Update: This posting is now being discussed on Dan Porter’s shroudstory site.
Yes, I bought the crucifixion brass in Antibes almost a year ago, intending to test the contact-scorch hypothesis for the Shroud image with some demanding physical relief, i.e. bits that stick out.
And I had been putting it off, feeling that gluttons for punishment were people who dived off 100ft cliff faces into a 5ft depth of water below, well provided with rocky pools and crabs. But David Goulet on Dan Porter’s shroudstory.com site issued the challenge to produce a scorch image off difficult 3D contours, so I finally decided to take the plunge. The preliminary findings, not nearly so damning to all my cack-handed probings as I had first imagined, were reported on earlier postings. But David wanted especially to know how the methodology coped with the dorsal side of a post-crucifixion posture, with knees drawn up etc, for which my bit of brass might, just might, offer some compelling modelling possibilities, well approximations at any rate.
So here’s a series of photographs taken of the scorching in the kitchen in strict time sequence. I’ll add some more later of the 3D-processing in ImageJ.