To compete with other digital images, holograms must go beyond the current range of source-image types, such as
sequences of photographs, laser scans, and 3D computer graphics (CG) scenes made with software designed for other
applications. This project develops a set of innovative techniques for creating 3D digital content specifically for digital
holograms, with virtual tools which enable the direct hand-crafting of subjects, mark by mark, analogous to
Michelangelo's practice in drawing, painting and sculpture. The haptic device, the Phantom Premium 1.5 is used to draw
against three-dimensional laser- scan templates of Michelangelo's sculpture placed within the holographic viewing
volume.
The Luminous Presence project examines the use of standard film language in the framing, angle and of points of view
of holographic subjects though eight digital holographic stereograms; seven 25 x 25 cm, Hail, Water, Rain, Snow, Sun,
Text, Imprint and 1.5 x 1 m, Luminous Presencesi. However, before embarking on a discussion of how filmic language
can be used in digital holograms it is first important to explain why this line of investigation could be fruitful.
Undoubtedly several of the compositional practices which sprung up and evolved throughout the development of the
diverse forms of the holographic medium have contributed to a unique hologram pictorial language, however it is well
known that the reading of visual imagery of any type relies a great deal on the viewer's knowledge of and experience of
other images .The lens-recorded imagery of film is a far more familiar language than that of holograms and the
correlation between certain filmic pictorial conventions and emotional responses are well documented and understood.ii .
In short the language of film contains a highly nuanced vocabulary of shot types and lens types (which may be criticised
as being formulaic) yet are effective in lending emotion to figures.
KEYWORDS: Mirrors, Holograms, Holography, Reflection, Digital holography, 3D image processing, 3D modeling, Gold, Light sources and illumination, Process modeling
This project draws on holographic embossing techniques, ancient artistic conventions of bronze mirror design and modelling and casting processes to accomplish portraiture of reflection. Laser scanning, 3D computer graphics and holographic imaging are employed to enable a permanent 3D static holographic image to appear integrated with the real-time moving reflection of a viewer's face in a polished bronze disc. The disc and the figure which holds it
(caryatid) are cast in bronze from a lost wax model, a technique which has been used for millennia to make personal mirrors. The Caryatid form of bronze mirror which went through many permutations in ancient Egyptian, Greece and Rome shows a plethora of expressive figure poses ranging from sleek nudes to highly embellished multifigure arrangements. The prototype of this series was made for Australian choreographer Graeme Murphy, Artistic Director of the Sydney Dance Company. Each subsequent mirror will be unique in figure and holographic imagery as arranged between artist and subject. Conceptually this project references both the modern experience of viewing mirrors retrieved from ancient tombs, which due to deterioration of the surface no longer reflect, and the functioning of Chinese Magic mirrors, which have the ability to project a predetermined image. Inspired by the metaphorical potential of these mirrors, which do not reflect the immediate reality of the viewer, this bronze hologram mirror series enables each viewer to reflect upon himself or herself observing simultaneously the holographic image and their own partially obliterated reflection.
The division of a picture surface into discrete units makes it possible to structure an image in a unique way. Holographic
imaging processes which employ computer graphics as subject matter frequently employ sequential exposures to small
sections of the hologram plate or film. The making of complete holograms from hundreds of small slices or squares has
been refined in recent years to enable millions of 1mm hologram pixels to be successfully exposed to make one visually
continuous three-dimensional scene. These techniques of making one hologram through the exposure of thousands of
discrete image elements enables the subject and its lighting to be shaped and changed very subtlety over every tiny
picture unit. In some ways the small holographic pixels of fringe digital holograms are similar to the glass and gilded
tesserae of early mosaic art works. This paper compares the different compositional possibilities between early glass and
gold mosaics, optically formed fringe digital holograms and my optical and recent tesserae holograms. This recent use
of small hologram fragments with gilding and silvering is set against the context of the interrelationship of artistic
pictorial style and the technical evolution of holographic image making.
The subjects of display holograms tend to fall into 3 categories--those which aspire to replicate their real world counterparts, those which through the conventions of graphics, text or diagrams represent abstract information and those which record holographic phenomena of subjects. In designing a holographic shrine for a Catholic Church in Australia the modes of representation available through the history of art and their bearing on holographic image types were examined. The most highly symbolic elements of the image were recorded by interferometric techniques in order that they appeared to be made only from light and darkness. To enable the viewer to make a transition from perception to reverie it was necessary for the scale of the image to encourage z axis eye movement. This experiences of staring into space, was achieved by leading attention from near to far ground objects along the omnidirectional segments of a highly embellished geodesic dome. Links between near and far ground objects were made through the use of darkness, in particular by the intentional overexposure of several hundred live flowers which form part of the dome texture. The combination of replication of material objects and holographic phenomena produce a non literal conjunction which stimulates a contemplative response in the viewer.
The optical transfer of a large-scale synthetic holographic master stereogram via Benton rainbow technique is discussed. The limits of this technique when the volume the rainbow hologram fills is increased to 8000 cubic meters are evaluated. Blur and accommodation present the primary difficulties. The choice of imagery plays a crucial role in minimizing these effects.
The first step in the construction of a very deep, large source size, white light illuminated hologram is discussed. We outline the steps taken thus far in the creation of our computer- generated master hologram slit. Our goal is to computer generate a 2 meter master slit for optical transfer via Benton rainbow holography technique. The transfer hologram will ultimately be re-illuminated by the moon and fill a space of approximately 8000 cubic meters. Discussion of the relative merits of synthetic stereographic methods and CGH methods is presented as well as several novel hybrid techniques. The CGH test prints thus far created are evaluated for several types of aberrations and methods of pre-distortion and distortion correction are proposed.
The work in progress, "You Are Here" is the first in a series of site - specific holographic installations dealing primarily with the representation of nature in contemporary culture. The work will be experienced in three modes. The Site, the Non Sites, and the Event. The Site: A beach on the north eastern coast of Australia is the main site where a stereogram depicting sea level changes over the past 2.5 million years will be seen by moonlight. The stereogram will be shown on the same beach for the next 2.5 million years. Non-Sites: In-door venues where copies of the stereogram will be viewed mounted to the wall of a small lounge room type set. Event: A satellite transmission of the lunar illumination of the stereogram and the landscape on its first viewing will be seen at all the non-site venues. By the relationship of events, sites, and images which comprise "You Are Here", the viewer is placed at the centre of two vast time spans which reach out in opposing directions.
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