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

This collage tells an awful lot. You can see on the left that Oswald, in the center of the doorway, was a mile away from Carl Jones who was against the west column. The Altgens photo was taken at the same time, and both of them were in the same locations. Obviously, Oswald could not get his hand in front of Carl Jones' neck, even though that's how it looks. Some have tried to say that it's not Oswald's arm coming down, but rather, the black man's arm going up OR the arm of another black man going up. But, that's impossible because sleeves don't roll up that neatly, for one. For two, his arm would not be raised that high. And for three: in a black and white photo, for the "grey scale" of the black man's shirt, the black man's skin, and Oswald's shirt, all to be the same shade is ridiculous. There would be contrast between them. 

If the cuff is really a man's rolled up sleeve, then it would mean that he wore a shirt whose color and pattern was an exact match to his skin, where it was captured by the black and white film exactly the same. It would also be true that his matching shirt and skin were also a perfect match to Oswald's shirt because all three look the same, exactly the same. Besides, there is black skin in the picture that is indisputable (the faces) and you can how different it looks from the areas in question. There is no reason to think that is a black man's arm with his sleeve rolled up going up.  


And if that were the arm of a black man, what happened to Doorman's arm? He does have one, doesn't he? How could it be completely out of view?

And how could that be the arm of a black man if that's the only part of the man we can see? Why can't we see the rest of him? If that's his sleeve rolled up to his elbow, his head would be higher than that, right? So, why can't we see it? 

The whole idea that that is the arm of a black man waving is ridiculous, and the only person who has ever espoused it besides the Idiot Joe Backes was Richard E. Sprague who believed that Umbrella Man shot a flechette at JFK with his umbrella.  

Now back to the collage:

So, in the Altgens' crop in the center, that has to be Doorman's arm coming down. Therefore, WHY IS IT IN FRONT OF CARL JONES' NECK? As far back as Oswald is, there is no way any part of him could get between Carl Jones and Altgens' camera. Oswald can't be covering up any part of Carl Jones. And yet, he is. 

But, now look at the photo from the reenactment on the right. There are two disconnects there. One: there's a handrail now next to the west wall, and it's impossible any more to hug the west wall the way Carl Jones was during the Wiegman film.

That railing wasn't there in 1963. There was a median handrail instead, the scars from which are still in the cement. So, no longer can you stand as close to the west wall as Carl Jones did, and it makes a huge difference. 

And, the second thing is that the surrogate was turned and facing east,  which Carl Jones was not doing. If the surrogate was cinched against the wall with his hand on the molding and turned westward, would you see his face at all? I doubt it, and if so, very little.  

Notice in Wiegman on the left that Carl's head is behind the east face of the column. But, in the Altgens photo, we can't even see the east face of the column. And, it means that Altgens and his camera couldn't see it either. So, if Carl Jones was in the same position in Altgens as he was in Wiegman (and the time difference was negligible) then his face would have been out of view to Altgens.

  
This demonstrates it very well. There was a veil of invisibility to which Altgens was subject because of his angle to the doorway. Part of the west side of the doorway was cut off to him. It's represented by a diagonal line, and it cut through Oswald's right shoulder. That's why we only see a fraction of his right shoulder before the column seems to cut if off.

And, the line of invisibility went up to the upper east corner of the door. 

The arrow in the picture above is pointing to the upper east corner of the door. The column is blocking visibility all the way up to there. There is a curtain of exclusion that goes from there to the base of the column in front. 

Other objects, including people, are also cutting off Altgens' view of the west side of the front of the doorway, and that complicates it. So, there are multiple factors reducing visibility for Altgens. But, the point is that if Carl Jones was in the same location in the Altgens photo as he was at the start of the Wiegman film (and they were for all practical purposes simultaneous) then he was cut off to Altgens' view, as you can see above. Obviously, that is a rough estimate, and it's possible that Carl's left arm was partly in Altgens' view. But, Carl was definitely mostly out of view to Altgens if he was in the same spot as he was in Wiegman.  

The above image makes it very apparent. That diagonal line going from the upper east corner of the door to the base of the column in front is accurate. It's the dividing line between what Altgens could see and what he could not see. And as you can see, with Carl Jones in the same position in Altgens as he was in Wiegman, he was mostly, if not completely, out of view to Altgens. 

Therefore, the only way Carl Jones could be in view to Altgens is if he picked himself up and moved eastward- relocating himself- between Wiegman and Altgens.

But, that's impossible, not only because the time difference was negligible between Altgens and the start of Wiegman (as it exists online, not counting the early frames that B Pete obtained from the National Archives) but also because we can still see him 4 seconds later in Wiegman in the same spot.

He's still in the same spot. He's still got his hand resting on the molding of the pillar. 

So, Carl starts against the west wall with his hand resting on the molding of the column, and after 4 seconds, he is still in the same place doing the same thing. He is focused westward throughout. 

You can't assume that he moved in-between. There's no reason to think he turned his head, never mind turned his whole body eastward and started looking and waving eastward. And, you can plainly see that there is no other African-American man there. The plain truth is that: CARL JONES DIDN'T BUDGE. He didn't go anywhere. He didn't change anything. Throughout, he is focused westward, and why not? That's where JFK was.  

 And what is that ridiculous shamrock-shaped thing below Carl Jones' head and Doorman's cuff in the Altgens photo? It can't be Carl's body. Look on the left at how massive Carl Jones' body was. So, what is that off-white thing? It looks like a piece from a jigsaw puzzle. And if that's not his body, where is his body? His body should be below his head, shouldn't it? 

It is definitely Oswald's cuff that we're seeing, and it is my considered opinion that they pieced in above it Carl's face in profile, and they pieced in below it that shamrock thing as a surrogate for his body. 

The above image really clinches it because there is no way that Oswald's cuff could be in front of Carl Jones' neck. And it tells us that what we are seeing of Carl Jones in the Altgens photo is fake. 
And, the shamrock thing does not make any sense. It does not compute. But, if you don't hone in on it, if you don't analyze it, if you just take in the image as a whole, the mind's eye fills in what's missing. And, that's what they were counting on. 

I believe they got the image of Carl's face from a Phil Willis slide.

It may not have been this exact slide but rather a closely related one. But, that was taken later in the afternoon as Carl was coming down the steps, when he was presumably leaving for the day.

 That's 17 year old Roy Lewis in the maroon sweater next to Carl Jones, and you can see how much bigger he was than Roy. 

Was it just a coincidence that James Altgens and Phil Willis, shooting from grossly different angles and at different times, just happened to capture identical images of Carl Jones???? 

Have you heard my position on JFK coincidences? I don't believe in them.