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  • Holography is a technique which enables three-dimensional images to be made. It involves the use of

  • a laser, interference, diffraction, light intensity recording and suitable illumination

  • of the recording. The image changes as the position and orientation of the viewing system

  • changes in exactly the same way as if the object were still present, thus making the

  • image appear three-dimensional. The holographic recording itself is not an

  • image; it consists of an apparently random structure of either varying intensity, density

  • or profile.

  • Overview and history The Hungarian-British physicist Dennis Gabor,

  • was awarded the Nobel Prize in Physics in 1971 "for his invention and development of

  • the holographic method". His work, done in the late 1940s, built on pioneering work in

  • the field of X-ray microscopy by other scientists including Mieczysław Wolfke in 1920 and WL

  • Bragg in 1939. The discovery was an unexpected result of research into improving electron

  • microscopes at the British Thomson-Houston Company in Rugby, England, and the company

  • filed a patent in December 1947. The technique as originally invented is still used in electron

  • microscopy, where it is known as electron holography, but optical holography did not

  • really advance until the development of the laser in 1960. The word holography comes from

  • the Greek words ὅλος and γραφή.

  • The development of the laser enabled the first practical optical holograms that recorded

  • 3D objects to be made in 1962 by Yuri Denisyuk in the Soviet Union and by Emmett Leith and

  • Juris Upatnieks at the University of Michigan, USA. Early holograms used silver halide photographic

  • emulsions as the recording medium. They were not very efficient as the produced grating

  • absorbed much of the incident light. Various methods of converting the variation in transmission

  • to a variation in refractive index were developed which enabled much more efficient holograms

  • to be produced. Several types of holograms can be made. Transmission

  • holograms, such as those produced by Leith and Upatnieks, are viewed by shining laser

  • light through them and looking at the reconstructed image from the side of the hologram opposite

  • the source. A later refinement, the "rainbow transmission" hologram, allows more convenient

  • illumination by white light rather than by lasers. Rainbow holograms are commonly used

  • for security and authentication, for example, on credit cards and product packaging.

  • Another kind of common hologram, the reflection or Denisyuk hologram, can also be viewed using

  • a white-light illumination source on the same side of the hologram as the viewer and is

  • the type of hologram normally seen in holographic displays. They are also capable of multicolour-image

  • reproduction. Specular holography is a related technique

  • for making three-dimensional images by controlling the motion of specularities on a two-dimensional

  • surface. It works by reflectively or refractively manipulating bundles of light rays, whereas

  • Gabor-style holography works by diffractively reconstructing wavefronts.

  • Most holograms produced are of static objects but systems for displaying changing scenes

  • on a holographic volumetric display are now being developed.

  • Holograms can also be used to store, retrieve, and process information optically.

  • In its early days, holography required high-power expensive lasers, but nowadays, mass-produced

  • low-cost semi-conductor or diode lasers, such as those found in millions of DVD recorders

  • and used in other common applications, can be used to make holograms and have made holography

  • much more accessible to low-budget researchers, artists and dedicated hobbyists.

  • It was thought that it would be possible to use X-rays to make holograms of molecules

  • and view them using visible light. However, X-ray holograms have not been created to date.

  • How holography works

  • Holography is a technique that enables a light field, which is generally the product of a

  • light source scattered off objects, to be recorded and later reconstructed when the

  • original light field is no longer present, due to the absence of the original objects.

  • Holography can be thought of as somewhat similar to sound recording, whereby a sound field

  • created by vibrating matter like musical instruments or vocal cords, is encoded in such a way that

  • it can be reproduced later, without the presence of the original vibrating matter.

  • Laser Holograms are recorded using a flash of light

  • that illuminates a scene and then imprints on a recording medium, much in the way a photograph

  • is recorded. In addition, however, part of the light beam must be shone directly onto

  • the recording medium - this second light beam is known as the reference beam. A hologram

  • requires a laser as the sole light source. Lasers can be precisely controlled and have

  • a fixed wavelength, unlike sunlight or light from conventional sources, which contain many

  • different wavelengths. To prevent external light from interfering, holograms are usually

  • taken in darkness, or in low level light of a different color from the laser light used

  • in making the hologram. Holography requires a specific exposure time, which can be controlled

  • using a shutter, or by electronically timing the laser.

  • Apparatus A hologram can be made by shining part of

  • the light beam directly onto the recording medium, and the other part onto the object

  • in such a way that some of the scattered light falls onto the recording medium.

  • A more flexible arrangement for recording a hologram requires the laser beam to be aimed

  • through a series of elements that change it in different ways. The first element is a

  • beam splitter that divides the beam into two identical beams, each aimed in different directions:

  • One beam is spread using lenses and directed onto the scene using mirrors. Some of the

  • light scattered from the scene then falls onto the recording medium.

