One of the holy grails in display holography is the production of natural color holographic images. Various sets of wavelengths for recording have been suggested, some favoring three wavelengths, some four, and even more. I will argue that the choice of recording wavelengths is completely independent of the holographic process; in fact was solved once and for all by scientists working in general lighting in the 1970s. I will suggest an ideal set of wavelengths which will produce color rendition equal to better than conventional photographic processes.
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