Integrating Slide Projection and Rainbow Holography

Fig. 4. Vito Orazem and Thomas Luck, H.D.E.-TV, installation, 1990. This photograph of the installation was taken at the European Media Art Festival, Osnabrock, Germany, INTEGRATING SLIDE PROJECTION AND RAINBOW HOLOGRAPHY Roberta Booth, Lista de Correos, Fornalutx, Mallorca, Spain. Received 14January 1991. I have looked through a microscope as a medical technician for 5 years and through still and motion-picture cameras as a professional photographer for 20 years. I have been making holograms for the past 10 years. That is a great deal of looking! That is, I am always exploring new ways of seeing things. One night in my studio in Los Angeles in 1987, having recently finished a photographic layout for a fashion magazine, I decided to have some fun and see what some of my transparencies looked like projected onto my holograms. I hung one of my whitelight transmission holograms, a 30-x40 -cm glass plate, in a darkened shooting area in my studio, then set up a carousel slide projector behind the glass plate. The projector bulb, as a point light source, was the only light needed. After finding the right angle for reconstructing the holographic image , I began playing with a tray of slides, which I chose for subject matter and their individual characteristics of depth of field and dimension. Some images worked better than others ; some not at all. When the 'collage ' worked, both the photograph and the hologram took on new qualities , which I found very interesting. I projected transparencies of shadows ofwomen on sand dunes, for in520 Abstracts stance, onto holograms ofspheres and pyramids. In Sunset atDeya (Fig. 3), the bottom of a hologram of a pyramid is filIed with the photographic images of the ocean, and a woman 'walks' on water, while the sun sets, virtualIy, behind the pyramid. In other examples of my colIages of photographic images with holograms , various effects have been achieved. In one colIage, the shadow of a nude woman standing on a sand dune appears to be at the image plane, while the image of the nude woman appears to be in the realimage position. In another example, created with a stereographic camera, a man's hand reaches out to a woman who stands on a cliff (image-plane viewing of an alien world, in a virtual position). Another colIage shows a nude walking, at the image plane, in sand that is in the real-image position . Yet another example shows birds that appear to fly through a pyramid in holographic space. In alI of these examples, the kinetic properties of the hologram heighten the colIage effect as the holographic colors change. For holographers interested in these special effects, I suggest using transparencies with dimension and separation. However, as in one of the examples mentioned above, even a simple hand reaching from darkness to light can have impact. Experiment and have fun. When images are found that work well together, set up a still camera and tripod, then photograph the results using a smalIlens aperture to keep all of the image in focus . Since 1987 I have been exploring color in holography as a means of meditation and healing. I would be very interested in hearing from anyone else who is experimenting in the same area. RADICAL HOLOGRAPHY Vito Orazem and Thomas Luck, Mindener StraBe 205, D-4500 Osnabruck, Germany. Received 22January 1991. Our main work recently has been to understand the aesthetics of holographic optical elements (HOEs) when they are combined with television screens. We have been exploring this in our recent instalIations R.O.E.TV (Fig. 4) and R.D.-TV. By using a holographic diffraction grating, it is possible to manipulate the video picture and to use it simultaneously to reconstruct a hologram. We are also interested in showing the aesthetics inherent in the new technologies of holography and video. For these instalIations we therefore used basic elements of both media, such as HOEs and screens with cathode-tube noise or camera/screen links. We not only brought movement into a static HOE but showed the relationship between the monitor as a 'light gun' and the HOE as an image multiplier or generator. We manipulated the light emanating...