  • The second beam is also spread through the use of lenses, but is directed so that it

  • doesn't come in contact with the scene, and instead travels directly onto the recording

  • medium. Several different materials can be used as

  • the recording medium. One of the most common is a film very similar to photographic film,

  • but with a much higher concentration of light-reactive grains, making it capable of the much higher

  • resolution that holograms require. A layer of this recording medium is attached to a

  • transparent substrate, which is commonly glass, but may also be plastic.

  • Process When the two laser beams reach the recording

  • medium, their light waves, intersect and interfere with each other. It is this interference pattern

  • that is imprinted on the recording medium. The pattern itself is seemingly random, as

  • it represents the way in which the scene's light interfered with the original light source

  • but not the original light source itself. The interference pattern can be considered

  • an encoded version of the scene, requiring a particular keythe original light source

  • in order to view its contents. This missing key is provided later by shining

  • a laser, identical to the one used to record the hologram, onto the developed film. When

  • this beam illuminates the hologram, it is diffracted by the hologram's surface pattern.

  • This produces a light field identical to the one originally produced by the scene and scattered

  • onto the hologram. The image this effect produces in a person's retina is known as a virtual

  • image. Holography vs. photography

  • Holography may be better understood via an examination of its differences from ordinary

  • photography: A hologram represents a recording of information

  • regarding the light that came from the original scene as scattered in a range of directions

  • rather than from only one direction, as in a photograph. This allows the scene to be

  • viewed from a range of different angles, as if it were still present.

  • A photograph can be recorded using normal light sources whereas a laser is required

  • to record a hologram. A lens is required in photography to record

  • the image, whereas in holography, the light from the object is scattered directly onto

  • the recording medium. A holographic recording requires a second

  • light beam to be directed onto the recording medium.

  • A photograph can be viewed in a wide range of lighting conditions, whereas holograms

  • can only be viewed with very specific forms of illumination.

  • When a photograph is cut in half, each piece shows half of the scene. When a hologram is

  • cut in half, the whole scene can still be seen in each piece. This is because, whereas

  • each point in a photograph only represents light scattered from a single point in the

  • scene, each point on a holographic recording includes information about light scattered

  • from every point in the scene. It can be thought of as viewing a street outside a house through

  • a 4 ft x 4 ft window, then through a 2 ft x 2 ft window. One can see all of the same

  • things through the smaller window, but the viewer can see more at once through theft

  • window. A photograph is a two-dimensional representation

  • that can only reproduce a rudimentary three-dimensional effect, whereas the reproduced viewing range

  • of a hologram adds many more depth perception cues that were present in the original scene.

  • These cues are recognized by the human brain and translated into the same perception of

  • a three-dimensional image as when the original scene might have been viewed.

  • A photograph clearly maps out the light field of the original scene. The developed hologram's

  • surface consists of a very fine, seemingly random pattern, which appears to bear no relationship

  • to the scene it recorded. Physics of holography

  • For a better understanding of the process, it is necessary to understand interference

  • and diffraction. Interference occurs when one or more wavefronts are superimposed. Diffraction

  • occurs whenever a wavefront encounters an object. The process of producing a holographic

  • reconstruction is explained below purely in terms of interference and diffraction. It

  • is somewhat simplified but is accurate enough to provide an understanding of how the holographic

  • process works. For those unfamiliar with these concepts,

  • it is worthwhile to read the respective articles before reading further in this article.

  • Plane wavefronts A diffraction grating is a structure with

  • a repeating pattern. A simple example is a metal plate with slits cut at regular intervals.

  • A light wave incident on a grating is split into several waves; the direction of these

  • diffracted waves is determined by the grating spacing and the wavelength of the light.

  • A simple hologram can be made by superimposing two plane waves from the same light source

  • on a holographic recording medium. The two waves interfere giving a straight line fringe

  • pattern whose intensity varies sinusoidally across the medium. The spacing of the fringe

  • pattern is determined by the angle between the two waves, and on the wavelength of the

  • light. The recorded light pattern is a diffraction

  • grating. When it is illuminated by only one of the waves used to create it, it can be

  • shown that one of the diffracted waves emerges at the same angle as that at which the second

  • wave was originally incident so that the second wave has been 'reconstructed'. Thus, the recorded

  • light pattern is a holographic recording as defined above.

  • Point sources

  • If the recording medium is illuminated with a point source and a normally incident plane

  • wave, the resulting pattern is a sinusoidal zone plate which acts as a negative Fresnel

  • lens whose focal length is equal to the separation of the point source and the recording plane.

  • When a plane wavefront illuminates a negative lens, it is expanded into a wave which appears

  • to diverge from the focal point of the lens. Thus, when the recorded pattern is illuminated

  • with the original plane wave, some of the light is diffracted into a diverging beam

  • equivalent to the original plane wave; a holographic recording of the point source has been created.

  • When the plane wave is incident at a non-normal angle, the pattern formed is more complex

  • but still acts as a negative lens provided it is illuminated at the original angle.

