ' ' idtou t prior pnmi(,sion ufdlt' p uhJi.r;h~o.r-- Printl'd hy ~L'\\ Conc~o.pt C< ~ rnpk t l' Priming .md Publishing SL'n k~o.

---------------- -------------,-.

---------------LETTER---------------

Posy Writes ... of the best parts of both of us (and a lot of other people, I might add ). Upon our return to ew York, Jody decided that he needed to spend all of his time and resources on his business. He made the decision to stop running tl1e School of Holography and tl1e gallery which was now the "Museum of Holo-graphy ". The chool was taken over by others and tl1e collection of holograms which formed the New York Art Alliance Inc showroom remained with Jody. I asked Jody if he would donate the most interesting of these to a museum if I could get a charter from New York State to start one and he agreed .

Dear Editor, I have just received a copy of Holo-graphies International and find that Susan Cowles' article MoH: Past, Present and Future has some inaccuracies which, in the spirit of your editorial , I felt com-pelled to write to you and correct.

Jody Burns hired me to put on the In-ternational Center of Holography ex-hibition. The show was a joint venture between many people in ew York (Abe Rezny, Dan Schweitzer, Luis Remesar, and Ken Dunkley immediately come to mind, although there were certainly others who volunteered vast amounts o f time and expertise to the mounting f the show) but was, in fact, produced by J ody, then Director ofT he ew York Ar Alliance. The show did not "help to in -strument the idea for the formation of a museum of holography" as Cowles states. The show was put on as having come from and been produced by the Museum of Holography. It was already a fact, so to speak, in the summer of 1975. Since Cowles is unclear in stating how the Museum, as we know it, began, allow me to set the record straight (yet again ).

Jody ran a business on 20th Street in ew York City called the New York Art

Alliance, Inc. He also started and ran the School of Holography on West 13th Street in ew York. (At the time of the ICP show, Luis Remesar and Abe Rezny were co-directors of the school , working under Jody). In the business space on West 20th Street there was a gallery that exhibited holograms, basically Jody's collection of early works and examples of his and other commercial products then available. The gallery was the ew York Alliance's showroom.

One day a writer from the Village Voice came by to see the holograms be-cause he had dome a piece on the school and had gotten interested in holography. He toured the gallery with J ody and was tremendously exited by the idea (which was his alone ) that this represented some kind of museum of early holography. While Jody protested that it was, in fact, a commercial showroom for an ongoing holography business, this fellow went back to the paper and printed a story about the Museum of Holography. I am sure no one was more surprised than

4 Holograph ies International Winter 1989

Jody. And he continued to be surprised when people started showing up to see the holograms in the "Museum ".

Being a businessman, however, he de-cided that people should pay to see the show which has cost his business money to produce. He also decided to keep the name "Museum of Holography" be-cause it had already, through the press exposure, become identified with the gallery. I was hired at one point to make frames , graphics and basic improvements to the gallery. I even sat at the front desk from time to time. And , as a practising graphic designer (running a business called Jackson graphics a block away ) I was asked to design the logo (which is till the Museum's) and the stationary.

And, shortly thereafter, I was asked to put on the ICP show, under the name Museum ofHolography.

Let me claril)' here that, at tl1is point, the "Museum ofHolography " was not a registered business. It was simply what tl1e gallery attached to The ew York Art Alliance Inc, was called . To the extent that it was run, Jody ran it. Jody con-tracted with Cornell Capa to do tl1e ICP show and witl1 Gosta Lilja to do tl1e show at tl1e Kulterhuset in Stockholm several montl1s later. Both were as the "Museum of Holography ". I was hired to put on these shows, except that I didn't get paid so it became more of a partnership. Jody and I worked very well together in this regard. Botl1 exhibitions were the result

I set about researching and writing a provisional charter for a Museum of Ho-lography. This document was submitted to the Board of Regents of lew York State in February of 1976 and a charter was granted to the Mu eum of Holo-graphy in July of 1976. I went on, with a lawyer, to obtain tl1e nece sary New York tate Charities registration Certifi -cate, allowing the Museum to raise funds, and the Internal Revenue desig-nation of non -profit status, allowing the Museum to function as a not-for-profit institution and apply for grants from federal and state agencies.

I took out a loan for US$75 000 (my father had died recently and left me a half share in a summer home which I was able to use as collateral on a loan ). I hired a wonderfully organized and supremely competent friend who I had gone through art school with, Kathleen Mark (now Bardell ) and found the space on Mercer Street. Once the renovations on the space (for the first few years we only had the first floor ) were completed, we moved in and opened the Museum to

The Museum of Holography in New Ymk City

----------LETTE R AND E D IT 0 R IAL-------- --

the public on December 8th of that year. Given that background, I will leave the

issue of who founded the Museum up to you and your readers . I have no inten -tion of minimizing Jody's importance to the Museum, or to the holography scene in New York and beyond. He was a pi -votal figure in the development of the medium and remains one of the unsung heroes of holography as far as I am con-cerned.

I might add that the Museum of Ho-lography is a trade marked name and that no other museum for this medium can legally use the name Mu eum of Holo-graphy without a designation in the title for a state or country. The precedent for this is the Museum of Modern Art in 1 ew York. While there can be other m u-seums of modern art throughout the world , none can be called by that name witl1out another title added to it. So, when you see any other institution call -ing itself the Museum of Holography you can know that they do so illegally and that they have been asked to cea e by the Mu eum of Holograph . It is, likewise, incorrect to refer to the Mu -seum of Holography as the ew York Museum ofHolography.

To continue, Cowles' article states that tl1e Museum's opening show was Alice th1'attgh the Looking Glass. This is not true. The inaugural exhibition was called Through the Looking Glass. Her title is a misquote from a subsequent show that Peter and Ana Maria ichol -son mounted in Hawaii. It i true that the show was mounted witl1out any funding. The Museum operated for two full years without any funding. This is because you could not apply for grants for two years from tl1e ew York State Council on the Arts or any federal agency and no corporations or foundations would put money into a new institution until it had proven itself.

The works exhibited to the show were not donated to tl1e Museum. I have no idea where owles got this information. Several were bought, as were several ho-lograms from each artist who showed at the mu eum from then on. Vet;r few ar-tists have donated work to the Museum . Several cienti t have donated work but very few artists . This is not from a lack of generosity on tl1eir part but more a firm policy of mine tl1at artwork be purchased at tl1e full retail price so that prices could be set for work in a field where basically no one else was buying.

In Penpective, as many of your readers know, was first installed on the main Aoor of the Museum. It had a second

section that detailed types of holograms and techniques of holography that was installed in the lower level once tl1at space was rented and renovated. The his-toric exhibition was only fairly recently relegated to the basement and, apparent-ly more recently, totally dismantled.

I regret this nitpicking but I feel it is important, when you are dealing with hi tory, that you do so in as accurate a manner as possible. I regret more that I had to do this, that there isn't more at-tention paid to detail on the part of the museum( which owns all the files that would have provided primary re earch material for all the facts misstated in this article ) and that I seem to be coming

down hard on Susan Cowles whom I both like and respect for her excellent work in the Museum's education depart-ment.

I thank Susan for her earnest desire to keep tl1e history of holography alive, for her need to educate us all about the past as well as the present and future. And I wish her and the staff of the Museum the very best in tl1eir difficult task of rebuild-ing what has been torn down in recent years. I know Martha Tomko Well enough to know that she will get it done and I am proud to continue to serve on the Board that assi ts her in doing so.

P osy Jackson Smith

Editorial Fir tly, I would like to apologise to Posy Jackson Smith for having to cut her let-ter. In the sections I cut, probably 300-400 words worth , she was large ly agreeing with Sue Cowles' article. I tl1ought it more important to include the parts of tl1e letter where she disagreed.

Secondly, I would like to say in Sue Cowles' defence, that her article was heavily changed and edited by the Mu -seum of Holography before she was allowed to submit it. I know she felt it was a compromi e at the time . I was not privy to tl1e discussions tl1at went on be-fore I received the piece and so cannot comment on what was changed and what was not, but I feel she should not take the entire blame for any inaccuracies contained in it.

ext, I would like to thank American Bank Note Holographic and Hologram Industries for giving us editorial holo-grams. I chose the ABN clown hologram for our fir t holographic cover because I personally find it enchanting. The den-sity and variety of the colours makes it one of the best embossed holograms I have seen to date. Please contact us if your company has an image which it is particularly proud of and which you would like to ee on the cover.

Many thanks also to those who sent in short articles/ press releases about tl1eir activities along with positive colour slides and black and white print . Please keep it up .

I hope you aU like tl1e cover design and new masthead. I think it is a dramatic im-provement on what went before, but am,

a usual, open to sugge tion. More im-portantly, however, I am interested in what you think of the new section at the back. Do you find the paper/patent tit-les useful? Are the applied holography ar-ticles pitched at the right level and are they on the right subjects?

As a phy icist I find the variety of uses for holograms very exciting. As an editor I find them bewildering. So many inter-esting papers are published every week that I find it very difficult to try and nar-row them down to o few.

To the casual reader, tl1e mixture of science, art and commerce in this maga-zine must seem somewhat bizarre. As far as I am concerned, that is fine. The whole point of the magazine is to spread ideas and information from one section of the holographic community to an -other. What I am not sure about, how-ever, is whetl1er readers will only look at stories directly related to their fields? Do you read the entire magazine? If not, why not?

