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

Continuing with our analysis of the dislocation of the African-American spectators on Elm Street in the Altgens photo, what happened to the other people on Elm Street, above where the African-Americans were, who were definitely in Altgens' field of view? There was nothing obstructing his view of them. How could their photons not reach the lens of his camera? Where did they go? How could they possibly not be visible in the photo if the space they occupied was covered in the photo? 

This is an image taken with Tri-X 400 film using an old Cannon 35 mm reflex camera, which is similar to the Nikkon that Altgens used. A professional photographer took it. 

You see that there is a woman on upper Elm practically in front of the doorway. But note that she is across the street. She is on Elm, and there is that little street, the service road, between Elm and the TSBD. You can see the obelisk to the left of her, although it is partially obscured by the foliage of the tree. There is a young man on the other side of the obelisk. Those two people did not get removed or displaced. They are there, right where they were standing. They didn't disappear. No rearranging took place. So, the whole idea of those other peoples seeming to be where they weren't is ridiculous. But, the baffling thing is, how did they do this? 

Those African-American people in front of the obelisk are the same ones we see in the Croft photo, which was taken further down. So, why are these African-American folks being seen here when they weren't there? Notice that three of the African-American women are looking up the road and not at the Kennedys.

Why would they be doing that at that moment? Let's expand our thinking here. What if the Altgens photo was more like this?

I mentioned that Larry Rivera proffered that it was vertically cropped and probably because it showed the 6th floor window and Oswald wasn't in it. But, what if the Altgens photo was cropped top and bottom? Note that in the picture above, the African-American folks would have been captured because their area is included. 

To get to this, I had to make three crops: above, below, and on the left side. But, they could have made any crops they wanted. And the point is that they would have had the images of the African-Americans from the part they cropped out. In Dealey Plaza when we did our reenactment, we got approximately to what this is spontaneously without any cropping. But, we were interested in the doorway, and so the photographer zoomed in on that. But, Altgens wasn't interested in the doorway. He was interested in the limo, so he zoomed less, a lot less. So, he must have had a bigger field of view than we did. The Altgens photo, as we know it, is cropped. 

But, where was the limo in the Altgens photo? How far down Elm Street was it?

We have to go by what we can see here, and forget about "Brehm" on the right; he's just a decoy. Go by the building. The TSBD. The limo is nowhere near the west edge of the TSBD. And remember that Altgens was shooting from right to left, so there was a bias to capture leftward. Whether this image was cropped on the left side, as I suspect it was, of if it wasn't, the limo hadn't reached the end of the building. It had not gotten to this point:

That is the Croft photo. Now, you can't tell me that in the Altgens photo, the limo went this far.  You see the edge of the building. The limo is past it. And the big question is: Is Kennedy shot here? According to Croft, he wasn't. 

This is how Kennedy looks in the limo, with a gigantic left fist raised and a long arm extending across like a snake? It's weird. 

  
 In reality, it was like this. 

Look how much closer she is. Look how close her hands are to him. She is grabbing him practically at the wrist. The only thing extending towards her of his is his elbow. It's not like this:

Can't you see that it's just a crude replication of it? Look at that weird arm extending forever to the right. It's like a log. It isn't real. Look how far she is from him. We can't even see her. Look how big his fist is; it's mammoth. His hand wasn't that big.  


Look at this from Towner.

You see the lady in the blue dress on the left, and she is the same lady in the blue dress in Croft. So, the limo went from what we see in Towner to what we see in Croft. Now obviously, in this Towner frame, he wasn't yet shot. And again, if he were shot, they wouldn't show it. THEY WERE NOT GOING TO SHOW US THE HIT. Take that as an axiom. This is the very last frame of the Towner film as it is usually shown:

But wait. There was more after that. It suddenly jumped to this:

I call it the Towner addendum. You don't usually see it. It's usually cut out. I was lucky to find it. But, the point is that if Tina was still shooting, then she must have caught the part in-between. They must have deliberately cut out the part that showed Kennedy being hit. And again, they did it everywhere. In Zapruder, they used the phony sign to cover it up. In Towner, they just cut it out. So, from that we can know with certainty that Kennedy hadn't yet been hit in what they let us see. 

And the same must apply to Croft. They would never have let us see it if Kennedy had already been hit. And note where the limo is above. It's a little past the obelisk, right? To my eyes, it looks about the same location as the Altgens photo, just shot from the opposite direction. 

So, the long and short of it is that I don't think that Kennedy was hit yet at the time of the Altgens photo.