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

Robin Unger put this up as when Mary took her photo as per Nix:

You'll notice that Mary's arms aren't up holding the camera, and it is not in front of her face. Apparently, that is not a problem for Robin. But, what I want you to notice is that if she took a picture then, BJ Martin, the motoryclist closest to her, would look very large in it because of his closeness to her. There is no way she would just capture his right arm.

But, Robin changed his mind and said that this is the right frame:

You'll notice that there is still no camera in front of her face and her arms are not raised up to hold it. It's not like this:

But, for a moment, let's assume that she took it here (even though she's not in shooting orientation).

We know that Martin was close enough to her to loom large in the picture, and if she had her camera up, there is no reason why she would not have captured his left side.  Look how far his wheel has advanced in front of her. 

On the right, I was still to the right of the camera. I hadn't passed the photographer yet. I hadn't even gotten to him yet. The camera field is pyramidal-shaped. It captured me before I reached the photographer. But, on the left, we're seeing Nix's capture of the scene on Elm Street, and it's clear that by that point, Martin was past Moorman. Not all of him had passed her, but much of him had. He was much further past her than I was past my photographer. Imagine on the right if I was as far past my photographer as Martin was. Imagine how large I would have loomed in the picture. Imagine how I would have filled up the screen. So, the idea that this:

resulted in this:

is ridiculous. But, why even go there mentally when Mary Moorman didn't even have her camera raised and pointed at the time?