THE SHROUD OF TURIN, THE HOLOGRAPHIC EXPERIENCE
BY DR. PETRUS SOONS

This is the text that comes with the POWERPOINT Presentation 3D

ABSTRACT

My presentation summarizes work connected with digitizing Shroud photographs taken by Giuseppe Enrie in 1931, enhancing the digitized images to improve details, translating the enhanced images “gray scale data into depth data”, generating a sequence of up to 625 images of each of these, and combining these images with a Holoprinter to produce holograms (3D images) of the Shroud. It also summarizes my study of these holograms and discovery of heretofore unseen details, which confirm many previous findings and reveal some surprises.

INTRODUCTION

In 2001, my wife and I moved to Panama, the country where she was born. Being retired, I started to make wood sculptures as a hobby. In 2004, I decided to sculpt a Pieta, but I had an accident and fractured a vertebra. For 5 months, I was unable to work, so I used this time to search the internet for the most original face of Jesus Christ and Mary, his mother, to use in the Pieta sculpture. My search found two images called “acheiropoeita”, or “not made with (human) hands” and they are, the image of the Man on the Shroud of Turin and the image on the Tilma of the Virgin of Guadalupe in Mexico. I later used both face images in the pieta.

OBSERVATIONS OF 3D INFORMATION IN THE SHROUD.

The Shroud of Turin is a textile made of linen (flax), measuring about 442cm in length and 113 cm in width. One side of the Shroud shows the front and the back image of a crucified and tortured man. The image is superficial, meaning, it is located on the surface of the uppermost fibers. Chemically speaking, it was formed by an unknown process that caused oxidation, dehydration and conjugation of the polysaccharide structure of the flax fibers, a kind of premature aging process of the linen. The inside of these image fibers, that are 10 to 20 times thinner than a human hair, does not show this process. The image itself shows some qualities that are important for the 3D investigations
The image displays the light and dark characteristics that you normally observe in a photographic negative and that was discovered in 1898, when Secondo Pia made the first photographs of the Shroud. After developing his negative glass plates, he found to his surprise that they showed a positive image of the Man on The Shroud, instead of the negative image that he expected.
Studying the image in the early part of the last century, Prof Paul Vignon made the observation, that the image on the Shroud varied inversely with the cloth-to-body distance, which means that the parts of the body that were close to the cloth, were imaged darker then the parts that were further away. The density in different parts of the image is proportional to the distance between the body and the cloth and is caused by the fact that more fibers per unit area are discolored. This translates to 3D information-encoding of the image in the grayscale of the photographs.
Drs. Jackson and Jumper confirmed the 3D information in 1977, by using the VP8 Image Analyzer.. Later work done by Prof. Tamburelli from the University of Turin confirmed this also.
Drs. Jackson and Jumper used a densitometer to extract the grayscale information and then with the help of the VP-8 Image Analyzer, translated this information into vertical relief, which resulted in the first three-tridimensional photos of the Shroud image. They were able to conclude that Vignon’s theory was correct. The work of Prof. Tamburelli (Italy) confirmed this also. It is important to note that if you use any regular photograph in the VP8 Image Analyzer, the result will be distortion and flattening of any three-dimensional features, because there is no photograph that contains the 3D information that we find in the image on the Shroud.

THE GRAYSCALE

A densitometer measures the differences in density in a photograph. In a black and white photograph, black areas are dense with information and white areas are void of information. The in-between areas are many shades of gray, from almost white to almost black. You can assign a different number, or value to each shade of gray, for example on a scale of 1 to 10, where 1 represents black, and 10 white, all numbers between 1 and 10 represent various shades of grays. This is a grayscale or gray map, where different numbers represent different densities. Subsequently, these numbers are translated mathematically into vertical height on the Z axis.

HOLOGRAPHIC OBSERVATIONS

During the 5 months of rehabilitation, following my accident, I studied many books written about the Shroud of Turin.
I was familiar with the 3D concept because I founded and for many years worked in an Ultrasound Center in Curacao. I also studied the theory of a Holographic Universe (Dr. Susskind, Gerard van’t Hooft and Dr. Wheeler), so I was also familiar with Holography.
There were two observations in particular, that caught my attention
1) The image appears more distinct at a distance and fades when viewed at certain angles, particularly as one comes closer to the Shroud. The image is faint, without well-defined boundaries so the eye has no point of reference and it appears simply as variation of the background density.
2) After the fire in 1997, Aldo Guerreschi, a professional photographer who is familiar with the image, was asked to photo-document the examination of the Shroud. He observed the following: “Moving around the table, (with the Shroud laid out horizontally) I saw this image so faded as if to practically disappear, while from other angles, it seemed as if the figure were almost outside the sheet”.
These two observations hint at holographic qualities, indicating that apart from the grayscale with the built-in 3D information, there might be holographic information present in an interference pattern. In order to investigate this possibility, I decided to form a team of experts and to produce holograms, based on the scientifically proven 3D information in the grayscale of the image. That led us in a different direction of the 3D research with some unexpected results.

HOLOGRAHPY, FROM 3D TO 2D AND back to 3D AGAIN
A hologram is a light wave interference pattern of a 3D image, recorded on a special photographic film (2D) that, when illuminated properly, can reproduce the 3-dimensional image in light.

WHAT IS INTERFERENCE?
Interference means a mixing of two waves, as for example, when we throw two stones simultaneously from opposite sides of a pool into the water, the two resulting wave patterns will meet and intermix. We call this intermixing interference. The waves can be any waves, for example, water-waves, sound waves or light-waves etc. To produce a hologram, lasers are being used to create the interference pattern.

WHY DO WE USE LASERS?
A laser beam consists of photons of the same size, all moving in the same direction. The wave packets are aligned together and all of the same frequency. This is known as coherent light and has the ability to contain intelligent information.
The info wave has a precise mathematical form.

PRODUCING A HOLOGRAM THE TRADITIONAL WAY
To produce a hologram, a laser beam is split into two beams: a reference and an object-beam. The reference-beam is widened by a lens or curved mirror and aimed directly at the sheet of photographic film. The object-beam is also widened but aimed at a physical 3D object (the subject of the hologram) which reflects the light onto the same film. The two beams interact, forming an interference pattern that is recorded. This is the Master Hologram.
From the Master Hologram we can produce copies that, when illuminated with monochromatic light (e.g., a halogen lamp) from the same angle that the reference-beam hit the plate, can be seen in 3D again, in light.
The monochromatic light beam is a reversed reference beam that produces a real image of the 3D object.
Every area of the Master Hologram contains information about the whole image. If you break a Master hologram in multiple pieces, you have multiple holograms, each containing information about the whole image.

COMPUTER GENERATED SHROUD HOLOGRAMS
The different stages of the process that we followed to create the hologram of the Shroud of Turin:

THE PHOTOGRAPHIC MATERIAL
We used second and third generation copies of the original photographs made by Giuseppe Enrie in 1931. In those days, the most reliable light-sensitive material was an orthochromatic emulsion, which was sensitive to the blue and green elements of white light and insensitive to red and that resulted in an enhancement of the image.

