In September of 2005 the first hologram of the face was produced based on a photograph of the face made by Barrie Schwortz during the STURP-team investigations of 1978, where Barrie was the technical photographer. I contacted him and that led to a visit in November of 2005 to Los Angeles where Barrie was living at that moment. Barrie is a professional photographer and film-producer and the creator of the website www.shroud.com, which is the most informative website of the Shroud of Turin.

First hologram of the face

First hologram of the face

After studying the hologram of the face he had some criticism about the image and gave his professional opinion about the procedure that we had followed and also gave us good advices that led later on to new conversions of the Giuseppe Enrie photographic material (1931) and solved also how to find information in image-less areas that we had encountered. This brought the quality of the holograms that were created later to a much higher level of precision and detail. I am very grateful to Barrie Schwortz for taking the time and giving his professional advice.

Following is the content of an E-mail that he sent me in May of 2006 where he describes how to find information in parts of the imageless areas on the sides of the face. One year later we also solved parts of other image-less areas around the hands and lower parts of both arms and also on the anatomical right side of the face and the forehead when Prof. Avinoam Danin from the Hebrew University in Jerusalem discovered flower images on these before-mentioned places, and where these flowers and plants seemingly had blocked the formation of the body-image there.

I quote from Barrie’s mail:
“This response below was originally written and posted to the private Yahoo Shroud Science Group (SSG)”:
(See photograph 5)

Photograph 5 - Face compared both sides

Photograph 5 – Face compared both sides

“ In response to a number of requests and the ongoing discussion about the supposed “lack of image” on the sides of the Shroud facial image, I have done a simple density correction to demonstrate that facial image is indeed visible in the darker areas on the sides of the face. To simplify matters, I only did the correction on one side. The first image (left) shows the face without any correction. The second image (center) shows the outline of the area I selected for correction. I basically followed the vertical lines at the left and right margins of the dark band in the weave which extended the correction beyond the cheek and into the hair at right. The third image (right) shows the facial image with the selected area density corrected. Note that more of the cheek and jaw-line is visible and you can still see a separation between the cheek and the hair. I used the magnetic lasso tool in Photo Shop to select the area. With the magnetic lasso tool, the border snaps to the edges of defined areas in the image. The magnetic lasso tool is especially useful for quickly selecting objects with complex edges set against high-contrast backgrounds. I then applied a +20 point brightness (RGB luminance) correction to the selected area, using the surrounding densities as a visual reference to make the adjustment. No other processing was done”.

4a. Transmitted light photograph 1978

4a. Transmitted light photograph 1978

This information demonstrates that the natural banding in the linen from the various batches of ancient linen that were woven together to make the Shroud cloth, took up the image in varying intensities. In other words, the darker bands of linen made the Shroud image darker in these areas. This is particularly noticeable along both sides of the face, although these bands run through the entire length of the Shroud and are very visible in my transmitted light photographs. (see photograph 4a). There appears to be a direct correlation between the linen banding and image density. Included below is an additional comparison showing this cloth banding relative to image density.
See attached photograph 6. Here is the text that accompanied this photo:

6. "Banding" of the weave

6. “Banding” of the weave

This set of images provides an interesting comparison of the image density versus the cloth density with transmitted light. First, in case there is any doubt that there is banding in the Shroud weave, the transmitted light photographs clearly show this banding running throughout the entire length of the cloth. These are not just “speculation”. Once again, I used the same pixel selection tool in Photo Shop to select the area to the right of the face, but this time based on transmitted light density.
There appears to be a similarity between the lighter band to the right of the face in the transmitted light photographs, and the darker band to the right of the face in the black and white negative image. The selected areas are quite similar in shape. Of course, this is just a preliminary observation and would need to be tested with more precision before any definitive conclusions could be drawn. However, I believe it is safe to say that there appears to be a correlation between the cloth density and the image density in the banded area to the right of the face.
As you can see, the “magnetic lasso” is simply a Photo Shop tool that makes it easier to select certain areas of a photographic image. All I did was lighten the selected area to match it to the surrounding image densities. The resulting image clearly shows a fuller more accurate face”. End quote Barrie.

7. Face with and without correction

7. Face with and without correction

The following photograph 7, shows the difference once we applied the technique that Barrie indicated in the Dutch Holographic Laboratory in Eindhoven in the Netherlands. On the left is a photograph of material we used to produce the first Master hologram (see also photograph 11) and it is clear, that there are very dark imageless areas in the banding. The photos 2 and 4 show the face with the corrections. Also, another method was used in the Holographic Laboratory by Walter Spierings, the Director, in the conversion of 2D to 3D and that resulted also in much more detail. Photo 3 is the gray-scale information of the photos 2 and 4. The face is now much more “natural” and detailed.