Though many have said that they read my last editorial, in which I criticised ho-lographic jewellery, no one seems to have made any serious comment. Per-haps I was too mild? I expected at least one letter standing up for the manufac-turers but I have received no corre-spondence one way or the other. Some-one must have an opinion.

Finally, as we move into tl1e 1990s, I would like to wish all my readers good fortune in the coming decade.

Sunny Bains

Winter 1989 Holographies International 5

--------------- --N E W S-----------------

Holotnart Ceases Trading as Museutn Plans Hit Snag

session of the equipment, but as yet have not decided on further action.

Snyder says that he is hop-ing to have completed an in-terim refinancing agreement by March 1990, but adds that he will sti ll need to find a per-manent solution to make the museum viable o nce the re-furbishment is complete. He would like anyone who might be inte rested in inve ting in the project to contact him .

H olomart Plc of Britain ha ce:~sed tr:tding :tfter running into financi:tl problems with its proposed museu m of ho -lography in London. Baliffs have seized o me of the com-pany's property due to an un -paid invoice for work on the mu eum building.

The company, which re-cently purchased See 3 (H o-lograms) Ltd (see bst issue ), is now trying to raise 300 000 ( USS480 000 ) to comple te the co nversion work on the building, which i opposite the Briti h Mu -seum.

Managing Director ofHo-lomart Bruce Snyder told H ologmphics I nternational th:tt the comp:tny's troubles had arisen due to high Briti h interest rates, and a direction from the Bank of England to lenders to be more cautious. Conseq ue ntl y H o lo mart 's bankers, who had origin:tlly intended to provide 100% of the building costs, will now only provide 70%. Snyder says that more difficulties were caused when the Finance Di-

rector, who was also intend -ing to invest in the comp:tny, changed his mind.

H olomart staff have no t been paid since August and building work on the pro-posed museum stopped offi -cially o n 22 ovember. The sh:treholders have been in -formed of the situ:ttio n and the company has now ceased trading, though rdin:tncing propo al are currently being considered.

The bailiffs entered the premi e of Premium Tech -no logy Ltd, another holo -graphic company in which Snyder has an interest, which are also the registered offices of Hol o mart Pic . They removed so me equipment and stock belonging to Pre-mium Technology, as well as Holomart property. This in-cluded holograms, computer equipme nt, and the com -pany's answering machine. Snyder say he hopes to re -trieve the Premium Technol -ogy equipment through the courts.

In another complication,

action nuy be taken by Ar-buthnot A et Finance Ltd which lent Holom:trt funds to buy the See 3 (H olograms) Ltd studio, using the pur-chased equipment as collat-eral. Since Holomart has de-faulted on the payments, Ar-buthno t h:ts made prepar:t -tion to phy ically take pas-

Contact Bruce Snyder at 9 Brunswick Centre, London WC1N 1AF. Tel : (+44 ) 0 1 833 0998 .

So this is w hat they call a working breakfast ...

A display of packages incorpomting holograms, at a 1'ecent con-ference on holograms in packaging (see 1'eport on page 16).

Live Denisyul< Gets Record Response

6 Holographic lnrernarion.d Winter I 989

An estimated fifteen million young Britons saw Dr Martin Richardson of the Royal Col-lege of Art make a Denisyuk hologram on live television this autumn.

During the first part of the children's programme Mot01'-mouth, broadcast on 23 Sep-tember, viewers saw example of Richardson's \VOrk and were given an introduction to holography. During the sec-ond half he made a hologram live in the studio.

The equipment consisted of a lOmW HeNe laser, a

bowl of sand, a paving slab and an inner tube . It is pic-ntred during the programme with Richardson (right ).

The resulting bright holo-gram of the letter M was signed by Richardson and the other guests pre ent in the studio, including the pop group Erasure, and offered as a prize to a viewer who could say in which country holo-graphy was invented. The TV company, Central Television, said that the respon e was 5000 entries, the largest ever to such a competition .

-----------------NEWS----------------

Fringe Research Puts on Display in

Bloomingdales Hosiery Fringe Research Holo -graphies ofToronto, Canada, collaborated with Holo -graphies orth of Vermont, USA, to produce a hologram for display in Bloomingdales, the famous ew York City department store.

The multi -colour multi -channel large format white light tran mission hologram \vas produced for HUE, a

ew York hosiery manufac-turer, and was hung in Bloomingdales as part of a sales promotion. The art di -rection and production of the final display hologram were

carried out by John Perry at Holographies North in Bur-lington , Vermont, and the pulsed masters were made by Michael Sowdon and Alan Tate of Fringe Research .

One of Fringe Research 's current projects concerns Ca-nadian artist Evergon, who is recording a eries of holo-grams in the Toronto tudio. Two of hi m:~sters have been successfully printed into large format transmission holo -grams by Holographies North, and limited edition of the others will also be avail -able. The Interference Holo-

Detail fi'orn Is This What You Want? by Sydmy Diwmo!'e and Melissa C1emha1JJ, at Inte1jnence Galle1~y, To1'o1lto.

gram Gallery, sister organiza -tion to Fringe Research , ex -pects to be able to mount an exhibition of the work within the next year.

Also to be exhibited next

Shearwater Makes AW"ards

year is work by the 1989 Fringe Research Artists -in -Reside nc e, who are Ca rl Brown, Deborah Duston, Howard Gerry, Alan Letts, Micah Lexier, Andrea Ott and David Wilcox . Four out of the seven have already re-corded uccessnd masters .

Recently shown at the ga l-lery was an exhibition of work by Sydney Dinsmore and Me-lissa Crenshaw, entitled Choice and Ci1cumstancc. This consisted of two series of images: Is This What You Wam, which howed studies of a female nude, contrasting classical perceptions of beauty with contemporary views of fashion and taste; and Choice/What Choice, which uses nashback to examine the p ychological ef-fects of violence. Both piece are combinations of holo-grams and large format photographs.

Melissa Crenshaw and Marie Andree Cossette of Canada, Paula Dawson of Ausualia and Andrew Pepper, Susan Gamble and Michael Wenyon of Britain have been chosen by the Shearwater Founda-

tion to receive its 1989 holo-graphy awards.

The foundation, one of the few in the world to identify and support achievement in holograph y, has also an -nounced support for other

Luminescence by Marie Andree Cossette, one of the 1'ecipients of this year's Shea1":1JJater A wards for holography.

holographic activities in the coming year.

Awards of US . 10 000 each were made to nirther the work of the winning artists, who in the judges' opinion have maintained a distin -guished record in holography for at least four years, and have attained the highe t standards of achievement in their work.

The foundation has also given US$15 000 towards the nmding of the 1990 In-ternational Congress on Art which is being organized by Douglas Tyler of St Mary's College in Notre Dame, In -diana . A further contribution of US$1 0 000 is expected next year.

Also to receive money from the Shear-water Foundation i the Museum of Holography in ew York, which will get US$5000 towards its Artist -in -Residence programme and US$15 000 as the final instal -ment of a general support grant for the Museum' acti -vities.

Interference taff have re -cently produced an introduc-tory booklet on holography for their visitors called Holo-g7'aphy in a Nutshell. Al -though aimed at a younger audience, the book is said to be very popular witl1 visitors of all ages. opies are a] o available by post .

Interference Hologram Gallery and Fringe Research Holographies are at 008 -1179A King Street West, To-ronto, Canada M6K 3C5 . Tel (+l ) 416 535 2323 .

Winter 1989 Ho logr.tphics International 7

----------------NEW$-----------------

Film Switch For Richmond

Richmond Holo g raphie s Studios (RHS ) ofBritain is to switch from glass plate to sil -ver halide film holograms . A new range, which includes many new images, will be launched before the end of the year. The holograms will be available in international B sizes up to 70x50cm .

Edwina Orr of RHS said there were several reasons for the move. The availability of larger sizes of holographic film , problems with glass plate supplies, and the devel-opment of a new production system, all "seemed to make it sensible to switch com -pletely to film ", she said .

The film range was due to

be released in October, but has been delayed because of delivery problems with both equipment and supplies. Orr said she regretted the delay, but expected to have film re-leased by the end of the 1989.

She wou ld not reveal de-tails of the new RHS produc-tio n system but claimed it would "cause certain waves " in the industry. "It is a totally new system that will allow mass production and make pricing very aggressive", he said .

Ri chmond Holographies Studios is at 6 Marlborough Road, Ri chmond , Surrey, TW10 6JR, Britain . Te l : (+44 ) 01 940 5525.

Applied Sells S"'iss Unit to 3D

Applied H o lographies Pic of Britain has sold its origination faci lity in Switze rland to D avid Greenaway, who al-ready ran the unit , for 540 000 (US$864 000 ). The new company is called 3DAG.

The sale was a mutual deci -sion by Applied and 3D , Greenaway says, and it was prompted by his desire to become active in the interna-tio nal market for film holo-grams . His ai m is to provide a complete origi nation service, from design and origination to shim production . 3D i also able to recombine images for both decorative and se-curity purposes, a facility whi c h Greenawa y claims mo t companies in Europe do not have .

Though the company will continue to work with dec-orative foi ls and prismatic and diffraction structure , Gree-naway hopes to expand into securi ty-oriented products such as tamper-evident label-ling. T he company wi ll also look beyond the European market toward the U .

3D intends to maintain it clo e links with Applied, and Greenaway hopes that the two companie wi ll continue to work closely. He is optim-istic about the future: "The foil market will expand in the next few years and we are well placed to take advantage of that ".

