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John Butler

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  1. Richard, This is something I pointed out some time back just from looking at the photo and the Dox drawing. The Tim Smith article is a winner. Just this one incident about the Dox drawings is enough to tell you about the atmosphere of the Kennedy autopsy. This photo I picked up from the article does a better job than what I had done earlier. The gaping wound in the back of Kennedy's head is clearly seen in this photo. There is no denying it. It is a vindication of the Parkland medical people. Dox did a cover up by not clearly drawing the skull wound and the depth seeing inside the skull with little brain matter showing. From this any drawing of a whole brain is an outright fraud more spectacular than her drawing above, Fox 3. The wound to the side of the head is manufactured and wound up being shown in the Zapruder film as one of the many fraudulent changes in the film. This wound was not seen at Parkland by trained medical gunshot wound specialists. It was not there then or they would have seen it. Maybe they should have gotten Ida Dox to do the Zapruder frame paintings. She is a very detailed artist and should not have missed the gaping wound. In fact she didn't. If you look real close there is a black spot with no details that matches the black spot in the wound in Kennedy's head in the photo showing the interior of his skull. It looks like someone didn't like what she drew and she changed it to be problematic.
  2. I went back and measured the shadows with a more sophisticated tool. Here is the results: IMO, there is just too much variation for distance and perspective. We are looking at for the most part less than 20 feet. The shadow for Altgens bag was measured, not added to the frame. It was 4.90°. The range for variation in these shadows is 4.90° to 36.38° in roughly, less than 20 feet. OBTW, no converging shadows here.
  3. Chris, I'll have to think about some of the things you said. You know how hard headed I am. As far as Ray goes, we are arguing a fine point. Parallel shadows are just that. There is no real convergence as far back as the sun. Convergence is an illusion of perspective and distance. The farther the distance the greater the convergence. Consider a railroad tracking moving to the horizon, the tracks seem to converge and mover closer together, not further apart. Shadows can also diverge as an illusion of perspective and distance. This also requires some distance. I'm not sure I agree with distances as close as 20 feet distorting and creating illusions regardless of perspective.
  4. So, a small change in angle is significant in a photo? Thanks Chris. I think many of the graphic errors seen in the Zapruder film is due to the graphic artists being hurried in their preparations of the various films. Particularly, in the early film frames shown from LIfe.
  5. From what I understand these folks at the CIA had prior experience in Latin or Central America and the Philippines in arranging assassinations of political leaders. Johnson said they had a Murder, Inc. group in the Caribbean. The Zapruder film is the best example of their pys op programs at the time. For how many decades did the Zapruder film with the help of the media control and direct the narrative? It would be brought out in the 70's when folks begin to doubt the JFKA in a serious way. People are less willing to believe what they see in the film than in prior times mainly due to technology available to anyone. The planners of the JFKA had a plan and a notion they might have to change the elements of the plan according to what happened during he assassination. This we can see in about an hour or perhaps a hour and a half after the assassination. I have surveyed all of the witness statements in Dealey Plaza and believe I can detect a difference in the way they were being written shortly after the assassination that afternoon.
  6. Ray, I do find shadows in Dealey Plaza confusing. But, not for the reasons you mention. I rejected your notion of converging shadows back then and still do now. I can't see any converging shadows in any of the frames I used. I don't think being vertical or non-vertical has anything to do with how the sun casts shadows. We can't dismiss Jackie's arm shadow when it should be a body shadow with the greatest angle difference. And, we can't reject different angles in different films simply because they are not a panoramic. The 3 frames/films were all taken within a minute of the JFKA. The angle of the sun changed minutely in that time period. Different places, different perspectives didn't change the shadows being parallel and at the same angle in each frame except Z 347. It is not impossible to measure that.
  7. I'm still trying to figure out shadows in Dealey Plaza. As nearest one can get to instantaneous is the speed of light. Sunlight strikes an object on earth and casts a shadow at the speed of light. If similar or other objects are in the same area they too should cast a shadow the same as the first object. The degree of the shadows off the object or objects from the sun should be the same. Perspective in a film or photo could change that angle, but in a group of objects the shadows should be consistent with each other. A short distance shouldn't have that much to due with changing the angles of the objects. So, consider the shadows in 3 different film frames: Consider the shadow in Z 347. The shadows have differing angles cast from the sun. In the Weigman or Couch frame from Unger the shadows of he two people walking forward are the same. In the Dorman frame below the shadows are consistent at 47°. Ignore my artwork on changing the colors of the black coats of the two ladies. Jean Hill, in WC Exhibit Hill No. 5, the one Arlen Specter classified as Top Secret, said she was across from the SW corner of the TSBD. Which would put her in this position. So, I repainted the coats of the two ladies to see what that looked like. Let's go back to the shadows. In Z frame 347 the shadows are at different degrees of angle. The people are also highlighted differently in the same landscape. You need a bright highlight in this rather dull film. You need a stronger light to reveal the President's head wound, flapping scalp fragment and all. This means you have to darken the left hand side of the figures and brighten the right hand side of the figures to make that work. That's what's evident in Chris D's example. And, that's why non-essential characters like Bothun are not lit up brightly. If you observe the Couch? and Dorman frames the shadows and highlights are consistent.