11. First Hologram Face with imageless areas

11. First Hologram Face with imageless areas

The next two photographs are Anaglyph photos and show the face with (photo 8) and without the imageless areas (photo 9, corrected). To appreciate these photographs you will need 3D glasses to see the 3D. The red glass in front of the right eye and the blue glass in front of the left eye. (See the chapter about Anaglyph images).

8. Face without correction

8. Face without correction
ANAGLYPH USE 3D GLASSES

9. Face with correction

9. Face with correction
ANAGLYPH USE 3D GLASSES

 

Barrie Schwortz was the Official Documenting Photographer for the Shroud of Turin Research project, the team that conducted the first in-depth scientific examination of the Shroud in 1978. Today, he plays an influential role in Shroud research and education as the editor and founder of the internationally recognized Shroud of Turin website (www.shroud.com), the oldest, largest and most extensive Shroud resource on the Internet, with more than ten million visitors from over 160 countries. In 2009 he founded the Shroud of Turin Education and Research Association, Inc. (STERA. Inc.), a non-profit 501 ©(3) corporation, to which he donated the website and his extensive Shroud photographic collection, as well as many other important Shroud resources, in order to preserve and maintain these materials and make them available for future research and study. He currently serves as the President of STERA, Inc.

Mr. Schwortz has conducted Shroud lectures around the world. He has appeared in programs and documentaries on every major broadcast and cable television network, including the History Channel, the Discovery Channel, the Learning Channel, the National Geographic Channel, CNN, PBS, the BBC, Fox News, Channel 1 Russia, the Coast to Coast AM Radio show, Catholic Answers Radio and Vatican Radio. His photographs have appeared in hundreds of books and publications including Life Magazine, National Geographic, Time Magazine and Newsweek and in countless television documentaries. He has written many Shroud articles and papers that have been published in periodicals or presented at conferences around the world, the most recent in March 2010 issue of Catholic Digest. He continues to participate in Shroud research with experts around the world and co-authored a book with Ian Wilson titled, “The Turin Shroud: The Illustrated Evidence” published in August 2000 by Michael O’Mara Books, Ltd, London, and distributed by Barnes & Noble in the U.S.

Barrie Schwortz began his professional photographic career upon graduating from Brooks Institute of Photography in 1971. He operated an award winning commercial photographic studio specializing in product, food, advertising, technical and editorial illustration for fifteen years and founded his first video production company, Educational Video, Inc., in May of 1978.

After moving to Los Angeles in 1985, Mr. Schwortz became more involved in the entertainment field. He was the editor and post-production supervisor for the best selling 17 episode “Rocky and Bullwinkle” home video series for Buena Vista Home Video (Disney), which garnered a Silver Medal for Best Children’s Video at the 1992 International Film and Video Festival. He co-produced, directed and edited “Money, History in Your Hands”, a home video program starring James Earl Jones that won the Parent’s Choice Video of the Year award in 1995 as well as two Silver Screen Awards at the International Film and Video Festival in 1996. The program was broadcast on PBS in 1999.

From 1987 to 2001, Mr. Schwortz was an independent imaging consultant to the Laser Research and Technology Development Laboratory at Cedars-Sinai Medical Center in Los Angeles. He employed video, still photography, high speed cinematography and microscopy in imaging research projects with major universities, hospitals and medical device manufacturers and produced hundreds of presentations for the medical field, including slide and video programs that taught new surgical techniques to surgeons. In 1998, he developed two digital imaging protocols that were accepted and approved for use in clinical trials by the U.S. Food and Drug Administration and his company served as Core Laboratory for one of those trials. His clients have included many of the largest corporations in the world and his presentations have been shown at major medical and scientific conferences worldwide and to the FDA, U.S. House of Representatives and the U.S. Senate.

