Conclusions

Interestingly enough to get the arms anywhere near the position of the shroud image was difficult for the model when lying flat. When the model relaxed his arms, in the flat position, the arms fell back as shown below. When he relaxed his arms in the supported position they stayed where they were. The detail photograph below shows the model lying flat, with his arms relaxed, on a hard flat floor. This position is as far the model could comfortably reach whilst still keeping his back flat on the floor.

The model's arm is a full five inches too short to reach to the position shown in the image on the shroud

Once the model is supported on a raised mattress with the body bent at the centre the arm appears to be longer

The model's arm is now long enough to reach the position shown in the image on the shroud

Comparison of the Shroud image with a  photograph of the model with arms relaxed lying flat on a hard floor clearly shows the acute lengthening of the arms in the Shroud image compared to a real body. The knees are aligned but the hands, elbows and nipples are in completly the wrong place

The geometry of the real model  when lying flat is quite unlike that of the image on the shroud

Comparison of the shroud image with this photograph, of the model with arms relaxed whilst lying on a soft mattress with shoulders supported six inches higher than his pelvis, shows exactly how the arm distortion of the shroud image has been produced and how it matches exactly the perspective distortion introduced by supporting the real body in a similar manner.

The geometry of the real model is is now identical to image on the shroud

It was also clear that using this set up the print of the foot would be easy to obtain. The model's feet sank into the soft mattress and made complete contact with under sheet.

Detail of the model's feet on the soft underlay showing how the supported body has taken up the alignment of the image on the shroud of Turin.