Then went outside to watch P. parade ( Parts 1 & 2 )

[Alan Ford]

Although I’m kind of amused myself by this amazing ability Mr.Ford has of constructing a theory,

And I'm kind of amazed by your amusing ability to miss key points of the hypothesis being presented!

Here's what I'm hypothesizing:

1. Mr. Oswald brings out a flag, concealed inside what will become CE142, and awaits his moment. Whatever is on the flag (national colors? 'Viva Fidel'? 'Hands off Cuba'?), it is something politically provocative

2. When Pres. Kennedy is passing the building, Mr. Oswald waves the flag, and takes a photograph to capture the moment. The aim is not to be noticed waving the flag by lots of folks in Dealey Plaza, but to have photographic proof that he was there, doing this, when shots were fired into the air from the sixth floor. This proof he intends to instrumentalize in some way (perhaps to gain entry into Cuba on the basis that he was a participant in the [non-lethal, as Mr. Oswald has been tricked into believing] Glorious Action of 11/22). Mr. Oswald will, per plan, discard the long paper bag (with flag inside) near the front steps, knowing it will be discovered and will make the news coverage of the Dealey Plaza incident

3. After the shots ring out, Mr. Oswald returns the flag inside the long paper bag. He leaves the steps

4. Off the steps he has an encounter with a woman who has come running up. Something he says, or something in his demeanor, as well as his subsequent action of discarding the long paper sack between the two mailboxes and walking away, troubles her

5. She goes to the mailboxes and retrieves the long paper sack, and tries to draw attention

6. She is noticed by Officer Baker, who runs not for the doorway but for her.

[Alan Ford]

I’m never the less going to stay with it for a little longer, until some one definitively proves a 1963 camera that Hughes used, could morph  black checkerboard square pattern of Loveladys shirt into the reddish brown seemingly solid texture ( as it appears to me anyway).

Maybe an experiment should be conducted setting up the same type camera where Hughes was and have a man wearing Loveladys shirt be filmed at that 12:30 time of day in November, and at the correct distance.

Yeah, but no need, Mr. Mason. The longer Hughes GIF which Mr. Jerry Organ posted confirmed what I was saying all along on the basis of close analysis of Hughes/Bell/Towner---------------there are TWO red-shirted men on the west side of the doorway



Mr. Oswald is the man in the reddish shirt standing behind the black man. And the ridiculous shadow down Mr. Lovelady in Wiegman only makes assurance doubly sure that this was the great problem faced by the cover-up 'investigators'. It's the reason why I have consistently used that shadow as a litmus test for intellectual honesty: either explain it convincingly as a naturalistic phenomenon, or stop pretending you're doing objective research. (To your credit, you are not in denial about this shadow. The Warren Gullibles, and other foolish members of Team Keep LHO Off Them Steps, are TERRIFIED of that shadow.)

Now: you misrepresent what I have been saying for several weeks now about Mr. Oswald in Wiegman. I am saying he is STILL in the place we see him in in Hughes & Towner, but he has had a fake shadow placed over his entire person. There was no other option left to those tasked with covering up his presence on the steps: the original Wiegman frames showed Mr. Oswald's features. So they made folks believe what we have known for some time now to be a flat lie: that a good quarter of the doorway was in natural shadow.

Incidentally, credit for spotting the problem with that shadow goes to Mr. Barry Pollard. (I wonder why he stopped posting? His presence here raised the general intellectual quotient!)

 

[Alan Ford]

And then Oswald moved BACK to the west wall and took probably his last drink of coke , such that he got captured in Altgens photo doing exactly the same raising the arm up like he did earlier in Hughes film?

I now suspect that the 'Coke' (in the Cronkite version of Altgens------------i.e. the original version of Altgens) is in fact the object attached to the flag, which Mr. Oswald is lowering now that Pres. Kennedy has passed the building and his little stunt is performed

 

[Alan Ford]

Ford is taking advantage of severely-compromised animations, possibly from the "Lost Bullet" morphed "enhancements". I know I posted one of those GIFs (found through a search), but I wouldn't use it for frame-by-frame analysis once I saw the artifacts in enlargements.

 

Yah, keep gaslighting, Mr. Organ. If you had this much reddish shirt showing up at the SN window in Hughes, you'd be crying tears of joy and jubilation!