Barrie Schwortz Ohio 2007

Barrie Schwortz Ohio 2007

Barrie Schwortz and Father Hector Guerra L.C. in his house, Colorado

Barrie Schwortz and Father Hector Guerra L.C. in his house, Colorado

Foto Schwortz Shroud frontal image Turin 1978

Foto Schwortz Shroud frontal image Turin 1978

Foto Schwortz Shroud dorsal image Turin 1978

Foto Schwortz Shroud dorsal image Turin 1978

 

The different 2nd and 3rd generation ENRIE photographs that were made available by Dr. Alan Whanger, were in May of 2006 digitized by a Professional Photographic Laboratory in Amsterdam in the Netherlands.
They were digitized with 7000 x 10.000 pixels and that translates to 70-100 p.p.m., and file sizes of 200 till 900 MB, depending on the size of the different photographs.
Below in the two HISTOGRAMS one can appreciate the digitization and we were specifically interested in the digitization of as much as possible of the information in the image on the Shroud, because the intention was of course to make holograms of the image of the Man on the Shroud in 3D.

Histogram

Histogram

 

Histogram

Histogram

 

 

THE PHOTOGRAPHS OF GIUSEPPE ENRIE 1931

Alan Whanger

Alan Whanger

Alan and Mary Whanger Ohio Conference

Alan and Mary Whanger Ohio Conference

When in September 2005 we had produced the first Master and hologram of the face based on a black and white photograph (slide) of the face made by Barrie Schwortz during the STURP investigations of 1978, I made an appointment with Prof. Alan Whanger and his wife Mary (see photo 1 and 2) in Durham,N.C., USA. This was in January of 2006, and I knew that he was in the possession of about 35 high grade second- and third-generation photographic prints of the original photographs of Giuseppe Enrie (1931),that were donated to him by Father Francis L. Filas, who had a set of first-generation negatives. Alan also had three prints from the original Enrie negatives, obtained for him from Turin by Father Peter Rinaldi (see photo3). The Holy Shroud Guild gave him blanket permission to use them.

Sculpture of Father Peter Rinaldi

Sculpture of Father Peter Rinaldi

After seeing the hologram of the face, Alan Whanger made available for me these negatives that I took to the Netherlands to have them digitized, in order to do the conversion from 2D to 3D.

Why did we use the Giuseppe Enrie negatives to produce the next holograms ?

Giuseppe Enrie 1931

Giuseppe Enrie 1931

In May 1931 the Shroud’s owner, King Victor Emmanuel 3rd of Savoye, agreed to have a new series of photographs made on occasion of a Shroud exposition that was held that year and the photographer that would make these photographs was a professional photographer, GIUSEPPE ENRIE (see photo 4). The last time that photographs had been taken was in 1898 when Secondo Pia had made the famous series that showed that the image on the Shroud was like a photographic negative and that set in motion the scientific interest in the Shroud. Since then there had been great advances in photographic technologies and Enrie had moreover the possibility to make his photographs with the Shroud not covered by glass and under ideal conditions. He photographed the complete Shroud in 3 sections and could also make a series of life-size close-ups of the face, the back and the shoulders and also of the bloodstain on the wrist area of the left arm. (See a selection of these Enrie photographs, photos 5,6,7,8 and 9).

In 1931, the most reliable light-sensitive material was an orthochromatic emulsion on a glass plate. This emulsion was sensitive to the blue and green elements of white light and insensitive to red. The result was, that the red components of the Shroud image were not picked up and produced a sort of transparency, increasing the difference with the green and blue elements of the white light.
Because the image on the Shroud is made up almost entirely of a yellow-reddish coloration, this is highlighted on an orthochromatic plate, allowing an excellent reproduction of the image and an enhancement of the image details, which made them very suitable for the conversion of 2D to 3D that we did later. Basically, showing a richness in detail, that have not been surpassed by the quality of all the photographs that have been taken since 1931. Another factor that makes the Enrie photographs the best ones to use, is the fact that he also used photographic glass plates of up to 40 x 50 cm to make the photographs of the face and other details and that he had the opportunity to control the lighting and exposure times at his leisure.
The grayscale of the image, that is at the root of a successful conversion from 2D to 3D, is excellent in these Enrie photographs, and was an important factor in the producing of the Master Hologram.

