In this interview at the Sixth Floor Museum, Bob Jackson reveals that he and the other photographers only had 5 minutes to get set up and take their positions in the garage before Oswald was brought out.
It is yet another piece of evidence that prior to that, they cleared the area, and the garage wasn't filled until scant minutes before the transfer commenced. In another interview, Jackson said that they were made to wait in the 3rd floor press room. It means that the garage was available for Ruby to enter in advance to have his fracas with the Dallas Police. Who was there for that? We don't know. Ruby never cited any names. We know that once pounced upon, he did something the Garage Shooter did not do; he spoke.
"Hey! What are you doing? I'm Jack Ruby. You know me."
But, getting back to Jackson, I watched this interview again because I wanted to hear his excuse for not getting his film developed right away. What did he have to do that was so important? All he said was that the Dallas Times Herald needed to have a photographer there at the PD, and until they could get another one there, he had to stick around. But, what for? Oswald was on his way to Parkland. Kennedy was dead. Who was there to photograph at the PD? And what photos did he get? None. So, we are supposed to believe that he just hung around the PD doing nothing while sitting on his historic film. It doesn't make sense. He worked for a major newspaper. Even if he had to stay there, why wouldn't he pass his film off to a trusted associate?
And how did it become HIS photo? His personal photograph to keep and sell and profit from, which he has done. He was in the employ of the Dallas Times Herald when he took it. He was on their time. He was on their payroll. He was working for them. When an employee does something in the course of his work, the product of his labor belongs to his employer. If a chemist invents something while working for Dow Chemical, it belongs to Dow Chemical. If an engineer invents something while working for IBM, the invention belongs to IBM, and it's the IBM stockholders who profit. So, how did this become HIS picture?
In the interview, he spoke of the competitiveness of photo-journalism, how they were out to beat their competition, particularly the Dallas Morning News. Well then, why didn't that drive him to get his film developed right away? And what's the thing about him developing his own film? He wasn't Bob Jackson, photographer, for weddings, sweet sixteen parties, and bar mitzvahs. He worked for a giant corporation that employed many photographers. Wouldn't they have a photo-developing department with its own staff? Don't tell me that each photographer developed his own pictures.
There was a delay alright, and it was caused by the need for authorities to inspect and alter that photo. I maintain that Jackson turned his film over to someone in authority, and there must have been an understanding that that would remain secret. And, the story that Jackson tells is a cover story.
Using numbers, I have designated 12 anomalies in the Jackson photo, which I will now describe, but I don't claim this to be the limit.
1 and 2 refer to the defects in the photo on the right side, above and below Blackie Harrison. What is the cause of that? 3 is Blackie himself, his ridiculously long and thick arm, and what he is doing. It doesn't even look like him. His hair wasn't like that.
In the photo, Blackie is supposed to be reaching for the gun- or the arm wielding the gun. He is supposed to be trying to interfere. But notice that his arm can't possibly be long enough to reach the shooter's hand with the gun.
So, the shot has already gone off, and Blackie is nowhere near the gun. And, he's not trying very hard. Because of my training, I can tell you that Blackie hasn't even shifted his weight there. He is planted firmly where he is. He just has his arm stuck out. He's not mobilized. He's not moving forward. And as you can see, he hasn't even interrupted his smoking of the cigar. But, I want you to notice how blurry the bottom of his arm is. And it's not just him. Graves' left side (on our right) is blurry too, designated #4. Is that supposed to be shadow? I find that hard to believe. #5 refers to Grave's missing right shoulder. It isn't there, and we can see where it should be based on where his left shoulder is. #6 refers to all the issues pertaining to the shooter's left hand, including the bogus thumb. #7 refers to his right hand, with the middle finger on the trigger, and not just on it but straight and extended through it, which makes no sense. #8 refers to Oswald's bogus left arm slapped to his chest, which he did not do, and which features two hands, where his right thumb is pressed to his left index finger. You are looking at two forearms and two hands:
#9 refers to Oswald's bogus right hand with the thumb turned the wrong way. And we'll also have to include there the bogus porcelain handcuff which looks nothing like a police handcuff.
#10 refers to Leavelle's bogus forearm and waxy looking hand buried to the knuckle in Oswald's pants.
#11 is for the weird stare on the cop's face, like he is looking through the action at the camera. Look at the above image again, and this time, look at the cop.
He is not looking at Oswald. And he is not focused on Oswald. He is looking at the camera.
And #12 is for Lowery, the fact that a gunshot has gone off, yet, he is still standing there, peaceful as can be, clasping his hands in front like a Jehovah's Witness at the door.
And really, none of them act appropriately for what just happened: a gunshot went off. It's just not normal, even for a cop.
That completes the list I came up with, but again, I don't say it is exhaustive. Now, I have a personal message for Robert Jackson.
Robert, your famous photograph was altered- grossly and grotesquely altered. And that means that they must have confiscated your film- for a while. Isn't that the real reason why you hung around the DPD for so long after the shooting, waiting to get it back? Haven't you been covering that up for 53 years? The photo reveals that it's been altered, Robert. There is no chance that it wasn't. And the altering had to happen immediately after the shooting. You've claimed that you had to hang around the police station because they needed someone there. That's not very credible. So, why not come clean? They approached you, didn't they? They demanded your film. What did they tell you? That because of the crime that occurred and the investigation, that they had to see your images first? That they had to be inspected and approved before you could publish them? Is that what they told you? And did they tell you to keep it confidential?
Nobody lives forever, Robert. Don't take your secrets to the grave. Do the right thing. Tell us what really happened.