The Hologram Englais

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The Hologram
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De Montfort University, Leicester, UK
Principles and Techniques
Independent Consultant, UK
Martin J. Richardson
The Hologram
John D. Wiltshire
This edition first published 2018
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v
Contents
Foreword xi
Preface xiii
Dedications and Acknowledgements xvii
About the Companion Website xix
1 What is a Hologram? 1
1.1 Introduction 1
1.2 Gabor’s Invention of Holography 1
1.3 The Work of Lippmann 5
1.4 Amplitude and Phase Holograms 5
1.5 Transmission Holograms 6
1.6 Reflection Holograms 7
1.7 Edge-lit Holograms 9
1.8 “Fresnel” and “Fraunhofer” Holograms 10
1.9 Display Holograms 12
1.10 Security Holograms 15
1.11 What is Not a Hologram? 16
1.11.1 Dot-matrix Holograms 17
1.11.2 Other Digital Image Types 18
1.11.3 Holographic Optical Element (HOE) 18
1.11.4 Pepper’s Ghost 18
1.11.5 Anaglyph Method 20
1.11.6 Lenticular Images 21
1.11.7 Scrambled Indicia 22
1.11.8 Hand-drawn “Holograms” 23
1.11.9 “Magic Eye” 24
Notes 25
2 Important Optical Principles and their Occurrence in Nature 27

2.1 Background 27
2.2 The Wave/Particle Duality of Light 29
2.3 Wavelength 30
2.4 Representation of the Behaviour of Light 32
2.4.1 A Ray of Light 32
2.4.2 A Wave Front 32
vi Contents
2.5 The Laws of Reflection 32

2.6 Refraction 34
2.7 Refractive Index 34
2.7.1 Refractive Index of Relevant Materials 34
2.8 Huygens’ Principle 34
2.9 The Huygens–Fresnel Principle 35
2.10 Snell’s Law 36
2.11 Brewster’s Law 38
2.12 The Critical Angle 40
2.13 TIR in Optical Fibres 42
2.14 Dispersion 42
2.15 Diffraction and Interference 43
2.16 Diffraction Gratings 45
2.17 The Grating Equation 45
2.18 Bragg’s Law 47
2.19 The Bragg Equation for the Recording of a Volume Hologram 50
2.20 The Bragg Condition in Lippmann Holograms 52
2.21 The Practical Preparation of Holograms 54
Notes 54
3 Conventional Holography and Lasers 55

3.1 Historical Aspect 55
3.2 Choosing a Laser for Holography 56
3.3 Testing a Candidate Laser 58
3.4 The Race for the Laser 59
3.5 Light Amplification by Stimulated Emission of Radiation (LASER) 60
3.6 The Ruby Laser 61
3.7 Laser Beam Quality 63
3.8 Photopic and Scotopic Response of the Human Eye 65
3.9 Eye Safety I 65
3.10 The Helium–Neon Laser 66
3.11 The Inert Gas Ion Lasers 68
3.12 Helium–Cadmium Lasers 69
3.13 Diode‐pumped Solid‐state Lasers 70
3.14 Fibre Lasers – A Personal Lament! 71
3.15 Eye Safety II 72
3.16 The Efficiency Revolution in Laser Technology 73
3.17 Laser Coherence 73
Notes 75
4 Digital Image Holograms 77

4.1 Why is There Such Desire to Introduce Digital Imaging into Holography? 77
4.2 The Kinegram 78
4.3 E‐beam Lithographic Gratings 80
4.4 Grading Security Features 81
4.5 The Common “Dot‐matrix” Technique 83
4.6 Case History: Pepsi Cola 88
Contents vii
4.7 Other Direct Methods of Producing Digital Holograms 88

4.8 Simian – The Ken Haines Approach to Digital Holograms 90
4.9 Zebra Reflection Holograms 90
Notes 92
5 Recording Materials for Holography 93

