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

[Alan Ford]

There could never be two heads there at the same time, it would have been a dead giveaway. Therefore, a little more creative artistry was in order.
The shadow knockout under the chin/across the neck wasn't done very well, but the white chested extended shirt was.

Mr. Davidson, are you suggesting that W2 ('lower') Lovelady is authentic, but W1 ('upper') Lovelady is a messy merging of 2-into-1?

If so, is this the issue you're getting at?:

[Alan Ford]

Now if Someone can insert a body that represents Oswald’s 5’-9” 135 lb body into the gap between Prayer Woman and Lovelady and about a step or 2 up from the ground level and try to simulate the movement that is described by Mr Ford “as flapping”, that would be most helpful.

By all means explore a scenario, Mr. Mason, but I do wish to be clear as to what my claim is:

Mr. Oswald is the man in the reddish shirt in Hughes. He is standing behind the black man. He does not move from this position, and is still there in Wiegman (as PrayerMAN), facing forward just like in Hughes, but now with fake shadow covering his person so as to prevent identification.

I am putting him on the fourth step up throughout the motorcade sequence. Note the brickwork behind the white west column, and its position relative to that fourth step up:



Now look at PrayerMAN in Wiegman, and how close his right elbow is to the back edge of the brickwork. This cannot be PrayerWOMAN back on the landing-----------the distance from elbow to brickwork is just too small.



Pres. Kennedy having passed the building, Mr. Oswald is no longer waving the flag-------------his little stunt is done.

 

[Alan Ford]

Pres. Kennedy having passed the building, Mr. Oswald is no longer waving the flag-------------his little stunt is done.

What happened next?

Here's what Chief Jesse Curry was telling press 11/22:



I believe one Depository woman in particular (Mrs. Jeraldean Reid?), who had seen Mr. Oswald walk off those steps carrying a long paper sack, which he unaccountably discarded by the mailboxes, immediately attracted the attention of Officer Baker:



As for what happened after that, well, sorting out fact from damage-control fiction gets a little trickier...................................

[Alan Ford]

Well!

There will be those in Team Keep LHO Off Them Steps who are still clinging for dear life to the notion that Reddish Shirt Man in Hughes is not Mr. Lee Harvey Oswald but Mr. Billy Lovelady, and that he simply moves a little to his left for his appearance in Bell-----------------



I have a question for these folks. Given your belief that the only thing that should be in front of Mr. Lovelady is the head and/or clothing of the black man standing down by the white west column, how do you explain the fact that Mr. Lovelady in Bell emerges from behind some object or objects colored BLUE and WHITE?



Here's with extra saturation to clarify that that blue is NOT foliage but something in that doorway:



And the white cannot be the west column, because we see Mr. Lovelady's head go further west than its eastern edge

 

[Alan Ford]

Friends, kindly take note that the source image I've been using above for CE142 shows Det. Montgomery angling the paper sack towards the camera. This gives a somewhat diminished sense of the sack's full height.



Also! Mr. Darnell is filming at an angle to the object being held up by the woman. This angle reduces somewhat the object's apparent width.

Making allowance for these factors, I believe this object is none other than CE142:



What do YOU believe it is? What do YOU believe sent that woman behind the street works barrier to the mailboxes? What do YOU believe is keeping the object, which is being held out away from the woman's body, from plunging vertically? What do YOU believe is inducing Officer Baker (as shown in Mr. Sandy Larsen's splendid GIF below) to make a beeline for that woman?



 

[Alan Ford]

Compare this far less tortured orientation:



To get a perfect alignment, imagine the 1967 photographer moving a little east, and Mr. Lovelady's head following him (without any other movement of his body).

In the name of the 'Exhaust All Conceivable Options' Principle!:

"Lovelady in Wiegman has a dark jacket hanging down from his right shoulder" (Discuss)



 

[James Hackerott]

Many thanks, Mr. Hackerott, your going to this trouble is genuinely appreciated.

Is it not evident from this overlay that 3D Lovelady's posture is simply wrong?

Compare this far less tortured orientation:



To get a perfect alignment, imagine the 1967 photographer moving a little east, and Mr. Lovelady's head following him (without any other movement of his body).

It is not evident that the posture is simply wrong. This is not the first time I was forced to accept such a posture. Back in 2018 I wanted to locate Lovelady’s location in the doorway for the Altgens 6 photo. That was a long time ago but I’m still forced accept that conclusion. I cannot place a standing 5’8” model on either one (too tall) or two steps down (too short) from the lading. See the below slide for my reasoning.
 

I don’t think the 3D posture is outrageous but plausible. Lovelady was near the limits of his ability to see the presidential limousine and was likely trying to track it while also descending the steps for a better view. If it was me, I’d be using the handrail if I was not keeping my eyes on the steps.  I’ve spent so much time on this I decided to give it a project name “EasyGlyde”  (boos..).

And finally, a combo graphic of the latest renderings of the doorway transit along with Altgens’ view and three closeup views of the posture changes. I removed the black hair I had for Lovelady’s model and replaced it with flesh color – to better mimic his balding hairline as well as experimenting  to narrow the head ear-to-ear width for a more natural look.