DIGITALIZATION OF THE NEGATIVES
We digitized the Enrie negatives to facilitate translation of image density information into gray-scale numbers (result: 70-100 p.p.m.).

CONVERSION PROCESS FROM 2D to 3D
—Bernardo Galmarini, an Argentinean 3D expert, translated the gray- scale levels into depth-data on the Z-axis and, where necessary, repaired and softened existing image areas that were void of 3D information…perhaps the result of historic insult and damage. Bernardo then generated a sequence of 625 images, which were later integrated into a 3D Shroud image using a Holoprinter.
—In this process, Bernardo used a virtual camera, moving along a horizontal path over the 3D model from center to most left, and most right, and interpolated all other images. The result is a 3D image that contains all existing distance information recorded in the grayscale.

CREATING THE MASTER HOLOGRAM
1) The DFCH Holoprinter, developed by the Dutch Holographic Laboratory, employed a LcoS chip (1920 x 1080 pixels resolution) to create a computer generated “Master Hologram” from the sequence of 625 images. We first produced holograms of the face and body in smaller size, and subsequently, a Canadian company produced a 100cm x 200cm hologram from both the front- and the back-image, with each square mm built up of 1024 x 768 pixels. This was done after we improved the conversion from 2D to 3D in the Dutch Holographic Laboratory.

COPIES
2) Once you have produced the “Master Hologram” you can make copies.

3) You can also create other 3D images, like lenticulars or anaglyph photographs.
OBSERVATIONS IN THE HOLOGRAMS
The holograms provide a great opportunity to view the image on the Shroud in 3D. These observations confirmed many of the previous findings and revealed some new findings. Let us begin with observations on the dorsal image, then the frontal image, and finally the facial image.

OBSERVATIONS IN 3D DORSAL IMAGE
1) The upper part of the back of the head fades out, indicating that the head is bent forward.
2) The hair falls down along the neck and the back and looks like “wet”. It appears “rope-like” in the middle, similar to a ponytail as mentioned in the literature.
3) The buttocks do not look flattened, but rather tensed as in rigor mortis.
4) The images of the flagellation wounds follow the curved surfaces of the buttocks, legs and thorax, while on the photographs they look straight.
5) The legs in the dorsal image look quite confusing. The upper part of the anatomical right leg contains very little 3D-data and the left leg contains areas void of any 3D data that, after conversion from 2D to 3D show up as “holes”. Note: to appreciate the degree of bending of the legs, we will have to rely on data from the frontal image.
6) The sole of the anatomical right foot is clearly visible, as is the tip of the left foot that seems to be crossed over the right foot.

OBSERVATIONS IN 3D FRONTAL IMAGE
1) In the depth-map, the chest appears inclined in an upward position with respect to the pelvis area, as if inclined towards the viewer. The chest also appears to be expanded.
2) The arms appear to be rigid and oriented in an almost horizontal plane. The elbows are not inclined downwards; they rather seem to lie in a plane together with the lower and missing upper arms. The anatomical left lower arm shows the elbow higher than the left hand, which is crossed over the right hand in a natural bending. The right wrist is under the left hand, over the space between the two legs. The right hand angles upwards following the curvature of the upper left leg, with the fingers bent downward along the left leg curvature. The left hand is bent at the wrist and fingers in a downward direction.
3) We can better appreciate the position of the legs in this frontal view. Both legs are bent, with the anatomical left leg bent a little more than the right leg and partly covering it.
4) The anatomical left foot crosses over the right foot in the form of an X, and the tips of the toes of the left foot are visible.
5) To show difficulties in the interpretation of these 3D images, I refer to a ropelike 3D shape crossing the left hand/wrist and an unknown little 3D object on the fingers of this hand (flower, ampulla?). The question what this means remains open.

OBSERVATIONS IN 3D FACIAL IMAGE

1) In conventional Shroud photographs of the face, we observe a bloodspot seemingly hovering above the head. In the 3D image, however, this bloodspot appears to rest on top of the head. The blood images result from actual blood contact. There are multiple bloodspots on the top and the back of the head area, suggesting that this was not caused by only a crown of thorns, but a “helmet” of thorns.

2) During the 2D to 3D conversion process, image areas that were void of 3D information in the gray map showed up as “holes”. Looking at the face there were multiple, little “holes” on the forehead, the right and left sides of the face, the anatomical right side of the moustache and beard, and the middle of the lower part of the beard. When we saw this, I remembered photographs of the face and middle part of the body, in the book by Dr. Alan and Mary Whanger, where Prof. Avinoam Danin, of the Hebrew University of Jerusalem, had drawn in images of flowers and plants that he had discovered in the Enrie photographs. In November 2007 I teamed up with Prof.Danin and we had an opportunity to study the UV photographs taken by STURP´S official (technical) photographer, Vernon Miller, of the Brooks Institute, during the STURP team investigations in 1978. In 2007-2008, Prof. Danin discovered that the “holes” found during the 2D and 3D conversion process of the face all contained images of little flowers. It seems that these flowers blocked the formation of the body-image-information of these areas (“holes”) of the face, and the body around the arms and hands. We know that there is no image under the bloodspots. Whatever the image formation process was, it seemingly did not penetrate solid objects, such as bloodspots or flowers. Two flowers also appear in the middle of the tip of the beard. This part of the beard does not seem to have been ripped out, because you can follow the contour of the underside of the beard that seems intact in the 3D image.
3) The 3D frontal and dorsal view of the body image are like 2 bas reliefs. When you join them together, however, you find that a “layer” of about 10 cm is missing from the middle of the body. This coincides with similar measurements of the distance between the frontal and dorsal top of the head images.
4) Under the beard in the area of the neck we found an oval-shaped solid object of about 11.5 x 5 cm, showing on the surface in relief, what appears to be three Hebrew or Aramaic letters. The letters used in both alphabets are similar. Pursuant to this finding, we did two follow-up studies:
5) First, we researched photographs of the 3D studies of Dr. Jackson and Prof. Tamburelli. They all contained the vertical relief properties observed in the hologram, confirming the presence of an object under the beard.
6) Then, we researched many photographs of the face taken by different photographers during the last 50 years. As an example, in November 2007, we had access to the extensive collection of the 1978 photographs of Vernon Miller. Many of these photographs showed the oval outline of the object and several of them the shape of the 3 letters. According to photographic experts, that we consulted, the reason the letters are visible in some photos and not others could be due to differences in depths-of-field resulting from different lighting conditions and aperture settings and lens focusing chosen by the photographer(s) when they produced the photographs. (the image is very superficial).

THE LETTERS

The three letters were identified, reading from right to left as one does in Hebrew or Aramaic, as:
TSADE- ALEPH- NUN this is the Hebrew word TS’ON
Calligraphy used to be my hobby, and as the letters of these alphabets are written in calligraphic form, I used them many times to exercise my calligraphic skills, so I was very familiar with the shape of the letters. However, I do not read Hebrew or Aramaic, so I consulted experts in old Hebrew and Aramaic. They showed me the two most consulted Hebrew and Aramaic dictionaries: “A Comprehensive Etymological Dictionary of the Hebrew Language for Readers of English”, by Ernest Klein, and, “A Dictionary of the Targum, The Talmud Babli and Yerushalmi and the Midrashic Literature”, by Marcus Jastrow.
Here the Hebrew word TS’ON is translated as: “small cattle, sheep, goats”. This word is a plural.