5.1 Silver Halide Recording Materials 93
5.2 Preparation of Silver Bromide Crystals 94
5.3 The Miraculous Photographic Application of Gelatin 95
5.4 Why Has it Taken so Long to Arrive at Today’s Excellent Standard
of Recording Materials for Holography? 96
5.5 Controlled Growth Emulsions 97
5.6 Unique Requirements of Holographic Emulsions 100
5.7 Which Parameters Control Emulsion Speed? 101
5.8 Sensitisation 103
5.8.1 Chemical Sensitisation 103
5.8.2 Spectral Sensitisation 103
5.9 Developer Restrictions 104
5.10 The Coated Layer 105
5.11 The Non‐typical Use of Silver Halides for Holography 106
5.12 Photopolymer 108
5.13 Photoresist 111
5.14 Dichromated Gelatin 112
5.14.1 Principle of Operation of DCG 113
5.14.2 Practical Experimentation with DCG 113
5.15 Photo‐thermoplastics 114
Notes 115
6 Processing Techniques 117

6.1 Processing Chemistry for Silver Halide Materials 117
6.2 Pre‐treatment of Emulsion 120
6.3 “Pseudo‐colour” Holography 121
6.4 How Does Triethanolamine Treatment Work? 122
6.5 Wetting Emulsion Prior to Development 123
6.6 Development 124
6.7 Filamental and Globular Silver Grains 125
6.8 The H&D Curve 126
6.9 Chemical Development Mechanism 129
6.10 Pyro Developer Formulation 131
6.11 Ascorbic Acid Developers 131
6.11.1 Ascorbic Acid Developer Formulation 132
6.12 “Stop” Bath 133
6.12.1 “Stop” Bath Formulation 133
6.13 Fixing 134
6.13.1 Fixer Bath Formulation 135
6.14 Bleaching Solutions 135
6.14.1 Reversal Bleach Bath Formulation 139
viii Contents
6.15 Re‐halogenating Bleaches 139

6.15.1 Ferric Re‐halogenating Bleach Formulation 141
6.15.2 Cupric Re‐halogenating Bleach Formulation 142
6.15.3 Re‐halogenating Bleaching in Coarse‐grain Emulsions such
as “Holotest” 143
6.15.4 Re‐halogenating Bleach Formulations for Coarse‐grain
Recording Materials 144
6.16 Post‐process Conditioning Baths 144
6.17 Silver Halide Sensitised Gelatin (SHSG) 146
6.18 Surface‐relief Effects by Etching Bleaches 147
6.18.1 Kodak EB4 Formulation 147
6.19 Photoresist Development Technique 148
Notes 150
7 Infrastructure of a Holography Studio and its

Principal Components 153
7.1 Setting Up a Studio 153
7.2 Ground Vibration 154
7.3 Air Movement 155
7.4 Local Temperature Change 156
7.5 Safe Lighting 156
7.6 Organising Your Chemistry Laboratory 159
7.7 The Optical Table: Setting Up the Vital Components 159
7.8 Spatial Filtration 160
7.8.1 Mode of Operation of a Spatial Filter 160
7.8.2 Setting Up a Spatial Filter 161
7.8.3 Selection of Pinhole Diameter 163
7.8.4 Aligning the Spatial Filter in the Laser Beam 163
7.8.5 Centring the Pinhole 164
7.9 Filtering a “White” Laser Beam 166
7.10 Collimators 167
7.10.1 Mirror Collimators 168
7.10.2 Lens Collimation 171
7.10.3 Establishing the Approximate Focal Length of a Collimator 172
7.10.4 Finding the Precise Focal Point of a Collimator 172
7.10.5 Plano‐convex Lens Alignment 173
7.10.6 Spherical Mirror Collimator Alignment 174
7.11 Organising Suitable Plate Holders for Holography 174
7.12 Hot Glue – The Holographer’s Disreputable Friend 175
7.13 Mirror Surfaces 176
7.13.1 Dielectric Mirrors 177
7.13.2 Metallic Coatings 177
7.14 Beam Splitters 178
7.14.1 Metallised Beam Splitters 179
7.14.2 Dielectric Beam Splitters 180
7.15 Shutters 181
7.16 Fringe Lockers 181
Contents ix
7.17 Optics Stands 182

