“ ULTIMATE HOLOGRAPHY” TECHNOLOGIES FOR MUSEUM APPLICATIONS: DENISYUK
COLOUR MOBILE CAMERA, PULSED MOBILE CAMERA, 3DHOLOPRINT.
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Yves Gentet
Art and Science Holographic Studio, Bordeaux, France
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Michael Shevtsov
State Optical S.I.Vavilov Institute, St.Petersburg, Russia
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PART ONE. ULTIMATE COLOUR DENISYUK TECHNIQUE.
After the discovery of white-light holography by Professor Yuri Denisyuk (St.Petersburg,
Russia) in the 1960s and the coming of lasers, museum objects and artifacts
became the first subjects of holographic recording. Famous museums
throughout the world provided artifacts to record as holograms, which
reconstruct three-dimensional images of objects with high resolution and
maximum accuracy. The principle of Denisyuk holography is rather simple to
understand.
Denisyuk hologram recording method
Denisyuk
hologram reconstruction
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The object is exposed by laser light that passes through transparent
holographic plate. |
The developed plate is illuminated by a white spot light. A viewer sees
the object as an holographic image behind the plate. |
Working at the State Optical S.I. Vavilov Institute in Leningrad (now
St.Petersburg), Prof. Denisyuk developed a technique to use He/Ne and Kr
lasers (red band of spectra) and his own high definition photomaterials,
sensitized to red light, to create a gallery of high quality holograms of
objects from the Hermitage, including large sizes (up to 80 x 120 cm).
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Head of the SOI holographic laboratory in 1970s, Prof. Yu.N.Denisyuk
(Leningrad, USSR) |
Member of Russian Academy of Science, Honor Member of The Royal
Photography Society, Recipient of the Laureate of D.Gabor Award, Prof.
Yu.N.Denisyuk in front of the 120 x 80 cm hologram
(St.Petersburg, Russia, 2005) |
Hologram exhibitions from Soviet museums traveled all over the world and
attracted a great numbers of people. For example the exhibition “Holography,
Treasures of the USSR” (London, 1985), initially scheduled to last for one
month, was such a great success that it had to be extended for two
additional weeks. The exhibition presented works of art of the ancient
world, art from the antique states in the Northern Black Sea area, Scythian
works of art, etc. gathered from museums in Moscow, Leningrad, Kiev, Minsk
and the other cities of the USSR.
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The cover page of the guide to the exhibition
(editor Andrew Pepper) |
The hours-long queue to the exhibition of display holograms (Minsk,
Belarus, 1978)
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Only solid objects with reflective surfaces had been holographically
recorded at that time, such as objects of metal, glass, stone, porcelain,
etc. At that time holograms could be recorded only in holography labs
because the photomaterials were low sensitive, the equipment was complex
(heavy anti-vibration tables, lasers, optical set-ups), and for other
reasons. However, it was sometimes impossible for objects to leave the
museum for the holography lab. .
All holograms of this type were exclusively monochrome, i.e., were recorded
using a single wavelength of laser light and therefore did not reproduce the
colour of objects. This greatly limited the use of holography, especially as
a method of making optical copies of museum objects and artifacts. The
general problem
was the absence of a colour holographic emulsion and a corresponding set of
lasers.
Joint French-Russian research in colour holographic emulsions started in the
middle 1990s in Yves Gentet’s holographic studio in Bordeaux, after meeting
Professor Denisyuk, who encouraged and supported this work. The result was
the creation of a new holographic emulsion called “Ultimate” and a special
material for museum applications, “Ultimate Colour Denisyuk”. We use the
phrase, “Ultimate Holography” when “Ultimate” emulsion is used and we call
holograms recorded on this emulsion “Ultimate Holograms”.
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Y. Gentet, Yu. Denisyuk and M. Shevtsov in the holography museum at the
State Optical S.I.Vavilov Institute (St.Petersburg, 1995).
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E. Leith and Y. Gentet with the colour Ultimate Hologram “THE CLOWN”,
2001 IHMA award winner for the new holographic technique of the year.
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What is more, the high sensitivity of Ultimate Colour Denisyuk emulsion,
when used with the new generation of DPSS lasers, allowed us to design a
very small mobile camera for recording full-colour, bright and noise free
holograms inside museums, thus breaking down the last barriers against usage
of the colour Denisyuk technique - the most precise and impressive method to
get an optical copy of an object.
The colour Denisyuk technique for recording holographic image ith the mobile
camera
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The colour Denisyuk technique for recording holographic images with the
mobile camera is similar to the classic Denisyuk technique for recording
white-light reflection holograms, except that it utilizes three
continuous lasers generating emissions in red, green and blue regions of
visible spectra. |
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Now we record it in-situ!
Our unique mobile laser projector allows holograms (up to 30x40 cm) to
be recorded INSIDE the museum. |
We compare the original and its Ultimate Hologram double under the light
of the laser projector |
Museum applications of Ultimate Denisyuk holograms
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Archive storage of holograms of the most valuable museum objects
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Display holograms when originals are absent or too fragile to be
displayed
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Recording of archeological objects in situ
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Recording of hologram before and after restoration of object for
comparison
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Exchange between museums
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A communication tool: any visitor will be greatly impressed at the sight
of a Denisyuk Ultimate Hologram. The “wow” effect is there!
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Holographic copies for other museums, collectors or persons interested
by holograms which "saw" the original
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Creation of thematic collections of objects from all over the world,
gathered in one place, thanks to Ultimate holograms
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Organization of moving exhibitions of museum collections
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VIP presents using holograms of museum objects
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www.museum-holography.com