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The observation of a real image accessible to the hearth from a lens similar to our crystalline lens or a water drop, was at the origin of the instrumental optics which developed truly only as from the XVIIe century, thanks in particular to the Italian scientist Galileo who wrote: “The geometry is the language in which the book of the world is written”.
However as of Antiquity, of the Egyptian sculptors succeeded in surfacing like a lens of the rock crystal spheres in order to encrust the eyes of statues with them, in particular for the “squatted” Scribe of the museum from Louvre in Paris (2600-2350 front J. - C.).
The Greek scientist Archimedes (278-212 front J. - C.) defended Syracuse using “burning mirrors” by providing the concave soldiers of shields concentrating the luminous rays to form with the front the real image of the sun, which made believe in the Romans that “soldiers of fire” were vis-a-vis them.
According to the same immutable rules of geometrical optics, the concave mirrors are used since to converge in space the luminous rays to form a real image of an object located at thousands of light-years, as for the most modern telescope “VLT” whose mirrors were surfaced by French opticians, considered universally.
After more than 5.000 years of evolution of the writing, holography finally makes it possible to write a real image completely being formed in space in front of its support, like a real image focused by a convergent lens or a concave mirror, and accessible remainder in front of optical surface.
However, a geometrical constraint of optics for the restitution of a volume starting from a plane surface remains immutable…

Contrary to the total appearances in space without any support represented in painting or to the cinema by fakings of overprinting of science fiction films where the word hologram is often wrongly used, it should be admitted that a real image disappears in our eyes if it does not remain not superimposed on a support acting on the light that it is terrestrial or extraterrestrial like sunlight.
Even the rainbows have the clouds like support!
Since the XVIIe century, misleading art in in particular the spectacles of magic exploits the credulity of the laymen in optics, by theaters with invisible mirrors without silvering making it possible to make believe in general public, starting from an object dissimulated in the darkness, of the possibility of a real immaterial and impalpable appearance in space without any optical support… These sets of mirrors besides are still used nowadays in amusement parks with also an abusive use of the word hologram, or in advertizing terminals in which the objects, such as for example of the flat-faced screens, are dissimulated in the bases.

To see the light which remains invisible during its propagation in the air, it is obligatory that it is considered in the direction of our eyes by matter located in background !
This is why the convexity or the flatness of a holographic support and the projection in the space of its real image in volume create these side dead angles reducing the fourth dimension of time relating to the exploratory movement of the observer.
For a certain opening, this time limit of the exploratory movement results thus in to decrease the visibility by forcing the observer to position just opposite the hologram, and to prevent of this fact a presentation of holographic real images to a great number of people at the same time.
The further away the support is from the real image according to the third dimension depth, more reduced is the angle of vision.
Once passed the immediate and short effect of curiosity of advanced in the space of the real image compared to its flat support, this disadvantage of the side dead angles limits the examination in detail of the object represented, as when the relief is without vertical parallax by preventing the observer from entering the image at the time of its exploratory movement.

With the optimal optical quality of a holographic recording carried out directly starting from an object with three dimensions for obtaining a true relief with space-time high definition, Holopanoragramme makes it possible to develop this fourth dimension of the holographic real image of a fixed object for an observer moving.

Holopanoragramme with true relief

Appeared with half of the XIXe century, the stereoscopy is a process of simulation of the relief.
Among the many points of view around an object with three dimensions, two plane images are taken under two angles different using two photographic objectives having the same adjustment from development and being positioned on a horizontal line.
The restitution is carried out using separating glasses for the left eye and the right eye when these two plane images are superimposed, or without glasses when those are juxtaposed.
From these two different points of view representing the object in prospect, a stereoscopic image simulated is formed then on the level of the brain of the observer.
It seems to him to be in space with a certain depth, whereas no image in true relief is really under its eyes ahead or behind of the plan of these two images.
Each eye can make only one development from this only point of view of these two stereoscopic images, which is incoherent compared to the in-depth apparent position and apart from this plan of this cerebral image in relief simulated in the direction of which the eyes come however to converge not to see double.
This accommodation of the eye not to see fuzzy and constituting already to some extent a first minimal exploratory movement of the motionless observer giving him information on the depth of space, must then be started independently of the convergence of the eyes in spite of physiological association intimates these movements of accommodation and convergence.
With certain characteristics of the sight and cerebral fusion of the right and left images to horizontal, it would be in our opinion a reason for which certain people encounter difficulties at the time of the observation of a stereoscopic image simulated.

While with an image in true relief reflected by a mirror or diffracted by Holopanoragramme carried out directly starting from an object with three dimensions, and not starting from stereoscopic photographs with two dimensions representing the object, the convergence and the accommodation of the eyes of the observer function together on the same points of the various plans of the image truly in volume, as in the direct observation of the object.
The conditions of the natural vision are observed perfectly according to the third dimension depth. 

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