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

Not everyone who currently follows this blog was around several years ago during my Moorman photo saga. But, I have not changed my mind. I still say that the photo known as the Moorman photo is NOT the one that Mary took. 

And to my naysayers, I say: Explain then why the FBI, the Secret Service, and the CIA kept "borrowing" Mary Moorman's photo, again and again and again, in the weeks following the assassination. They made copies of it on the very day. They even made a negative of it. So, why did they have to see hers again?

It's because there must have been something in it that bothered them. Something that was revealing too much of the truth about what really happened. 

And I know when they swapped it out for another photo. It was when they returned it to her- with all due apologies- with the white thumb print in the center. I have a stack of Polaroid pictures, and when I press my thumb to the center of one, it does nothing. 

You would have to be pretty damn stupid to believe that that was an accident. 

And I think that before they did it, they did a psychological profile of Mary Moorman to determine if she would accept it. And they determined that she would.

And by the way: all claims of images of the original, undamaged Moorman photo being found are bogus. Those are just photoshopped versions of this one. 

I am not going to try to speculate on what Mary's real photo showed that caused them such dismay-enough to get rid of it and replace it with this monstrosity. But, it's important to realize that the limo braked- severely- and Hargis responded right away by braking accordingly. But, Martin on the outside, apparently wasn't paying as much attention, and he did not break right away, and the result was that he gained on Hargis. Hargis and Martin were about even Stephen at this point in the story. But, in the Moorman photo, we have the ridiculous arrangement that Martin was much farther back, and that only his handlebar and his hand and forearm got captured. His RIGHT hand and forearm. So, we are supposed to believe that the camera field dissected him. But, if you look closely at his "hand" you'll see that it isn't a hand. It's more like a clam. It's art. They actually painted that in. At that point, Martin was neck and neck with Hargis, as you can see in the Muchmore film.

Do you see what I mean about Martin's location? So, the Moorman arrangement of the two men is nonsense. And here's something else. You know that the angle of view of a camera expands vertically and horizontally in triangular way from the lens, right? Notice that all the lines emerging from the lens are diagonal. 

So, knowing that, how could BJ Martin be dissected by Mary's camera, so that we are seeing just his right side and not his left?

You could never get such a clean division of him, all the way up to his forearm. 

Because the camera line is diagonal, his right hand could indeed enter the camera field first, but only momentarily first. You could never have that much of his right side captured without capturing his left side at all. I'm telling you: it's art, and crude art at that. 

Why does Bill Newman have his left arm missing? Why is the back of Jackson's motorcycle missing, such that it looks like he is driving a riding lawnmower? 

As I said, the Moorman photo is a monstrosity, and it is NOT Mary's photo. Apparently, her photo showed too much. It dazzles the mind to ponder what she captured.