Selection of the second and third generation prints of the Enrie photographs 
Selection of the second and third generation prints of the Enrie photographs 
Selection of the second and third generation prints of the Enrie photographs 
Selection of the second and third generation prints of the Enrie photographs 
Selection of the second and third generation prints of the Enrie photographs 
Selection of the second and third generation prints of the Enrie photographs 

 

THE DIFFERENT STEPS OF THE PROCESS TO CREATE THE HOLOGRAM

1) THE PHOTOGRAPHIC MATERIAL. In 2005 we used for the first series of holograms of the face and the front and the back of the body, photographs of Barrie Schwortz (© 1978-2010 Barrie M. Schwortz Collection, STERA Inc.). For the next holograms, produced in 2006 and 2007 we used second and third generation copies of the original photographs made by Giuseppe Enrie in 1931. In those days, the most reliable light-sensitive material was an orthochromatic emulsion (on a glass plate), which was sensitive to the blue and green elements of white light and insensitive to red and that resulted in an enhancement of the image of the body.
2) DIGITIZATION OF THE ENRIE PHOTOGRAPHS. The Enrie material was digitized by a professional Photo Lab in Amsterdam, the Netherlands, to obtain as much as possible density information of the image of the body. This resulted in 70-100 p.p.m., or about 200-900 MB per image.
3) CONVERSION PROCESS FROM 2D to 3D. Bernardo Galmarini, an Argentinean 3D expert, converted the gray-scale levels into depth data on the Z-axis of the photographs of Barrie Schwortz in 2005. In 2006 and 2007 he used the digitized material from the Enrie photographs and a more sophisticated way of conversion to obtain the vertical relief on the Z-axis, which was helped a lot by the existing cloth-to-body distance information in the gray scale of the image. He then generated a sequence of 625 images which were later integrated by the technicians of the Dutch Holographic Laboratory into a 3D Shroud image using a HOLOPRINTER.
4) THE CREATION OF THE MASTER HOLOGRAM. The DFCH Holoprinter, developed by the Dutch Holographic Laboratory, employed a LcoS chip (1920 x 1080 pixel resolution) to create a computer generated “MASTER Hologram” from the sequence of 625 images.
5) COPIES OF THE HOLOGRAMS AND OTHER 3D IMAGES. Having the Master Hologram it was now possible to create “white-light” copies, that can be viewed with a special halogen light. A Canadian Company produced in 2006 life-size holograms that were being used in exhibitions of the Shroud in Rome, Jerusalem, Sacramento, Cal. in the Museo della Sindone in Turin, and expositions in Panama and Honduras. Other 3D products that were produced with the converted material were LENTICULARS and 3D ANAGLYPH-photographs. Lenticulars are 3D photographs that are covered by a special plastic, consisting of thousands of little lenses and they make it possible to appreciate the hidden 3D in the photograph.

In the next chapters we will follow the 5 steps that led to the production of the different holograms and other 3D products.

 

 

 

WHAT IS HOLOGRAPHY ?

Holography is a technique, which allows the recording and playback of true three-dimensional images. The produced image is called a hologram. The playback provides an image in light that can be viewed in different angles and is an exact copy of the original 3D object.

The inventor of holography was a Hungarian-born electrical engineer DENNIS GABOR, who won the Nobel Prize for Physics in 1971 for his invention. He developed the idea of holography in 1947, while working on improving the electron microscope. The basic idea was, that for perfect optical imaging, the total of all the information has to be used, which means, not only the amplitude of the light-wave as in usual optical imaging, but also the phase. In this manner a complete holo-spatial picture can be obtained. In 1947 coherent light sources were not available, and the conventional light sources generally provided too little light, or light that was too diffuse to obtain good results (DISPERSION of the light used). In May of 1960 THEODORE MAIMAN at Hughes research Laboratories built the first laser, pulses of red light coming from a ruby cylinder that was put inside a very bright flash lamp with a helical shape. Maiman later received also a Nobel Prize for Physics, together with Townes and Schawlow, for the development of the laser theory in 1958 (see figure 1 and figure 2).

fig. 1 Dennis Gabor

fig. 1 Dennis Gabor

fig. 2 Theodore Maiman

fig. 2 Theodore Maiman

LASER means: Light Amplification by Stimulated Emission of Radiation. This is a process for emitting electromagnetic radiation, typically light or visible light, via the process of stimulated emission. The emitted LASER light is usually a spatially COHERENT, narrow low-divergence beam, which can be manipulated with lenses (like in holography). In laser technology, COHERENT LIGHT denotes a light source that produces light waves of IDENTICAL FREQUENCY, PHASE and POLARIZATION. This also means that a laser beam has a precise mathematical property and can carry a large amount of intelligent information. When T. MAIMAN had produced the first laser, then the stage was set for the production of the first three-dimensional images and in 1960 the researchers LEITH and UPATNIEKS of the University of Michigan created the first off-axis laser transmission holograms followed around the same time by Yuri DENISYUK of the Soviet Union, who created reflection holograms that one could see using ordinary white light.