  • Complex objects To record a hologram of a complex object,

  • a laser beam is first split into two separate beams of light. One beam illuminates the object,

  • which then scatters light onto the recording medium. According to diffraction theory, each

  • point in the object acts as a point source of light so the recording medium can be considered

  • to be illuminated by a set of point sources located at varying distances from the medium.

  • The second beam illuminates the recording medium directly. Each point source wave interferes

  • with the reference beam, giving rise to its own sinusoidal zone plate in the recording

  • medium. The resulting pattern is the sum of all these 'zone plates' which combine to produce

  • a random pattern as in the photograph above. When the hologram is illuminated by the original

  • reference beam, each of the individual zone plates reconstructs the object wave which

  • produced it, and these individual wavefronts add together to reconstruct the whole of the

  • object beam. The viewer perceives a wavefront that is identical to the wavefront scattered

  • from the object onto the recording medium, so that it appears to him or her that the

  • object is still in place even if it has been removed. This image is known as a "virtual"

  • image, as it is generated even though the object is no longer there.

  • Mathematical model A single-frequency light wave can be modelled

  • by a complex number U, which represents the electric or magnetic field of the light wave.

  • The amplitude and phase of the light are represented by the absolute value and angle of the complex

  • number. The object and reference waves at any point in the holographic system are given

  • by UO and UR. The combined beam is given by UO + UR. The energy of the combined beams

  • is proportional to the square of magnitude of the combined waves as:

  • If a photographic plate is exposed to the two beams and then developed, its transmittance,

  • T, is proportional to the light energy that was incident on the plate and is given by

  • where k is a constant. When the developed plate is illuminated by

  • the reference beam, the light transmitted through the plate, UH is equal to the transmittance

  • T multiplied by the reference beam amplitude UR, giving

  • It can be seen that UH has four terms, each representing a light beam emerging from the

  • hologram. The first of these is proportional to UO. This is the reconstructed object beam

  • which enables a viewer to 'see' the original object even when it is no longer present in

  • the field of view. The second and third beams are modified versions

  • of the reference beam. The fourth term is known as the "conjugate object beam". It has

  • the reverse curvature to the object beam itself and forms a real image of the object in the

  • space beyond the holographic plate. When the reference and object beams are incident

  • on the holographic recording medium at significantly different angles, the virtual, real and reference

  • wavefronts all emerge at different angles, enabling the reconstructed object to be seen

  • clearly. Recording a hologram

  • Items required

  • To make a hologram, the following are required: a suitable object or set of objects

  • a suitable laser beam part of the laser beam to be directed so that

  • it illuminates the object and another part so that it illuminates the recording medium

  • directly, enabling the reference beam and the light which is scattered from the object

  • onto the recording medium to form an interference pattern

  • a recording medium which converts this interference pattern into an optical element which modifies

  • either the amplitude or the phase of an incident light beam according to the intensity of the

  • interference pattern. an environment which provides sufficient mechanical

  • and thermal stability that the interference pattern is stable during the time in which

  • the interference pattern is recorded These requirements are inter-related, and

  • it is essential to understand the nature of optical interference to see this. Interference

  • is the variation in intensity which can occur when two light waves are superimposed. The

  • intensity of the maxima exceeds the sum of the individual intensities of the two beams,

  • and the intensity at the minima is less than this and may be zero. The interference pattern

  • maps the relative phase between the two waves, and any change in the relative phases causes

  • the interference pattern to move across the field of view. If the relative phase of the

  • two waves changes by one cycle, then the pattern drifts by one whole fringe. One phase cycle

  • corresponds to a change in the relative distances travelled by the two beams of one wavelength.

  • Since the wavelength of light is of the order of 0.5μm, it can be seen that very small

  • changes in the optical paths travelled by either of the beams in the holographic recording

  • system lead to movement of the interference pattern which is the holographic recording.

  • Such changes can be caused by relative movements of any of the optical components or the object

  • itself, and also by local changes in air-temperature. It is essential that any such changes are

  • significantly less than the wavelength of light if a clear well-defined recording of

  • the interference is to be created. The exposure time required to record the hologram

  • depends on the laser power available, on the particular medium used and on the size and

  • nature of the object(s) to be recorded, just as in conventional photography. This determines

  • the stability requirements. Exposure times of several minutes are typical when using

  • quite powerful gas lasers and silver halide emulsions. All the elements within the optical

  • system have to be stable to fractions of a μm over that period. It is possible to make

  • holograms of much less stable objects by using a pulsed laser which produces a large amount

  • of energy in a very short time. These systems have been used to produce holograms of live

  • people. A holographic portrait of Dennis Gabor was produced in 1971 using a pulsed ruby laser.