3D AG can be reached at Gewerbe tras e 17 CH -6314 Unteraegeri , Switzer-land. Tel: (+4 1) 042 724972 .

Boyd Wins Fulbright Award Patrick Boyd, a graduate of the Royal College of Art (RCA) in London, has been awarded the Fulbright Arts Fellowship in Light Trans-mission for his work in holo-graphy. Fellows are provided with a grant to enable them to work, travel or study in the United States.

Boyd is best known for his pulse work, done primarily at the RCA. H e has already had several exhibitions, most re-cently at the Discreetly Bi-zarre Gallery in London (see last issue ), and has also had his work displayed in shop win -dows in London and Madrid, Spain .

The Fulbright Arts Fellow-ship is awarded each year to a different area of the arts, and in 1989 it was for "art using electronic media including holography, neon and la-sers ". Boyd is pictured receiv-

8 Holographies International Winter 1989

ing tl1e award on 13 Septem-ber from the Honourable H enry E Catto, United States Ambassador to Britain.

Boyd is basing his activities under the award at tl1e Mu -seum of H o lography in ew York. He will document his time in America by taking photographs and intends to advance his technical knowl -edge through working with different American hologra-phers.

In additi o n to the Ful -bright Award, Boyd has also received tl1e New Horizons Award from the International Society for the Arts, Sciences and Technology ( ISAST ). This is presented annual ly to an artist recognised as innova-tive in a new medium, and the winner is given US$500 and an opportunity to have an ar-ticle published in the ISAST journal, Leonardo.

Patrick Boyd is presented with the Fulbright Arts Fellowship by the US Ambassador to Britain, H enry E Catto.

-----------------NEWS----------------

US Post Launches Space Stamp

The US Postal Service has launched an envelope stamped with a 2D-3D em-bo sed hologram, produced by American Bank Note Ho-lographies Inc, depicting a space shuttl e preparing to dock at an orbiting space sta-tion.

The artist who designed the stamp for the envelope, Ken Hodges of Los Alamitos, California, has also designed four other holographic stamps which are to be laun -ched during the Wol'ld Stamp Expo.

The hologmphic stamp im-ted by the US Postal Se1'Vice.

The Postal Service has been investigating the use of holo -grams for several years, Assis-tant Postmaster General Gor-don C Morrison said . H e sees the hologram as a unique way

to satisfy those customer who have been asking for more colourful and innova-tive stamps.

T he price of the ho lo -graphic envelopes, which in-corporate a 25 cent stamp, is 30 cents. Boxes of 500 are

Op-Graphics Tals Victorian-style photos Jllhich has been made into a hologram by Op-GJ'aphics.

Winter 1989 Holographies lntcrnarional 9

----------------NEW 8 -----------------

Imprimis Technology of Oklahoma City, United States, a manu.-facturer of computer hard disks, has used i 5 000 holograms from Light Impressions on its promotional calenda7'S jo1 1990 (pic-tured). Imprimis also used 5000 of the 13x14cm holograms on desk displays and plaques as gifts fo1' wstomers and staff The co-mapany has described the enti1'e P1'omotion as very successful. Light Impressions (US) is at 194-B Josephine St7'eet Santa Cntz, CA 95060. Tel: (+ 1) 408 4581991.

Ballooning Spectratek Spectratek of Los Angeles, USA, is developing solar win -dow film designed to be used on the windscreens of vans o r other vehicles. Samples will be shown at the automotive convention this autumn and production could start in the first quarter ofl990.

The company is also sig-ning a deal with an American balloon manufacturer to put holograms onto mylar bal -loons, and has already made

samples. In another project, workers at Spectratek have design ed a high press ure laminate for formica surfaces and hope soon be partnering a furniture manufacturer so that it can be applied to items such as desks and conference tables.

Spectratek can be con -tacted at 1510 Cotner A -e nu e, Los Angeles , CA 90025, U nited States. Tel: (+1 213 ) 473 4966 .

Federation Proposed for Tighter Security

An international association of manu L1c turing ho logra-phers is being propo ed by Jeff Blyth of Britain to keep a record of all security holo-grams, to prevent them from bei ng unwittingly duplicated . H e hopes to use the SPIE conference, to be held in Los Angeles, USA, in Janu ary 1990 to di cuss the matter with people fro m the ho lo -graphic co mpani es wh ich would be directly affected.

Blyth , who is a technical consultant on ho lography for M as te rc a rd , says that together with Visa the credit card is uers have saved some-thing like S$ 1 00 millio n in losses through counterfeiting since they introd uced holo-grams o n their cards. How-ever, he feels that the fu ture of holograms as security de -vices may be threatened if em-bossing runs are not moni -tored in some way. Light Im -pressions Pic has, he say , re -cently had o ne of its ho lo-grams copied in the Middle East. He feels that this art of problem would be les likely to occur if hologram manu -facturers knew that they were being as ked to dupli ca te someone else's work.

He is putting forward a plan which involves the pro-posed association, provision-

ally dubbed the International Federation of Manufacturing Holographers, in three way . Fir tly, it would act as an arc hive for copies, photo-graphs and design of security holograms, which wou ld be regu larly submitted by each manufacturer. Then , before running a new job, hologra-phers would t:lX or courier the de ign of the proposed holo-g ram to the association, which would then check the artwo rk against design of existing holograms to ensure that no duplication was tak-ing place.

The a sociation would also collec t data on all non-se-curity embossed products, in particular to check for materi -als which could be u ed to simulate security holograms. T he hope would be that clients would choose holo-graphers who were members of the association rather than no n-affiliated companies.

Blyth would be interested in th e views of pote ntial members on the practical is-sues of running uch an ~rga ni za tion. H e can be reached at 7 Bath Street, Brighton , Sussex BNl 3TB, Britain . Tel: (+44 ) 027 3 202069 . For those attending the SPIE conference, there is a photograph on page 23.

Soviet Studio Seel

HOLOG In the last two years alone ILFORD research has created .. . Red sensitive film products for the mass production of holograms with Ruby or He-Ne lasers incorporating the BIPS factor to avoid the need for preswelling.

Machine compatible processing chemicals in concentrate form for convenient replenishment on long production runs.

All countries except UK & USA Glenn Wood ILFORD LIMITED Town Lone Mobberley, Knutslord Cheshire WA16 7HA, England Telephone: 0565 50000

Blue/green sensitive plates which have now become the industry standard for mastering for embossing. The low scatter enables blue recording for blue transfer to photo resist.

Emulsions for full colour holograms.

For further information please contact:

UK Marketing Department ILFORD PHOTO Company 14-22 Tottenham Street London WlP OAH, England Telephone: 01-636 7890

. . . and now newSP737 A new red sensitive emulsion on triacetate base for use in educational programmes.

He-Ne laser compatability BIPS foetor gives gold holograms without preswelling Safe to handle processing chemicals

USA Ek Sachtler ILFORD PHOTO Corporation West 70 Century Road Paramus New Jersey 07653, USA Telephone: 201 265 6000

----------------NEWS----------------

New AIRs at Photon

League The Photon League, a Cana-dian cooperative facility for artist holographers, will be running an artist-in-residence program from January 1990.

The artists chosen to be sponsored in the first year are Heidi von der Gathan , John B Webster, Ken Vincent,

laudene Abrams and Mary AJton . Each will be allowed to spend up to two weeks in the Photon League lab with all materiaJs supplied.

The lab itself was set up in the spring of 1989 and con -sists mainly of a 2 .5x5 m rein -forced concrete table with a steel top and a 50mW HeNe on long-term loan from Mi -chael JotoffofOttawa . It has been well used since it op-ened, and has been the venue for a number of work hops.

Recent lecn1rers have in-cluded Melissa Crenshaw and John Kaufinan. Two more in-troductory workshops have been scheduled for the first half of 1990, as well as an ad-vanced workshop covering techniques in multi -colour reflection holography.

A curatorial committee has been formed and is gathering proposals for an exhibition in late 1990.

The Photon League is at 110 Sudbury Street, Toron -to, Ontario M6J 1A7, Cana-da . Tel : ( +1 ) 416 531 7087 .

A student on a "Hands on Holography " cou1'Se at Newcastle upon Tyne Polytechnic, Britain. Since September, a series of one-day begirme1'S courses and Jou1--day advanced courses have been offe1'ed. For details see page 29.

Colour Mastering Fron1 Lasersn1ith

The Lasersmith, of Chicago, United States, has set up a new comp:my to after holo-graphers a full -colour master-. .

mg serVICe. Called Advanced Holo -

graphic Imaging Techno -logies (AHIT), the company will have a particular interest in computer imaging and full-colour stereograms, and will be capable of producing full -colour embossed and display masters. The Lasersmith itself will continue to act as a pro-duction house.

The Lasersmith Ius also developed several new sys-tems which it hopes to unveil in early 1990. These include

computer generation of ste-reo images with the capability to add graphics, and a stere-ographic full.-colour printer which will produce images readv for transfer to re ist or silver halide film.

The company is also com-pleting prototypes for a camera which will eliminate the problem of temporal co-herence by exposing the en -tire optical system simulta-neously.

Steve Smith, President of The Lasersmith, said that he was aiming to after a "service house to the holographic in-dustry ". The Laser mith is on (+ 1) 312 733 5462.

New Holomex Camera Holomcx ofBritain has laun -ched a new holographic camera, which it describe as a compact and portable sy -tem for the production of ho-lograms.