Now, here we have the Shroud of Turin with the image of a tortured and crucified man, who according to tradition was Jesus Christ, and under the beard a solid oval object upon whose surface is written in relief and in Hebrew the word: “Sheep and goats”.
If you look at the Gospel of John, the chapter of the Good Shepherd, you can see a strong connection between the sheep and Our Lord Jesus Christ, who is the Good Shepherd. Jesus Christ himself is telling here, that the sheep follow him, the ones of his flock (Jews), and also the ones from other flocks (non-Jews). He will sacrifice His life for his sheep, and in concordance with the will of His Father, he will take up His life again, so talking about His crucifixion, and also His Resurrection.
So, the word TS’ON is always used as small cattle, sheep, goats. There is however one exception and that is in Exodus 12:21. When the Israelites are ordered by God to prepare a lamb for sacrifice, then in the original text the word that is used for lamb is SEH (Exodus 12:3). However, in Exodus 12:21 it says: “Then Moses summoned all the elders of Israel and said to them, “Go at once and select the animals for your families and slaughter the Passover lamb”. The word for lamb in this text is TS’ON and it is specifically translated as sacrificial lamb for this special occasion.
In the Jewish tradition this sentence is also translated as.: “make a sign with the lamb” (by putting the blood on the doorpost). This is because of the very close relationship of the word TS’ON with the word TS”IOEN and this word means “sign”.

The Church Fathers were clear in their opinion, that Our Lord Jesus Christ WAS the Passover lamb.
This makes sense because:
A) In the Gospels is mentioned, that Jesus Christ approaches the river Jordan where John the Baptist was teaching and baptizing people. When John sees Jesus, he tells the people: “Behold, there comes THE LAMB OF GOD, that takes away the sins of this world”.
B) During the Catholic Eucharist, when the priest shows the bread, he says: “This is the Body of Jesus Christ, THE LAMB OF GOD, that takes away the sins of this world”.
C) In the book of the Apocalypse by John, the word LAMB is mentioned 28 times and always means Jesus Christ.
D) During the Last Supper, where according to the Jewish tradition of the Pesach- meal, wine, bread and lamb should have been present, the Gospels only mention bread and wine. The reason is that Jesus Christ himself is THE LAMB and is going to be sacrificed the next day. That was obviously clear to the authors of the Gospels.
E) Jesus is crucified on Friday at the same moment that in the Temple the lambs were being sacrified for the Passover, making Him also the Passover lamb, because from the moment of the sunset on Friday , the festival of Passover started.

I believe that this finding on the image of The Shroud of Turin is important. An oval shaped solid object under the beard of The Man on The Shroud, containing three letters that form the word TS’ON and show a very direct link with Jesus Christ, as if saying: “Here is Jesus Christ”.
“THE LAMB OF GOD IS THE SACRIFICIAL LAMB (TS’ON)”.

CLICK TO SEE THE POWER POINT PRESENTATION 3D

 

THREE DIMENSIONAL MOVIES OF THE HEAD AND THE FRONT
AND THE BACK OF THE BODY

The final work of the conversion from 2D to 3D by Bernardo Galmarini included the positioning of the 625 virtual camera shots, placed in a virtual lateral camera array, which was to be the basic information that the Dutch Holographic Laboratory needed to produce a Master Hologram.

It also opened up the possibility to produce movies of the head and the front and the back of the body, moving from the middle to the extreme left and right and this resulted in impressive pictures, which showed the 3D of the images very well.

Following you will be able to appreciate movies of the head and the front and the back of the body, moving from one side to the other and also a movie with the front of the body in a horizontal position. ENJOY !

There are 8 movies:

1) Head

2) Head stereopar, (2 heads)

3) Back of the Body

4) Back of Body Stereopar

5) Front of Body

6) Back of the Body

7) Head left View ANAGLYPH (use 3D glasses)

8)Body Horizontal ANAGLYPH (3D glasses)

In this movie the body is completely in front of the Shroud, (repeat the
PLAY-button).

 

SUMMARY OF THE CONVERSION OF 2D TO 3D

 

The first conversion from 2D to 3D was done in 2005 with photographs of Barrie Schwortz, which Barrie took during the STURP investigations in 1978 (© 1978-2010 Barrie M. Schwortz Collection, STERA Inc.) and resulted in the first holograms of the face of 30 x 40 cm and the front and the back of the body, 30 x 60 cm. These holograms were used in the Grizzly Adams documentaries: “The Fabric of Time” and “The Case of Christ’s Resurrection”. The first series of conversions were based ONLY on the visible gray scale of the image, and showed many imperfections in the image, or image-less areas, specifically on the sides of the face and the front of the head, regions around the underarms and the hands and in the back image the sides of the upper legs and parts of the lower legs. These showed up in the converted material as “holes” and in the holograms as black areas without 3D information.

Barrie Schwortz

Barrie Schwortz

Avinoam Danin

Avinoam Danin

In November of 2005 I visited Barrie Schwortz in Los Angeles and showed him the holograms. His professional comment was that the 3D did not show up better than in the VP-8 Analyzer and that we had to improve a lot the 3D. But he also showed us a way of finding “hidden” information in the so-called image-less areas by employing the magnetic lasso tool in Photoshop and enhancing the image. That resulted in the discovery, that in the Enrie photographs that we used later, we could find indeed a lot more of information, for example on the anatomical left side of the face, the front of the head and other areas on the body itself, the legs and around the lower part of the arms and hands, and that resulted in the fact that we now had about 85 % of the image that contained from very good till low intensity image information. The image-less areas were now reduced to about 15 % of the total body image. In 2007, when we started to cooperate with Prof. Avinoam Danin of the Hebrew University in Jerusalem, we found also a solution why there was no information in certain areas, specifically on the front of the head, the right anatomical side of the face and around the hands and lower parts of the arms. He found flower and plant images in these areas and the presence of these flowers and plants seemingly blocked the formation of the image of the body in these areas. Identical basically to the blood images, because under the blood there is no body image either. It is good to remember, that there are 3 image-formation processes involved:
1) The blood that is visible on the Shroud of Turin was caused by direct contact (?) between the blood and the surface of the linen cloth.

2) The flower- and plant images on the Shroud. According to Avinoam Danin, these images show characteristics in the image that you also see in images formed by corona discharge.

3) The image of the body itself. Until now, science has not come up with a satisfactory explanation how the body-image was formed. Until now it is unexplainable.

In 2006 and 2007 Bernardo Galmarini produced new and much more sophisticated conversions of 2D to 3D of the face and the front and the back of the body, which resulted in a new series of holograms, anaglyph photographs and lenticular 3D images. He also produced movies where the image of the face and the body are moving from the left to the right side of the screen and they are very impressive indeed. The 3D, which was achieved now, was very impressive and the images now also showed much more detail. The technicians in the Dutch Holographic Laboratory did also very professional and good work improving the 3D qualities of the image in the years that followed.

