Prayer Woman

[Bill Chapman]

IN REPLY to POST #1449...
John, I don't consider it to be smushing people's names together, as to me a systematic style of avoiding spacing between 'some' names' lettering.
Font type is a form of expression, as is size, and style related due to preference. Somewhat systematic, overall. Font color, is mostly preference, sometimes style related, and hopefully unique to some degree.
However, I also consider it all as a style, overall, which itself is systematic. Therefor, should a post be quoted, and instead of a reprint, a reproduced comment is posted with context altering adjustments, to appear authentic will not be an easy task. And, being difficult to disguise, said adjustments should be fairly easy to discover, and expose.
So, you asked, and I answered.

Your format encourages a fly-by.
Buh-bye.

[Alan Ford]

Scale four people on west side steps using the later Weigman frame.
Clone Lovelady from later frame onto earlier frame.
Align the face of PrayerPerson in Weigman/Darnell.
Use a digital densitometer to measure Prayerperson's forehead/right forearm in early Weigman frame.

Chris, one cannot take the Prayer Man figure as a constant from Wiegman to Darnell. When the glass doors' horizontal aluminum strip is kept at constant height, we get this:

[Alan Ford]

Point being made:
The man traversed by the "momentarily dark background" has no shadow cast upon his head, while he is one step down and after he steps up on the landing.
If he turns and faces the camera as Lovelady is, there will not be a shadow across the front of his face either.
 

Thanks for clarifying Chris.
How do we know there's no shadow cast upon the upper half of his head when he's on the landing? Looks like shadow to me. Compare shadow that comes over the head of the (rifle-carrying?) man on the east side who steps up on the landing just after him.
What troubles me more tbh is the fact that in the initial frames the cowboy hat in center is in direct sunlight. Is this man short enough, and lowering his head enough, to miss the lintel shadow?

[Larry Trotter]

IIRC, it was long ago asserted, but never proven, that CarlJonesImage was waving, and/or had an arm raised in Altgens6 Photograph. And, I have to conclude there is still no provable evidence for said assertion. The material pattern of the long sleeve shirt as seen being worn on BillyLoveladyImage, matches the arm and torso. It does not match the material pattern of the long sleeve shirt as seen being worn by CarlJonesImage.

It also continues to be my conclusion that BillyLoveladyImage is near, and likely holding onto, the then center placed handrail, as Altgens6 Photograph was made. However, the primary object being photographed, from the front, was the LincolnLimousine carrying PresidentKennedy with wife Jackie, as well as GovernorConnally with wife Nellie, and the SSA driver and SSA co-driver. And, the TSBD entrance portal is in the background some distance back of/from the limousine.

When considering the portal area distance, camera angle, as well as the fact that it is photographic background, I have to conclude the evidentiary value is reduced, and additional image information, and/or testimony is needed for reliable provable corroboration.

[Patrick Jackson]

Oh dear, just about everything here is wrong! These loose claims are what happens when 'research' is done without recourse to actual images

1. We can't see Lovelady's left arm in Altgens---what you are continuing to mistake as his left arm is in fact the RAISED arm of a spectator out front.


2. Unless you were on the steps yourself at 12.30pm on Nov. 22nd 1963, you can't possibly know the effect of Lovelady's alleged lean on his height----any possible shortening effect caused by a slight leftwards lean might easily be more than cancelled out by his stretching up/standing on tiptoe in order to see what the hell is happening further down Elm. I mean, does this really look to you like a man standing at well under his normal height?


3. As James Hackerott has demonstrated, Shelley is appreciably shorter than Lovelady (5'6" vs. 5'8.5"):

You tell us that Lovelady is on the landing. Yet Altgens shows Lovelady appreciably shorter than 'Shelley', even with 'Shelley' a bit further back on the landing:

Explain, please----------with images!

There are low chances that what you marked in RED is "RAISED arm of a spectator out front". Which spectator exactly do you think?
Carl Edward Jones was in front but he was wearing bright suit, could not be his hand.


Here you see Carl Edward Jones.

[Alan Ford]

There are low chances that what you marked in RED is "RAISED arm of a spectator out front". Which spectator exactly do you think?
Carl Edward Jones was in front but he was wearing bright suit, could not be his hand.


Here you see Carl Edward Jones.

It is NOT Carl Edward Jones's raised arm, it belongs to someone dark complected further down Elm (and well out of shot in the Wiegman doorway frames):



Don't believe something so far away from Lovelady could look so near him? Check out this demonstration of how Altgens' zoom lens creates counter-intuitive perspective effects!

[Patrick Jackson]

It is NOT Carl Edward Jones's raised arm, it belongs to someone dark complected further down Elm (and well out of shot in the Wiegman doorway frames):



Don't believe something so far away from Lovelady could look so near him? Check out this demonstration of how Altgens' zoom lens creates counter-intuitive perspective effects!

I understand your point but you have to narrow the number of persons whose hand it might be. Three black ladies seen in Altgens 6, all were wearing bright dresses and there are low chances this to be hand one of them. Also, limo already passed by them so check the second photo how they are waving almost horizontally towards the limo.
If what you marked in red is really a waving hand this person was standing between three black ladies and Carl Edward Jones, closer to Jones and this person was waving to LBJ?