Some people chase their fantasies and will believe whatever they want to believe, regardless of the facts.
Who needs facts when we have our wild imaginations!
http://www.livescience.com/history/050318_reason_turin_shroud.html
The shroud contradicts the Gospel of John, which describes multiple cloths (including a separate "napkin" over the face), as well as "an hundred pound weight" of burial spices--not a trace of which appears on the cloth.
No examples of the shroud linen's complex herringbone twill weave date from the first century, when burial cloths tended to be of plain weave in any case.
The shroud has no known history prior to the mid-fourteenth century, when it turned up in the possession of a man who never explained how he had obtained the most holy relic in Christendom.
The earliest written record of the shroud is a bishop's report to Pope Clement VII, dated 1389, stating that it originated as part of a faith-healing scheme, with "pretended miracles" being staged to defraud credulous pilgrims.
The bishop's report also stated that a predecessor had "discovered the fraud and how the said cloth had been cunningly painted, the truth being attested to by the artist who had painted it" (emphasis added).
Although, as St. Augustine lamented in the fourth-century, Jesus' appearance was completely unknown, the shroud image follows the conventional artistic likeness.
The physique is unnaturally elongated (like figures in Gothic art), and there is a lack of wraparound distortions that would be expected if the cloth had enclosed an actual three-dimensional object like a human body. The hair hangs as for a standing, rather than reclining figure, and the imprint of a bloody foot is incompatible with the outstretched leg to which it belongs.
The alleged blood stains are unnaturally picture-like. Instead of matting the hair, for instance, they run in rivulets on the outside of the locks. Also dried "blood" (as on the arms) has been implausibly transferred to the cloth. The blood remains bright red, unlike genuine blood that blackens with age.
In 1973, internationally known forensic serologists subjected the "blood" to a battery of tests--for chemical properties, species, blood grouping, etc. The substance lacked the properties of blood, instead containing suspicious, reddish granules.
Subsequently, the distinguished microanalyst Walter McCrone identified the "blood" as red ocher and vermilion tempera paint and concluded that the entire image had been painted.