  • Thus, the laser power, recording medium sensitivity, recording time and mechanical and thermal

  • stability requirements are all interlinked. Generally, the smaller the object, the more

  • compact the optical layout, so that the stability requirements are significantly less than when

  • making holograms of large objects. Another very important laser parameter is

  • its coherence. This can be envisaged by considering a laser producing a sine wave whose frequency

  • drifts over time; the coherence length can then be considered to be the distance over

  • which it maintains a single frequency. This is important because two waves of different

  • frequencies do not produce a stable interference pattern. The coherence length of the laser

  • determines the depth of field which can be recorded in the scene. A good holography laser

  • will typically have a coherence length of several meters, ample for a deep hologram.

  • The objects that form the scene must, in general, have optically rough surfaces so that they

  • scatter light over a wide range of angles. A specularly reflecting surface reflects the

  • light in only one direction at each point on its surface, so in general, most of the

  • light will not be incident on the recording medium. A hologram of a shiny object can be

  • made by locating it very close to the recording plate.

  • Hologram classifications There are three important properties of a

  • hologram which are defined in this section. A given hologram will have one or other of

  • each of these three properties, e.g. an amplitude modulated thin transmission hologram, or a

  • phase modulated, volume reflection hologram. Amplitude and phase modulation holograms

  • An amplitude modulation hologram is one where the amplitude of light diffracted by the hologram

  • is proportional to the intensity of the recorded light. A straightforward example of this is

  • photographic emulsion on a transparent substrate. The emulsion is exposed to the interference

  • pattern, and is subsequently developed giving a transmittance which varies with the intensity

  • of the pattern - the more light that fell on the plate at a given point, the darker

  • the developed plate at that point. A phase hologram is made by changing either

  • the thickness or the refractive index of the material in proportion to the intensity of

  • the holographic interference pattern. This is a phase grating and it can be shown that

  • when such a plate is illuminated by the original reference beam, it reconstructs the original

  • object wavefront. The efficiency is greater for phase than for amplitude modulated holograms.

  • Thin holograms and thick holograms A thin hologram is one where the thickness

  • of the recording medium is much less than the spacing of the interference fringes which

  • make up the holographic recording. A thick or volume hologram is one where the

  • thickness of the recording medium is greater than the spacing of the interference pattern.

  • The recorded hologram is now a three dimensional structure, and it can be shown that incident

  • light is diffracted by the grating only at a particular angle, known as the Bragg angle.

  • If the hologram is illuminated with a light source incident at the original reference

  • beam angle but a broad spectrum of wavelengths; reconstruction occurs only at the wavelength

  • of the original laser used. If the angle of illumination is changed, reconstruction will

  • occur at a different wavelength and the colour of the re-constructed scene changes. A volume

  • hologram effectively acts as a colour filter. Transmission and reflection holograms

  • A transmission hologram is one where the object and reference beams are incident on the recording

  • medium from the same side. In practice, several more mirrors may be used to direct the beams

  • in the required directions. Normally, transmission holograms can only

  • be reconstructed using a laser or a quasi-monochromatic source, but a particular type of transmission

  • hologram, known as a rainbow hologram, can be viewed with white light.

  • In a reflection hologram, the object and reference beams are incident on the plate from opposite

  • sides of the plate. The reconstructed object is then viewed from the same side of the plate

  • as that at which the re-constructing beam is incident.

  • Only volume holograms can be used to make reflection holograms, as only a very low intensity

  • diffracted beam would be reflected by a thin hologram.

  • Holographic recording media The recording medium has to convert the original

  • interference pattern into an optical element that modifies either the amplitude or the

  • phase of an incident light beam in proportion to the intensity of the original light field.

  • The recording medium should be able to resolve fully all the fringes arising from interference

  • between object and reference beam. These fringe spacings can range from tens of micrometers

  • to less than one micrometer, i.e. spatial frequencies ranging from a few hundred to

  • several thousand cycles/mm, and ideally, the recording medium should have a response which

  • is flat over this range. If the response of the medium to these spatial frequencies is

  • low, the diffraction efficiency of the hologram will be poor, and a dim image will be obtained.

  • Standard photographic film has a very low or even zero response at the frequencies involved

  • and cannot be used to make a hologram - see, for example, Kodak's professional black and

  • white film whose resolution starts falling off at 20 lines/mmit is unlikely that

  • any reconstructed beam could be obtained using this film.

  • If the response is not flat over the range of spatial frequencies in the interference

  • pattern, then the resolution of the reconstructed image may also be degraded.

  • The table below shows the principal materials used for holographic recording. Note that

  • these do not include the materials used in the mass replication of an existing hologram,

  • which are discussed in the next section. The resolution limit given in the table indicates

  • the maximal number of interference lines/mm of the gratings. The required exposure, expressed

  • as millijoules of photon energy impacting the surface area, is for a long exposure time.

  • Short exposure times require much higher exposure energies, due to reciprocity failure.

  • Copying and mass production An existing hologram can be copied by embossing

  • or optically. Most holographic recordings have surface relief

  • patterns which conform with the original illumination intensity. Embossing, which is similar to

  • the method used to stamp out plastic discs from a master in audio recording, involves

  • copying this surface relief pattern by impressing it onto another material.

