The discovery of beautiful and mysterious things is not the joy of artists alone; scientists, engineers and even nonprofessionals are also greatly affected. When holography was discovered, excited writers spread the word, and a spirit of great expectation prevailed. In 1968, after receiving my degree in sociology from Hosei University, I started working as a coordinator of plastic lens development at the Japan Optical Resin Company. I began studying optics with engineers from the company for my work project, which was the development of a segmented multiple prism lens for wide-angle television screen tubes. I researched the use of a laser to measure prism angles to within ?3 minutes of arc, and while reading a technical handbook on optics for this task, I happened to notice an explanation of laser holography. I was completely fascinated. I was impressed by the images in the handbook of Stephen Benton's holograms, one of dice and one of a locomotive steam engine. After that, I dreamed of someday working in holography. But it was 7 years before I saw an actual hologram at the 1975 Ikebukuro Seibu department store exhibition entitled Holographic Fantasy. There and then, seeing Benton's Engine Number Nine hologram, I realized that I could not escape the lure of holography. These holograms far exceeded my highest expectations. I would not call myself an artist, but I do appreciate art. And like an artist, I can appreciate the true beauty of holography. In 1977 I left the Japan Optical Resin Company and went to work for Holomedia, Inc., the first company in Japan to specialize in the production of holograms. My involvement with the holography community also dates from this year.