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

Doorman was definitely standing close to the median handrail, just a few inches west of it. I recall now that Robin Unger had actually claimed that he was east of it, and I corrected him. And the other forum rats were all saying that he was behind the median handrail grabbing it. 

But, it was a ridiculous contention. If you look at Doorman, you can see that he's swinging his left arm over across his body.

By the way, NOBODY thought it was the arm of Roy Lewis as per Joseph Backes:

And nobody thought it was the arm of "another African-American" as per Richard E. Sprague.  

But, the forum rats did think Doorman was grabbing that handrail. But, it's ridiculous because who would reach across their body in front to grab a handrail? Have you ever seen anybody do that? Wouldn't it make more sense to just use your other arm? 

The whole idea of grabbing it is to lean on it, to transfer some of your weight to it. But how can you get a lean going if you're crossing your body in front with your distant hand? You can't do it. You can't transfer your weight to it. 

Anyway, it was a ridiculous idea, and it seems that nobody is claiming it any more, thank God. 

So, Doorman was just a little west of the center handrail, and the curtain line of visibility went down from the east molding of the door and through Doorman's right shoulder, since it's partially cut off. So, that gives us two points of reference to connect to form a line. And once we have that piece of the line, we have every right to extend it farther in the same direction. It is, after all, a straight line, and isn't that what straight lines do?  And that's how you wind up with this:

The part of the line from the east molding to Doorman's right shoulder is not in question and is not in doubt. And, the right to extend it farther in the exact same plane is also not in doubt. In principle, it wouldn't include the bottom two steps because of how forward they are, but in practical terms, that doesn't matter because that area was, in fact, obstructed by other people and other things, such as the car which kept that bottom part out of view. Therefore, this diagram is essentially correct.

Above, I used Roy Lewis from Wiegman's second pass of the doorway, but let's compare it to his first pass:

On the left, I used the image of Lewis from Wiegman's second pass of the doorway, which took place at the 4 second mark in the film. But the first pass, on the right, took place at the 1 second mark, and that's the one that corresponds to the Altgens photo. Notice that not only is his right hand on the molding of the column, but his right shoulder is also touching the column or damn near touching it. Look at it up-close.

His right shoulder is damn-near touching that column, and for all practical purposes, it is touching it, and he is leaning against it. And that inner surface of the column is definitely out of view to Altgens.

That front edge is coming down like a blade. At the bottom where it meets the base is the molding, and if that black woman wasn't there and also Doorman's cuff, we might be able to see Roy's right hand coming forward. But, that's just a maybe because we don't know if it was extending over the edge. But that inner face of the column was definitely out of view to Altgens, so forget about Roy's face being visible; it wasn't. The only question is: how much, if any, of his left side was visible to Altgens? All I can tell you is: not much. We're talking about a sliver. That's at the most. It may have been none.  

I really should do it again using the first-pass Roy Lewis, so here it is below: 

I don't claim perfect accuracy with this, but you get the idea. Roy was in the exclusionary zone. He was out of the loop. He was off the radar. In this placement, he appears to be COMPLETELY invisible to Altgens. If he was showing to Altgens at all, it could not have been much.  If he was visible in the Altgens photo at all, it was very little and involving only his left arm and shoulder. Certainly not any of his face. What we are seeing of him in the Altgens photo is complete nonsense. 

Roy Lewis was NOT facing that way during the motorcade. They inserted them in there, photographically. So, why did they do it? Why did they feel compelled to paste his face in there? It may be because they wanted to cover up Oswald's right arm which was coming down and meeting his left in a clasp, left over right. 

They may have realized that not everybody does that and if there were other pictures of Oswald doing it, it would peg him. 

And the other possibility is that they thought the tattered, torn condition of the shirt would have given Oswald away.

One thing is for absolute certain: that is Oswald's shirt on Doorman and also his t-shirt:

Oswald! Oswald! Oswald! You hear me, Backes! It's Oswald's shirt! Oswald's t-shirt! Oswald's slender build! Oswald's ear, which you can even see above comparing left to right. Oswald's square chin! Oswald's more chiseled nose! The man is dressed altogether like Lee Harvey Oswald! Lovelady was not dressed like that. His shirt didn't hang like that. His t-shirt was never exposed as much as that. Not even in his posed pictures does Lovelady show a spread like that. Only Oswald does. He was the Man in the Doorway.