Step 1: get yourself a stick of artist’s charcoal, do a quick sketch of the Man on the Shroud.
Ring any bells? Certainly it’s crude, but it shows how a quickie drawn image can produce a ‘ghostly’ end -result.
A much better Shroud-like image can be obtained with scorching instead of charcoal sketching, using a hot iron applied free hand ( I raise my hat to pyrographic artiste Irene Corgiat) or, better still, by imprinting off a hot bas-relief template.
Making the “scorch” image from the hot template produces ‘thermographic inversion” (the prominent parts of image like the nose which appear light in a photograph register instead as dark due to better contact with linen). The result is a ‘negative’ image.
Inverting the negative image back to a positive produces a luminous ghostly image, unlike a normal photographic positive? Why? Because the features that were imprinted and thus emphasised in the original imprint end up ‘de-emphasised’, and those that were left un-imaged – as white space – end up emphasised.
Is it any wonder why the iconic Shroud image looks so much better than the original negative imprint? IT IS – because the inversion/reversion cycle produces a unique ghostly effect that the world of art and photography has largely overlooked and/or ignored. Maybe there is a limited market for luminous ghostly images – no matter how much artistic value is added to crudely drawn images.
Finally, on a lighter note, assertions that the Shroud image, and that image alone, uniquely contains encoded 3D information is what I call Mickey Mouse science, and is perhaps best answered with the following:
Addendum: added 14 May. I have received an email from an image-researcher regarding my 3D techniques (using ImageJ software). Without stating chapter-and-verse, here’s a screen grab that shows three stages of smoothing, i.e. from zero through 12.0 to 33.0.
It shows how the 3D image starts as the addition of a vertical z axis, and then converts each pixel from 2D to 3D by elongating along the new vertical z axis in proportion to the pixel density (zero smoothing, first on left). Smoothing then … smooths.