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

This is the Moorman field as per Jack White, but I would say that it's a little bit off. The rectangular platform needed to be closer to the center, which means that the camera needed to be swung a little more left.

So, you see the two red lines coming down from the rectangular form that is left of center. Well, it should be a little closer to the center. 

I think I got closer. 

So, what did I do that he didn't do? I turned leftward a little more; that's all. He turned some. He definitely turned some because if you don't turn at all, you get a completely different field. It doesn't look anything like the Moorman photo.

That's how the background looks when you face Elm Street squarely and shoot, which is what Mary said she did. You can catch the right arm of the near rider before the left, but that's about the limit. Notice that the let hand is peaking in. But, this isn't the Moorman photo camera field, so it has no bearing. You start by reproducing the same camera field. Without that, you have nothing. And you have to turn left to do that. Not only did Mary say that she didn't turn left, that she shot straight, but there is no image of her from any film in which she appears to be turned left. And before you cite that frame from the Nix film, I'll remind you that she's not holding her camera to her face in that frame. So, it doesn't count either. You need a frame in which she is turned left and shooting the camera. You don't have it.