Title Page

Copyright Page

Contents

Foreword

Preface: Hologram – The Thinking Picture

Dedications and Acknowledgements

About the Companion Website

Chapter 1 What is a Hologram?

1.1 Introduction

1.2 Gabor’s Invention of Holography

1.3 The Work of Lippmann

1.4 Amplitude and Phase Holograms

1.5 Transmission Holograms

1.6 Reflection Holograms

1.7 Edge-lit Holograms

1.8 “Fresnel” and “Fraunhofer” Holograms

1.9 Display Holograms

1.10 Security Holograms

1.11 What is Not a Hologram?

1.11.1 Dot-matrix Holograms

1.11.2 Other Digital Image Types

1.11.3 Holographic Optical Element (HOE)

1.11.4 Pepper’s Ghost

1.11.5 Anaglyph Method

1.11.6 Lenticular Images

1.11.7 Scrambled Indicia

1.11.8 Hand-drawn “Holograms”

1.11.9 “Magic Eye”

Notes

Chapter 2 Important Optical Principles and their Occurrence in Nature

2.1 Background

2.2 The Wave/Particle Duality of Light

2.3 Wavelength

2.4 Representation of the Behaviour of Light

2.4.1 A Ray of Light

2.4.2 A Wave Front

2.5 The Laws of Reflection

2.6 Refraction

2.7 Refractive Index

2.7.1 Refractive Index of Relevant Materials

2.8 Huygens’ Principle

2.9 The Huygens–Fresnel Principle

2.10 Snell’s Law

2.11 Brewster’s Law

2.12 The Critical Angle

2.13 TIR in Optical Fibres

2.14 Dispersion

2.15 Diffraction and Interference

2.16 Diffraction Gratings

2.17 The Grating Equation

2.18 Bragg’s Law

2.19 The Bragg Equation for the Recording of a Volume Hologram

2.20 The Bragg Condition in Lippmann Holograms

2.21 The Practical Preparation of Holograms

Notes

Chapter 3 Conventional Holography and Lasers

3.1 Historical Aspect

3.2 Choosing a Laser for Holography

3.3 Testing a Candidate Laser

3.4 The Race for the Laser

3.5 Light Amplification by Stimulated Emission of Radiation (LASER)

3.6 The Ruby Laser

3.7 Laser Beam Quality

3.8 Photopic and Scotopic Response of the Human Eye

3.9 Eye Safety I

3.10 The Helium–Neon Laser

3.11 The Inert Gas Ion Lasers

3.12 Helium–Cadmium Lasers

3.13 Diode-pumped Solid-state Lasers

3.14 Fibre Lasers – A Personal Lament!

3.15 Eye Safety II

3.16 The Efficiency Revolution in Laser Technology

3.17 Laser Coherence

Notes

Chapter 4 Digital Image Holograms

4.1 Why is There Such Desire to Introduce Digital Imaging into Holography?

4.2 The Kinegram

4.3 E-beam Lithographic Gratings

4.4 Grading Security Features

4.5 The Common “Dot-matrix” Technique

4.6 Case History: Pepsi Cola

4.7 Other Direct Methods of Producing Digital Holograms

4.8 Simian – The Ken Haines Approach to Digital Holograms

4.9 Zebra Reflection Holograms

Notes

Chapter 5 Recording Materials for Holography

5.1 Silver Halide Recording Materials

5.2 Preparation of Silver Bromide Crystals

5.3 The Miraculous Photographic Application of Gelatin

5.4 Why Has it Taken so Long to Arrive at Today’s Excellent Standard of Recording Materials for Holography?

5.5 Controlled Growth Emulsions

5.6 Unique Requirements of Holographic Emulsions

5.7 Which Parameters Control Emulsion Speed?

5.8 Sensitisation

5.8.1 Chemical Sensitisation

5.8.2 Spectral Sensitisation

5.9 Developer Restrictions

5.10 The Coated Layer

5.11 The Non-typical Use of Silver Halides for Holography

5.12 Photopolymer

5.13 Photoresist

5.14 Dichromated Gelatin

5.14.1 Principle of Operation of DCG

5.14.2 Practical Experimentation with DCG

5.15 Photo-thermoplastics

Notes

Chapter 6 Processing Techniques

6.1 Processing Chemistry for Silver Halide Materials

6.2 Pre-treatment of Emulsion

6.3 “Pseudo-colour” Holography

6.4 How Does Triethanolamine Treatment Work?

6.5 Wetting Emulsion Prior to Development

6.6 Development

6.7 Filamental and Globular Silver Grains

6.8 The H&&D Curve

6.9 Chemical Development Mechanism

6.10 Pyro Developer Formulation

6.11 Ascorbic Acid Developers

6.11.1 Ascorbic Acid Developer Formulation

6.12 “Stop” Bath

6.12.1 “Stop” Bath Formulation

6.13 Fixing

6.13.1 Fixer Bath Formulation

6.14 Bleaching Solutions