The Holomex Viewcam 2025 has a fixed laser (1Om W HeNe ), beam expander, spa-tial filter and shutter. Differ-

ent kinds of hologram are made by electing arious op-tical elements fiom a control panel.

The device can make single beam reflection holograms in horizontal, vertical and ob-lique planes, and double beam reflection and trans -mission holograms in the ver-

12 HologrJphics lmen1.1rio n.1 l Wimer 1989

tical plane. Transmission masters are possible with an optional collimating lens. It uses either film (holding be -tween glass, or using vacuum or indexing methods ) or plates and makes holograms up to 20x25cm. The expos-ing chamber measures 60x35x45cm.

Leonardo Special

Published Leonardo, the journal of the International Society for the Arts, Sciences and Technol-ogy (ISAST), has just pub-lished a special issue on "Ho-lography as an Art Medium ". Guest edited by Louis Brill, the issue documents the work of the some of the world's foremost holographic artists.

Benyon, Berkhout, Bois-saner, Burgmer, Casdin-Sil-ver, Dewar, Dyens, Din-smore, Gorglione, J ung, Kac, Mitamura, St Cyr, and Vila are among those who have written papers about their work for the publication. There are also general articles by Bainier, Jurewicz, Lan-duyt, Layer, Lightfoot, Pep-per, Speer, Zec and others.

AJso on offer from Leonar-do is the "Art and Holo-graphy Theme Pack" which includes copies of the ten most requested articles on art and holography which have appeared in previous issues.

A copy of the special issue can be purchased for US$45 by individual reader . This in-cludes associate membership of ISAST and an annual sub-scription to Leona1-do. The theme pack costs US$20 or US lOformembers.Forfur-ther information please con-tact Leona1do at PO Box 75, 1442A Walnut, Berkeley, CA 94709, United States.

The camera also offers a fa-cility to view reflection holo-grams with an built-in tung-sten halogen spotlight, and transmission holograms can be viewed using the laser ref-erence beam. Overall the camera measures 90x90x 45cm, and is expected to cost about 8000 (US$12 800 ).

Further details are available from Mike Anderson at Ho-lomex, 4 Borrowdale Avenue, Harrow, HA3 7PZ, Britain. Tel: ( +44 ) 01 427 9685.

At Last! Holographies International and the Museum of Holography, New York, are pleased to announce that their long-awaited Directory is

now close to publication. By the time you read this, the Directory will be at the printers, ready for dispatch in February.

Was it worth the wait? It will feature an easy-to-use format with the most comprehensive collection of holography addresses, contact names,

telephone, fax and telex numbers yet assembled. There is a detailed (but not too detailed) classification system, and full indexes.

To order the Directory please use the form enclosed . or see page 34 Send a cheque (wh1ch w1ll not be cashed unt1l the publication 1s d1spatched) . or we can 1nvo1ce you Subscnbers to Holograph1cs lnternat1onal 1ssue 6

w1ll rece1ve a free copy as part of the1r subscr1pt1on In the Un1ted States and Canada: order from the Museum of Holography. 11 Mercer Street. New York. NY 10013. USA.

Tel.(+ 1) 212 925 0581 . Pnce USS20 In the rest of the world: order rom HolographieS lnterna 1onal BCM-Holograph1cs London WC 1 N 3XX. Bnta1n .

Tel: (+44) 01 642 8381 Pnce :10 or USS20

HOLOGRAMS f

----------------P E 0 P L E----------------

Denisyul{ in the USA

Professor Yuri Denisyuk of the USSR vi ited the United States for the first time this summer on a trip that took him to many parts of the country.

On his way to Lake Forest College, Illinois, he had a short stopover in New York to visit Martha Tomko of the Museum of Holography. At Lake Forest, where he was a gue t at Dr Tung Jeong' summer house, Denisyuk at-tended a reception given for him by the president of the College, gave a public lecture attended by local hologra-phers, and even did some water-skiing.

Subsequently he visited Profe sor Emmett Leith and gave a technical lecture at the University ofMichigan. Leith and Denisyuk then drove to

ew Hampshire where they had been invited to go to the private Gordon Conference on holography, which was also attended by Dr Stephen Benton of the Massachusetts Institute of Technology.

Among his other visit were the Center for Applied Optics in Alabama, the home of Anait Stephens in Califor-nia, and Ana Maria ichol -son' portrait studio in the Museum of Holography,

ew York.

P1'ofesson Denis_')'l~k (right) and Leith at the Gordon Conference in en> Hampshi1'e.

Gantz Gets Into Bed With Holography

American photographic artist Joe Gantz, known particular-ly for his controversial and sexually explicit photographs of women, has started making transfers of his first holo -graphic project, which he hopes to show next year.

Gantz started the project more than two years age by taking photographs of couples in bed. In December 1988 , during two 5-day ses-sions at Holoscan in London, Britain, he u ed human mod-els to recreate the gestures and expressions in the photo-graphs and made 38 60x100cm masters.

Though very pleased with the transmission masters, Gantz said he initially had problems with the transfer stage.

With these overcome, he has now successfullv trans-ferred some of the work onto bl ack and white reflection copies and he is now using these to try to convince some

of the major European art gal leries to exhibit his work. The Ludwig museum in Koln, FR Germany, has al-readv cheduled a show for August 1990.

Water Lillies- after Monet, or Slow Death by Anait, a recent 4ftx8ft mttml of film holograms. Unde1' a gently mOJ>ing smface of 1'ippling wate1' t/;c PieJPe1' sees images of cmmpled heel' cans, con-doms, deas fish, etc, which contrast with the beaut_v of the s~t~face. The mOJ>ement is enhanced by hanging the holograms anmy from the wall so that they mope randomly with air cmnnts. The sounds of moving watev a1c relayed through two speakevs to complete the effect.

14 Holographies 1 ntcrnation.tl Winter 1989

----------- -----P E 0 P L E---------------

Pepper PhD Breal(s With Tradition

Andrew Pepper has received a PhD degree tor his work in fine art holography. The award was made by the University of Reading, Bri -tain, in July.

The work submitted for the award consisted of nine white light refection holo-grams and a thesis on the his-tory of holography and its re -lationship to other media. The award is considered unique as it wa the first time a candidate ha submitted such a large proportion of vis-ual work for a higher degree.

The PhD is among the first to be given specifical ly for fine art holography by a British university and, unusually, the work was examined by mem -

Physics departments . Prof tephen Benton of the Ma -

sachusetts Institute of Tech-nology in the US acted as ex-ternal examiner.

The work is available tor

viewing as part of the Fine Art Department collection at the

niversity of Reading, but examples can :1lso be seen at the Museum of Holography in lew York and the Mu -seum tor Holography and

ew Visual Media in FR. Ger-manv.

Pepper will continue to work at the Universitv of Reading JS the Lienal Rob-bins Memorial Scholar.

bers of both the Fine Art and AndnJII Pepper)s IJologmphic PhD JII01"ll , Drawing in Space.

Broadway Show New York City' largest ever public display of holograms will be on view until 16 January 1990 Jt Broadwav Windo,, , on the corner of Broadway and 1Oth Street. The works, by Chuck Henry, consist of a series of mosaics made by cutting up copies of a master hologram of geome -trical patterns and reassem -bling them in large-scale in -stallations.

Henry, who i profes or of sculpture at Virginia Com-monweJith Univer ity has included six pieces in the ex -hibition, each making usc not only of the holograms them -elves, but also of either ma-

teriJis such formica and aluminium or some elec -tronic effect such as a video screen or blinking lights. The pieces range in size from 2.3 to 3.7m square. This is his first major New York exhibi -tion.

Detail of a hologram mosaic by Chuck H enry.

Broadway Windows is a non -profit organization founded in December 1984 in conjunction with 1 ew York Uni\'ersity, and artists

from around the world are in -vited to submit site-specific proposals. The exhibitions c:1n be seen by the public 24 hours a day.

Lightworks on the Move:

Studio to be Leased

Peter Miller and Dominic Welby , partners in La er Lightworks , the London -based holographic studio, have decided not to renew their lease when it falls due at the end of March 1990. Con-cquently they are looking for

new tenants who would like to maintain the unit as a ho-lographic studio.

The reason for their deci -ion to leave the building is

ne:1rby construction work, which has necessitated their working solely at night since June 1989 :1nd which is not expected to drop to a toler-able level until Autumn 1990.

They are offering to assign the lease and facilities without premium to any individual or group interested in keeping the studio operational. The three-room unit includes two fully functioning isolation ta-bles: :1 4x2m sand table with an inlaid steel plate and a heavy-duty adjustable over-head system; and a 1.3x2.5m steel top table. Ion laser plumbing, three-phase elec-tricity, and darkroom fa -cilities are also offered.

Though the lea e runs out in March , interest in the unit has meant that they may want to leave by the end of January 1990. Those intere ted should get in touch with Mil-ler or Welby at Unit B1a Hat-ton Square, 16/ 16a Baldwins G:1rdens , London ECl 7RJ (Tel: (+44 ) 01430 0028 ), or at 2 Foxes Lane, Mousehole, Cornwall , TR.l9 6QQ, Bri-tain (Tel: ( +44 ) 0376 731320 ). Both holographers are offering their services on a freelance basis until their relo-cation plans are finalized .

Wint

----------- ----REVIEW---------------

Selling a Packet The use of holograms on the packaging of breakfast cereals and other products is increasing, and the results of some recent promotions show why. A one-day conference was recently held in Britain on this subject.