Quite some people had seen the holograms and we found that they got very confused looking at these images, which was caused by the absence of the upper arms and these areas showed up as big holes in the holograms. As is known, the Shroud was severely damaged and the images of the upper arms were burnt during the fire in the Chapel in Chambery, France, on December 4 of the year 1532 and in 1534 patched in places that had burn damage, with pieces of 16th century altar cloth to cover where it was scorched and holed. These patches are also very disturbing in the holograms.

Father Hector Guerra L.C.

Father Hector Guerra L.C.

Since 2007 we were also helping Father Hector Guerra of the Legionairs of Christ, who had already opened up two exhibitions of the Shroud of Turin in Rome and Jerusalem, and he wanted to use the life size holograms in these exhibitions. We decided then to make an ARTFICIAL reconstruction of the missing upper arms but ONLY for these exhibitions, so people would not get confused looking at the big holes where the upper arms were supposed to be and the correlation with the areas where the patches on the side of the upper arms were visible.
So basically, there are three versions of all the 3D materials:

1) The scientific version, which is the one that is solely based on the gray scale information in the digitized photographic materials that we used. They clearly show the image-less areas as “holes” and these are the ones that we use and have used for scientific research. They are what we call the “SCIENTIFIC-3D version”.

2) On the other hand, we have the version that we talked about with the ARTIFICIAL reconstruction of the upper arms that are being used ONLY for exhibitions. We call this the “ARTISTIC- version”.

3) When we encountered the image less areas, Bernardo Galmarini decided to “restore” these areas. He filled in the areas with a very thin layer that was taken from the direct surroundings around these areas, but did it in such a way that an expert would always be able to see where and how this had been done. This resulted in the most perfect images of the Man on the Shroud and comes the nearest to an anatomical correct representation of the body. We call this the “SCIENTIFIC-artistic” version, as the 3D is based on 85 % gray-scale information and 15% on “softened” areas where we found the image-less areas.

This also answers already many of the questions that have been asked to me during the Q&A after presentations and also mails with questions that people have sent to me.

 

Isabel Piczek, Tom D´Muhala, Mike Minor, Mr. and Mrs. Soons

Isabel Piczek, Tom D´Muhala, Mike Minor, Mr. and Mrs. Soons

Cardenal Severino Poletto, Susy Philips, Paul and Dr. Soons

Cardenal Severino Poletto, Susy Philips, Paul and Dr. Soons

In November of 2006 MIKE MINOR, in cooperation with TOM D’MUHALA and ISABEL PICZEK of AMSTAR organized an audience with the Shroud Custodian, Cardenal SEVERINO POLETTO. Suzy Philips and Don Giuseppe Ghiberti in Turin set the date and we showed there, in the presence of a group of about 15 Italian Shroud scientists the results of our work, holograms of 200 x 100 cm (life-size) of the front and the back of the body each, and different holograms of the face. Cardenal Severino Poletto decided then that a set of the life-size holograms would be placed in the Museo della Sindone in Turin and many people have seen these holograms during the exhibition of the real Shroud in May/June of the year,2010.

Museo della Sindone

Museo della Sindone

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The next 4 photos shown here are some of the converted materials which were used in the Dutch Holographic Laboratory, to create some of the holograms.

Photo 1

Photo 1

Photo 1) is a photograph of Barrie Schwortz of the face (© 1978-2010 Barrie M. Schwortz Collection, STERA Inc.). This was the first conversion and shows very clearly the image-less areas on the right and the left side of the face, following downwards the band in the linen.
(The next photographs 2 and 4 are Anaglyph, use 3D glasses).

Photo 2

Photo 2

Photo 4

Photo 4

Photo 2) and Photo 4) are based on photographic material of Giuseppe Enrie, and show the improved versions where we can see that on the left anatomical side of the face there is much more gray-scale information and also “softer” details in the face.

Photo 3

Photo 3 ANAGLYPH USE 3D GLASSES

Photo 3) shows the gray-scale of the image with the different densities.(Anaglyph).
______________________________________________
To show the difference between the series of 2005 and 2007 we will show some photographs of different face holograms and holograms of the front and the back of the body of 2005, compared with anaglyph photographs of part of the improved work of 2007. It is not possible to make photographs of the holograms and show the 3D, because a camera lens cannot see stereoscopically.

THE PHOTOGRAPHS 6, 7, 9 and 11 ARE ANAGLYPH, SO YOU NEED 3D GLASSES !

Figure 5 - hologram

Figure 5 – hologram

Figure 6

Figure 6 ANAGLYPH USE 3D GLASSES

Figure 7

Figure 7 ANAGLYPH USE 3D GLASSES

Figure 8 - hologram

Figure 8 – hologram

Figure 9Figure 9 ANAGLYPH USE 3D GLASSES

Figure 10 - hologram

Figure 10 – hologram

Figure 11

Figure 11 ANAGLYPH USE 3D GLASSES

 

Figure 5) 2005–Face with obvious image-less areas on the sides of the face. Figure 6) 2006– Face with less image-less areas, especially on the anatomical left side. (use 3D glasses).
Figure 7) 2007– Face with less image-less areas and now also more detail.(use 3D-glasses).
Figure 8) 2005—Hologram of the front of the body, with obvious image-less areas around the face, parts of the lower legs, around the lower arms and hands etc. showing up as black image-less areas
Figure 9) 2007—Anaglyph photograph of the front of the body with more information in the previously image-less areas and also in the whole image of the body. (use 3D glasses).
Figure 10) 2005—Hologram of the back of the body, showing again the image-less areas in black in the body image, see lower parts of the legs etc. Figure 11) 2007—Anaglyph photograph of the back of the body with more information in the previous image-less areas, and also more detail in the whole image of the body (use 3D glasses).

___________________________________________________

 

 

2D TO 3D CONVERSION OF THE FULL FRONT AND BACK OF
THE BODY ON THE SHROUD OF TURIN

(By BERNARDO GALMARINI)

 

INTRODUCTION:
In 2005 Walter Spierings, the Director of the Dutch Holographic Laboratory in Eindhoven in the Netherlands, introduced me to the work of Bernardo Galmarini. He was at that moment one of the best specialists in the conversion process from 2D to 3D. Walter had worked with him in the past and was very satisfied with his 3D work. So, I made an appointment with Bernardo and travelled to Buenos Aires, Argentina, where he was living. I explained to him that we wanted to produce a 2D to 3D conversion of the body on the Shroud, based on the grayscale in the image, in order to be able to make Holograms from these materials. I also explained to him the findings of John Jackson and Eric Jumper with the VP-8 Image Analyzer and that they could confirm that in the image was embedded 3D information in the grayscale of the image. This was enough for Bernardo to start with his work.
So after finishing this work on the head and the front and the back of the body he presented the results and wrote this article of the conversion of 2D to 3D of the front and the back of the body.