  • The first step in the embossing process is to make a stamper by electrodeposition of

  • nickel on the relief image recorded on the photoresist or photothermoplastic. When the

  • nickel layer is thick enough, it is separated from the master hologram and mounted on a

  • metal backing plate. The material used to make embossed copies consists of a polyester

  • base film, a resin separation layer and a thermoplastic film constituting the holographic

  • layer. The embossing process can be carried out with

  • a simple heated press. The bottom layer of the duplicating film is heated above its softening

  • point and pressed against the stamper, so that it takes up its shape. This shape is

  • retained when the film is cooled and removed from the press. In order to permit the viewing

  • of embossed holograms in reflection, an additional reflecting layer of aluminum is usually added

  • on the hologram recording layer. This method is particularly suited to mass production.

  • The first book to feature a hologram on the front cover was The Skook by JP Miller, featuring

  • an illustration by Miller. That same year, "Telstar" by Ad Infinitum became the first

  • record with a hologram cover and National Geographic published the first magazine with

  • a hologram cover. Embossed holograms are used widely on credit cards, banknotes, and high

  • value products for authentication purposes. It is possible to print holograms directly

  • into steel using a sheet explosive charge to create the required surface relief. The

  • Royal Canadian Mint produces holographic gold and silver coinage through a complex stamping

  • process. A hologram can be copied optically by illuminating

  • it with a laser beam, and locating a second hologram plate so that it is illuminated both

  • by the reconstructed object beam, and the illuminating beam. Stability and coherence

  • requirements are significantly reduced if the two plates are located very close together.

  • An index matching fluid is often used between the plates to minimize spurious interference

  • between the plates. Uniform illumination can be obtained by scanning point-by-point or

  • with a beam shaped into a thin line. Reconstructing and viewing the holographic

  • image When the hologram plate is illuminated by

  • a laser beam identical to the reference beam which was used to record the hologram, an

  • exact reconstruction of the original object wavefront is obtained. An imaging system located

  • in the reconstructed beam 'sees' exactly the same scene as it would have done when viewing

  • the original. When the lens is moved, the image changes in the same way as it would

  • have done when the object was in place. If several objects were present when the hologram

  • was recorded, the reconstructed objects move relative to one another, i.e. exhibit parallax,

  • in the same way as the original objects would have done. It was very common in the early

  • days of holography to use a chess board as the object and then take photographs at several

  • different angles using the reconstructed light to show how the relative positions of the

  • chess pieces appeared to change. A holographic image can also be obtained using

  • a different laser beam configuration to the original recording object beam, but the reconstructed

  • image will not match the original exactly. When a laser is used to reconstruct the hologram,

  • the image is speckled just as the original image will have been. This can be a major

  • drawback in viewing a hologram. White light consists of light of a wide range

  • of wavelengths. Normally, if a hologram is illuminated by a white light source, each

  • wavelength can be considered to generate its own holographic reconstruction, and these

  • will vary in size, angle, and distance. These will be superimposed, and the summed image

  • will wipe out any information about the original scene, as if superimposing a set of photographs

  • of the same object of different sizes and orientations. However, a holographic image

  • can be obtained using white light in specific circumstances, e.g. with volume holograms

  • and rainbow holograms. The white light source used to view these holograms should always

  • approximate to a point source, i.e. a spot light or the sun. An extended source will

  • not reconstruct a hologram since its light is incident at each point at a wide range

  • of angles, giving multiple reconstructions which will "wipe" one another out.

  • White light reconstructions do not contain speckles.

  • Volume holograms

  • A volume hologram can give a reconstructed beam using white light, as the hologram structure

  • effectively filters out colours other than those equal to or very close to the colour

  • of the laser used to make the hologram so that the reconstructed image will appear to

  • be approximately the same colour as the laser light used to create the holographic recording.

  • Rainbow holograms

  • In this method, parallax in the vertical plane is sacrificed to allow a bright well-defined

  • single colour re-constructed image to be obtained using white light. The rainbow holography

  • recording process uses a horizontal slit to eliminate vertical parallax in the output

  • image. The viewer is then effectively viewing the holographic image through a narrow horizontal

  • slit. Horizontal parallax information is preserved but movement in the vertical direction produces

  • colour rather than different vertical perspectives. Stereopsis and horizontal motion parallax,

  • two relatively powerful cues to depth, are preserved.

  • The holograms found on credit cards are examples of rainbow holograms. These are technically

  • transmission holograms mounted onto a reflective surface like a metalized polyethylene terephthalate

  • substrate commonly known as PET. Fidelity of the reconstructed beam

  • To replicate the original object beam exactly, the reconstructing reference beam must be

  • identical to the original reference beam and the recording medium must be able to fully

  • resolve the interference pattern formed between the object and reference beams. Exact reconstruction

  • is required in holographic interferometry, where the holographically reconstructed wavefront

  • interferes with the wavefront coming from the actual object, giving a null fringe if

  • there has been no movement of the object and mapping out the displacement if the object

  • has moved. This requires very precise relocation of the developed holographic plate.

