
Proceedings Paper
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Paper Abstract
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.
Paper Details
Date Published: 25 January 2008
PDF: 6 pages
Proc. SPIE 6912, Practical Holography XXII: Materials and Applications, 69120J (25 January 2008); doi: 10.1117/12.762004
Published in SPIE Proceedings Vol. 6912:
Practical Holography XXII: Materials and Applications
Hans I. Bjelkhagen; Raymond K. Kostuk, Editor(s)
PDF: 6 pages
Proc. SPIE 6912, Practical Holography XXII: Materials and Applications, 69120J (25 January 2008); doi: 10.1117/12.762004
Show Author Affiliations
Paula Dawson, The Univ. of New South Wales (Australia)
Published in SPIE Proceedings Vol. 6912:
Practical Holography XXII: Materials and Applications
Hans I. Bjelkhagen; Raymond K. Kostuk, Editor(s)
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