Abstract
The division of a picture surface into discrete units makes it possible to structure an image in a unique way. Holographic imaging processes which employ computer graphics as subject matter frequently employ sequential exposures to small sections of the hologram plate or film. The making of complete holograms from hundreds of small slices or squares has been refined in recent years to enable millions of 1mm hologram pixels to be successfully exposed to make one visually continuous three-dimensional scene. These techniques of making one hologram through the exposure of thousands of discrete image elements enables the subject and its lighting to be shaped and changed very subtlety over every tiny picture unit. In some ways the small holographic pixels of fringe digital holograms are similar to the glass and gilded tesserae of early mosaic art works. This paper compares the different compositional possibilities between early glass and gold mosaics, optically formed fringe digital holograms and my optical and recent tesserae holograms. This recent use of small hologram fragments with gilding and silvering is set against the context of the interrelationship of artistic pictorial style and the technical evolution of holographic image making. [13 Refs; In English]