Fig. 0 - Walter Spierings

Fig. 0 – Walter Spierings

I QUOTE BERNARDO GALMARINI:

In this project, my intention was:
To see how the gray values (depth-maps)—already present in the Turin Shroud Image– (as Jackson and Jumper discovered in 1978 with the VP-8 Analyzer), could represent, by changing accordingly the parameters of the displacement of gray values on the Z-axis, a more “natural” human figure and not just a “bass-relief”-style 3D image, but with roundness and proper shapes of a human body. And then, after achieving this, to execute the following procedure:
1) A very detailed and precise combination of: Artificial and subjective 2D to 3D conversion (applying my artistic skills and my long experience in this area), and
2) A more scientific or objective approach, using the depth-map based three-dimensional image, and here excluding the deformations or image-free areas in the image, and using the most anatomically correct zones, that show a more natural shape. (Deformations or image-free areas, that may be due to the presence of flowers around and over the body on the Shroud, and/or simply due to the passing of time). So, I eliminated from the study these image-free areas, that didn’t show three-dimensional information corresponding to a human body, and I only based my work on the points or parts that showed uniform anthropomorphic 3D data. And finally, I adjusted artistically the images into a 3D figure, making the depth-map values coincide with the depth-values derived from my 3D conversion process in the front and back images. For instance: Finding image-free areas on the forearm that anatomically should fall on a straight line from elbow to wrist, these zones were adjusted to coincide with an anatomically correct image. This means, that some very important features, such as the hands, arms, chest, neck, forearms, hands, fingers, legs, feet are anatomically very realistic, based on the gray-scale values, because they do not contain many image-free areas, while other areas with missing information need a correction to coincide with the normal human anatomy.

IMPORTANT: As we know, the blood-images result from direct contact and do not contain gray-scale data. Thus, when converting gray-scale data to (anatomic) topography, the relative “whiteness” of the blood images results in the appearance of this blood, floating above the body features and skewing adjacent anatomical features. Therefore, I isolated and temporarily removed the blood images and then filled the resulting voided spaces with the average surrounding gray-value. Once having done this, the 3D depth-map looks more uniform and soft, so the relative position of the different parts and their angulations are more accurate.

TO APPRECIATE THE NEXT SERIES OF PHOTOGRAPHS IN THIS ARTICLE YOU HAVE TO USE 3D GLASSES BECAUSE THESE PHOTOS ARE ANAGLYPH. THE RED GLASS IN FRONT OF THE LEFT EYE AND THE BLUE GLASS IN FRONT OF THE RIGHT EYE.

Fig. 1 Blood stain filled in with medium gray value

Fig. 1 Blood stain filled in with medium gray value

Fig. 2 Non usable parts in purple/blue

Fig. 2 Non usable parts in purple/blue

Fig. 3 Angulation of main body parts

Fig. 3 Angulation of main body parts

Let us see how the depth-map 3D image looks like, once the blood stains are filled in with a medium gray value, (Figure 1) and which parts of the depth-map data are usable and which ones not. I painted the non-usable parts in purple/blue (Figure 2). And finally, (Figure 3) shows the angulation of the main body parts, as shown approximately in the uniform depth-map. (The matter of the feet is a special issue, because of the presence of much digital “noise”, and will be treated separately).
NOTE: In the analysis of the body (front and back), I removed the head, because the data in the full body image (when the depth-maps are applied), are much less than the data in the much higher resolution image used in the 3D conversion of the head alone. The analysis done in that conversion will also be applied in the conversion of the whole body, and I used the same parameters and high resolution for this 3D conversion process. So, the 2D to 3D conversion of the head will be delt with separately (see chapter conversion of the Head).

 

POSITION OF THE FEET

The position of the feet into the 3D space is a special matter that required an analysis of its own:

Fig. 4 Big blood stain feetFig. 4 Big blood stain feet

Fig. 5 Front view position feet not visibleFig. 5 Front view position feet not visible

Fig. 6 Back view position feet clearly visible

Fig. 6 Back view position feet clearly visible ANAGLYPH 3D GLASSES

Because of the presence of a big blood stain (figure 4), there is quite a change in the depth-map readings of the parts of the feet that are close to this stain. This “digital noise” is very confusing. The relative position of the feet was not completely visible in the frontal view (figure 5), however, quite clear in the back view (figure 6), which shows clearly that the right foot is placed UNDER the left one. Left and right refers to the viewer being placed in front of the front view of the body. We can even see in the back view an almost complete and regularly shaped footprint, with the shapes of the toes, and the angulation of the foot.

Fig. 7A, 7B, 7C

Fig. 7A, 7B, 7C  ANAGLYPH 3D GLASSES

 

The left foot is not quite visible and clear in the back-view image, but it definitely is in the front view image. We can see a quite clear line of the contour of the left foot crossing OVER the right one (Figure 7-A) and it is marked here with a green line (Figure 7-B). I reconstructed an approximated shape of the left foot crossing over the right one, based on the frontal image and then used these data in the back view image, using as an anchor point the tips of the toes (with the blood stains), which are clearly visible in both frontal and back views (Figure 7-C).

So up to now we have:

1) In the back-view image, a very clearly visible right foot and a very confusing image of the left foot, and

2) In the front-view image, a very clearly visible left foot and a quite confusing lower part of the right foot, with almost non-existing data of the heel area of this foot.

(Figure 8) shows how the right foot contour is clearly shown and it even appears to be UNDER the left foot.

(Figure 9) shows the same image in the depth-map version and shows, even with the confusing digital noise, that the left foot crosses OVER the right foot.

Knowing the position of the feet, it was then possible to mark in the 3-dimensional space the relative position of the feet and also of the lower parts of the legs, based on the depth-map images and it shows basically, that the left foot and the left leg are over the right ones. (Figure 10).

Fig. 10 Left foot and leg over right ones

Fig. 10 Left foot and leg over right ones ANAGLYPH 3D GLASSES

 

When we put side by side the results of the 2D to 3D conversion process and the depth-map 3D version we can make a series of observations (figure 11 and figure 12):

Fig. 11 Back view comparison

Fig. 11 Back view comparison

Fig. 12 Back view comparison

Fig. 12 Back view comparison

Fig. 13 Position

Fig. 13 Position

ANAGLYPH 3D GLASSES

Fig. 15 Back view comparison

Fig. 15 Back view comparison

ANAGLYPH 3D GLASSES

 

BACK VIEW COMPARISON (figure 11, 12, 13 and 15)

A) The head seems to be fading out in the upper part, indicating that it seems to be positioned in a certain angle in respect to the back image, which indicates that the head is bent forward in a certain angle.

B) The hair falls down along the neck and the dorsal spine, and looks like “wet”, forming a thick “rope”-form. It is also clear, that other parts of the long hair continue to the front part of the body (chest and shoulders).

C) The buttocks do not look flat but tensed (Caused by the rigor mortis).

D) The images of the flagellation wounds follow the curved surface of the buttocks and that is a remarkable finding!!!

E) The legs look quite confusing in the back-view image. The upper part of the right leg has almost no 3D data and the left leg shows imageless areas that after conversion from 2D to 3D show as “eggs” or “holes”. To appreciate the bending of the legs we will have to rely on data from the front view image.

F) The position of the feet in the back -view image was already discussed in detail, the conclusion being, that the right foot is clearly visible, as is the tip of the left foot that seems to be crossed in an angle over the right foot. (Like an X).

