The Luminous Presence project examines the use of standard film language in the framing, angle and of points of view of holographic subjects though eight digital holographic stereograms; seven 25 x 25 cm, Hail, Water, Rain, Snow, Sun, Text, Imprint and 1.5 x 1 m, Luminous Presencesi. However, before embarking on a discussion of how filmic language can be used in digital holograms it is first important to explain why this line of investigation could be fruitful. Undoubtedly several of the compositional practices which sprung up and evolved throughout the development of the diverse forms of the holographic medium have contributed to a unique hologram pictorial language, however it is well known that the reading of visual imagery of any type relies a great deal on the viewer's knowledge of and experience of other images. The lens-recorded imagery of film is a far more familiar language than that of holograms and the correlation between certain filmic pictorial conventions and emotional responses are well documented and understood.ii . In short the language of film contains a highly nuanced vocabulary of shot types and lens types (which may be criticised as being formulaic) yet are effective in lending emotion to figures.