What follows is commentary by Dennis Cimino about the clip of Lovelady in the Squad room. Dennis has much more aptitude about photo analysis than I do, and his scan of the Altgens doorway is the very best we have. It's the only one I use.
But first, I want to point out that the "story" of this Lovelady clip is all wrong. We know what the big cop was doing: he was taking Oswald to Fritz. He didn't know it, but Fritz wasn't there yet. It was 2 PM, and Fritz didn't get back from Dealey Plaza until 3:15. But, what the cop is doing in the picture is reaching for a door to open it. But, I know, from a schematic of the Dallas PD, what that door was. It was the door to the Storage room. What, did he think that Fritz was in the storage room?
Fritz' office was a glass-walled room in the center of the Homicide Bureau. They already passed it. And everybody knew that that was his office becaues it was translucent. You could see him every time he was in it. So, why would this cop have led Oswald and the whole caravan past Fritz' office to the back of this Squad room only to open the door to the Storage room? It's ridiculous. It makes no sense. This clip was created to perch Lovelady at that desk, all for the sake of displaying him in a plaid shirt that he didn't wear on 11/22. And if you look at Dennis's scan of the doorway, you can see that Doorman wasn't wearing a plaid shirt anyway. There is absolutely no chance that that flashy shirt on Lovelady below is Doorman's shirt.
The top photo of Lee Oswald leading the entourage, is 'fake', it is with
an event horizon boundary on the right side that shows it is a 'sub photo'
or with a 'main' photo cut and pasted with a slot box so the 'under' photo can be seen. The head is too small, and Billy Lovelady is a 'paste job' and disproportionate to everyone else, size-wise in that scene. They purposely darkened the right side of the photo
to allow for no discernible event horizon on the boundary of the paste
job, but he is clearly not native to the photo anymore than is Lee Oswald
or the man to Oswald's left. this is a 'composite' of no less than '3'
different photos, crappily pasted together, hurriedly done, poorly done.
it's such an amateurish job that if this photo is cited by Groden as
authentic, it really colors him as either 'blind' or a 'shill' by virtue
of the utter crap job. Lovelady's arm fades away into darkness in a zone
that per the whole exposure level of this, has no reason to be so black
and dark. but the photo is a ludicrous and shitty job, poorly done
and seeks to, like a shitty Veitch diagram, associate dissimilar
and not naturally occurring object into the same subset when this is a
collage of sorts of no less than '3' different photographs. Lovelady's
image is a .5 ratio 'scale' of what his apparent size would be if he were
native to this photo, but he is disproportionate. Image 1, is the
regular shot and image 2 is 'inverted' so you can see he's really not
really in this photo but a 'miniature' Billy Lovelady, pasted in. He and
Lee Oswald are approximately the same scale but they do not fit in with
the image of the foreground person, nor the donut guard who also is not
natural to this. Look at the clarity of Lovelady's head, and the
'blurriness' of the rest of the photo. This is IMPOSSIBLE with a regular
camera lens.
You have my permission to publish this so long as you include both image 1 and image 2 for the purpose of the case being made that this is a composite photo made of a collage of not native to ONE SCENE, imagery. iI this is Brugioni's work, it's SHITTY work. High schoolers could have done better work, sadly. Dennis Cimino
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