FRONT VIEW COMPARISON (figure 14)

FRONT VIEW COMPARISON (figure 14) ANAGLYPH 3D GLASSES

In the front 3D conversion, I based the conversion mainly on the areas with uniform 3D data of the depth-map 3D image, after taking off the blood stain images to make the 3D data more regular in the whole body, avoiding deformations in the areas surrounding the blood stains, which show up as almost pure white. So, I observed in general terms, the relative positions of the arms, legs and the body, seen in the depth-map 3D image, and reproduced that in the manual 2D to 3D conversion and made the next observations:
A) The chest looks (in the depth-map) like in an upward position in respect to the pelvis area, as if it were inclined to the viewer, and also larger than the normal anatomy.

B) The arms are in an almost horizontal plane and seem to be rigid, as the elbows do not incline downwards, but form a plane together with the lower arms and the upper arms. The anatomical left lower arm has a higher bending (Elbow is higher than the hand) as the left hand is crossed over the right hand. So, it is a natural and correct bending. This we can observe in the depth-map image. The right wrist is under the left hand, over the space between the two legs, and the right hand angles upwards and follows the left upper leg curvature.
This is also shown in the depth-map, combined with the fact that the fingers of this hand bent downwards along the left leg curvature. The left hand is clearly bent at the wrist and the fingers, as is also shown in the 3D depth-map data.

C) The position of the legs was based on the relative position and angles of both legs, as shown in the depth-map image, so the left leg a little bit more bended and over the right leg.

D) The feet. The left foot crosses in an angle over the right foot like an X, with the tips of the toes visible.

 

IMPORTANT: In order to be as accurate as possible, the materials for the studies came from different sources.

Second and third generation photographs made by Giuseppe Enrie in 1931 that were made available by Prof. Alan Whanger. The original source of these photographs was the Guild of the Shroud and Father Otterbein made them available to Prof. Whanger for research purposes.

Photographs (black and white and UV-photographs) made by Vernon Miller, the technical photographer of the STURP team in 1978, and made available to us with the cooperation of Tom D’ Muhala and permission of Vernon Miller.

Photographs of Barrie Schwortz, also a technical photographer of the 1978 STURP team. Barrie gave us permission to use his photographs of the face and the body to create the first series of holograms in 2005. The rights were given by STERA, and Barrie is the Director of this foundation.

 

2D to 3D Conversion of the FACE on the SHROUD

BY BERNARDO GALMARINI

ANALYSIS OF THE HEAD
Methodology of adaptation of the process of 2D to 3D conversion, to parameters that are based on grayscale data in the image.

INTRODUCTION

In the process of the stereoscopic conversion from 2D to 3D of the Enrie–photographs of the Shroud of Turin, I have used my vast experience of 2D to 3D conversions of photographs. The idea behind this project was, to adapt this kind of sculpting of a photograph, to more precise scientific parameters, present in the Shroud-image. These limits mark the boundaries of the artistic subjectivity, transforming the whole process into a more objective one. The Shroud image contains gray-scale information and there is a correlation between the gray values and the depth values, which means that the image intensity varies inversely with the cloth-to-body distance (if we suppose that the image was produced by some kind of radiation into a fabric that lays perpendicularly to the body, and completely “flat”). But, in any case, no matter how the image was formed, the perfect correlation between the gray values and the position of the body in the Z axis exists, and that is a fact.
This information is unique to this photographic image. There is no other photograph about real world subjects that has this 3D information.
The 3D image, based only on the grayscale information is an approximation of how the Man in the image on the Shroud looked like, due to interference of the grayscale information by “extraneous information”, e.g. blood contaminants, greases, aging and damage to the linen.
Earlier on it could have been a real life image, if this same method could have been applied 1500 years ago, when the Shroud was in a better state of conservation, or in its first year of existence when it had much more faithful gray-scale information, but that of course we will never know. So, the procedure was, to use the gray-scale information as the basis and then “sculpt” (using my experience in this field), the facial image, but only in the before mentioned areas, obscured by “extraneous information”. Knowing, that on average the gray-scale represents a human face or body, it is logical to eliminate from this study the small areas of interference by “extraneous information”.

 

METHODOLOGY

The method normally is, to “sculpt” on the original face, until it is given the right volume, which means the same in all the points of the matrix of the gray-scale that is put on top of the original, after correcting the areas obscured by “extraneous information”. This proved to be impossible in 4 simultaneous conversions (or master camera views from different angles) and judging by the naked eye only. So, instead, I attached a “mask”, based on the gray-scale map, to the artistic version after erasing the deformed areas from the latter. Subsequently I corrected and filled in the image-free areas of these “masks” (which appear as “holes” in the 3D image), measuring Pixel by Pixel and attachment to attachment in the 4 successive conversions). This is comparable to the restoration process used to “mask” insect holes in wood for example. The point is, that the four used “masks” are different, so are their “holes”, which I filled in such a way, that I used the same patches in all of them. And these patches (being the same) had to be transformed according to the camera view (virtual) and lens (virtual) that I was working with, in such a way that they look right in stereo view. This implies that there could not be a Pixel shift or Pixel displacement between the patches going from one camera view to the next, because the brain detects a mistake of even one Pixel and that will cause what is called “retinal rivalry”, which is confusion, caused by the rivalry between the two retinas.
See for the different stages in this process the Figures 1 to 6 (4 and 5 form a stereoscopic pair):

Fig. 1

Fig. 1

Fig. 2

Fig. 2

Fig. 3

Fig. 3

Fig. 4

Fig. 4

Fig. 5

Fig. 5

Fig. 6

Fig. 6

THE PHOTOS ARE ANAGLYPH, SO USE YOUR 3D GLASSES !!!!

Figure 1 shows the FACE-Anaglyph with grayscale without and with “softening”.
Figure 2 shows the FACE-Anaglyph without “softening”= 3D-grayscale.
Figure 3 shows the FACE-Anaglyph “softened”.
Figure 4 shows the FACE with the mask or matrix in PARALELL view (eyes are parallel).
Figure 5 shows the FACE with the mask or matrix in CROSS-EYED view.
Figure 6 shows the MASTER-ANAGLYPH.

Note to the figures 4 and 5 : In figure 4 we appreciate a difference between the “artistic’ conversion (the image that contains the red points) and the image that should be the conversion to coincide with the version with the “depth-map”. This artistic version, should be such that you do not see any separation (on the Z-axis) between the red points (key-points) and the surface of the face. Once you have accomplished this coincidence between the artistic conversion of the face and the “key-points” of the scientific conversion (based on the “depth-map = grayscale) we will have a conversion with a much more human aspect and with a precision that is being dictated by the objective or scientific parameters. This specific way of doing the conversion of 2D to 3D has at least twice as much depth, so twice as much 3D effect than the first conversions that we accomplished in 2005.

This will translate in two different qualities:
1) 100% more depth with the same visual angle as before.
2) The same 3D depth with a double visual angle as before (when you move to the side you will notice that the head of the image rotates more degrees).