The PIRA Packaging Division in Leatherhead \\as the venue for the con-ference , en ti tied The Use of Holograms in Paclmging, on 5 December. Chaired by Ian Lancaster, former director of the Museum of Holography in ew York, the conference was an opportunity for hologram manufacturers to explain the potential of the medium to likely users, and to answer questions about practical aspects of using holograms on packa-ging.

Among the companies paying 165 a head to hear how holography could be of service were Courtaulds, ICI , nited Distillers, Shell Research Ltd , St I vel Ltd, The Nestle Companv Ltd , Reckitt and Coleman, and Her Majesty's Stationary Office.

The speakers included Hamish

DECADE OF LEADERSHIP IT THE

HOLOGRAPHIC CENTER 1134 W. WASH INGTON BLVD.

CHICAGO, IL 60607 3122261 007

CUSTOM HOLOGRAMS PORTRAITS LARGE fORMAT

EMBOSS0 HOLOGRAMS MOTION HOLOGRAMS

fiL : Circol" COMPUTER HOLOGRAMS

WKlONG WORK SHOPS --

CLIISEIOUIRTERLI TUTORIALS

16 H ologr.tphics Intcrn.nion.tl \Vintc..: r 1989

Shearer, who brought the audience up to date with new developments made by Applied Holographies. This included details about their new wide-web materi -als, of which he showed as a sample a dif-fiaction grating pattern of small circles in squares, designed using a computer.

He showed some slides of products which had been selected as the "Best of British Packaging", and suggested ways in which the subtle and restrained use of holography might have added to the overall effect of the award-winning de-signs. Another speaker was T Hitchins, who explained what his company, Mar-kem Systems Ltd, had learned about the usc of holographic foils since they en -tered the business.

The use of packaging to guard against counterfeiting was covered by Philip Hudson of Amblehurst, who gave a de-tJiled analysis of the d ifferent ways in which holographic authentication stic-kers and tamper-evident labels could potentially save manufacturers millions of dollars. He showed ways in which ho-lography and conventiona l security printing techniques cou ld be used together to make highly secure devices, arguing that holography has a long-term role in security.

Throughout the day the audience was shown photographic slides ofholograms on packages, rather than the real thing, until John Brown of Light Impressions Europe paid a quick visit to his offices, just a couple of hundred yards away, to collect a whole batch of samples. On his return he put on a good display of work from several manufacturers, being care ful to give credit to each in turn (which was not true of all the presenters ).

Brown also provided information on some marketing success stories, such as that of Ralston Purina in the US which had "a dead brand of breakfast cereal " until it allocated its total advertising bud get to buying a "Ghostbusters " licence and hot foi l blocking a se ries of three AB holographic images onto the box. The market share increased so dramati cally that the company dec ided to keep the ho lograms on the pack permanently! Now with new images from the "Ghost-busters 2" movie, it has contracted to

Confe7'ence chairman Ian Lancastn JVith a sample of holographic packaging.

run holograms on the pack for at least tl1e next five years.

The similar success mat Kellogg's has had in Britain with the "Tony the Tiger " holograms was also described by Brown. Such was the eftect on the brand's popu-larity that the company is keeping tl1e marketing information secret, but me fact that it started another promotion, with six new images on ~ Rice Krispies ", onlv weeks after the first one came to a close shows that tl1e holograms must be proving ve1y effective.

D avid Pizzanelli

Scott Lloyd In a review of the publication Holo-graphy Ma1'ketplace in our last issue, it was suggested that Scott Lloyd was the author of some editorial material on holography contained in the pub-lication.

We have been asked to point out that although Mr Lloyd did write some material for Ross Books, pub-lisher of Holography Marketplace, it was substantially edited prior to pub-lication , and at his own request he was not credited as author.

---------------CALENDAR--------------

Now until May 20 Chicago Museum of Holography, 1134 W Washington Blvd Chicago, IL, USA. Tel: (+ 1) 312 226 1007. Equus/Underwater, a "thematic:J.IIy in -tegrated sto ry told through holo-graphy", by Nancy Gorglione and Greg Cherry.

January 27 - March 3 In terfe7'ence H olog7'am Gallay, 008-1179A King St W T01wtto, Canada. Tel: (+1 ) 416 535 2323. Open Wed-Sat, 12 noon to 6pm. Group how o n the theme of the repre -sentation of the human figure, curated by Heidi Von der Gathen.

March 8 - April 14 Interfe7'ence H ologmm Gallery. If you can't make it good, make it big, ex-hibition of portriats by Michael Sowden and Alan Tate of Fringe Research Holo-grap hies.

March 12-14 The Hague, Nethe1lands. EC03, Third Annual Internation:J.I Conference o n Optic:J.I Science and En-

gineering, and In te roptex 90 exh ibition. Det:J.il from PIE, PO Box 10, Bellin -gham, WA 98227, USA. Tel: (+ 1) 206 676 3290.

April 19- Jw1e 2 Interfe7'ence Hologmrn Galle1:v. Solo exhibition by holographer/ sculp-tor/ artist Jean Fran~oi C:J.ntin.

May 1 - July 29 Holos Galle1y, I 92 Haight St, San Fran-cisco, CA, USA. Tel: (+ 1) 415 221 4815. Show by members of the Laser Arts So-ciety .for Educ:J.tion and Re e:J.rch, to mark the society's I Oth :J.n n ivers:J.t~'

May 19 - July 8 Royal Photographic Society, The Octagou, Milsom t, Bath BA I JD N, B1itain. Tel: (+44) 0225 462841. Solo exhibition with :1 Spanish theme bv Martin Riclurdson.

May 22-24 Beijing, PR ofChina. Intern:J.tional Conference o n Hol o -graphy Applications, with exhibition. Details ti-om Prof Hsu Dahsiung, Beij -

HOLOGRAM ROTARY DIE CUTTING

A PROVEN PROCESS FOR HIGH- VOLUME COST- EFFECTIVE PRODUCTION

ACCOMMODATES PLATE-TO-PLATE REGISTRATION DIFFERENCES

KISS-CUT (LABELS) THROUGH-CUT (TAGS) HIGH YIELD SECURE FACILITY WIDE RANGE OF WEB WIDTHS

ing University of Posts :1nd Tclecom -munic:J.tions, Beijing I 00088, PR of Chin:1. Telex: 222341 B PTF C .

Jw1e 7 - July 28 Intelference Hologram GalleiJ' 1987 Artist-in -Residence group show.

August 12-16 Garmisch-Pmtcnh1chen, FR Gennauv. I nternation:J. I Conference on Optics. in Life Science . Details from G \'On Bally, University of Muen ter, K:J.rdiml -von -Galcn -Ring 10, D-4400 Muenster, FR Gcrnnny. Tel: (+49 ) 0251 83 6861.

September 28 - November 3 Inte7ferencc Hologram Gallc1:v. New British ho lographv , curated by Dr Andrew Pepper.

November 4-7 Baltimore, Mmyland, USA. Society for Experiment:J.I Mechanic (SEM ) Conference on Hologram Inter-terometrv and Speckle Metrolog~ De-tails tiom Dr Karl A Stetson, SEM, 7 School St, Bethel, CT, USA. Tel: ( + 1) 203 790 6373.

" 13

12

II

10

FRONT VIE 'N

.fig. 234.

n r- ---- -- -. : t1 ' . ' .

' ' ' '

0/RCC r t ON Of

SIDE VIEW Fig. 235 .

~~ SIGHr

CONTACT: DAN GALLAGHER THERE IS A RIGHT WAY

TO LOOK AT A HOLOGRAM

OTAL REGISTER~ INC. 180 SUNNY VALLEY ROAD

NEW MILFORD, CONNECTICUT 06776 USA PHONE: 203 354 0091 FAX: 203 354 0513

MANUFACTURERS OF HOLOGRAPHIC PRODUCTS OpGraphics Tech North Unit 4 7 Harrogate Road Leeds LS7 3NB "h.rf-.mnl.uo TEL )OSJ2) 628687 TLXSS7061 LINKUPG FAX0943467881 lrviiU~~

------ -------C 0 M MERCIA L -------------

Hologram Industries: A One-Stop Service

The commercial holographic industry has seen the recent emergence of a few larger companies offering their customers a "one-stop" service, from conception and design to mass produc-tion. In the first of an occasional series of profiles of leading companies, Holographies Interna-tional takes a look at Hologram Industries of France.

Within the last year, Hologram Indus-tries has moved into new premises double the size of its previous building, and has also doubled its sales. It expects sales to double again next year. The com-pany's brief but eventful history illus-trates the exp losive growth that is possible in the commercial holography market given the right approach.

The company was found ed in 1984 by Hugues Souparis and Denis Lachaud , who were both working as consultant engineers for the Paris City of Science and Technology, a large scientific mu -

seum. Souparis had previously founded another holographic company, Media-Laser, which closed in 1983. Lachaud had worked on holography with the large Fre nch engineering compan y Thomson.

They soon concluded that the wide-spread use of holograms in communica-tions and marketing depended on their use being as simple as that of photo-graphs. Holographic companies must also offer better quality products and a higher standard of service to their custo-mers, they realised.

The first commercial pro-ducts of the new company were cylindrical integral holo-grams, of which sales started in 1985 . By the following year they were routinely produc-in g these up to 60cm in diameter . In 1986 they also completed their first embo s-ing projects, with production contracted to a US firm .