HOLOGRAMS HAVE UNIQUE CHARACTERISTICS:

1) On the same holographic (photographic) film one can record multiple scenes, images of 3D objects, on the not yet developed film. It depends on the angle under which the reference beam hits the film and creates the interference pattern with the object beam. All these different scenes can be called up, by aiming a laser beam on the photographic film, under the same angle as the reference beam that was being used.
2) When you create a cylindrical hologram, you can see the original 3D object in a 360 degree view.
3) You can copy the Master hologram with the reference beam reflecting from the Master on a new photographic film and the result will be a positive image, exactly the same as the image produced by the original Master.
4) When a light wave hits the Master holographic film, it acts as a (diffractive) filter, allowing some light to pass through and pick up the imprint in the medium. However, unlike a photographic image, it is the interaction of the new light wave with the recorded interference pattern that is seen as a 3D image. It is 3D because the new light wave becomes modified by the wave-interference pattern recorded in the emulsion and appears thereby as the original light wave emitted by the object itself.
5) When the light wave hits the Master holographic medium and reflects from this film, this will contain the information originally recorded, multiplied by the intensity of the new light beam. This will be seen by the observing eye as a VIRTUAL image reconstructed in space and as a focused REAL image appearing inside the witnessing eye or out in space just in front of it. A virtual image is the kind of image that you see when you look at yourself in the mirror, and the image appears to be behind the glass, while a real image is what you see when the image can be projected for instance on a screen, because the rays converge to focus the image.
6) Each piece of the hologram contains the interference pattern produced by adding the reference wave to the object (information) wave. Each point on the object wave acts as a tiny sender of spherically distributed information waves, and these waves hit all points on the surface of the recording medium together with the reference wave. This means that every tiny piece of the recording medium contains information from all points on the surface of the 3D object.

This is where the idea of “the part contains the whole” comes from. However, as , the hologram size reduces, when you break it up in pieces, the result will be that
the tiny pieces will show a loss of image perspective, resolution and brightness.

To understand the process of making a hologram, the term INTERFERENCE is very important, and in the case of holography we talk about the interference of light waves. What it means is the addition (superposition) of two or more waves which results in a new wave pattern. Although INTERFERENCE is a characteristic behavior of light, it is not solely an optical phenomenon. Interference also occurs between sound waves, as well as waves induced in a standing pool of water. A very nice and easy interference experiment can be performed, using a swimming pool and two stones. First let the water become very still, than simultaneously let two persons throw the stones into the water from opposite sides of the pool. Just as with light waves, the two stones will produce a series of waves in the water from opposite sides of the pool going in all directions. The waves that were formed in the area between the spaces where the stones entered the water will eventually collide. Where they collide in step, they will constructively add together to make a bigger wave and where they collide out of step, they will destructively cancel each other out. The resulting wave pattern is called an INTERFERENCE pattern.
Holography is entirely dependent on the interference of light waves to create its three-dimensional effects. In transmission holograms, both a reference and an object beam (reflecting from the 3D object) are reflected on a holographic (photographic) film from the same sides. These beams interfere to produce light and dark interference wave field areas (see figure 3 and figure 4) and this interference pattern contains ALL the information of the original 3D object. The aim in holography is to record the complete wave field on the recording holographic film. This includes both amplitude and phase information.

fig. 3 Interference pattern

fig. 3 Interference pattern

fig. 4 Interference pattern

fig. 4 Interference pattern

Java demonstration of interference: http://www.falstad.com/ripple/ex-2source.html
Or from the same site: http://www.acoustics.salford.ac.uk/feschools/waves/super2.htm

fig. 5 Object and Reference beam

fig. 5 Object and Reference beam

Figure 5, shows on the right upper side a laser beam that is split in two beams of monochromatic light by a beam splitter. One beam called the “REFERENCE BEAM” is projected via mirrors and a diffuser onto a special photographic film (the recording medium). The second beam, called the “OBJECT BEAM” is projected via an expander lens onto the object and its reflection is also captured on the same photographic film.

