Oswald in the doorway: the blog of the Oswald Innocence Campaign, by Ralph Cinque

This is from Robin Unger. Notice how well the photographer caught the slope in the road.

That's going down alright. He also put up this one, and it's sloping too.

Let's compare it to the original.

They did a good job of getting the parameters right. I dare say they held the camera level. And why wouldn't they? Why would it even occur to them not to? 

They said that the persons depicted were sized correctly.

I agree that the people are sized correctly, but only if you assume that the photographer was closest to Hargis and that the distance to the Kennedys was additive. That's because the Kennedys are a lot smaller, and they look to be a lot farther away. 

For instance, if Mary took it, she couldn't have taken it at the time below because Hargis is about as far away from her as the Kennedys are.

You want I draw some lines for you?

So, Hargis wouldn't loom large in her picture if she took it then, would he? It's all about the distance away, right?

So, let's keep going. We're looking for a frame in which Hargis is close to her and the distance to the Kennedys is additive as opposed to divergent as it is above.

This frame is definitely post-Moorman photo because the motorcycles are too advanced on the limo. Yet, there is still a triangular, divergent situation in which Hargis would not loom so much larger than the Kennedys in her picture.

It doesn't work because she could never get the extreme proportions we see in the Moorman photo, plus it's already too late. Nothing that comes after this could possibly work. The moment has passed.

You understand what we need: a frame in which Mary is very close to Hargis, so that he can loom large, and the distance to the Kennedys is additive. If it's a triangular situation like this, it can't work because you are never going to get the scale that we see in the Moorman photo if it's triangular. 

Backes tried to go with a frame close to this one with Clint Hill in the picture.

But, Clint Hill is in the picture, and he's not in the Moorman photo. This is definitely later.

Now, remember what I said: you can't go by the Zapruder film because it was altered. It's dysphasic. It's disassociated. Mary is tracking Kennedy until Z-300, but after that, she is frozen, where she is oblivious to the Kennedys, pointing her camera straight ahead even though they have passed her.

So just forget it. The Zapruder film is out. We are not going by anything it shows.  

All that's left is the Nix film, and even the opening of the Elm Street clip is too late. 

That is after the Moorman photo. Mary doesn't even have her arms up to take a picture. It's just too late. Nix missed it. 

So really, all we have is the Muchmore film, and I defy anyone to find a frame from it in which Mary's location relative to Hargis and the Kennedys, the distance between her and each of them, could produce the proportions that we see here:

SHOW ME THE FRAME.