And be aware that there was photo-altering done before the Altgens photo, the most important of which were the Backyard photos. And, it was really in the midst of the assassination that this team worked because they immediately got to work on the Altgens photo when JFK's body was still warm. It's likely that they did it at Jaggars-Chiles-Stovall, the private photo lab which did image processing for the U.S.military and U.S. intelligence community. And you know that that is what their business was because if they were pitching to the public or even to the business world, they surely would have found a catchier name than Jaggars-Chiles-Stovall. It was an arcane name for an arcane business. Ironically, Oswald worked there from October 1962 to April 1963, although perhaps it isn't the least bit ironic. And when Oswald saw the Backyard photo, he said his image was faked and that he knew how it was done and could demonstrate it at a photo lab.
But first, some bio on Dino, and by the way, he lived until 2015. He was a senior official at the CIA's "National Photographic Interpretation Center." Remember, we live in an Orwellian world, and that is an Orwellian name. Do you recall that CIA Chief Allen Dulles gave a speech at Princeton University in the early '50s in which he decried the burgeoning Russian mind-control program, saying that they were spending millions on it? What he didn't say was that he was spending 10X as much on the CIA's burgeoning mind-control program which became known as MK-ULTRA. The National Photographic Interpretation Center no longer exists. It was morphed into the National Geospatial Intelligence Agency. But, my point about Dulles is that he accused the Russians of doing something that the CIA was doing in spades.
Dino wrote a book which I have and which I have read, and more than once, called Photo Fakery. The subtitle is: "The History and Techniques of Photographic Deception and Manipulation". It's over 200 pages, and they are very big pages, decrying the photo manipulation done by the Nazis and the Soviets, even including some photo manipulation that was done for propaganda purposes during the American Civil War, but not one word about the CIA altering photos. You get the impression from reading the book that the highly moral CIA would never stoop to doing something so devious and nefarious as photo manipulation. But, when you consider all the things the CIA has done, including start revolutions, overthrow leaders, conduct secret renditions involving torture, engage in drug trafficking, and flat-out kill people, they certainly had no qualms about altering photos.
Dino was considered to be "the world's foremost imagery intelligence analyst."
So, he was tops in the world at image intelligence, and the JFK assassination was the most image-altered event ever and to this day. So, how were they not going to use him? And if not him, who? Who could possibly have been more qualified? And who could possibly have been more trustworthy? He was a CIA man. If you haven't read Peter Janney's book Mary's Mosaic, read it because it tells you about the culture of the CIA. And again: Brugioni was a CIA man.
But first, some bio on him. He was born in Missouri, and he served as a pilot in WW2. He did 66 bombing runs plus many reconnaissance flights. He was awarded the Purple Heart, 9 Air Medals, and a Distinguished Unit Citation. In other words, he was a war hero, like Cort Meyer, who went on to a distinguished CIA career, and George HW Bush.
After the war, he got a Master's degree in International Relations at Georgetown University. And he joined the CIA in 1948, which was within months of its founding. In 1955, he was chief of the Photographic Intelligence Division of the National Photographic Interpretation Center (NPIC) which was headed by Arthur Lundahl. Lundahl was "director" and Brugioni was "senior manager." Anytime that Lundahl needed a "briefing board" prepared, it was Dino Brugioni, working with NPIC's "photo-interpreters and graphics department," who oversaw its development. They even called Brugioni the "briefing board czar." Now remember, they didn't have a division for altering photos. That's something they never admitted doing. But remember: this is the CIA we're talking about.
And there was nothing in the commercial world that ventured into this realm. I'm sure the art departments of newspapers and magazines have people who do minor photo altering but nothing close to the fiendish, freakish, monstrous alterations that were done to the Altgens photo. Forget about it. So, the spycraft world was the only place that this existed. Brugioni's team: they were it. There was no one else who could possibly have done it.
Brugioni saw the original Zapruder film on Saturday night. It was brought to the NPIC for him to analyze and make a briefing board of it. He and his team stayed up all night to do it. He was sure it was the original, and apparently, it's easy to distinguish the original from a copy. When Brugioni was shown by Peter Janey the extant Zapruder film in 2011, he said two things about its content:
1) He said that in the original the fatal head shot was not limited to frame 313 alone, that it manifested in several frames, and that the explosive mist or cloud was white, rather than red, and that it went high over JFK's head.
