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

This is said to be the view of Elsie Dorman from the 4th floor window of the TSBD:

Notice how the whole pedestal is captured and plainly visible. Here is another view of it, animated: 

So, why does the Dorman film actually look like this?

That is Frame 122 from the Dorman film, but it has to be cropped. From that 4th floor window across the street, how could Elsie's camera-field be that small?  It couldn't. If Toni and her mother were up on the pedestal at the time, imagine how they would have towered over the people in front of them. The above frame doesn't even make sense. Wouldn't Elsie have centered on JFK and Jackie in the limo? How hard was it to do that? Here's a view of it from the opposite angle:

So, even though Elsie was shooting downward from the elevated position of the 4th floor window, she didn't catch the entirety of the pedestal? That's ridiculous. And notice how narrow the pedestal is from east to west. The long dimension of the pedestal goes north and south. Yet, in the phony image they made of the pedestal, there is all this white behind Toni. But, how could there be when it was very narrow in that dimension? 

This is all fakery. Toni and her mother were standing on the grass. That frumpy, middle-aged woman did NOT climb up onto that pedestal, no more than she scaled Mt. Everest. It is ridiculous to think that they were jumping around up there. It's unnerving to be up there. When the mature Dr. Toni Glover stood up there for a picture, she wisely kept her eyes peeled on the ground to retain her bearing.

Look how she towers over that guy on the ground. She and her mother were NOT up on that pedestal in the Dorman film, and I hardly think they had time to scramble up there in the interval between the Dorman film and the Hughes film because there was no interval.

It is just more image fakery. The JFK assassination is, by far, the most photograph and film altered event of all time.