And too, I have had some experience in doing original things with little or no original references available. Shaver didn't have any technical data at all to go on when he started looking into rock pix. He had to do the whole thing himself. He established all of the basic things about optical rock pix correctly.

His assumption that all rock pix are manufactured artifacts could be partially correct. Different kinds of rocks have different and distinctive formats and content of subject matter. Local striated conglomerates usually depict war. Some conglomerates have disaster scenes in them.

Some rocks do have the look of being fabricated. One use for those might be as a source of necessary information after major disasters. How many people who are doing something with rock pix are there that we don't know about? It might be safe to guess a hundred in this country. That estimate is based on the ones I know about. Shaver corresponded with a gal in Alaska named Suzy who took some rock pix at low magnification. There is a picture rock museum on Taiwan. Cossette Willoughby saw rock pix and found a whole big thing about Snake People. Drew their art and mysterious writings. Had articles on that in THE NEW ATLANTEAN JOURNAL. Then there was Jessica St. George whom I got to corresponding with because she and her hubby were SF fans. She is hyper intelligent. Out of thin air she got a workable mechanism for projecting rock pix onto a screen. Especially designed for early model rock pix or damaged rocks. That with no technical knowledge of the subject at all. Haven't heard from Cossette or Jessica for a long time.

There may be thousands of people who have had casual or minor dealings with rock pix, like an artist who paints or draws something he has seen in a rock. It is fairly common for rouckhounds to keep rocks that have directly visible images.

One of the best ones I ever saw was a set (one-inch wide oval) in a brooch made by a hobby jeweler. I used to take a few close ups of his work for him.

He had a problem with it. People refused to believe that it was not an extraordinarily competent miniature bit of enamel work. It was of a young white gal wearing a rather old fashioned blouse and skirt. In colour.