2) He said that Clint Hill either physically struck or violently pushed Jackie back into the back seat of the limo.
Now, I don't know who you are, but regardless of who you are, you can't dispute that the Zapruder film shows the three lead motorcycles but not the "lead car" with Curry and Decker and not the limo making the turn from Houston to Elm. And you have no reason to assume that Zapruder turned his camera off and then back on. It's a very, very glaring and jolting "jump-cut" going from the three motorcycles to the limo that is suddenly on Elm St.
You know that I made a film, My Stretch of Texas Ground, which decries the killing of innocents in the post-9/11 wars, and I was very involved in the editing of it. Films are "cut" throughout, where it cuts, not just from one scene to another, but from one angle within a scene to another angle. But, there are rules and guidelines you have to follow in order to avoid making jump-cuts which are unacceptable to the human eye, where it stands out as a jump.
So, the Zapruder film has a huge jump-cut that is inexplicable. It occurs at frames 132/133.
You know that can't be continuous, right? Don't we have to assume that Zapruder captured everything in-between those two frames? So, why wouldn't Dino recall that? And then there is the Stemmons freeway sign in the lower right corner. I've told you that it's fake. There is no way that that sign would have intruded onto Zapruder's camera field when he was pointing his camera at the intersection at the top of the hill.
The longest and leftward-most line is his camera angle when starting out. The shortest and rightward-most line is when he was shooting through the freeway sign. There is no way that sign could have intruded on his camera field when he was pointed at the intersection. So, the very presence of the sign in this image is bogus:
But, it's not just the presence of the sign; it's the angle of it. The sign was perpendicular to the road, that road that the limo is on. So, if you look at the line of the limo, that had to be 90 degrees to the orientation of the sign. In other words, you would have to rotate that sign counter-clockwise quite a lot to make it accurate. But again, it was lower on the hill. It wasn't up there.
So, what is going on with this? What is going on is that they cut out a huge swath of the Zapruder film, from the time JFK got shot in the back, which occurred right at the time and place of the Croft photo until JFK emerged from behind the sign reacting to being shot in the throat, which was a separate shot. So, this part of the descent on the hill got cut out:
That red swath- all that is missing from the Zapruder film as we know it. And that's why the freeway sign intrudes into the frames at the top of the hill. The sign we see is not the real sign, and it is not oriented correctly. It is there to be a screen.
So, what we are left with in the Zapruder film is Kennedy smiling and waving until he reaches the sign and passes behind it, and then he emerges from the obscurity of it reacting to being shot. Ever so conveniently, everything happens behind the sign.
It's not reality. It's not what happened. It's not what the film originally showed.
So, here's what Dino should have observed with Janey:
1. The first huge excision which removed the lead car completely and removed the limo making the 120 degree horseshoe turn. All that got cut out. Dino should have said so.
2. The second huge excision which removed the swath from the time JFK was shot in the back until he got shot in the throat, which were two separate shots, separated by both time and space. They were taken at different locations, and the back shot came first. So, the part of the Zapruder film showing JFK getting shot in the back and reacting to it was taken out. When a man gets shot in the back, he's going to show it, right? The Z film must have shown it. But instead, it shows JFK smiling and waving until he passes behind the scene and then emerging reacting. Bull. He was shot in the back before he reached the sign.
3. The bogus sign which appears at the start of the Zapruder film and then stands out like a sore thumb is an obstruction that was added. That sign is the magician's curtain, and Dino should have noticed that too. Remember, he was an expert at determining the authenticity of photos. He wrote a book about it. So, how could he not notice that that bogus sign was wrong in its dimension, angle, and location?
Those are 3 very big things that should have jumped out at Dino. But, let's add number 4.