  • Any change in the shape, orientation or wavelength of the reference beam gives rise to aberrations

  • in the reconstructed image. For instance, the reconstructed image is magnified if the

  • laser used to reconstruct the hologram has a shorter wavelength than the original laser.

  • Nonetheless, good reconstruction is obtained using a laser of a different wavelength, quasi-monochromatic

  • light or white light, in the right circumstances. Since each point in the object illuminates

  • all of the hologram, the whole object can be reconstructed from a small part of the

  • hologram. Thus, a hologram can be broken up into small pieces and each one will enable

  • the whole of the original object to be imaged. One does, however, lose information and the

  • spatial resolution gets worse as the size of the hologram is decreasedthe image

  • becomes "fuzzier". The field of view is also reduced, and the viewer will have to change

  • position to see different parts of the scene. Applications

  • Art Early on, artists saw the potential of holography

  • as a medium and gained access to science laboratories to create their work. Holographic art is often

  • the result of collaborations between scientists and artists, although some holographers would

  • regard themselves as both an artist and a scientist.

  • Salvador Dalí claimed to have been the first to employ holography artistically. He was

  • certainly the first and best-known surrealist to do so, but the 1972 New York exhibit of

  • Dalí holograms had been preceded by the holographic art exhibition that was held at the Cranbrook

  • Academy of Art in Michigan in 1968 and by the one at the Finch College gallery in New

  • York in 1970, which attracted national media attention.

  • During the 1970s, a number of art studios and schools were established, each with their

  • particular approach to holography. Notably, there was the San Francisco School of Holography

  • established by Lloyd Cross, The Museum of Holography in New York founded by Rosemary

  • H. Jackson, the Royal College of Art in London and the Lake Forest College Symposiums organised

  • by Tung Jeong. None of these studios still exist; however, there is the Center for the

  • Holographic Arts in New York and the HOLOcenter in Seoul, which offers artists a place to

  • create and exhibit work. During the 1980s, many artists who worked

  • with holography helped the diffusion of this so-called "new medium" in the art world, such

  • as Harriet Casdin-Silver of the USA, Dieter Jung of Germany, and Moysés Baumstein of

  • Brazil, each one searching for a proper "language" to use with the three-dimensional work, avoiding

  • the simple holographic reproduction of a sculpture or object. For instance, in Brazil, many concrete

  • poets found in holography a way to express themselves and to renew Concrete Poetry.

  • A small but active group of artists still use holography as their main medium, and many

  • more artists integrate holographic elements into their work. Some are associated with

  • novel holographic techniques; for example, artist Matt Brand employed computational mirror

  • design to eliminate image distortion from specular holography.

  • The MIT Museum and Jonathan Ross both have extensive collections of holography and on-line

  • catalogues of art holograms. Data storage

  • Holography can be put to a variety of uses other than recording images. Holographic data

  • storage is a technique that can store information at high density inside crystals or photopolymers.

  • The ability to store large amounts of information in some kind of media is of great importance,

  • as many electronic products incorporate storage devices. As current storage techniques such

  • as Blu-ray Disc reach the limit of possible data density, holographic storage has the

  • potential to become the next generation of popular storage media. The advantage of this

  • type of data storage is that the volume of the recording media is used instead of just

  • the surface. Currently available SLMs can produce about 1000 different images a second

  • at 1024×1024-bit resolution. With the right type of media, this would result in about

  • one-gigabit-per-second writing speed. Read speeds can surpass this, and experts believe

  • one-terabit-per-second readout is possible. In 2005, companies such as Optware and Maxell

  • produced a 120 mm disc that uses a holographic layer to store data to a potential 3.9 TB,

  • which they plan to market under the name Holographic Versatile Disc. Another company, InPhase Technologies,

  • is developing a competing format. While many holographic data storage models have used

  • "page-based" storage, where each recorded hologram holds a large amount of data, more

  • recent research into using submicrometre-sized "microholograms" has resulted in several potential

  • 3D optical data storage solutions. While this approach to data storage can not attain the

  • high data rates of page-based storage, the tolerances, technological hurdles, and cost

  • of producing a commercial product are significantly lower.

  • Dynamic holography In static holography, recording, developing

  • and reconstructing occur sequentially, and a permanent hologram is produced.

  • There also exist holographic materials that do not need the developing process and can

  • record a hologram in a very short time. This allows one to use holography to perform some

  • simple operations in an all-optical way. Examples of applications of such real-time holograms

  • include phase-conjugate mirrors, optical cache memories, image processing, and optical computing.