T hey continued to research new products, and early in 1987 the company started to produce both phororesists and large format stereograms. It was clearly time to expand their marketing efforts, and a full -time salesman was taken o n. An advertising campaign was also started. By Septem-ber they were producing photoresists commercially .

Actress ]enife1' Beals in a 1 OxlScm black and white stereog1'am for a special effect in a movie.

The company's technical strength was boosted by the recruitment in 1988 of Jean -Francais Moreau, who had previously helped to set-up another French company, AP-Holographie. By now H ologram Industries had six employees.

18 Holographies International Winter 1989

Sales con -tinued to in-crease, and now in -cluded many embossed holograms for magazine covers, bro-chures, bad -ges , greet -ings cards, etc, as we ll as several large format stere-ograms. But real progress was also being made on the technical front with the development of the company's Holoscope system.

It was this breakthrough, announced in July 1988, which led to the company's rapid expansion. A market study was car-ried out, which showed the potential for the new system. The company decided

The H oloscope, below, is a modified Nikon F3 mounted on a tracking rail.

- - -----------C 0 M MERCIA L -------------

Embossing in progress.

to acquire its own embossing fa-cilities to enable it to become an inte-grated producer of holograms for both display and security applica-tions. egotia-tions with poten -tial financial back-ers started early in 1988.

Banque Saga, a French business bank, was chosen as the financial partner, and now owns 20% of Holo-gram Industries. A large investment programme totall -ing FFr 6 million (U S$ l million ) took place in 1989, and has dramati -cally increased the company's capa-bilities.

The compan y now has four in -

house systems for producing holograms, including those for large format stereo-grams (up to 80x60cm), and photoresist mastering transfer (up to 40x30cm ). It also has electroforming and web em-bossing facilities, and cutting and slitting machines.

The new premises meet the security requirements of banks, and the whole process from studio work to finished ho-lograms can now be carried out in a se-

cure environment. Recent work has included credit card holograms and other security applications.

The company also believes that by controlling all operations in -house it has been able to dramati -cally increase the quality of its pro-ducts to the hig-hest standards any-where in the world. Delivery time has also been Im -proved, with pro-

offer better pro -ducts combined with more protes-sional service. The company is conti -nuing to devote considerable re -sou rces to research and development, and further i m -provements can be expected.

There have been criticisms in the past, often justif-Ied, that commercial holography com -panies ha ,.e not been able to offer

jects routinely A hologmm combined 111ith a photo of a the products and the quality of ser-

completed within woman, used on a dmg b1'oclmn vice necessarv to in -terest potential

users of holograms. Hologram Indus-tries is one of a small number of com -panies in Europe and North America which now appear to be ans\\ering this criticism. The growth of the commercial holographic industry may well be set tor take off a a result .

four weeks.

Martin Taylor

All 30 work is carried out using the Holoscope, which is best described as a holographic camera. Images can be re-corded on location, either by Hologram Industries or by the customer, and a full range of stereograms can be produced . The company offers a range of creative possibilities, including the use of several colours and even the incorporation of photographs into the surface or back-ground of 20 holograms .

Holoscopes are available for sale, enab-ling customers to shoot their own im-

Hologmm 1ndust1'ies is at 42-44 rue de Trucy, 94120 Fontenay 5/ Bois, Fmnce. Tel: (+33) 1 43 941919.

ages from vvhich Hologram Industries The same model and can make either embossed or large for- master we1'e used to mat holograms. The company is curren- make the 1 m2 tly looking for partners in other coun- stereogmm below and tries to market its services by using a Ho- 20 000 embossed loscope to record images for local custo-mers. This will allow the cus -tomer to have contact with a local company for the design and shooting process, while making use of the facilities of Hologram In -dustries for pro-duction of the holograms .

In its short history, Holo -gram Industries seems to have gone a long way to fulfilling the aims of its founders to

Winter 1989 Holographies lmcnurional 19

-------------- ED U CAT I 0 N --------------

Another Creative New Yorl( Summer

One of the greatest pleasures of teaching is to watch fresh minds take an idea, turn it over, mould it, bend it and make it their own. For close, intense inter-action between teacher and students, the New York State Summer School for the Arts provides a quintessential arena

Held every summer for the past twenty year on the campus of the tate U niver-sity of 1 ew York at Buf-falo, the six -week immersion programme is funded by the New York State Department of Educa-tion. Gifted high school students e-lected from across the state choose among workshops in co lour photo-

graph~ , film -making, video, creative sound, digital arts (computer graphics ), and holography.

1 ow in its third year, the holography work hop has grown in number of stu -dents, cope of projects and the level of programme support . For the first time this summer, the holography workshop found a home in the Phy ics Department with a good isolation table . The initial shooting problems have been solved by investment in much-needed equipment.

In class , technical parameters were dis-cus ed with a practical emphasis, includ -ing polarization and coherence length of the laser, and optimum recording ge -ometries for low-power laser set-ups. A hands-on approach dominated lab in -struction for, as holographers know too well, trouble-shooting at-lords the most valuab le lessons.

Lab work was balanced by ongoing discussion of the aesthetics and concepts related to holography, as well as by video and !ide presentations of artists u ing not only holography, b ut also light, sound, energy, motion and new technol -ogy in their work. The students were par-ticularly curious about colour and depth perception , and displayed a remarkably sophisticated interest in the use of lan-guage and text as a ubject for their work.

Studio work began with the class set-ting up a camera for reflection shadow-grams which create si lhouettes of objects in pace , therefore fl-eeing the imagery from the vibration problem of many ho-lographic ubjects. Once the camera was working, pseudo-colour testing started, using swelling of the ho lographic emul -sion to layer two or three additi ve col-our on a single plate.

everal unorthodox methods of mix-

20 Holo!o\r.tphi" ln tcrn.Hion.t l Wimer 1989

ing colou r proved intriguing to the tu -dents. The~ tried dripping, splattering and spilling triethanolamine and de-liberately towelling the emulsion during drying, to attain mottled fields of colour.

The next table project wa a trans-mission shadowgram set-up, which also left plenty of latitude in the si lhouetted subject matter. Multiple rain bow expo-sures could ove rlap, with a sli ght shift in recording geometry, so the red part of one rainbow could cross and mix with the blue or green part of another.

The Summer chool's evening events included critiques of students' work, as well as sc reenings, exhibitions and con-certs by visi ting artists and members of the teaching faculty . There were also lec-tures on visual culture by the Director, Dr Gerald O'Grady. Special emphasis was g iven to work representing new technologies, new international devel-opments, and minorities.

T he programme was fortunate to have Ken Vincent of the Photon League, To-ronto, to act as my substitute for the tlrst three weeks, as well as two other visitors who were a boon to the workshop. Susan Cowles, the workshop's instructor for its first two years, came to give a lecture on her work. Walter Spierings of Dutch Ho-lographic Laboratories joined the work-shop for its fourth week and presented a lecture o n his work with computer-generated holograms to a joint meeting of the computer graphics and ho lo -graphy workshops.

The workshop students wen.: also in -vited to visit the on-campus Earthquake Testing Laboratory, one of just two in the U nited States. At the centre of the facility is a huge concrete slab, which is isolated from its surroundings to induce movement. Five types of computer-con -trolled gyratio n simulate various earth -quake effects on quarter-scale building structures. We discussed the possible ap-plications of holographic interferometry to analvse structural stress.

A highlight of this year's workshop was a field trip to Fringe Re earch in To-

ronto, to give the students a chance to shoot images of their own design on a pulsed laser. The students made one or two test exposures and a 8x 10 inch plate for use in their final projects.

Matt Stanley, a student at haker] un-ior High in Latham, ew York, is also a brown belt in karate . For his pulsed ho-logram he chose to break a board with a karate chop. The timing was perfect, thanks to Michael Sowdon 's hair-tri gger reflexes. Matt call s his hologram Con-tact. He says: 11 I first started working in holography because of its striking reality. It i in this reality that I try to capture ex-periences and ideas. I have succeed here better than ever before because of the new techniques available to me. The use of the pulse laser was especially useful. 11

While in Toronto, the students en-joyed the chance to see Andrew Pepper's how at Interference H ologram Gallery,

which included a project piece with col-oured sc reens, a well as 20 reflection ho-lograms. Rounding o ut a full agenda, the students also visited the facilities of To-ronto's Photon League, a holographic co-operati ve which i worth watching.

Back in Buffalo, to complete their stu-dio experi ence the students worked with the Ia er-viewable pulsed master holo-grams to create reflection image-plane transfers. They often combined the copy process with technique learned earlier, to enrich the content of the images.

T he programme culminated in a fina l show, and naturally the students re-sponded to the dire inspirational force of a deadline. T hey created innovative dis-plays, with one student, Sean Suther-land , incorporating speciall y created sou nd , holograms and clothing into an installation with an anti -war mes age. The learning experience of mounting a holographic display in a short time was coupled with the gratification of haw-ing the work to their parents and peers in a gallery environment.

It is particularly fu lfilling to teach a workshop that ha become a seed pro-gramme. All the students go back to their schools' holography clas es and clubs and teach others. With inventive-ness and energy, they move beyond the techno-g immi ck and app ea l to the viewer with the directness offresh vi ion.

For more information about the ew York State Summer School for the Arts, contact Dr Gerald O'Grady, Director, Department of Media Study, 201 Wende H all , tate University of ew York, Buf-falo, TY 14214, United States. Tel: ( + 1) 716 831 2426.