4. We know that the limo either stopped or came very, very close to stopping, which you don't see in the Zapruder film. So, why didn't Dino recall the limo stop? And again, if it didn't stop completely, it practically did. Recall that Jean Hill said to JFK, "Look this way Mr. President. We want to take your picture." How could she have said that to him if he was moving by her at any speed at all? Even a car moving at 15 mph would pass her before she could say all that, never mind expect to take his picture before he's gone. And how could Clint Hill have jumped off his car and then, on foot, caught up with the moving limo in front of him in order to climb on it? How does a man on foot catch up with a moving car? Again, if it was going 15 mph, there is no way he could have done it. So, there is absolutely no doubt that the limo either stopped completely or it slowed to 5 mph- or less. So, how is it that Dino didn't notice that?
Again, those are big, huge, glaring things. And there's plenty more, such as people looking the wrong way as the President passes. It would take an entire volume to list all the discrepancies in the Zapruder film. But, these 4 are big ones that should have jumped out at Dino, and he instead raised the issue of the red cloud in 313 and Clint Hill shoving Jackie back into the well of the back seat.
So, what was going on? I think Dino knew what was expected of him, and he wanted to please. He knew that it would be pleasing if he said that the original film looked different, and by saying that it did, it took him off the hook. Of course, he didn't alter it because no one who altered it would admit that it was altered. And if he didn't alter it, then his team didn't alter it, so it takes them all off the hook. He came across as trying to be helpful, but I think it was more likely a slick evasion.
So, let's look at the two things Brugioni cited. First, it's not even true that the red cloud is only seen in 313. It's scene in every frame up to 320. And the idea that a white cloud would be seen high above Kennedy's head? What is the evidence that such a thing ever happens? Show me the footage.
And regarding Clint Hill "physically striking or violently pushing" Jackie, that's ridiculous. We can see what he does. He puts his hand up to block her from going further, and no doubt he was talking to her, telling her to go back, to get back into the car. And she obeyed.
I suppose they could have used that foliage to obscure it if he, in fact, got rougher with her than what it appears, but it is just ridiculous. There is no significance to this. There is no smoking gun here. It doesn't matter. He certainly didn't strike her. I would say that Brugioni is making a mountain out of a mole-hill except that I'm not even sure there is a mole-hill.
So, Brugioni cited two things about the Zapruder film to suggest alteration, but the second one is completely bogus, and the first one he misrepresented and then proffered a scenario that seems just as unlikely. And he said nothing about the massive changes that were definitely made.
We know beyond the slightest shadow of a doubt that the Altgens photo was massively altered, and it was done on Friday afternoon. We know it was done between 12:30 PM and 5:30 PM Central Standard Time because at 6:30 PM Eastern, Walter Cronkite showed the altered photo to the country on television.
A team did it because only a team, working in sync, could have gotten everything done in time. Brugioni led such a team. It wasn't officially a photo-altering team, but it was a photo-processing team that did intelligence work for the government. There is no other realm except the CIA that could have had such a team, at least, not in this country.
Remember: we know who was behind the assassination: It was the CIA and Johnson. Johnson didn't have a photo-altering team. That wasn't his department. Photo work in the intelligence realm, that was Brugioni's department. And again, he even wrote a book, Photo Fakery, which carefully omitted the CIA from engaging in the practice. But, if the spy agencies of the Nazis and the Soviets engaged in photo fakery on a regular basis, wouldn't the U.S. spy agency also do so? Why not?
The plotters (the CIA and Johnson) knew, in advance, that cameras were likely to capture images of the assassination that would conflict with the story they were going to tell. So, they made sure that there were cops there to confiscate the cameras, and they got them all except Babushka Lady's, and as I have told you, she was a plant. They got her film automatically because she was working for them. So, they set up the confiscation in advance, and the second thing they did was have this team there. It was a CIA team of photo-alterers, and most likely, Brugioni led it.
So, where was Dino Brugioni on 11/22/63? He claimed that it was 10 PM Saturday evening that he started examining the Zapruder film at the NPIC in Washington, and that he and his team worked on it all night. But, he easily could have been in Dallas on Friday.
I think it's likely that a team led by Dino Brugioni altered the Altgens photo. And it's not good photographic altering either; it's bad. Evil bad. But, it was the best they could do in the short amount of time they had. There is no good reason to look outside the CIA for who did it, and within the CIA, Brugioni was the go-to guy for all things photo-intelligence.