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

This is a plat of Dealey Plaza showing the positions of the figures. Notice that from Moorman, I have a straight line going across the street at a straight, perpendicular angle. That was Mary's line of sight when she shot her picture. She has said that many times, and she has demonstrated it that way on Elm Street. She has said, repeatedly, that she snapped the shutter when the Kennedy's reached her, when they were directly across from her. And frankly, I think it's possible, even likely, that she snapped her picture slightly before that. But, she definitely didn't wait until they passed her and then shot the back of their heads. She didn't do that, and nobody would do that. She had been waiting there for hours, and she got all set up to take her picture from the moment the limo rounded the curve. She wasn't going to miss it. She was looking through the viewfinder the whole time as the limo came slowly down Elm Street. That's what she said. So, why would she let the Kennedys pass her before pressing the damn shutter? She wouldn't. She couldn't. She didn't. 

And here is the view from Muchmore, and I want you to notice something.

Compare Babushka Lady who is taking a picture to Mary Moorman who is not taking one. Babushka Lady's arms are raised. Her hands are right up in front of her face. She is obviously taking a picture. But, Mary Moorman's arms are down. She does not have that camera up to her eye at that moment. She is NOT taking a picture at that moment. She has ALREADY taken her picture. But, that's the moment of the Moorman photo.

That's the same instant in time. Come on; how much closer could it be? How many times do you think the Kennedys were arranged like that? If that's the same instant, and Mary Moorman was no longer shooting, what does that tell you? It tells you that she had already taken her picture when the Moorman photo was taken.

BJ Martin was originally farther back behind Hargis as they maintained the neat formation. But, what most have happened is that the driver Greer braked hard (and in another Muchmore frame, you can see the brake light come on) and Hargis reacted right away by braking his motorcycle. But, Martin did NOT react right away, so he didn't slow as much, and hence, he gained on Hargis from how it was shortly before. And that's why we see this arrangement. Plus, Muchmore's angle is contributing to the effect of seeing Martin so forward. But, Babushka Lady was even more at an angle to it than Muchmore. Her line of sight was even more diagonal than Muchmore's. And it means that to her camera, BJ Martin would have been thrust even more forward. You see the front of a motorcycle in that frame. Whose motorcycle is it? It's BJ Martin's. Well, it's the same in the Moorman photo.

So, that is the front wheel of Martin's motorcycle. But, look at the rear of Hargis' motorcycle where his toolbox is. That's not lined up with that front wheel. They are not continuous. The toolbox is deeper in the photo than the front wheel. Can't you see that? THEY ARE TWO SEPARATE MOTORCYCLES!