Doris Vila

-c. Q) u Q) ......

......

0 -> ro c. (f)

"'0 Q) u Q) c.

I Q) ......

-c Q)

LAZA HOLOGRAMS ~omplete custom hologram service available

Official UK agents for Agfa Holotest matenals

CONTACT: CHRIS LAMBERT (0734) 391731/58!m6

.....

ro "0 0 .....

.-+ (f)

0" .....

0 Own range of processing chemicals .~============,~. ====================~ & 47 ALPINE ST. READING BERKSHIRE RGl 2PY ENGLAND ~

u ro (f) spUBlS AetdS!P 8JBS JO lU!Od - sw5 8/\!ln:l8X3 - SpUBlS MOLjS apeJl uo UO!l:IBJHB 5U!LJ:llB:l-aA3 I

The Finest in Dichromates

--------------LAB N 0 T E S--------------

Red Sensitive DCG: A Recipe

by Jeff Blyth The author's research has uncovered a readily available chemical which enables him to obtain a dazzlingly bright reflection hologram of an object 2.5cm in diameter, say, after an exposure of only l minute from a lOmW HeNe (with the beam spread to about 4cm diameter to give even illumination of the ob-ject). With a 35mW HeNe, a l0xl2.5cm hologram can be produced with an exposure time of about 4 or 5 minutes. Here he tells how its done.

This technique open the way for al l ho-lographers to produce their own holo-graphic plates and get brighter single beam results than they could get by pur-chasing expensive silver halide plates. It also enables them to coat curved surfaces such as wine glas es. I hope many of you will carry out the recipe below because it really does work and can be great fun. Unlike conventional DCG recording material, this one remain sensitive for weeks at room temperature and yet it contains only a small fraction of the quantity of dichromate normally used.

The approach taken in the instructions below is to enable you to produce re -markably good coatings at minimal cost. There is however one item that would be very helpful. Control of the pH to a value of about 9 is really important in this sys-tem and therefore a pH meter would be much easier than using pH papers. (I note that portable pH meters for swimming pools are relatively cheap these days. )

Full panchromatic sensitisation is also possible with this system but this wi ll be the subject of a later article.

Hologram made by George Clare using Blyth1s red sensitiPe DCG method.

22 Holographies International Winter I 989

The fo llowing instructions will pro-duce approximately lOOcc of material. The toxicity of the formulation is much less than that of normal DCG formula-tion because of the very low hexavalent chromium content.

The new discovery centres on l ,l ,3,3-tetramethylguanidine (TMG - Aldrich cat no 24176-8 ). This i a considerable advance over other similar sy tems [ l ], possibly because this molecule exists as a number of resonance structures in dy-namic eq uilibrium . (See diagram over).

Once TMG is neutralized with acetic acid and added to the ge latin formula -tion it is a reasonably innocuous sub-stance. However, the pure chemical is a volatile and caustic liquid which should not be inhaled and eye protection should be worn when using it. The first 2 prep-arations below are best done outside o that the fumes disperse easi ly.

Preparation of stock solution of 25%vjvTMG: l ,l ,3,3 -tetramethylguanidine: 50cc. Deionized water: add until total vol-

ume reaches 200cc. Preparation of stock solution of TMG acetate: 25% stock solution of l, l ,3,3 -tetra-

methylguanidine: 80cc. Glacial acetic acid: 8cc (approx ). This

quantity should be added very slowly while stirring and adjusted if necess-ary to give pH of roughly 7. (Some fuming occurs as the two vapours combine. )

Preparation of stock solution of 5% w jv potassium chromate: Potassium chromate (K2Cr04 ): 5 .Og. Deionized water: add until total vol-

ume reaches l OOcc. Preparation of stock 0.4% methylene blue solution: Methylene blue: 2.0g Deionized water: 500cc. Any undis-

solved impurity can be filtered out.

---------------LAB N 0 T E 8--------------

Preparation of coating solution The coating solution is prepared using the stock solutions, as follows.

To 80cc of cold deionized water add 12g of gelatin . Use a good qualitv cow gelatin rather than pig gelatin - it need to have a low "iso-electric point " of about 4 to 5. I use limed ossein fiom Croda Gelatin Ltd . Good quality cook-ing gelatin has al o given excellent re-su Its. I've been using photographic grade gelatin, but some of the holograms pictured were done by George Clare using cooking grade gelatin.

Place container in a water-bath and heat up contents to between 45 ' C and 50' C while stirring slowly. This may re -quire 20 minutes or more. Check that no undissolved gelatin remains.

Maintaining the temperature between 40 ' C and 45 ' C, add 1.0cc of stock 5% potassium chromate solution, and 16cc of stock TMG acetate solution. Note that this quantity of TMG acetate may produce a bright green image. As the quantity i increa ed the light sensitivity increases but so also does the shift in col -our to the blue. nexposed and unpro-cessed coating may become tacky be-cause TMG is hygroscopic . There is no tackiness in the finished hologram.

From this point on, before adding the methylene blue, it is Jl e1)' impm'tant to maintain the pH between 9.0 and 9.4. The adjustment is carried out by very carefully adding stock 25% TMG solu-tion drop by drop while the solution is well stirred. If the pH ri es above 9.5 it should be brought back at once by a drop of acetic acid. It is not possible to give a precise value of the quantities of either of these reagents at this point be-cau e it will depend on the batch of ge-latin being used. I found that it took l.8cc of stock 25% TMG to get pH 9.1. It is a big advantage to use a pH meter rather than pH paper strips. (A useful calibrating solution is 3.80g of borax crystals in a liue of distilled water. This has a pH of9 .2 at room temperanrre. )

Finally, under green or dim yellow afe-light, add 6cc of stock methylene

blue solution. This quantity is for a coat-ing thickness of between 4 and 5 microns. If you are going to double the thickness of coating by using methods other than the simple one described below, then the methylene blue quantity may need to be reduced. This is because the blue colour in the dried coating needs to be low enough to allow rough-ly 90% of red light to pass through to make a Denisyuk hologram.

However, if you do not see any sign of

Blyth shown with HeNe DCG hologram. The upper half was made without 1'each-ing the yield point. For the lower it was ex-ceeded. Hologram by Gem;ge Cla1'e.

a blue coloration when your dried un -exposed film is resting on white paper, then that probably means you have let the pH drop too low and it will have no sensitivity to red light.

(In my earliest formulation I u edam-monium dichromate, bur found that it caused wide variation in the pH of the coating depending on its state of dryness and how much free ammonia had e -caped. Methylene blue forms a useless precipitate with dichromate ions unless the pH is well above 8. Accordingly thi problem was eliminated by using the al -kaline salt potassium chromate instead of ammonium dichromate. )

This formulation can remain active for several weeks at room temperature, al -though it i best to store it in a cold place. It should not be frozen.

Very simple trial coating method: "Veil Coating" Under green safe-lighting (brighter than would have to be used for silver halide holographic recording): 1 ) Warm the solution to between 40' C and 45 ' C in a beaker with a spout. Do not overheat. 2 ) Hold a clean and warm glass plate up-right at an angle of about 80' with its base resting in a flat and clean tray which is as small as the glass edge will allow. With a 10x12.5cm plate it is best to put the 1 Ocm side upright. 3 ) Position the spout of the beaker at a point about 1 em from the top of the glass and 1 em from the edge closest to you . (See photo). 4 ) Start to pour out the solution and at the same time move your arm lowly par-allel with the top of the glass plate. The liquid should fall like an evenJy spread veil on that side of the glass at least up to the last centimetre from the edge. 5) Keep the plate upright and allow the bottom edge to drain for a minute. (The balance between gravitational and sur-face tension forces can give a surprising-ly even coating. ) 6 ) Mter the coating has gelled, the thick layer at the bottom edge of the plate can be either wiped off or removed by dip-ping the bottom edge in warm water. Pour the tray contents back into the beaker.

The coating is now best left to dry for at least 24 hours in a darkened room . It should be possible to coat over 20

Demonstration of "Veil Coating". All photos by David Pizzanelli. Winter 1989 Holographies International 23

--------------LAB N 0 T E S---------------

1 Ox 12 .5cm plates with l OOcc, the effec-tive area being about l0x10cm.

I Mt Me Exposing N To make a bright Denisyuk hologram of . , an object 2.5cm in diameter may need C = NH about 60 seconds exposure to a l OmW / He e laser with its beam expanded just N sufficiently to give a reasonably uniform .~ ,

Mt ..Me tl~+ -

C-NH N/

, '

M~,Me \ -

,.. C-NH __ ,I+

Me 'Me illumination of the object. Fir tly, a trial - me Me Me Me and-error test on exposure levels is essen -tial. The first trial should preferably con-tain a range of exposure levels on one plate. Note that doubling the diameter of the object will increase the exposure time needed bv a factor offour.

Processing It i very helpful to keep the following mechanical model in mind. If one hangs weights on the end of a steel extension spring, then removing those weights will result in the spring recovering its original unextended length, unless the weight reaches a critical value which is the spring' "yield point ". When such a weight is removed the spring normally never completely recovers its original un -extended length, but remains perma-nently distorted. Had the material of the spring been a little stiffer, however, then that particular weight wou ld not have stretc hed the spring beyond its yield point. But if the temperature of the stif-fer spri ng were to be raised, then that weight may again take the spring beyond its yield point.

DCG in water behaves similarly to tl1e stretched steel spring. At a certain tem -perature, the stretching forces due to swelling in water may take the gelati n be-yond its yield point. Had the water tem -perature been lower, then me gelatin would not have reached it yield point.

