How Did Bart Kamp Create The Lovelady Image?

[Dan O'meara]

Dear danny BOY o'meara,

I've said at least once in the past that Shelley almost certainly intercepted his running and crying friend, Calvery, on-or-near the "island," and, after hearing from her that JFK had been shot, may have signaled his buddy, Lovelady (still on the steps) to join him on a quick walk / jog down to the railway yard / parking lot to see what was going on.

Don't you remember?

-- Tom

Of course I remember, Pinko.
This is the lie...sorry, fabrication... I'm talking about, so obviously I remember.
I've argued all along that Shelley immediately ran from the steps and met Gloria coming the other way. He states this in his affidavit. (People such as yourself have to ignore the fact that, during his WC testimony, Shelley completely changes his story, stating that he stayed on the steps for at least 3 minutes before Gloria ran up).
The 'fabrication' I have to keep calling you out on is the part where Shelley calls Lovelady to join him. You've invented that. It's your fabrication. It is not based on any testimonial evidence whatsoever. It's a lie you have to tell because you can't find any other way of getting Lovelady and Shelley on to the Elm Street Ext. within 25 seconds.
You have swallowed down Kamp's 'Lovelady' image without question even though it has been demonstrated that this image is dubious, to say the least, and now it's been pointed out that it's physically impossible for Shelley and Lovelady to do what they attested to in their WC testimonies AND be on Elm St within 25 seconds, you've had to invent this lie. If it's any comfort, Lance "I think I've Had An Accident" Payette did exactly the same thing.

On the other hand, my own identification of Lovelady in Darnell does not require me to lie my way through an explanation and makes perfect sense with the known timings:

[Tom Graves]

Of course I remember, Pinko.
This is the lie...sorry, fabrication... I'm talking about, so obviously I remember.
I've argued all along that Shelley immediately ran from the steps and met Gloria coming the other way. He states this in his affidavit. (People such as yourself have to ignore the fact that, during his WC testimony, Shelley completely changes his story, stating that he stayed on the steps for at least 3 minutes before Gloria ran up).
The 'fabrication' I have to keep calling you out on is the part where Shelley calls Lovelady to join him. You've invented that. It's your fabrication. It is not based on any testimonial evidence whatsoever. It's a lie you have to tell because you can't find any other way of getting Lovelady and Shelley on to the Elm Street Ext. within 25 seconds.
You have swallowed down Kamp's 'Lovelady' image without question even though it has been demonstrated that this image is dubious, to say the least, and now it's been pointed out that it's physically impossible for Shelley and Lovelady to do what they attested to in their WC testimonies AND be on Elm St within 25 seconds, you've had to invent this lie. If it's any comfort, Lance "I think I've Had An Accident" Payette did exactly the same thing.

On the other hand, my own identification of Lovelady in Darnell does not require me to lie my way through an explanation and makes perfect sense with the known timings:

Dear danny BOY o'meara,

Why does your Shelley look so heavy and have a receding hairline all of a sudden?

Did Bart Kamp fake that, too?

-- Tom

[Dan O'meara]

Dear danny BOY o'meara,

Why does your Shelley look so heavy and have a receding hairline all of a sudden?

-- Tom

He's wearing a black, baggy suit and it is absolutely impossible to say anything about his hairline from such a poor quality image.
The suit trousers are tight around the calf area unlike the usual straight-cut trousers:



There are two reasons I believe this is Shelley.
The first is that the individual in question fits the general description - white male wearing a baggy black suit. There is nothing visually to refute the identification but, because the images are so poor, there is nothing in the image that can be used to make a positive identification of Shelley.
Which takes us to the second point - the timings of events.
Immediately after the shots Shelley runs across the street to the 'island' where he meets Gloria coming the other way. He then returns to the steps and re-enters the building.
As you point out, Shelley was the best man at Gloria's wedding. Gloria is distraught about what she has just witnessed and is racing back to the building from her position on Elm Street. It makes sense that Shelley would return to the steps with Gloria as he listens to what she saw.
Gloria reaches the steps and has her interaction with Lovelady as she tells everyone there about the shooting of the President. That is what we are seeing in the image below;



In terms of timings, it makes sense that we would see Shelley in this image. When we watch the actual Darnell clip, the man I've identified as Shelley can be seen walking towards the front steps with his back to the camera. He then turns to his left to reveal he is quite slender and not at all as heavy as his baggy suit seems to indicate from behind.
I believe this is Shelley returning to the steps having accompanied the distraught Gloria across the street. He then seems to turn as Baker approaches him.

The timings work perfectly without any need to lie.
Your desperate insistence that you can discern this man's hairline from such a poor image is just part of your failed attempt to keep the Kamp 'Lovelady' identification alive. Even though it is refuted by the testimonial evidence and the image has been demonstrated to be suspect.