In the end this particular conversion process is a hybrid, that is not only similar to the version of the VP-8 Analyzer, but it also looks much more human than the previous conversions.
I thought at first, that in this more scientific conversion, the hidden information in the Shroud (3D information in the gray-scale), would be a nuisance or obstacle to produce a human representation of the face, and that I would have to struggle continuously against this. Strangely enough, this hidden scientific information in the Shroud became the key and the basis for this work, reducing my artistic work to only softening the “holes” and deformities (caused surely by the passing of time) and the adapting to what this scientific version commands you to do: filling in and normalizing the “holes” or “dead areas” in the hidden information of the linen. For example: the areas without information in the forehead have been corrected following the surrounding gray-scale with coherent information and with a normal human forehead in mind. This process was helped by the fact, that the central zone of the forehead and the bony structure of the orbits contain very coherent information and that of course was taken as a guideline.

The final work included the positioning of the 625 virtual camera shots, placed in a virtual lateral camera array, which was to be the basis information that the Holographic Laboratory in Eindhoven, the Netherlands, needed to produce a Master-Hologram.

 

Galmarini Bernardo

Galmarini Bernardo

WEBSITES: Bernardo Galmarini Photography: http://www.bernardogalmarini.com.ar/

EDUCATION:

Until 3rd year of “Licenciatura en Ciencias Matematicas” (University of Buenos Aires).
Career of Cinematography : “Image and Sound Design” (University of Buenos Aires).

FIELDS OF EXPERTISE:

1) Digital manipulation for stereoscopic 2d to 3d conversion.

2) Digital Photography and Stereoscopic Photography.

3) Applied Stereoscopy.

4) Camera Operation, Lighting.

WORK DONE DURING THE LAST 10 YEARS:

—-Years 2001 to 2002: Series of more than thirty 2d to 3d conversions of famous paintings, which are being sold in the following website: http://www.snap3d.com/famous.php/
—-Year 2003: Development of my own 2d to 3d conversion method for “3d- Lenticular” format. This format is produced with a plastic sheet with micro-lenses, which allows to see the images in three dimensions without 3d glasses.

PUBLICATIONS AND EXPOSITIONS:

—-November 2001: Editing of an article for the “British Journal of Photography” about the stereoscopic 2d to 3d conversion of photographs and paintings (UK).
—- Year 2003: 2d to 3d conversions of LEONARDO DA VINCI paintings, for the exposition: ”Leonardo y las Ciencias” in the Madrid Museum in Spain. Format: Polarized Projection on a 6m x 4m screen.
—-September 2004: Participation in an educative stereo movie for www.3dstereo.com.pl with 2d to 3d conversions of famous paintings. (Poland) —-Year 2004: Co-development, in collaboration with Dr. Imre Zsolnai-Nagy (Hungary), of an optimized Image Processing method for “Color Anaglyph” method. The system is called “Analux 3d”, which is incorporated in two of the most famous freeware stereo softwares: “Anabuilder’ in France and “Stereo Photo Maker” in Japan.
Since 2004, HONORARY MEMBER of the “Societa Stereoscopica Italiana” by unanimous vote. (http://www.ssi-3d.it/) —-Years 2004-2005: Development of a new optimized version of “Analux 3d”, with own parameters and much improved results.

THE FOLOWING PART IS THE WORK THAT BERNARDO DID ON MY REQUEST ON THE SHROUD IMAGE, THE CONVERSION FROM 2D TO 3D.

____2005 and 2006 : Creation of the 3D Master Images for a tridimensional Holograms series of the image of the Man on the “Holy Shroud of Turin”, for Dr. Petrus Soons and the Dutch Holographic Laboratory. (The Netherlands) (Website: http://www.holoprint.com) and this was a multiple camera views 3d conversion. It was achieved with my own 2d to 3d conversion process. The series contained two front body 3d images, in vertical position, two in horizontal position and two of the face. In 2007 Dr. Petrus Soons presented the first series of 2005 (Using my Stereoscopic 2d to 3d conversion series of 2005) of the Shroud of Turin in the documentary “The Fabric of Time”, produced by Grizzly Adams. (April 2007). The documentary included the first series of 2005: one of the face and two of the body (front and back).
—-August 2007: A new series of 2d to 3d conversions were done of the image of the Man on the Shroud of Turin, with improved material (Enrie photographs with Barrie Schwortz expertise) and much more sophisticated than the first series, which resulted in more 3D depth and also more details. Again, 3d material was produced to create a new series of holograms of the face and the front and the back of the body. Also, CD ROM movies of the face and the front and the back of the body were produced.

—- Since 2008 until today, Bernardo Galmarini’s photographs and stereoscopic 3d work has been published in newspapers, books, catalogs, brochures and magazines. Some of these publications are: “The British Journal of Photography” (UK), “Svet Magazine” (Czech Republic), “Photo Plus Magazine” (UK), the “New York Post” (USA), “Freeze Magazine” (USA).

 

A 3D Lenticular is produced by using a material that consists of very small (invisible) tubular lenses. The spectator will look at the 3D image through this layer of lenses and in this way, he will experience a 3D image.
The material works like an infinite amount of lenses next to each other. The original image behind them has been calculated and revised to suit these lenses. One image is the left view, the other the right view and the lenticular lens focuses these images into position for your left and right eye. Depending on the position of the eye, the lenses will offer a different view of the object that you are looking at. You will experience this as a 3D presence. (see photograph 1)

Photograph 1 - Working of 3D in lenticular imaging

Photograph 1 – Working of 3D in lenticular imaging

A 3D Lenticular does not require a special light source (like a Hologram) to be put on display. The 3D images in the Lenticulars have been developed from the original 3D data base of the Shroud by Walter Spierings, Director of the Dutch Holographic Laboratory in Eindhoven, the Netherlands (see photograph 2). This is the same data base that has been used to manufacture the 3D life size holograms of the Shroud. So, the Lenticular will display the same 3D image albeit through a different technique.

Photograph 2 - Walter Spierings Director of Dutch Holographic Laboratory with lenticular of the Virgen of Guadalupe

Photograph 2 – Walter Spierings Director of Dutch Holographic Laboratory with lenticular of the Virgen of Guadalupe

 

We use these life-size Lenticulars with the front and the back of the body in expositions of The Shroud, and smaller size lenticulars when giving presentations.
See photographs 3 and 4.

Life-size lenticulars of front and back of body. Expostion PanamaLife-size lenticulars of front and back of body. Expostion Panama

Life-size lenticulars of front and back of body. Expostion Univ. of Anahuac, Mexico D.F.

Life-size lenticulars of front and back of body. Expostion Univ. of Anahuac, Mexico D.F.

 

Bernardo Galmarini, the 3D expert who produced the conversion from 2D to 3D of the head and of the front and the back of the body, did write the next two articles that follow after his curriculum. Most of the photographs that he used to illustrate these articles are in ANAGLYPH. We will give a short explanation of the ANAGLYPH imaging.
IN ORDER TO APPRECIATE THE PHOTOGRAPHS IN THESE ARTICLES, YOU WILL HAVE TO USE A 3D PAIR OF EYEGLASSES, WITH THE RED LENS OVER THE LEFT EYE AND THE CYAN LENS OVER THE RIGHT EYE.