  • The amount of processed information can be very high, since the operation is performed

  • in parallel on a whole image. This compensates for the fact that the recording time, which

  • is in the order of a microsecond, is still very long compared to the processing time

  • of an electronic computer. The optical processing performed by a dynamic hologram is also much

  • less flexible than electronic processing. On one side, one has to perform the operation

  • always on the whole image, and on the other side, the operation a hologram can perform

  • is basically either a multiplication or a phase conjugation. In optics, addition and

  • Fourier transform are already easily performed in linear materials, the latter simply by

  • a lens. This enables some applications, such as a device that compares images in an optical

  • way. The search for novel nonlinear optical materials

  • for dynamic holography is an active area of research. The most common materials are photorefractive

  • crystals, but in semiconductors or semiconductor heterostructures, atomic vapors and gases,

  • plasmas and even liquids, it was possible to generate holograms.

  • A particularly promising application is optical phase conjugation. It allows the removal of

  • the wavefront distortions a light beam receives when passing through an aberrating medium,

  • by sending it back through the same aberrating medium with a conjugated phase. This is useful,

  • for example, in free-space optical communications to compensate for atmospheric turbulence.

  • Hobbyist use

  • Since the beginning of holography, experimenters have explored its uses. Starting in 1971,

  • Lloyd Cross started the San Francisco School of Holography and started to teach amateurs

  • the methods of making holograms with inexpensive equipment. This method relied on the use of

  • a large table of deep sand to hold the optics rigid and damp vibrations that would destroy

  • the image. Many of these holographers would go on to

  • produce art holograms. In 1983, Fred Unterseher published the Holography Handbook, a remarkably

  • easy-to-read description of making holograms at home. This brought in a new wave of holographers

  • and gave simple methods to use the then-available AGFA silver halide recording materials.

  • In 2000, Frank DeFreitas published the Shoebox Holography Book and introduced the use of

  • inexpensive laser pointers to countless hobbyists. This was a very important development for

  • amateurs, as the cost for a 5 mW laser dropped from $1200 to $5 as semiconductor laser diodes

  • reached mass market. Now, there are hundreds to thousands of amateur holographers worldwide.

  • By late 2000, holography kits with the inexpensive laser pointer diodes entered the mainstream

  • consumer market. These kits enabled students, teachers, and hobbyists to make many kinds

  • of holograms without specialized equipment, and became popular gift items by 2005. The

  • introduction of holography kits with self-developing film plates in 2003 made it even possible

  • for hobbyists to make holograms without using chemical developers.

  • In 2006, a large number of surplus Holography Quality Green Lasers became available and

  • put Dichromated Gelatin within the reach of the amateur holographer. The holography community

  • was surprised at the amazing sensitivity of DCG to green light. It had been assumed that

  • the sensitivity would be non-existent. Jeff Blyth responded with the G307 formulation

  • of DCG to increase the speed and sensitivity to these new lasers.

  • Many film suppliers have come and gone from the silver-halide market. While more film

  • manufactures have filled in the voids, many amateurs are now making their own film. The

  • favorite formulations are Dichromated Gelatin, Methylene Blue Sensitised Dichromated Gelatin

  • and Diffusion Method Silver Halide preparations. Jeff Blyth has published very accurate methods

  • for making film in a small lab or garage. A small group of amateurs are even constructing

  • their own pulsed lasers to make holograms of moving objects.

  • Holographic interferometry

  • Holographic interferometry is a technique that enables static and dynamic displacements

  • of objects with optically rough surfaces to be measured to optical interferometric precision.

  • It can also be used to detect optical-path-length variations in transparent media, which enables,

  • for example, fluid flow to be visualized and analyzed. It can also be used to generate

  • contours representing the form of the surface. It has been widely used to measure stress,

  • strain, and vibration in engineering structures. Interferometric microscopy

  • The hologram keeps the information on the amplitude and phase of the field. Several

  • holograms may keep information about the same distribution of light, emitted to various

  • directions. The numerical analysis of such holograms allows one to emulate large numerical

  • aperture, which, in turn, enables enhancement of the resolution of optical microscopy. The

  • corresponding technique is called interferometric microscopy. Recent achievements of interferometric

  • microscopy allow one to approach the quarter-wavelength limit of resolution.

  • Sensors or biosensors

  • The hologram is made with a modified material that interacts with certain molecules generating

  • a change in the fringe periodicity or refractive index, therefore, the color of the holographic

  • reflection. Security

  • Security holograms are very difficult to forge, because they are replicated from a master

  • hologram that requires expensive, specialized and technologically advanced equipment. They

  • are used widely in many currencies, such as the Brazilian 20, 50, and 100-reais notes;

  • British 5, 10, and 20-pound notes; South Korean 5000, 10,000, and 50,000-won notes; Japanese

  • 5000 and 10,000 yen notes; and all the currently-circulating banknotes of the Canadian dollar, Danish krone,

  • and Euro. They can also be found in credit and bank cards as well as passports, ID cards,

  • books, DVDs, and sports equipment. Other applications

  • Holographic scanners are in use in post offices, larger shipping firms, and automated conveyor

  • systems to determine the three-dimensional size of a package. They are often used in

  • tandem with checkweighers to allow automated pre-packing of given volumes, such as a truck

  • or pallet for bulk shipment of goods. Holograms produced in elastomers can be used as stress-strain

  • reporters due to its elasticity and compressibility, the pressure and force applied are correlated

  • to the reflected wavelength, therefore its color.