The result is a photographically captured INTERFERENCE PATTERN that will look like the Figures 3 and fig. 4. An interference pattern captured in this way on the special photographic film is called a “MASTER”.
From this MASTER we can now create holograms in two different ways:
1) The reference beam is projected on the Master under the same angle that was used to create the Master but directed from the opposite side as from where it was during the recording. The result will be that the 3D object is now floating in the air in front of the Master. This recreated image has all the qualities and details of the original 3D object, but it is composed of LIGHT (see figure 6). It is called a real image.

fig. 6 Apple floating in the air

fig. 6 Apple floating in the air

2) The reference beam is again projected onto the Master under the same angle that was used to create the Master. Then the reflection is captured on another special holographic (photographic) film which has also a reference beam and the result will be a true copy of the hologram with the image straddling the holographic plate. (see figure 7).

fig. 7 Producing copy of Master Hologram

fig. 7 Producing copy of Master Hologram

With this knowledge we can now describe the process that was used in the DUTCH HOLOGRAPHIC LABORATORY (DHL) in Eindhoven in the Netherlands (Director WALTER SPIERINGS, www.holoprint.com) for the reconstruction of the 3D-image of the Shroud data with holography. Like we have told before, using digitized copies of the ENRIE photographs of 1931, the 3D information was extracted by means of grayscale mapping by BERNARDO GALMARINI in Buenos Aires, Argentina. This 3D information was then used to calculate a series of views. We made several views of this 3D model and then we generated an ANAGLYPH image which made viewing in 3D possible using red and cyan glasses. Seeing that the result was very good, this convinced us to continue and much more sophisticated methods were developed.
A virtual camera moves in a horizontal line past the 3D model (in the computer). Between the center view and the most left and right image all the other images were interpolated until a total of 625 virtual camera shots. These sequences were the basic information that the technicians in the DHL needed to produce the Master hologram. This was done in their Holographic Laboratory using the DFCH Holoprinter (developed by DHL). This Holoprinter employs a LcoS-chip (1920 x 1200 pixel resolution). See Figure 9.

fig. 9 Holoprinter

fig. 9 Holoprinter

In 2006 life-size holograms of both the front and the back images were produced of 200 x 100 cm by a Canadian Company, with each square mm built up of 1024 x 768 pixels. They chose to use the one step process, because it is an easier way of producing large size holograms (see Figure 13, 14, 15).

fig. 13 Life Size Hologram Exposition Sacramento

fig. 13 Life Size Hologram Exposition Sacramento

fig. 14 Life Size Hologram Exposition Sacramento

fig. 14 Life Size Hologram Exposition Sacramento

fig. 15 Dr. P. Soons in front of Life Size Holograms

fig. 15 Dr. P. Soons in front of Life Size Holograms

Figure 8 shows how the technicians of the Holographic Laboratory created the Master with a computer-generated object beam, that contains all the before mentioned 3D information, (the 625 virtual camera shots). The result was then a perfect and very detailed Master Hologram.

fig. 8 Computer generated Master Hologram

fig. 8 Computer generated Master Hologram

 

Information about the DUTCH HOLOGRAPHIC LABORATORY you can find in the following websites and also some sites that refer to articles about Holography written by WALTER SPIERINGS, the Director of DHL (founded in 1983), in Eindhoven, the Netherlands. See figures 10, 11 and 12.

fig. 10 Walter Spierings Director DHL

fig. 10 Walter Spierings Director DHL

fig. 12 Spierings with Face Hologram on wall

fig. 12 Spierings with Face Hologram on wall

fig. 11 First Face Hologramfig. 11 First Face Hologram

http://www.holoprint.com
http://www.holoprint.com/articles/leonardo/leonardo.html
www.holography.co.uk/Conference/Spierings/Walter.pdf
http://www.nvpt.nl/files/97-3-005.pdf
http://www.cgw.com/Publications/CGW/2008/Volume-31-Issue-7-July-2008-/Dimensional-Art.aspx

Other links that are useful:

http://science.howstuffworks.com/hologram.htm
http://holoworld.com
http://en.wikipedia.org/wiki/Holography

To get an idea of the HOLOPRINTER that was used to create the Master, Walter Spierings and Dr. Petrus Soons wrote an article with technical information in 2007, explaining the mathematics behind the process under the title:
“ 3D IMAGE RECONSTRUCTION OF SHROUD OF TURIN DATA WITH HOLOGRAPHY”
“THE HOLOPRINTER”
You will find this under No: 5.2
This article was written for the Turin Shroud Authorities, after they placed life-size Holograms of the front and the back image of the Shroud of Turin in the Museo della Sindone in Turin (see Figure 16) and was personally handed over to Don Giuseppe Ghiberti, Bruno Barberis and Nello Ballosino in the spring of 2007.

fig. 16 Set of Holograms Museo della Sindone Turin

fig. 16 Set of Holograms Museo della Sindone Turin

Dutch Holographic Laboratory: https://shroudholograms.com/