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

Now, the Idiot Backes wants to talk about Mary Moorman in the Zapruder film.  That's a bad idea, Backes, because the Zapruder film was altered. And that, is NOT a Ralph Cinque idea. Half the JFK "community" believes that, and they believed it long before I said a word about it. And one of the claims of alteration of the Zapruder film is that they separated the foreground (where the limo was) from the farground (where the spectators were). They did this primarily to alter the apparent speed of the limo, to hide the fact that it stopped or nearly stopped, right during the shooting, and at the time of the fatal head shot, which you don't see in the Zapruder film. And since the limo is in the foreground, and Mary Moorman is in the farground, you can't take as accurate anything you see in the Zapruder film concerning her relation to the limo. 

So, that's a very crucial rejoinder to what the Idiot Backes said. 

But, with that said, if we look at what he put up, a Zapruder gif by Robin Unger, it shows Mary Moorman moving slightly, but SHE NEVER MOVES PAST PERPENDICULAR. That's perpendicular to Elm Street. That's as far as she EVER goes. 

  
And if we look at it at it's most extreme, which is like Zapruder 309, SHE IS NOT AIMING HER CAMERA AT THE KENNEDYS.

Mary is NOT pointing her camera towards the Kennedy. Mary is standing squarely and pointing straight ahead at a perpendicular angle to Elm Street. The Kennedys have already passed her, and she has NOT adjusted for that. She is acting like the Kennedys are still directly in front of her on Elm Street. 

And if we compare 309 to 315, which was after the fatal head shot and the time the Moorman photo was taken (as widely agreed), there is no change in Mary's position.

Mary NEVER turns. That is, she never turns past perpendicular. That is as far as she goes. 

So, this is NOT when Mary took her picture. This frame is a disassociation. This is Mary taking her picture combined with a frame of the Kennedys that occurred about a second later. 

It's fake, Backes, and it isn't just me who says so. Nor is it me who said it first. I learned it from others, including the great Jack White. 

And by the way, you can clearly see that Mary is standing on the grass. She has got green grass under her feet, and they didn't fake that. They didn't have to fake it. The very idea that tiny timid little Mary Moorman was brazen enough to step out into the street with that motorcade in it is preposterous on the face of it. SHE WASN'T A PAPARAZZO.

Then, Backes repeats the lie that what we see in the Moorman photo is authentic, including BJ Martin's "windshield" which is as fake as a three dollar bill.

Note first that I am very reluctant to use any photo except the one with the thumbprint because the idea that the "original" exists is nonsense. There are versions in which the white thumbprint was digitally removed, but since they are altered, I don't like to use them. But, I have drawn a vertical black line to show where so-called windshield of Martin's so-called motorcycle is, while the horizontal black line is the distance from there to his forearm on the motorcycle. Isn't it a bit far? How could the camera have stretched him out like that? And what if it had captured all of him and the motorcycle? It would have been as wide as the whole picture. 

It's fake. The reality is that the purpose of the deliberate thumbprint was to hide Martin, who, at this angle, appeared slightly in front of Hargis in the picture. The front wheel in the picture is the front wheel of Martin's motorcycle. 

Even Hargis is too far away from that forward windshield for that to be his. That's Martin's. The other windshield, closest to us, is completely, totally fake. It's art. Criminal art. 

As far as whether Mary Moorman was holding her camera level when she took her picture, who cares? - because this is not her picture. But, many have pointed out and complained that the Moorman photo doesn't show the descent in the road when it should. Again, they've been saying that for a long time: long before I came along. But, I'll add my voice to the choir by pointing out that the Moorman photo was taken by Babushka Lady, but it is only a crop from whatever picture Babushka Lady took. Because she shot diagonally, Babushka Lady had a much bigger camera field than this. So, they basically took a cookie-cutter to her image to come up with the "Moorman" photo. And of course, they would have cut it anyway they wanted to and did. 

OIC Chairman Larry Rivera thinks that they hid the decline in the road because Cheyney's head was in position to be in the trajectory of any shot coming from the 6th floor window. So, he argues that the Moorman photo challenges the idea that the fatal head shot came from the Sniper's Nest.

But, as far as what Mary Moorman did and whether she was holding her camera level when she took her picture, forget about it because her picture wasn't this picture. But, I'll point out, for the record, that in the Zapruder film, she does seem to be holding her camera level. 

That's not when she took her picture, but it is how she was when she took her picture. And it looks pretty damn level.