Photographs of Holograms by Rudie Berkhout
"Light Flurries" 1992
is a reflection hologram made in three exposures, using red laser light. During each exposure the emulsion is immersed in a different mixture of water and alcohol, which swells the emulsion to varying degrees, resulting in a multicolored final image. This is an economical way to make different colors visible in reflection holograms with only a red laser to record the hologram.
"Deltawerk" 1982
is a white-light transmission hologram composed of two masters. In the 'Stereo' section of this website, this image can be viewed in stereo 3-D.
"Trails" 1986
is a white-light transmission hologram composed of two master holograms and a color field. The image was created in a large sandbox with laser light skimming the sculpted sand surface. Two abstract "landscapes" are super imposed. Using sand as the modeling agent gives this high tech medium an organic feel and immediacy. At the same time the laser speckle complements the graininess of the sand.
"Running Amok" 1989
is a white-light transmission hologram consisting of two masters. One master is made with sand. The second master is made with an HOE (Holographic Optical Element) that I specially made for the occasion. It is a directional diffuser, it smears the image in one direction only. Think of a dirty windshield of a car that can make lines of light out of street lights at night. The HOE gives an extension of two inches to the image of light that I curved through the holographic space.
"Primal Mix I" 1988
is a white-light transmission hologram made with two masters. Again I use sand to create the image, however this time I illuminate it from underneath: sand is placed on a large sheet of ground glass with a red laser light below. The imagery is created by arranging the sand such that some light can pass. This method can create soft edges and shading which reminds me of painting with light in space.
"Georgia" 1988
is a white light transmission hologram. I made two masters exactly the same. One I played back the usual way, the other with left and right reversed. This gives a wonderful symmetry within the organic sandscape. And by recording these two plates twice I mix the spectral color scheme into a more subtle one.
"Threesome" 1989