>>
Shroud of Turin
Story Home Page
>>
List of Glossary Terms
| << vanillin >> warp |
VP-8
In 1976, research physicists Dr. John Jackson and Dr. Eric Jumper along with The Rev Dr. Kenneth Stevenson, Giles Charter, and Peter Shumacher, examined a photograph of the Shroud in the Interpretation Systems VP-8 Image Analyzer at the Sandia Scientific Laboratories in Albuquerque, New Mexico. It had long been suspected that the image densities of images on the Shroud represented spatial information; that is, the lighter and darker tones of the images represented distance rather than traditional representations of light as highlights, lowlights and cast shadows.
The VP-8 Image Analyzer confirmed those suspicions. The photograph of the Shroud, unlike any regular photograph, drawing or painting, was ""dimensionally encoded.""
A normal black and white photograph (or monochrome photograph of any single color) is an image of varying amounts of reflected light. Light colored surfaces approach white and dark surfaces tend towards black. The Shroud image, however, is a ""graph"" of proximity of the fabric to the body. Yet, at the same time, it acts like a photographic negative. Closeness appears darker (a dark straw yellow color) and distance is lighter. The tip of the nose is dark because it was close to or touching the linen at the time the image was formed. The recesses of the eyes, being farther away, are lighter. Some dark areas on the Shroud are not part of the image but actually blood stains. These are particularly noticeable on the forehead in the above picture. They act to distort the 3D projected image.
Shroud of Turin Story
© 2005 Daniel R. Porter, Bronxville, New York