[Alan Ford]

Less manipulated versions of Hughes show dark-bluish reflections off the glass doors and not a reddish blob.

You're going to wish you hadn't said this, Mr. Organ...................

[Alan Ford]

Friends, when Mr. Organ writes "Less manipulated versions of Hughes show dark-bluish reflections off the glass doors and not a reddish blob", he is of course talking utter nonsense, based on studious inspection of non-relevant frames in the sequence. Anyone with eyes to see can see the red which appears momentarily to the left of young Ms. Toni Glover (yellow arrow):



Why does Mr. Organ try to gaslight us in this way? Because----------as always----------he is interested not in truth but in defending the official story, which needs Mr. Oswald kept away from those steps.

However! In the course of making a ridiculous claim (no red, only blue), he has inadvertently hit upon a fact that forces ME to make new sense of that blue and that red, and to acknowledge an interpretive misstep of my own. And for that I'm grateful, because-------------unlike Mr. Organ--------------I care only about getting things right.

The bluish person way back on the landing is NOT (as I had thought) Mr. Bill Shelley standing just in front of the glass. It is the reflection of a person dressed in blue who is standing on the landing, several feet from the glass. We also see the reflection of that person's head (as well as their actual head just over Mr. Oswald's).

This person may be Mr. Shelley, but is probably PrayerWOMAN.

And! The red which appears momentarily (marked above by yellow arrow) is NOT Mr. Lovelady leaning over from his standing position on the landing or one step down. It is the reflection of Mr. Oswald's right arm as he moves it right of his body.

So! I'm back to my original conclusion: Mr. Lovelady does not show in Hughes because he is blocked from view by Ms. Glover's body. He is standing on the fourth step up, not far from the center rail.

'Having' Mr. Lovelady in Hughes was a delicious bonus, but if it ain't him it ain't him. If anything, understanding that bit of red as a reflection re-simplifies matters, for it means Mr. Lovelady does not need to move down a couple of steps in the very short interval of time between Hughes and Towner/Bell. All he does is lean to his right, and then (as shown in Bell) return to his upright posture:



What's the betting that Mr. Organ will now suddenly forget all his authoritative talk of "manipulated" Hughes frames and instead 'discover' 'high-quality' frames that confirm that yes, there is after all an appearance of red in front of the blue?

 

[James Hackerott]

   Here is my latest simulation of the Book Depository doorway, featuring Mr. Billy Lovelady’s changes of location and posture from the beginning of Wiegman’s film (W1) to four to five seconds (IIRC) later for his second sweep of the doorway (W2). Ike Altgens took his famous image #6 showing Mr. Lovelady in a somewhat twisted configuration.. My 3D simulation is taken from Wiegmans’s camera as it moves in the moving motorcade. A comparison with the Altgens position is also modeled, capturing the transit of Lovelady from the landing to one step below. Note, without the bending and twisting he could not be standing erect in the final Wiegman scene (W2), as he would be too tall (relative to the hat of Mrs. Ruth Dean portrayed in black here. And too short to be on the second step below). Also note that I did not model the actual articulations necessary to drop a step but used a simple line-of-site from the landing to second step locations. Lovelady’s white undershirt is not something I can model with my software. I’m using a ‘checker’ pattern of large red and white tiles. The chest tiles meet at the vertical center of the models torso.

[Charles Collins]

   Here is my latest simulation of the Book Depository doorway, featuring Mr. Billy Lovelady’s changes of location and posture from the beginning of Wiegman’s film (W1) to four to five seconds (IIRC) later for his second sweep of the doorway (W2). Ike Altgens took his famous image #6 showing Mr. Lovelady in a somewhat twisted configuration.. My 3D simulation is taken from Wiegmans’s camera as it moves in the moving motorcade. A comparison with the Altgens position is also modeled, capturing the transit of Lovelady from the landing to one step below. Note, without the bending and twisting he could not be standing erect in the final Wiegman scene (W2), as he would be too tall (relative to the hat of Mrs. Ruth Dean portrayed in black here. And too short to be on the second step below). Also note that I did not model the actual articulations necessary to drop a step but used a simple line-of-site from the landing to second step locations. Lovelady’s white undershirt is not something I can model with my software. I’m using a ‘checker’ pattern of large red and white tiles. The chest tiles meet at the vertical center of the models torso.

Well done as usual. Thanks!