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

Ralph still can't fathom the fact that a person taking a picture of a moving car in a motorcade might end up getting the subject off center in the resulting photograph. Ralph has gone on and on about this for weeks now. He then uses a photo ripped off from this blog. My neighbor's dog knows more about photographic interpretation than Ralph Cinque. When I created the photo below, it was to show Ralph that he had no idea what he was talking about in reference to where Mary Moorman was pointing her camera. He said I was wrong then, but now thinks it proves his point and passes the photo off as though he created it....



No. You can't fathom the fact that the limo was approaching slowly from Mary's right, and there is no way on God's Green Earth that she would let it pass her and then shoot the back of their heads. And even then, she would certainly have gotten her subjects closer to the center than what we see in the Moorman photo.

Remember that people were saying that the limo had stopped at that point. And if it hadn't stopped completely, it was going slow enough that Clint Hill could jump off a car traveling behind it and catch up to it and climb on it. So, the limo had stopped or nearly stopped, and Mary would have pointed her camera at the Kennedys. We know she could do it because we can see her doing it, pointing her camera at the Kennedys. 

And I am not calling Mary Moorman a liar; I am saying she is mistaken. And she did take a photo. I'm not denying that. Just not this one. 

Look at the Moorman photo again. Isn't it obvious that the person who took it was facing Elm Street diagonally? Mary was facing Elm Street squarely. 

In the image field, look how the area of visibility of the road that is south of the limo, that is, between the limo and the south curb of Elm St., increases as it goes leftward. I inserted the white arrows to demonstrate what I am talking about. Mary was facing the limo and Elm St. squarely. So, why would she get that effect? She wouldn't.


This is Mary in Z-292. The limo hasn't reached her yet. Mary is poised to shoot. 

Does she shoot then? It looks like she does, but if she did, she could not have gotten the Moorman photo. She is still poised to shoot at Z-300. 

Does she shoot then? It seems like she would have shot by now, but that could not have resulted in the Moorman photo either. So, let's keep going.

Now the limo has passed her, but Mary hasn't turned. She's still pointing the camera straight ahead. There isn't the slightest indication of her turning to her left to keep them in her viewfinder.

Mary never turns. You hear me? I said: Mary never turns. MARY NEVER TURNS.  

And you want proof? You want to see it with your own eyes? Then watch this Muchmore film because you'll see that as the limo passes her on Elm, Mary never turns left. 

https://www.youtube.com/watch?v=Q6p6dEkYNlo


In this frame, the Kennedys are positioned right, and the position of the motorcycles looks right for it to be the Moorman photo.

Now, that looks right to be the Moorman photo, but it's not right for Mary because the motorcycle cops would have to pass her. If she shot then, she would have just captured the Kennedys. How could the motorcycle cop who is closest to the south curb loom large in Mary's photo? He's got to get past her before she can shoot.

So now, finally, we've got the motorcycle cop passing Mary, and notice that Mary still hasn't turned. She still seems to be facing straight ahead. But look! Clint Hill is in the picture. So, if you wait until the motorcycle cops get properly in front of Mary, you're stuck with Clint Hill in the picture.

Now, look people: Mary Moorman did not take the Moorman photo. I don't know about the storm drain shot, and there is plenty more I don't know, but, I do know that Mary Moorman did not take the Moorman photo. To deny it at this point is insane.