ANAGLYPH IMAGE :
Anaglyph images are used to provide a stereoscopic 3D effect, when viewed with 3D color glasses (each lens a chromatically opposite color, usually red and cyan). Images are made up of two color layers, superimposed, but offset with respect to each other to produce a depth effect. Usually the main subject is in the center, while the foreground and background are shifted laterally in opposite directions. The picture contains two differently filtered colored images, one for each eye. When viewed through the “color coded” “anaglyph glasses”, they reveal an integrated stereoscopic image. The visual cortex of the brain fuses this into perception of a three-dimensional scene or composition.
Anaglyph images are much easier to view than either parallel (diverging) or crossed-view pairs stereograms (these are used in the article: 2D to 3D conversion of the HEAD). However, these side-by-side types offer bright and accurate color rendering, not easily achieved with anaglyphs. Recently, cross-view prismatic glasses with adjustable masking have appeared, that offer a wider image on the new HD video and computer monitors. Various steps can also be used to maximize the quality of the result. These may include size matching of the frames to within a few pixels, rotation (if needed), gamma leveling, and digital sharpening of the softer red image.

HOW ANAGLYPH WORKS : Viewing anaglyphs through appropriately colored glasses results in each eye seeing a slightly different picture. In a red-blue anaglyph, for instance, the eye covered by the red filter sees the red parts of the image as “white”, and the blue parts as “black” (with the brain providing some adaptation for color); the eye covered by the blue filter perceives the opposite effect.
True white or true black areas are perceived the same by each eye. The brain blends together the image it receives from each eye, and interprets the differences as being the result of different distances. This creates a normal stereograph image without requiring the viewer to cross his or her eyes.

Anaglyph photos use 3D glasses

Anaglyph photos use 3D glasses

Anaglyph photos use 3D glasses

Anaglyph photos use 3D glasses

Anaglyph photos use 3D glasses

VIEWING ANAGLYPH IMAGES:
A pair of eyeglasses with two filters of different color is worn by the viewer. In Galmarini’s photographs, the red lens over the left eye allows only the red part of the anaglyph image through to that eye, while the cyan (blue/green) lens over the right eye allows only the blue and green parts of the image through to that eye. Portions of the image that are red will appear dark through the cyan filter, while portions of colors composed only of green and blue will appear dark through the red filter. Each eye therefore sees only the perspective it is supposed to see.
In the next series of photographs, you can see how we use these ANAGLYPH photographs in expositions, and also during presentations of the Shroud. You can see that the audience is using the 3D glasses and it is an effective way to show people the 3D qualities of the head and the front and the back of the body, and explaining all the details.

 

The public is using 3D glasses to see the 3D in the anaglyph photos of the head, front and back of the body, during presentation and expositions.

The public is using 3D glasses to see the 3D in the anaglyph photos of the head, front and back of the body, during presentation and expositions.

The public is using 3D glasses to see the 3D in the anaglyph photos of the head, front and back of the body, during presentation and expositions.

The public is using 3D glasses to see the 3D in the anaglyph photos of the head, front and back of the body, during presentation and expositions.

The public is using 3D glasses to see the 3D in the anaglyph photos of the head, front and back of the body, during presentation and expositions.

 

THE CONVERSION PROCESS

In order to understand the conversion process from the 2D images to 3D we will first explain what the GRAY-scale is. After that we will explain what ANAGLYPH IMAGING and LENTICULAR IMAGING means and then we will show two articles by the 3D specialist Bernardo Galmarini that describe how he managed to extract the 3D information in the conversion process from 2D to 3D from the images of the head and the front and the back of the body.
Finally, in the next chapters, we will give a summary of the different aspects of the conversion process and the 3D materials that were produced, like ANAGLYPH photos, LENTICULARS and finally the HOLOGRAMS and this will be followed by a series of 3D movies that show the head and the front and the back of the body in 3D and moving from left to right and vice versa. There is also a Powerpoint Presentation with the text of this presentation, explaining the producing of the 3D images and some of the findings in the 3D materials.

THE GRAY SCALE

A densitometer measures the differences in density in a photograph. In a black and white photograph, black areas are dense with information and white areas are void of information. The in-between areas are many shades of gray, from almost white to almost black. You can assign a different number or value to each shade of gray, for example on a scale of 1 to 10, where 1 represents black and 10 represents white. All numbers between 1 and 10 represent then the various shades of grays. This is a gray-scale or gray map, where different numbers represent different densities in the image.
Now you can analyze a photograph, with for example a densitometer, that measures these before-mentioned differences in density, and give each density a different number. When in 1976 John Jackson and Eric Jumper from the Air Force Academy performed this test on a photograph of the Shroud and then used the VP-8 Image Analyzer to translate this information in vertical height, they found to their big surprise, that this resulted in a perfect 3D model, with an undistorted anatomy of the face and the body.

VP-8 Image Analyzer

VP-8 Image Analyzer

Pete Schumacher with VP-8

Pete Schumacher with VP-8

Body and Face Image Shroud in VP-8

Body and Face Image Shroud in VP-8

Image face in VP-8

Image face in VP-8

It could even be turned sideways, so that the face could be seen in profile. In the Shroud photographs you will notice, that the parts of the body that were close to the cloth show darker (denser) than the parts of the body that were further away from the linen cloth, with very subtle graduations of gray in-between (in the positive image). This is a very unique inverted distance to image relationship. There is no existing photograph of a face or a human body that contains this information and when converted in the VP-8 Analyzer will always give distortions, like the nose pressed in the face and the arms pressed into the body, with a flattening of the whole relief.

Regular face in VP-8

Regular face in VP-8

Distorted face in VP-8

Distorted face in VP-8

Regular face in VP-8

Regular face in VP-8

Distorted face in VP-8

Distorted face in VP-8

The importance for the Shroud image is, that we used this gray-scale, present in the ENRIE photographs, from which we know that every pixel contains the cloth-to-body information, to translate this mathematically into vertical height on the Z-axis. This is called the conversion process from 2D to 3D.
If you look at the photograph of the positive and the negative image of the Shroud face you will detect the different densities present in the image. The positive image is like you will see it on the real Shroud and the negative is the reversed version (reversal of dark/light and left/right) as shown by a photographic negative, where we see the image like in real life.

Positive and negative image face

Positive and negative image face

 

In the DUTCH HOLOGRAPHIC LABORATORY in Eindhoven in the Netherlands, Walter Spierings, the Director, and his team improved the conversion process that had been done by Bernardo Galmarini.

Walter Spierings Director of Dutch Holographic Laboratory

Walter Spierings Director of Dutch Holographic Laboratory

In his own words: “We used the negatives of the famous Enrie photographs of the Shroud from 1931 as the source for a gray scale calculation to determine the theoretical depth of the different parts of the image. This can be understood when you think of a ball (see photographs). It will show darker and lighter areas in accordance with the depth of a particular spot on the ball”.

Grayscale Balls         

Grayscale Balls

The data from the gray scale calculation as performed on the original negative image of the Shroud, turned out to deliver a realistic shape of a person. These data were used as input for the production of the Holograms. It is a good example of one of the techniques, to generate a 3D image when we are dealing with just a 2D image as a source. The existing “hidden“ 3D information in the image of the body on the Shroud facilitated this process very much”.