  8. The editor or software is playing with me again. It or someone erased the post I was working on and replaced it with a duplicate post. I'll start again and hopefully without interference.
  9. Kudos on that. How in the world were you able to spot that tiny detail?
  10. Kudos on that. How in the world were you able to spot that tiny detail?
  11. Very possible. But, you know us conspiracists we are suspicious of just about everything. It's the difference between a cynic and a believer. The JFKA has made me a hard core cynic.
  12. Richard, Thanks. Denis' post is very interesting. A good question is when did the 6th floor flooring crew get assigned to the TSBD at Elm and Houston. I have forgotten which direction the old TSBD is from the new across from the Dal-Tex. If south or North of the new TSBD then that should disrupt a lot of conspiracy thinking. If Oswald took the job and was at the old TSBD how could one blame him for setting up an ambush on the presidential motorcade on Elm Street ahead of time. One could say those in the know, Ruth Paine, CIA, etc., would perhaps know about the Dallas Motorcade passing the new TSBD and plans were made to shift Oswald from the old to the new in time for that event. As far as I know witness testimony reads as if Oswald was always at the new TSBD. Denis is indicating that Shields, Frazier, and Oswald were at the old TSBD long enough to learn each others habits and behavior. From the photo the old TSBD looks like an adequate building to store and transmit books to schools. And, that raises questions of why make a new TSBD and spend a lot of money renovating an old building?
  13. I really don't understand the McIntire photo at all. First off there is a railroad track there. The TSBD is east of the railroad tracks/Triple Underpass. the small roofed building appears to be Bower's tower which is west of the TSBD. So, that probably isn't Bowers tower. And, the building labelled TSBD doesn't appear to be the building at all. Here are other McIntire photos taken from a different perspective. This photo clearly shows what the TSBD looks like from the west side. And, further down the road: McIntire is on the approach to the Stemmons. This is west of the TSBD. It shows the west side and the north side of the TSBD. The question is if McIntire is over here approaching the Stemmons how did he take the photo in question? If that TSBD is the old building that might explain things. But, how did McIntire take that photo? What's always bothered me is if McIntire took the second photo of the SS car and then took the next, third photo of the p. limo further down the street. The question that always bothered me is how did he get down the street so quickly in order to beat the p. limo there. I don't have an explanation, but Richard Trask in Pictures of The Pain does. IMO, some people just write anything and expect one to believe it. I don't buy Trask's explanation for this photo. He said "Later still McIntire, returning to his car up on the Stemmons Freeway near the Continental Avenue exit ramp snapped off his third shot". What bothers me is how he got to Continental Avenue before the p. limo? Supposedly, he is up on the Stemmons Freeway in an elevated position. The photo appears to be taken on the ground and level with the p. limo. Looking at Google Earth one sees this. Continental Avenue is a long way off and the p. limo would be on the Stemmons long before McIntire would have been capable of taking the picture. So, who took it? Strange. I have problems with Trask's work.
  14. Back to magic shadows. In Z345 Bothun's shadow is 10 degrees. The man behind is 8 degrees. The people at the tops shadow is 8 degrees. And, the person diving for the ground to the left of Altgens is 12 degrees. I used a simple method to arrive at the varying numbers of degrees. Not very scientific, but I'm sure there is not that much of an error in computing the various shadow degrees. This with the Dorman/Zapruder comparison on the SW corner raises a number of questions. I am going to assume whoever put this film together would have done it at a place similar to Jaggers, Chile, Stovall. I'm not saying this was done at Jaggers, etc. But, it may have been done at a superior photo lab such as the Hawkeye Works. We see in Jaggers, etc many machines with different operators. Different operators may have done their bit to a frame, lets say insert Bothun (the Altgens copy) that was passed on to them from a different work station and once they had done their work passed it on. Errors could creep in when different folks inserted their character and then painted in the shadow. David Healey is the master here and he can straighten out my speculative thinking in no time.
  15. Anyway, back to the flash attachment. It really looks like there is a flash attachment there.
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