The art of making the most noi e-free and yet bright DCG holograms is to take the gelatin as close a possible to its yield point witl1out exceeding it. Stretching gelatin beyond its yield point create noise in the finished hologram, although the re ult are extra bright due to a broadband replay. Using the onion layer analogy of Curran and Shankoff[2], the holographic fringe layers might re emble dried out onion wim crinkled-up layers if the yield point is exceeded.

Simple Processing Method It is strongly recommended mat this simple method is tried before other methods you may know of. o meaning-ful tests should be carried out until me coating is at least 24 hours old.

The first trial hologram is best pro-

24 Holographies International Win ter 1989

The 1'esonating structm-es of 1,1,3,3-tetramethylguanidine.

cessed so that the yield point of the ge-latin is just exceeded, and some noise or scatter is generated deliberately in the finished hologram. This is neces ary to be sure that any lack of hologram after processing is not due to insufficient swelling in the fir t water bath and there-fore must be due to insufllcient exposure or relative movement between the object and holographic plate. Once one has es-tablished the necessary exposure level then one can produce ho lograms devoid of any noise by processing at a level which takes the gelatin just below its yield point.

After exposure, the sample shou ld be left for a few minutes before processing. l ) T he sample shou ld first be swollen in water at 26"C for about l minute. 2 ) Shake otT excess water droplets and plunge plate into cold iso-propyl alco-hol. Agitate vigorously for at least I minute. (The water content of this bath can be allowed to be up to l 0%.) 3) Put plate into another iso-propyl al -cohol bath but mis time ensure that its water content is less that 1%. Agitate for 2 minutes at least. (Insufficiently dry al -cohol in this bath wi ll result in drying marks which replay in the blue. ) 4 ) Blow alcohol off the plate with a strong blast of tepid air.

Prolonged inhalatio n of the alcohol vapour is harmfu l and hence the drying process should be carried out with air ex-traction. The alcohol baths shou ld also be covered. Remember that the alcohol rapidly absorbs moisture from the air.

o image may be visible unti l all the alcohol has escaped from within tl1e frin-ges, a process helped by leaving me sample in a warm dry place.

If the finished result is completely clear and shows neimer scatter nor holo-gram, then the chances are mat tl1e fringe voids or cracks have not formed properly in the alcohol bath by me "Shankoffeffect" and me hologram sim-ply needs reprocessing using water at a higher temperature in the first bath. If

the hologram is noi y or "milky " then that means that the gelatin has had its yield point exceeded and nothing can be done about the noise except to shoot an-other plate and process it at say l8"C so that me yield point is not exceeded. Plates which arc a month old and have been left at room temperature may need a water temperature of about 35"C. Get-ting the water temperature just right can produce the most noiseless and bright single-beam holograms you could poss-ibly achieve with anything.

Finished holograms shou ld be thor-oughly dried for several hours at around 60"C. Once treated like thi , they seem to be able to witl1stand ambient relative humidity below 85% indefinitely. One should seal them if they are going to be carried around. Otherwise a cold holo-gram brought into a warm room can cre-ate surface moisture and cause me no-torious di appearing trick of DCG holo-grams. (They can be reprocessed in water and alcohol if that happens.) Note that sprays should not generally be used as sealants since they can penetrate into the fringes. Viscous UV curing resin and a glass backing sheet seem to work well.

References [ l] R Changkalwti. SSC Babtt, and V Pappu, Role of External Electron Donor in Methylene Blue Sensitised Dichro-mated Gelatin Holograms, Applied Op-tics 27, p324 (1988) . [ 2] R Curran and T hanko.ff, The Mech-anism of Hologram Formation in Dichromated Gelatin, Applied Optics 9, p1651 (1970).

Note: The author has made patent appli -cations on tl1e use of guanidine deriva-tives as electron donors in dye-sensitised recording in DCG.

Acknowledgement: The aumorwishes to thank George Clare who has made many independent tests of formulations.

LEAVE EVERY STEP TO CROWN

--------SCIENCE AND T E CH N 0 L 0 G Y--------

Heat Is On With NeW" work particularly well in one mode or the other. HRF-150, for example will give 99% efficient results for a green trans-mi sian hologram without any heat pro-cessing, but 88.7% for heated reflection. Du Pont Photopolytners The mechanism which determines whether a material will work better in re-flection or transmis ion relates to the dif-ferent fiinge spacings in these two types of hologram, the former being consider-ably longer than the latter. In the case of HRF-150, Du Pont researchers believe that its active element diffusion proper-ties allow the monomers to travel the long distances relating to transmission fringe spacing. In the same way, the re-flection films tend to allow diffusion over the shorter distances required for the narrow reflection fringe spacing.

E I du Pont de Nemour & Co of the United tate has introduced a new photopolvmer which, it says, has all the benefits of dichromated gelatin ( DCG ) with the added advantage of optional dry processing, long shelf-life, wide spec-tral sensitivity, good photo speed and in -sensitivity to humidity and temperature after processing.

Du Pont researchers unveiled the new materials at the Holographic Systems, Componmts and Applicatiom con-ference in Bath, Britain, organised by the Institution of Electrical Engineers ( lEE ) in eptember. They said they hoped to have their HRF series of photopolymers on sale by the middle of 1990 .

In terms of the basic mechanisms, the new photopolymers are similar to Du Pont's earlier materials. Initiallv the ma-terial consists of monomers, which poly-merize when exposed to light, thus caus-ing shrinkage . The shrinkage causes monomers which were initially outside the exposed area to diffuse in, and they become polymerized also. The end re-sult is that the polymer i concentrated in the exposed areas and there are gaps left in the unexposed material because of the migration of the monomer .

The difference in polymer density causes the index modulation, which is the recorded hologram. The process of polymerization shrinkage and migra-tion continues until the gel harden . At thi point the hologram is stable to fur-ther exposure. A final blank exposure, over the entire plate, cau es any remain-ing monomers to be polymerized.

One of the advantages of the new photopolymer is that, because heat in -crease the di persian of the monomers into exposed regions, the index modula-tion of the plate can be increased by bak-ing. For example, in the case of HRF-700 film when recording a transmission hologram at 514nm, the index modula-tion wa increased by over 250% to 0 .0088 after heating at 1 ooc for 30 minutes, and the diftraction efficiency was increased from 16% to 77%. Earlier photopolymers usually produced an index modulation of around 0 .003.

The new photopolymers are web coated onto a clear solid Mylar film sub-strate ( Du Pont s brand name for its 26 Holog;rJphi99.99 28 0.068

HRF-700 4.5 514 10 SXJ 91.35 32 0.068

Table 2: Reflection hologmm 1'ecording in HRF films.

LOOK AROUND THE CORNER. In 1980 Agfa Holotest was responsible for an international break-through in brilliance and sharpness. In 1986 triacetate film with the best optical quality was introduced . Agfa Holotest. For know-how and experience.

AGFA-GEVAERT Ltd . NOT Diagnostic Imaging Systems, 27 Great West Road , Brentford , Middlesex, TW8 9AX Telephone : 01-560 2131

AGFA-GEVAERT N.V. DIS Division/Marketing NOT Septestraat 27, B-251 0 Mortsel (Belgium) Telephone : 03-444.82.42

AGFA HOLOTEST. 2SYears of the highest quality in holographi' emulsions.

AGFA +

--------SCIENCE AND TECH N 0 L 0 G Y--------

Using Optical Disk Storage for Image Correlation

Now that optical disks are in everyday use in compact djsk players and as opti-cal memory in conventional computers, researchers are looking at its possible uses in optical computing.

One function that such disks can per-form is image correlation, ie . matching up an input image with a stored image wruch corresponds to it . T his allows data, wruch can sometimes become gar-bled in a computing process, to be cleaned up by checking the garbled sig-nal or image agajnst a set of stored im-ages and replacing it with the correct one.

In the discussion of optical neural net-works, non -optical methods have often been suggested to perform thjs correla-

tion task. H owever, researchers at. the Califo rni a In stitute of Technology (CIT ) in the United States have recent-ly described optical image correlators which use Fourier transform (FT) holo-grams .

The simplest of their systems is the Vander Lugt correlator, shown in figure l . The images are stored as computer-generated FT holograms ( CGH s) on the disk. T he photo (opposite ) shows an example of a CGH when reconstructed .

When an image is put into the system, half of it is Fourier transfo rmed by the lens and projected onto the optical di k. The input image pattern is superimpo ed on the disk pattern , and every time the two line up the light is reflected back

through the lens and Fourier trans-formed o that an image appears in the corre la ti o n plane . When the

HO OCRAPHY input im age and reference patterns are the same, a corre lat ion peak appears. This peak is detected by a 20 detection array and

is INSPEC Topic T0080 An INSPEC Topic is a special information service designed to keep you in touch with the very latest developments in your subject. They are delivered to your desk every two weeks. Topics are specific selections from all new items added to the

CGH

= OPTICAL

DISK

INPUT PLANE

Figure 1: Van der Lugt correlator.

the position of the peak identifies the matched stored image .

The main advantage of this type of correlator is its potentially high speed . Demetri Psaltis, Mark r eifeld and Alan Yamamura of CIT have calculated that such a system could perform 400 000 correlations per second for an image of lOOxlOO pixels . H owever, because of its reliance on computer-generated FT ho-lograms, a very large amount of com-puter time is needed to rec