7.18 Safety – Reprise 182
Notes 183
8 Making Conventional Denisyuk, Transmission and Reflection Holograms

in the Studio 185
8.1 Introduction 185
8.2 The Denisyuk Configuration 186
8.3 The Realism of Denisyuk Holograms 186
8.4 The Limitations of Denisyuk Holograms 187
8.5 The Denisyuk Set‐up 188
8.6 “Recording Efficiency” 189
8.7 Diffraction Efficiency 191
8.8 Spectrum of the Viewing Illumination 192
8.9 Other Factors Influencing Apparent Hologram Brightness 194
8.10 Problems Faced in the Production of High‐quality Holograms 196
8.11 Selecting a Reference Angle 198
8.12 Index‐matching Safety 200
8.13 Vacuum Chuck Method to Hold Film During Exposure 200
8.14 Setting the Plane of Polarisation 201
8.15 Full‐colour “Denisyuk” Holograms 203
8.16 Perfect Alignment of Multiple Laser Beams 204
8.17 “Burn Out” 208
8.18 Hybrid (Boosted) Denisyuks 209
8.19 Contact Copying 211
8.20 The Rainbow Hologram Invention 212
8.21 A Laser Transmission Master Hologram 213
8.22 Laser Coherence Length 215
8.23 The Second Generation H2 Transmission Rainbow (Benton) Hologram 217
8.24 Developments of the Rainbow Hologram Technique 222
8.25 Using the α‐Angle Theory to Produce Better Colour Rainbow Images 225
8.26 Aligning the Master Hologram with the α‐Angle 228
8.27 Producing an α‐Angle H2 Transfer 231
8.28 Utilising the Full Gamut of Rainbow Colours 232
8.29 Reflection Hologram Transfers 232
8.30 “Pseudo‐colour” Holograms 235
8.31 Real‐colour Holograms 237
Notes 237
9 Sources of Holographic Imagery 239

9.1 The Methods for Incorporation of 3D Artwork into Holograms 239
9.2 Making Holograms of Models and Real Objects 239
9.3 Models Designed for Multi‐colour Rainbow Holograms 240
9.4 Supporting the Model 240
9.5 Pulse Laser Origination 242
9.6 The “2D/3D” Technique 244
9.7 The Rationale Behind Holographic Stereograms 246
x Contents
9.8 Various Configurations for Holographic Stereograms 249

9.9 The Embossed Holographic Stereogram 250
9.10 Stereographic Film Recording Configuration 252
9.11 Shear Camera Recording 253
9.12 The Number of Image Channels for a Holographic Stereogram 256
9.13 Process Colours and Holography – An Uncomfortable Partnership 257
9.14 Assimilating CMYK Artwork with Holography 260
9.15 Interpretation of CMYK Separations
in the RGB Format 261
Notes 262
10 A Personal View of the History of Holography 263