None of this 'proves' it's Shelley. It is just the best fit for all the available evidence.
What's important is to remember that, whichever Shelley identification is correct, both Shelley and Lovelady lied in their WC testimonies and the question has to be asked - why would they do that? What are they trying to hide?

[Royell Storing]

He's wearing a black, baggy suit and it is absolutely impossible to say anything about his hairline from such a poor quality image.
The suit trousers are tight around the calf area unlike the usual straight-cut trousers:



There are two reasons I believe this is Shelley.
The first is that the individual in question fits the general description - white male wearing a baggy black suit. There is nothing visually to refute the identification but, because the images are so poor, there is nothing in the image that can be used to make a positive identification of Shelley.
Which takes us to the second point - the timings of events.
Immediately after the shots Shelley runs across the street to the 'island' where he meets Gloria coming the other way. He then returns to the steps and re-enters the building.
As you point out, Shelley was the best man at Gloria's wedding. Gloria is distraught about what she has just witnessed and is racing back to the building from her position on Elm Street. It makes sense that Shelley would return to the steps with Gloria as he listens to what she saw.
Gloria reaches the steps and has her interaction with Lovelady as she tells everyone there about the shooting of the President. That is what we are seeing in the image below;



In terms of timings, it makes sense that we would see Shelley in this image. When we watch the actual Darnell clip, the man I've identified as Shelley can be seen walking towards the front steps with his back to the camera. He then turns to his left to reveal he is quite slender and not at all as heavy as his baggy suit seems to indicate from behind.
I believe this is Shelley returning to the steps having accompanied the distraught Gloria across the street. He then seems to turn as Baker approaches him.

The timings work perfectly without any need to lie.
Your desperate insistence that you can discern this man's hairline from such a poor image is just part of your failed attempt to keep the Kamp 'Lovelady' identification alive. Even though it is refuted by the testimonial evidence and the image has been demonstrated to be suspect.

None of this 'proves' it's Shelley. It is just the best fit for all the available evidence.
What's important is to remember that, whichever Shelley identification is correct, both Shelley and Lovelady lied in their WC testimonies and the question has to be asked - why would they do that? What are they trying to hide?

  The man above is Not the same guy that is labeled as "Shelley" on the older posted Darnell Still Film. If you look at the recently released 1st Generation Darnell Film Copy, that guy on Darnell is clearly too wide to be the same guy labeled as Shelley above. This new copy of the 1st half of the Darnell Film makes that older still frame showing the TSBD front steps obsolete.

[Tom Graves]

The man above is not the same guy that is labeled as "Shelley" on the older posted Darnell Still Film. If you look at the recently released 1st Generation Darnell Film Copy, that guy on Darnell is clearly too wide to be the same guy labeled as Shelley above. This new copy of the 1st half of the Darnell Film makes that older still frame showing the TSBD front steps obsolete.

Dear Comrade Storing,

What guy on (sic) what Darnell?

-- Tom

[Royell Storing]

Dear Comrade Storing,

What guy on (sic) what Darnell?

-- Tom

   Go to YOU TUBE.   Search - "NBC 5 Archive Collection | Assassination Aftermath in Dealey Plaza | Darnell Film"   by - SixthFloorMuseum

    That is roughly the 1st :40 Seconds of the Darnell Film. That man in the suit that is alleged to be Shelley is clearly too wide on this 1st generation copy.
    The opening of this :40 also shows the 3 camera cars to be at a Dead Stop. The driver of Camera Car #2 is standing outside of the car. This is indicative of how long these cars have been sitting there stock still. This is why this opening of the Darnell Film had been "lost". It throws the currently assigned timelines of everyone pictured in this Darnell Film and the Couch Film too into a cocked hat. This also means that the JFK Limo was on Elm St LONGER than its' currently assigned timeline too. Whether that is due to a prolonged "rolling stop" and/or "dead stop". Wiegman filming the JFK Limo going under the Triple Underpass mandated that this snippet of camera cars being at a dead stop become "lost". 

[Tom Graves]

Do a google search for "NBC 5 Archive Collection Assassination Aftermath in Dealey Plaza Darnell Film" by the Sixth Floor Museum. It's roughly the first 40 seconds of the Darnell film. In this first-generation copy, the man in front of the steps at the 0:04 mark whom O'meara alleges is Shelley is clearly too wide to be him.

[Translated into comprehensible English by T.G.]

I agree.

[Royell Storing]

I agree.

   This is why I believe you are examining inferior JFK Assassination Images. You now easily see on this 1st Generation Copy of the Darnell Film what I am talking about with respect to the incorrect Shelley ID. The same goes for your examining a better copy of the Wiegman Film and seeing there is NO CAR to the (L) of Fedora Man or behind Fedora Man.