Don Van, Los Alamos National Labs, Los Alamos discussed on Coast to Coast AM with George Noory


I guess at any rate. The frustration is there is only one property of the shrouds image. That is similar to a photograph and that's the lights and dark reversal that we've already mentioned. But every other aspect of that image is unlike any other photograph that I've ever seen, and I've seen quite a few in my almost fifty year career probably the most unique property, the image, the, the property of the image that hooked me when they asked me to join the team that the property that ultimately sort of prompted me to actually join that team is the fact that their spatial or depth information or topographic information often referred to as three d information encoded into the lights and darks of the shrouds image. And that's something that no one has been able to duplicate, and there's no simple solution to how an image might form that way. Mary, how did you get involved in this project? Well, you know, as a professional photographer, I had a photographic studio in Santa Barbara. Ibra California at the time, and I had been contacted by one of the local technical companies, they were a contractor, Los Alamos National labs, and they contacted me as a photographic consultant for a seven month project. And of course, it was Los Alamos. So obviously had something to do with the timing bombs, and I can't really say much more about it. But for seven months, we did that project. And I worked with a gentleman named Don van who was an imaging scientist working for that subcontractor company a few weeks after we finished that project. He called me again. You know, when you're self employed and the phone rings. You're hoping it's the next project. They called me again. And I thought, how another project with Don. And instead, he said, Barry, what do you know about the shroud of Turin? And I kind of laughed and I said, but Dom Jewish and Don laughed and said, so my remember he's one of the other Jewish guys on our team. And he. Was the one who was there when they took an image of the shroud. A photograph of trout, put it into an instrument called the VP imaging analyzer, which took the lights in the dark of the image and stretched them into three vertical space on a green screen monitor proportionate to each other. And when they did that with the normal photo, you get a jumble of shapes that make no sense at all when you do it with the shroud image. You get the natural relief of a human form, and it was that property that encoding of depth information into the image that actually prompted the formation of the shroud doctor in research project, when they saw that, that was the first time that a scientific instrument visualized that property, so that was sort of the milestone of the moment, and that was the catalyst for our team to be formed. And although it initially, I was hesitant to participate. It was that image property more than anything.

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