Notes
293
Epilogue: An Overview of the Impact of Holography in the

World of Imaging 295
Notes
301
Index 303
xi
Foreword
It was a great honour to receive the invitation to write this foreword. Holography has
been part of my life both at the research level, applied to security of documents and
products, and at the academic level, as a powerful tool to teach many of the complex
aspects of optics.
The idea behind this book clearly detaches it from existing holography books that focus
on the physics of the technique, requiring some considerable background in optics and
mathematics, on the exquisite chemistry around the recording of the hologram, or on the
artistic concept that surrounds this fabulous creative tool. In this book it is possible to
navigate the interfaces between various types of knowledge involved and, when essential,
the required physical/optical/chemical concepts are explained in a simple and pragmatic
way, allowing the content to be easily explored by someone not entirely familiar with the
subject, or to be appreciated by a specialist due to the simplified and abridged approach.
Reading this book reminded me of an anecdote (that I adapted to holography) about a
complex holography camera that was having problems of consistency for several
months. After using all the expertise available from scientists of all possible areas, the
institution decided to call an old holographer who had worked in holography all his life.
After a detailed analysis, the holographer fastened one screw with the proper torque and
the holographic camera immediately started to give wonderful results. The institution
was profoundly thankful to the holographer but considered the cost to be unexpectedly
high for the activity performed. As a reply, the invoice from the holographer detailed: 1%
of the cost – fastening the screw, 99% of the cost – knowing which screw to fasten!
This simple joke applies perfectly to the challenging complexity behind holography
and makes us aware of something that is (apparently more than in other fields) funda-
mental and, above all the academic/scientific knowledge, required to make good holo-
grams: Experience. This book also conveys to the reader know‐how gathered from
several decades of experience, and this is undoubtedly a fundamental instrument if
someone wants to take holography to the next level.
In conclusion, whether a researcher in a science institute, a teacher or a student in an
optics class, or an artist in a holography studio, this book is a highly valuable tool for
those starting to take the first steps on the difficult journey that is holography, and an
excellent complement to the physics and chemistry books for those more advanced in
the subject. Joyce Carol Oates, an American writer, once wrote that, “Beauty is a ques-
tion of optics. All sight is illusion.” If holography is an optical illusion, it is undoubtedly
the most beautiful one.
Dr Alexandre Cabral
xiii
Preface
Hologram – The Thinking Picture
With the legacy of the inventions of Lippmann, Gabor et al., we are lucky enough to
have been the generation who have experienced the dawn of the Age of Holography first
hand. Still, when we think of holograms, we think of the future, a place full of wondrous
inventions. A place where driverless cars defy gravity, civilisation is established on Mars
or cities are built under Earth’s oceans. And then, of course, holographic images that
materialise in thin air and communicate with each other using artificial intelligence,
indistinguishable from human consciousness.
Such is the legacy of science fiction. In reality, this vision of the future may fall far
beyond the laws of physics, but nevertheless there are some truly astounding develop-
ments taking place right now in the field of holography. I know, because as a research
professor at De Montfort University, I’ve had the privilege of experiencing some of the
world’s most incredible three‐dimensional holograms, and it’s a glimpse into a future I
want to share with you.
It could be that the laws of physics, outlined in Chapter 2 of this book, will prevent
holography from fulfilling the science fiction vision of Star Wars. Instead, the holo-
graphic medium serves another function, a function that underlines the very nature of
technological advance, as science strives to catch up with science fiction. The spin‐offs
are often more interesting than the original research intention! The fantasy of hologra-
phy is a conceptual lubricant that facilitates the birth of other great ideas. Could it be,
then, that the intrinsic, but unvoiced, value of holographic illusion points the way for
next‐generation immersive augmented reality, promising to evolve into something
other, something unpredictable?
When Microsoft recently announced its technical breakthrough toward interactivity
with holograms, it was a jaw‐dropping moment for those within the holographic research
community. The claim that Windows was about to enter our physical world through
holographic technology owes much to the dream of science fiction and certainly adds
another chapter to the history of three‐dimensional imaging.
It took me several days of thought regarding the implications this would have on the
research community and, after going through my initial feeling of elation, thoughts
slowly slipped into its darker meaning. Was Microsoft misleading the public into think-
ing they had found the Holy Grail of 3D? The thought of holograms populating our
everyday lives also felt somehow unsettling. It simply didn’t align itself with current
experience and, therefore, something seemed intrinsically wrong. Was the world on the
brink of really merging with the digital Matrix? Was it a mirror rather than a window – a
mirror reflecting another’s identity, thoughts, desires and, therefore, needs? The idea of
xiv Preface
the mirror seen through another’s eyes – someone else’s view of reality – seemed
beyond our perception, because Microsoft’s HoloLens™ system threatens to invade the
small amount of unencumbered reality we currently have, a space rapidly diminishing
because of the ubiquitous screens on our walls, on our desks and in our pockets. Real
space is an endangered, diminishing asset.
However, it quickly became clear that this interaction with our physical environment
was through a head‐set that superimposes the Microsoft operating system on the actual
world. The Microsoft HoloLens™ system may not be holographic in the purest sense
(“What is Not a Hologram?” Section 1.11 of this book), but the fact that Gabor’s word
“hologram”’ continues to inspire innovation in the twenty‐first century means our trip
is far from over!
Perhaps The HoloLens™ could be said to be the modern‐day equivalent to “Pepper’s
Ghost”, a historical device used to create spectacular visual illusions by the use of projec-
tion systems, explained in Chapter 1. By utilising an angled, partially reflective surface,
of which the viewer is not aware, between the audience and the main subject of a dis-
play, it is possible to produce a ghostly or ethereal image which appears to the audience
to be superimposed in the same space as the principal (“real”) display. Documentation
of such a principle is recorded as far back as the sixteenth century in the writings of
Giambattista della Porta. Later, such inventors as Rock [1] have attempted to improve
