In 2014, at the Shroud of Turin conference in St. Louis, Dr. Joseph Accetta, one of the original STURP team members and subsequently, the “Principal Scientist and Instructor” at Georgia Tech’s Research Institute, presented a paper, Origins of a 14th Century Turin Shroud Image.  This summary was included in his paper:

In summary, we have presented a reasonable plausibility argument that the Shroud image must result from a contact process. Woodblock or intaglio techniques known to be in use in the 14th  century in Europe and in France account for all of the visible attributes of the Shroud image including the 3-d effect, reversed contrast, the resolution, uniformity between the frontal and dorsal images and the extensive detail observed.

“3D? Yeah, right!” (or something to that effect), said someone near me in the darkened room. And, thinking back, I probably snickered in agreement. But Joe Accetta was right.

This is a woodblock print that works very well. It seems to show about the same amount of 3D as the Shroud face. It’s a full-frontal face view of the painter Claude Monet. The woodcutting and the print is by an artist named monthian from Phuket, Thailand.

I used Microsoft 3D Builder. I set it to plot a height map with moderate smoothing, which pretty much emulates the VP-8 Image Analyzer but without the green screen.

Why did it take from 1976 until well into the next century to realize that a photograph or a painting (pictorial art, really) was NOT ruled out by the 3D data in the Shroud’s image?