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

I found these comments by John Costella concerning the Moorman photo. John is a PhD, and he has done tremendous work on the Zapruder film, exposing the alterations. 

"Firstly, we consistently find that Mary and Jean describe the first shot to the President as impacting at about the time she took her famous Polaroid—whereas we have always assumed, on the basis of the Zapruder film, that this was the last shot. Indeed, Mary made exactly the same statement in the 2003 shoot for Discovery Channel." 

Do people understand that it's a problem that Mary has said all along that she took her photo at the time of the first shot, but the Moorman photo was taken after the last shot?

"Secondly, we find that there was a veritable “shell game” played with Mary’s Polaroids, in which the FBI, the Secret Service, J. Edgar Hoover and the Warren Commission all tried to make three photos become two. Indeed, only two are now extant, but their numbering implies that there is one missing, which was allegedly given to a Dallas motorcycle policeman and is now lost. Remarkably, the evidence (including reports and statements clearly typographically altered after the fact) suggests that there was at least one additional photo showing the President and his limousine; and it is also likely that some unwanted aspect of the Texas School Book Depository was depicted in at least one photo."

"Thirdly, every one of these official reports consistently rebukes the idea that a copy of Moorman’s famous Polaroid was “smuggled” out on the day of the assassination, as folklore maintains, and indeed the AP wirephoto information provided tells us that it went out some 27 hours after the assassination, which explains why it was not published in any major newspaper alongside the Altgens and Cancellare photographs on the day of the assassination."

"Although it is clear that we still have to try to read between the lines of these often obfuscatory reports, it is nevertheless evident that there is much more to Mary Moorman’s Polaroids than was ever fully comprehended in the past, which may explain the fear displayed by Mary and her husband when David Lifton interviewed her in the early 1970s (see his chapter), and the continued “shepherding” of her by Gary Mack and The Sixth Floor Museum in recent years. This is a line of research that is only now being opened up, and so it is likely that my best guesses on some of the unknowns will not all turn out to be correct."