the technique by suggesting improvements such as a method to hold a light, foil screen
in position with a minimum of wrinkles in the film, which would normally be detrimen-
tal to the reflected image quality and thus to the illusion; ways to improve the brightness
and contrast ratio of the projected images, and ways to eliminate extraneous light
reflecting in the mirror screen, which tend to reduce the effectiveness of the illusion.
Maas [2] also describes ways to improve the presentation of the basic principle.
O’Connell [3] has shown ways of using this technique for video tele‐presence methods.
In 1987, Stephen Benton, one of the world’s great holographers and Professor at MIT,
suggested that a stereographic three‐dimensional hologram display should be confined
within a limited viewing space (the Benton Alcove Hologram [4]) so as to restrict the
viewer from coming into contact with the angular viewing limitations of the holo-
graphic image, which we all agree tend to be the “Achilles Heel” of display holography.
Recent technological developments by Zebra Inc. and XYZ have improved horizontal
viewing angles and also provided vertical parallax by digital ray‐tracing techniques,
described in Chapter 8. The restriction of the ability to view the image from oblique
angles is a severe disadvantage in comparison with Denisyuk holograms recently pro-
duced by Yves Gentet, Colour Holographic and Hans Bjelkhagen. But Denisyuk holo-
grams of this type, whilst providing exceptionally realistic images (approaching
facsimiles of reality), do not have the ability to represent computer‐generated animated
images, such as may be realised by digital techniques.
In the 1980s, holographer Peter Miller produced a two‐colour reflection hologram
with integrated sound system, featuring an image of a Barracuda Car Radio. Proximity
switches behind the glass plate caused an audio effect to “change channel” when the
viewer placed a finger in the real image of the channel selector button. This was a bril-
liant innovation which pre‐dated the modern iterations of interactivity with a
hologram!
In common with so many modern optical systems, a key component of the Microsoft
HoloLens™ technique is a holographic optical element (HOE). These optical devices have
Preface xv
a similar effect to a conventional glass optic but take the form of a thin film that is opti-
cally clear and has unique abilities in the manipulation of light. Previous to the HOE,
non‐holographic optical elements, made with a mechanical ruling device, were used in
spectrophotometers, for example, as a dispersive grating to divide the spectrum from a
white source into its separate colours, on an angular basis. An HOE is a convenient and
relatively low‐cost component with a highly efficient grating made by laser imaging of a
photosensitive material. It is possible, using holographic methods, however, to produce
more complex optics such as diffusers which control the exact direction of scattered
light, or volume holograms such as head‐up displays (HUDs) which direct reflected light
of a narrow band of wavelengths in a specific (off‐axis) direction; for a holographic mir-
ror, the angle of incidence is not necessarily equal to the angle of reflection! HOEs to
assist the collection of solar power will inevitably follow. So, positive commercial statis-
tics predicting the future of holography seem relatively clear‐cut.
In fact, modern holography offers many alternatives to light‐shaping devices in indus-
try and may be compared with the role electronic circuits and microprocessors played
at the beginning of the 1960s as an alternative to the valve. As mass‐produced holo-
graphic optical elements start replacing micro‐lens arrays, and holographic phase
memory is poised ready to replace today’s standard magnetic hard drives, each has
commercial potential previously thought impossible.
It remains to be seen if our ever‐increasing dependence on technology will impair our
physical or mental faculties and our adaptability to nature, but we do know that the
advantage modern holography gains over existing technology will be long term and, in
some cases, life‐changing.
Creative computing will play a major role in the development of computer synthetic
holograms within numerous applications including the arts, entertainment, games,
mobile applications, multimedia, web design and other pervasive interactive systems.
Due to the nature of these applications, computing technology needs to be developed
specifically to tackle the conceptual complexity that does not exist in other applica-
tions. The challenges faced by creative computing come from the need to originate
applications that involve knowledge in the disciplines of the Humanities and Arts more
traditionally used to describe activities at human behaviour level. The main feature of
these applications is that a creative system will directly serve people’s needs to improve
quality of life. It is the rapid development of computing technology that will enable new
creative industry and it is also this rapid development that requires serious academic
discussion.
Creative computing supports the vision that computing technology will become an
integral part of the design industry, where computing offers new design tools for artists
and designers to extend the traditional products, and computing technology itself will
be developed and enriched by reference to knowledge from the Humanities and the
Arts.
Today, holograms are standard security issue on bank cards and banknotes, event
tickets, postage stamps and passports – all aimed specifically at halting counterfeiting.
They are a typical component in the validation of safety‐critical items – such as medi-
cines and machine parts – and therefore save lives.
The list of applications of holography will increase in length as a growing number of
five‐star research labs in universities and technical companies, including Microsoft, find
new applications for these amazing devices. We are developing new types of holograms
xvi Preface
with the long‐term aim of progressing the medium beyond its ability simply to capture
and replay three‐dimensional images, pursuing their general ability to diffract and
manipulate light. Extensive technical documentation concerning holography has estab-
lished it as an exciting, emerging medium. However, its potential still remains relatively
untapped. So, how did we arrive at this juncture of technology? Why does holography
have the potential power to change the way we see our world and, as we start our jour-
ney into the Age of Photonics, where did the holographic journey begin?
The word “hologram” means many things to many people. The word was used by
Professor Stephen Hawking as a metaphor to describe concepts in quantum mechanics.
Hawking related the holographic principle with that of the need to explain the anoma-
lous behaviour at a black hole, comparing the way it flattens time and space with the
way a two‐dimensional surface of a holographic recording carries a three‐dimensional
image. Other theoretical scientists suggest that the universe has qualities resembling a
hologram, in that information about the whole exists in every constituent part. I’m
reminded of William Blake’s poem Auguries of Innocence:
To see a world in a grain of sand