  • Non-optical holography In principle, it is possible to make a hologram

  • for any wave. Electron holography is the application of

  • holography techniques to electron waves rather than light waves. Electron holography was

  • invented by Dennis Gabor to improve the resolution and avoid the aberrations of the transmission

  • electron microscope. Today it is commonly used to study electric and magnetic fields

  • in thin films, as magnetic and electric fields can shift the phase of the interfering wave

  • passing through the sample. The principle of electron holography can also be applied

  • to interference lithography. Acoustic holography is a method used to estimate

  • the sound field near a source by measuring acoustic parameters away from the source via

  • an array of pressure and/or particle velocity transducers. Measuring techniques included

  • within acoustic holography are becoming increasingly popular in various fields, most notably those

  • of transportation, vehicle and aircraft design, and NVH. The general idea of acoustic holography

  • has led to different versions such as near-field acoustic holography and statistically optimal

  • near-field acoustic holography. For audio rendition, the wave field synthesis is the

  • most related procedure. Atomic holography has evolved out of the development

  • of the basic elements of atom optics. With the Fresnel diffraction lens and atomic mirrors

  • atomic holography follows a natural step in the development of the physics of atomic beams.

  • Recent developments including atomic mirrors and especially ridged mirrors have provided

  • the tools necessary for the creation of atomic holograms, although such holograms have not

  • yet been commercialized. Things often confused with holograms

  • Effects produced by lenticular printing, the Pepper's Ghost illusion, tomography and volumetric

  • displays are often confused with holograms. The Pepper's ghost technique, being the easiest

  • to implement of these methods, is most prevalent in 3D displays that claim to be "holographic".

  • While the original illusion, used in theater, involved actual physical objects and persons,

  • located offstage, modern variants replace the source object with a digital screen, which

  • displays imagery generated with 3D computer graphics to provide the necessary depth cues.

  • The reflection, which seems to float mid-air, is still flat, however, thus less realistic

  • than if an actual 3D object was being reflected. Examples of this digital version of Pepper's

  • ghost illusion include the Gorillaz performances in the 2005 MTV Europe Music Awards and the

  • 48th Grammy Awards; and Tupac Shakur's virtual performance at Coachella Valley Music and

  • Arts Festival in 2012, rapping alongside Snoop Dogg during his set with Dr. Dre.

  • During the 2008 American presidential election, CNN debuted its tomograms to "beam in" correspondents

  • including musician will.i.am as "holograms". An even simpler illusion can be created by

  • rear-projecting realistic images into semi-transparent screens. The rear projection is necessary

  • because otherwise the semi-transparency of the screen would allow the background to be

  • illuminated by the projection, which would break the illusion.

  • Crypton Future Media, a music software company that produced Hatsune Miku, one of many Vocaloid

  • singing synthesizer applications, has produced concerts that have Miku, along with other

  • Crypton Vocaloids, performing on stage as "holographic" characters. These concerts use

  • rear projection onto a semi-transparent DILAD screen to achieve its "holographic" effect.

  • In 2011, in Beijing, apparel company Burberry produced the "Burberry Prorsum Autumn/Winter

  • 2011 Hologram Runway Show", which included life size 2-D projections of models. The company's

  • own video shows several centered and off-center shots of the main 2-dimensional projection

  • screen, the latter revealing the flatness of the virtual models. The claim that holography

  • was used was reported as fact in the trade media.

  • Holography in fiction

  • Holography has been widely referred to in novels, TV and movies.

  • See also

  • References

  • Reference sources

  • Further reading

  • External links Commercial Holographic Printing

  • Holographic Maker leading art & commercial hologram collection

  • Leading Holographic Company in India Vendor of holographic screens

  • International Hologram Manufacturers Association The Nobel prize lecture of Dennis Gabor

  • MIT's Spatial Imaging Group with papers about holographic theory and Holographic video

  • Medical Applications of Holograms How Stuff Worksholograms

  • Walker, John. "Holographic Art". Glossary of Art, Architecture & Design since 1945,

  • 3rd. ed. Center for the Holographic Arts, New York

  • – a non-profit organisation promoting holography Specular holography art site

  • Faster way to produce holographic tiles Abrasion, hand-drawn holograms

  • Holoforum – A place to discuss holography Animations demonstrating holography by QED

  • Smart Future Solutions Holographic display How To Create A Hologram

  • U.S. Patent 3,506,327 — "Wavefront reconstruction using a coherent reference beam" — E. N.

  • Leith et al.

Holography is a technique which enables three-dimensional images to be made. It involves the use of

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    richardwang 發佈於 2021 年 01 月 14 日
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