6.14.1 Reversal Bleach Bath Formulation

6.15 Re-halogenating Bleaches

6.15.1 Ferric Re-halogenating Bleach Formulation

6.15.2 Cupric Re-halogenating Bleach Formulation

6.15.3 Re-halogenating Bleaching in Coarse‐grain Emulsions such as “Holotest”

6.15.4 Re-halogenating Bleach Formulations for Coarse‐grain Recording Materials

6.16 Post-process Conditioning Baths

6.17 Silver Halide Sensitised Gelatin (SHSG)

6.18 Surface-relief Effects by Etching Bleaches

6.18.1 Kodak EB4 Formulation

6.19 Photoresist Development Technique

Notes

Chapter 7 Infrastructure of a Holography Studio and its Principal Components

7.1 Setting Up a Studio

7.2 Ground Vibration

7.3 Air Movement

7.4 Local Temperature Change

7.5 Safe Lighting

7.6 Organising Your Chemistry Laboratory

7.7 The Optical Table: Setting Up the Vital Components

7.8 Spatial Filtration

7.8.1 Mode of Operation of a Spatial Filter

7.8.2 Setting Up a Spatial Filter

7.8.3 Selection of Pinhole Diameter

7.8.4 Aligning the Spatial Filter in the Laser Beam

7.8.5 Centring the Pinhole

7.9 Filtering a “White” Laser Beam

7.10 Collimators

7.10.1 Mirror Collimators

7.10.2 Lens Collimation

7.10.3 Establishing the Approximate Focal Length of a Collimator

7.10.4 Finding the Precise Focal Point of a Collimator

7.10.5 Plano-convex Lens Alignment

7.10.6 Spherical Mirror Collimator Alignment

7.11 Organising Suitable Plate Holders for Holography

7.12 Hot Glue – The Holographer’s Disreputable Friend

7.13 Mirror Surfaces

7.13.1 Dielectric Mirrors

7.13.2 Metallic Coatings

7.14 Beam Splitters

7.14.1 Metallised Beam Splitters

7.14.2 Dielectric Beam Splitters

7.15 Shutters

7.16 Fringe Lockers

7.17 Optics Stands

7.18 Safety – Reprise

Notes

Chapter 8 Making Conventional Denisyuk, Transmission and Reflection Holograms in the Studio

8.1 Introduction

8.2 The Denisyuk Configuration

8.3 The Realism of Denisyuk Holograms

8.4 The Limitations of Denisyuk Holograms

8.5 The Denisyuk Set-up

8.6 “Recording Efficiency”

8.7 Diffraction Efficiency

8.8 Spectrum of the Viewing Illumination

8.9 Other Factors Influencing Apparent Hologram Brightness

8.10 Problems Faced in the Production of High-quality Holograms

8.11 Selecting a Reference Angle

8.12 Index-matching Safety

8.13 Vacuum Chuck Method to Hold Film During Exposure

8.14 Setting the Plane of Polarisation

8.15 Full-colour “Denisyuk” Holograms

8.16 Perfect Alignment of Multiple Laser Beams

8.17 “Burn Out”

8.18 Hybrid (Boosted) Denisyuks

8.19 Contact Copying

8.20 The Rainbow Hologram Invention

8.21 A Laser Transmission Master Hologram

8.22 Laser Coherence Length

8.23 The Second Generation H2 Transmission Rainbow (Benton) Hologram

8.24 Developments of the Rainbow Hologram Technique

8.25 Using the α-Angle Theory to Produce Better Colour Rainbow Images

8.26 Aligning the Master Hologram with the α-Angle

8.27 Producing an α-Angle H2 Transfer

8.28 Utilising the Full Gamut of Rainbow Colours

8.29 Reflection Hologram Transfers

8.30 “Pseudo-colour” Holograms

8.31 Real-colour Holograms

Notes

Chapter 9 Sources of Holographic Imagery

9.1 The Methods for Incorporation of 3D Artwork into Holograms

9.2 Making Holograms of Models and Real Objects

9.3 Models Designed for Multi‐colour Rainbow Holograms

9.4 Supporting the Model

9.5 Pulse Laser Origination

9.6 The “2D/3D” Technique

9.7 The Rationale Behind Holographic Stereograms

9.8 Various Configurations for Holographic Stereograms

9.9 The Embossed Holographic Stereogram

9.10 Stereographic Film Recording Configuration

9.11 Shear Camera Recording

9.12 The Number of Image Channels for a Holographic Stereogram

9.13 Process Colours and Holography – An Uncomfortable Partnership

9.14 Assimilating CMYK Artwork with Holography

9.15 Interpretation of CMYK Separations in the RGB Format

Notes

Chapter 10 A Personal View of the History of Holography

Notes

Epilogue: An Overview of the Impact of Holography in the World of Imaging

Notes

Index

EULA