And a Heaven in a wild flower
Hold infinity in the palm of your hand
And eternity in an hour
The word may also be used to describe the complete works of Shakespeare or a
description of time, for example an organic life span from conception to death. Others
tailor the word to promote idiosyncratic philosophy. The authors revert to the Greek
roots of Gabor’s term “holo” (entire) and “graph” (message).
In the following chapters, the intention is to offer a stepping stone for those who have
an interest in this fascinating area of holographic imaging. We hope to provide an entry
point into the philosophical and practical aspects of hologram‐making; to understand
how and why some of the holograms with which we are familiar today were made, and
what the future holds for a relatively young technology as the related science develops.
Notes
1 James Rock. Patent application US20070201004A1: Projection apparatus and method
for Pepper’s Ghost illusion.
2 Uwe Maas – Musion Eyeliner 3D Projection www.eyeliner3d.com
O’Connell, I. (2009) “Video Conferencing Technique”. New Scientist, 26 November.
3
Benton, S.A. (1987) “‘Alcove’ Holograms for Computer‐Aided Design,” Proceedings of
4
SPIE, 0761, True Three‐Dimensional Imaging Techniques and Display Technologies, 53.
xvii
Dedications and Acknowledgements
Dedicated to my daughters Elizabeth and Florence, who are inspirational, and my partner
Nicky, for persevering more than thirty years of holographic mayhem, thank you!
John D. Wiltshire
For Carol, Jonathan and Darren.
Many thanks to Martin for the invitation to join him in the creation of this book. After
45 years working in the production, transport and recording of light, I hope my experi-
ence in practical issues will be useful to readers.
My uncle, Harold Swannell, an electrician at the Royal Small Arms Factory, Enfield,
inspired and nurtured my lifelong interest in electricity, light and chemistry over sixty
years ago.
Later, Joyce and Stanley Wiltshire, my late mother and father, coped patiently with
explosions, fires and evil odours in our home throughout my trying youth. Thank you.
My Mum had ten siblings – her legacy: “The Turner Heritage.”
Thanks to everyone who lived the “Holography Dream” together at Applied Holographics
from 1983, during my 14 years at Braxted Park, and especially to Paul Dunn and Andrew
Rowe for their recent help as I sought to remember and record those halcyon days.
My earliest inspiration for holography came from the late Graham Saxby, Nick Phillips
and Steve Benton.
For the inspiring technical discussions I’ve had over the years with Peter Howard,
Howard Buttery, Dave Oliff, Simon Brown, Jeff Blyth, Craig Newswanger, Peter Miller,
David Winterbottom, Nigel Abraham, Mike Medora, Brian Holmes, Gideon Raeburn,
Hans Bjelkhagen, Patrick Flynn, Satyamoorthy “Kabi” Kabilan, Jonathan Wiltshire and
many other great scientists and engineers.
For my friends who didn’t make it this far: Rob Rattray, Hamish Shearer, Micky Finlay
and my soulmate Barney, I’m carrying the baton.
Thanks for irreplaceable contributions to this book and 20 years of friendship with
Alexandre Cabral.
My sincere gratitude to project editor Samanaa Srinivas at John Wiley & Sons for
invaluable help and advice in the realisation of a working manuscript.
To my friends throughout Europe – still love you – back soon!
Thank you.
xix
There you will find valuable material designed to enhance your learning, including:
Don’t forget to visit the companion website for this book:
www.wiley.com/go/richardson/holograms
About the Companion Website
Figure PPTs
Video
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The Hologram Englais

