A Candidate For Prayer Person?

[Thomas Graves]

The distinctive 'double head at double elevation' phenomenon does not appear in the Lovelady@LowerElevation frames, Mr Davidson, so I'm not sure why you are posting one of them here. (His head in the out-of-focus frame you have posted is being stretched btw--------different thing altogether, and not relevant!)

Now, turning to the Lovelady@UpperElevation frames...

At a conservative estimate, the following four frames show the double head and the side wall in (some) focus:



It is possible that, in one or two of the even sharper frames elsewhere in this Lovelady@UpperElevation sequence, Mr Oswald's features were evident enough to merit targeting for obscuring (as was the case for the entire Lovelady@LowerElevation sequence). But------------due to the apparent movement of Mr Oswald's head-------------I'm not quite convinced this would have been necessary.

I must reiterate the key point here: the distinctive 'double head at double elevation' phenomenon attaches itself uniquely to Mr Lovelady. Lots of blur, image-stretching, etc. elsewhere, but only Mr Lovelady manages to get a second head with a will of its own across multiple frames. And that would be the same Mr Lovelady who uniquely manages to attract an impossible shadow to his body--------------an impossible shadow that has the remarkable property that it can get in front of a car aerial!

Coincidences? Not a chance!

Mister Ford,

It's fascinating that your "Oswald" and Lovelady have equally bald heads!

--  MWT   

[Alan Ford]

Dormon had a lot of camera movement as she was filming.
Is this double image another instance of "stretching" while the rest of the frame blurs?

The "in-focus" frame contains no double image.

Sorry, Mr Davidson, not interested in veering off to Geektown with you on this. If you have an argument you wish to develop, post it.

And if you find someone other than Mr Lovelady in those Wiegman frames with a second head @ higher elevation across multiple frames, let me know!

And if you finally feel in a position to state the blindingly obvious about this image, namely: that Mr Lovelady is nowhere near the shadow line------------------



----------------then by all means feel free to state the blindingly obvious! 

[Alan Ford]

Mister Ford,

It's fascinating that your "Oswald" and Lovelady have equally bald heads!

--  MWT   

Really, Mr Graves?



What's truly fascinating is that you still can't explain how natural shadow could possibly be falling on Mr Lovelady when he's standing here:



Oh dear, oh dear... 

[Thomas Graves]

Really, Mr Graves?



What's truly fascinating is that you still can't explain how natural shadow could possibly be falling on Mr Lovelady when he's standing here:



Oh dear, oh dear... 

Oh My God! 

Now it looks like a three-faced Janus!

--  MWT   

[Alan Ford]

Oh My God! 

Now it looks like a three-faced Janus!

--  MWT   

A predictably silly reply from Mr Graves 

What will he do next? Pivot to Ms Calvery perhaps?

[Thomas Graves]

A predictably silly reply from Mr Graves 

What will he do next? Pivot to Ms Calvery perhaps?

Mister Ford,

What, you don't see three "distinct faces" in the frame on the left?

They were really "packed in like sardines" on those steps, weren't they!

--  MWT   

[Alan Ford]

Mister Ford,

What, you don't see three "distinct faces" in the frame on the left?

Nope, look more closely. Two heads, one of which belongs to Mr Oswald! 

He's there across multiple frames:

They were really "packed in like sardines" on those steps, weren't they!

On that side of the doorway? Not really. Ample room for Mr Oswald to be there. But nice try! 

Do let us know, Mr Graves, when you can explain the shadow down Mr Lovelady. You haven't done terribly well so far...