An Experiment with Overlay

O.K. is going to discuss the following images through comments. Join him. I’ll be interested to see where this goes. (Click on any picture to see it in larger form. 


Fresco

Fresco


Fresco + Vignon Marks

Fresco Vignon Marks


Fresco Marked Up

FrescoMarked


Durante

image


Durante Marked Up

ShroudFaceDuranteMarked


Durante Overlay with Fresco

DuranteFrescoOverlay-4020


It’s everything to do with an unyielding structure called the upper rib cage

imageThere is a fascinating bit of reasoning going on in the mind of Colin Berry. You need to click into Does the Man on the Turin Shroud really have a beard and moustache? (Or is the image an ‘impactogram’?).

“I’ve been there and read that posting,” I hear you say. Me too. That is why I missed an interesting bit of analysis until a reader pointed it out in an email. Colin has a strange way of adding to posts already dispatched to the servers in the clouds as new thoughts come to him. In the meantime, I’ve read his posting and the search engines, typically, have done whatever it is they do.

image— should have been a posting in its own right. But then again, who am I to tell Colin how to post. So go back to his blog and this time scroll down to the new addition. Here is enough to entice you to do so:

The picture on the right is a Durante 2002 "positive" from Shroud Scope.The one on the left is the much earlier (1931) Enrie black/white negative, but I’ve edited it to make it roughly comparable with the Durante image, first by reversing it, left/right, and then "inverting" the tones in ImageJ.

[ . . . ]

Why reiterate the distinction between the two types of  -graph in the context of the chest region?  Because there are no obvious reasons for expecting a large difference in image intensity in a photograph that shows chest and upper (solar plexus) abdomen in the same field of view. Why are we seeing it – especially in the contrasty Enrie pictures? Because the elevated, rigid chest region, whether of a real person or an effigy thereof impacts more on linen, suitably supported, than does the contiguous softer, lower lying area.

. . .  It’s everything to do with an unyielding structure called the upper rib cage, and its impact qualities when pressed against linen.

The next region to consider is the groin with those crossed hands. I believe it’s providing strong clues as to the mechanism of imaging, and no, it’s not dependent on any kind of radiation. Clue: look at the region where one hand overlaps the other.

More later (maybe not today) 

Hopefully, more later will be a new posting so it gets noticed and I will get a bell tone on my iPhone from Google telling me Colin has something new up. Then I could focus on the right things like what Colin has to say which is really interesting and I think meaningful in the greater context of image formation theory.