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10.1002/9781119088929.fmatter, Downloaded from https://onlinelibrary.wiley.com/doi/10.1002/9781119088929.fmatter by Université Gustave Eiffel, Wiley Online Library on [26/11/2022].

Limit of Liability/Disclaimer of Warranty

Library of Congress Cataloging‐in‐Publication data applied for

Cover design by Wiley

Set in 10/12pt Warnock by SPi Global, Pondicherry, India

2 Important Optical Principles and their Occurrence in Nature 27

2.5 The Laws of Reflection 32

3 Conventional Holography and Lasers 55

4 Digital Image Holograms 77

4.7 Other Direct Methods of Producing Digital Holograms 88

5 Recording Materials for Holography 93

6 Processing Techniques 117

6.15 Re‐halogenating Bleaches 139

7 Infrastructure of a Holography Studio and its

7.17 Optics Stands 182

8 Making Conventional Denisyuk, Transmission and Reflection Holograms

9 Sources of Holographic Imagery 239

9.8 Various Configurations for Holographic Stereograms 249

10 A Personal View of the History of Holography 263

Epilogue: An Overview of the Impact of Holography in the

To see a world in a grain of sand

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The Hologram Englais

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Copyright

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The Hologram Englais

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10.1002/9781119088929.fmatter, Downloaded from https://onlinelibrary.wiley.com/doi/10.1002/9781119088929.fmatter by Université Gustave Eiffel, Wiley Online Library on [26/11/2022].

Limit of Liability/Disclaimer of Warranty

Library of Congress Cataloging‐in‐Publication data applied for

Cover design by Wiley

Set in 10/12pt Warnock by SPi Global, Pondicherry, India

2 Important Optical Principles and their Occurrence in Nature 27

2.5 ­The Laws of Reflection 32

3 Conventional Holography and Lasers 55

4 Digital Image Holograms 77

4.7 ­Other Direct Methods of Producing Digital Holograms 88

5 Recording Materials for Holography 93

6 Processing Techniques 117

6.15 ­Re‐halogenating Bleaches 139

7 Infrastructure of a Holography Studio and its

7.17 ­Optics Stands 182

8 Making Conventional Denisyuk, Transmission and Reflection Holograms

9 Sources of Holographic Imagery 239

9.8 ­Various Configurations for Holographic Stereograms 249

10 A Personal View of the History of Holography 263

Epilogue: An Overview of the Impact of Holography in the

To see a world in a grain of sand

You might also like

2.5 The Laws of Reflection 32

4.7 Other Direct Methods of Producing Digital Holograms 88

6.15 Re‐halogenating Bleaches 139

7.17 Optics Stands 182

9.8 Various Configurations for Holographic Stereograms 249