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The Catholic Church is very precise on these matters.

Yes they are-and they say:

"Owing mainly to the researches of Canon Ulysse Chevalier a series of documents was discovered which clearly proved that in 1389 the Bishop of Troyes appealed to Clement VII, the Avignon Pope then recognized in France, to put a stop to the scandals connected to the Shroud preserved at Lirey. It was, the Bishop declared, the work of an artist who some years before had confessed to having painted it but it was then being exhibited by the Canons of Lirey in such a way that the populace believed that it was the authentic shroud of Jesus Christ. The pope, without absolutely prohibiting the exhibition of the Shroud, decided after full examination that in the future when it was shown to the people, the priest should declare in a loud voice that it was not the real shroud of Christ, but only a picture made to represent it. The authenticity of the documents connected with this appeal is not disputed. Moreover, the grave suspicion thus thrown upon the relic is immensely strengthened by the fact that no intelligible account, beyond wild conjecture, can be given of the previous history of the Shroud or its coming to Lirey."

Source:CATHOLIC ENCYCLOPEDIA: The Shroud of Turin

Now for the rest of the article (from your source).....

This name is primarily given to a relic now preserved at Turin, for which the claim is made that it is the actual "clean linen cloth" in which Joseph of Arimathea wrapped the body of Jesus Christ (Matthew 27:59). This relic, though blackened by age, bears the faint but distinct impress of a human form both back and front. The cloth is about 13 1/2 feet long and 4 1/4 feet wide. If the marks we perceive were caused by human body, it is clear that the body (supine) was laid lengthwise along one half of the shroud while the other half was doubled back over the head to cover the whole front of the body from the face to the feet. The arrangement is well illustrated in the miniature of Giulio Clovio, which also gives a good representation of what was seen upon the shroud about the year 1540.

The cloth now at Turin can be clearly traced back to the Lirey in the Diocese of Troyes, where we first hear of it about the year 1360. In 1453 it was at Chambéry in Savoy, and there in 1532 it narrowly escaped being consumed by a fire which by charring the corners of the folds has left a uniform series of marks on either side of the image. Since 1578 it has remained at Turin where it is now only exposed for veneration at long intervals.

That the authenticity of the Shroud of Turin is taken for granted, in various pronouncements of the Holy See cannot be disputed. An Office and Mass "de Sancta Sindone" was formerly approved by Julius II in the Bull "Romanus Pontifex" of 25 April, 1506, in the course of which the Pope speaks of "that most famous Shroud (proeclarissima sindone) in which our Savior was wrapped when he lay in the tomb and which is now honorably and devoutly preserved in a silver casket." Moreover, the same Pontiff speaks of the treaties upon the precious blood. Composed by his predecessor, Sixtus IV, in which Sixtus states that in the Shroud "men may look upon the true blood and portrait of Jesus Christ himself." A certain difficulty was caused by the existence elsewhere of other Shrouds similarly impressed with the figure of Jesus Christ and some of these cloths, notably those of Besançon, Cadouin, Champiègne, Xabregas, etc., also claimed to be the authentic linen sindon provided by Joseph of Arimathea, but until the close of the last century no great attack was made upon the genuineness of the Turin relic. In 1898 when the Shroud was solemnly exposed, permission was given to photograph it and a sensation was caused by the discovery that the image upon the linen was apparently a negative -- in other words that the photographic negative taken from this offered a more recognizable picture of a human face than the cloth itself or any positive print. In the photographic negative, the lights and the shadows were natural, in the linen or the print, they were inverted. Three years afterwards, Dr. Paul Vignon read a remarkable paper before the Académie des Sciences in which he maintained that the impression upon the Shroud was a "vaporigraph" caused by the ammoniacal emanations radiating from the surface of Christ's body after so violent a death. Such vapours, as he professed to have proved experimentally, were capable of producing a deep reddish brown stain, varying in intensity with the distance, upon a cloth impregnated with oil and aloes. The image upon the Shroud was therefore a natural negative and as such completely beyond the comprehension or the skill of any medieval forger.

Plausible as this contention appeared, a most serious historical difficulty had meanwhile been brought to light.

.... there still seems to be a great deal of debate on this one...

In 1975 some scientists ran the image from the Shroud of Turin through a NASA terrain analyzer .

Here is the image from the VP-8 image analyzer.

Now compare the original image with the negative image and the center image created using the "emboss" filter in Photoshop.

Here are the images.

There is no pigment on the Shroud. The image was created by scorching. The 3D data has one plausible explanation. A burst of radiation emanating from the body scorched the cloth in proportion to its distance from the body.