Perspective

[Craig Lamson]

I understand.

As difficult as it is, to decipher the top of a building. How far away is that building? How far away is Newman?

Post 49.

chris

No, it appears you DON'T understand, or else you could have answered this simple question from upthread.

"Light to dark, dark to light...hows that work again????? Inquiring minds want to know. Why not EXPLAIN it to us Chris, after all you have the IDEA of how much more can be captured...right?"

But then again maybe now you have the answer.

So tell us all how multiple exposures work on a single frame of reversal film. Then you can explain the differences between the ghost image as formed in your frame and the ghost image as formed in Vapruders.

In fact a explaining how YOU made a few multiple exposures with your own still camera and reversal film would be really enlightening as well. You have done that, right?

If you can't you really have no business making any comments on what should or should not be seen in the Zaprider frames in regards to ghost images.

Inquiring minds REALLY want to know.

Edited April 16, 2009 by Craig Lamson

[David G. Healy]

I understand.

As difficult as it is, to decipher the top of a building. How far away is that building? How far away is Newman?

Post 49.

chris

No, it appears you DON'T understand, or else you could have answered this simple question from upthread.

"Light to dark, dark to light...hows that work again????? Inquiring minds want to know. Why not EXPLAIN it to us Chris, after all you have the IDEA of how much more can be captured...right?"

But then again maybe now you have the answer.

So tell us all how multiple exposures work on a single frame of reversal film. Then you can explain the differences between the ghost image as formed in your frame and the ghost image as formed in Vapruders.

In fact a explaining how YOU made a few multiple exposures with your own still camera and reversal film would be really enlightening as well. You have done that, right?

If you can't you really have no business making any comments on what should or should not be seen in the Zaprider frames in regards to ghost images.

Inquiring minds REALLY want to know.

well.... what are you waiting for, you support the unsupportable, the WCR so get on out there and prop up the DP films and photos -- duplicate what we see on the extent films.... your deal champ! As we say out here: get'er dun....

[Craig Lamson]

I understand.

As difficult as it is, to decipher the top of a building. How far away is that building? How far away is Newman?

Post 49.

chris

No, it appears you DON'T understand, or else you could have answered this simple question from upthread.

"Light to dark, dark to light...hows that work again????? Inquiring minds want to know. Why not EXPLAIN it to us Chris, after all you have the IDEA of how much more can be captured...right?"

But then again maybe now you have the answer.

So tell us all how multiple exposures work on a single frame of reversal film. Then you can explain the differences between the ghost image as formed in your frame and the ghost image as formed in Vapruders.

In fact a explaining how YOU made a few multiple exposures with your own still camera and reversal film would be really enlightening as well. You have done that, right?

If you can't you really have no business making any comments on what should or should not be seen in the Zaprider frames in regards to ghost images.

Inquiring minds REALLY want to know.

well.... what are you waiting for, you support the unsupportable, the WCR so get on out there and prop up the DP films and photos -- duplicate what we see on the extent films.... your deal champ! As we say out here: get'er dun....

Slink back to your doghouse davie, you can't save Chris nor Costella, both are toast, and you are no longer relevent. Shut up and sit down chump, your 15 mins. are over too.

[Chris Davidson]

Toast!!! Such a harsh statement.

Just a few more questions.

Perhaps Craig can explain what the white area (red arrow) in the upper ghost image area is.

Or, perhaps that changed colors due to multiple exposures on film.

Interesting that it didn't change the white colonnade support column, in the lower ghost image area

chris

[Craig Lamson]

Toast!!! Such a harsh statement.

Just a few more questions.

Perhaps Craig can explain what the white area (red arrow) in the upper ghost image area is.

Or, perhaps that changed colors due to multiple exposures on film.

Interesting that it didn't change the white colonnade support column, in the lower ghost image area

chris

Yep Toast. Photo analysis is just not your bag. Might Interpretive Dance be a little more your speed?

Take a look again and I'll throw you a bone, it's around Newman's neck and shoulder.

If something is exposed as WHITE on reversal film and then a second exposure is added, how in heck could it change colors...its REVERSAL film!

BTW, you ready to explain the process of multi exposure for us yet or are you hoping your ignorance in this regard will just fade away, and no one will be the wiser? Perhaps if you UNDERSTOOD the process you would not look so foolish, or then again maybe not.

Edited April 18, 2009 by Craig Lamson

[John Dolva]

Perhaps part of it is the fact that (I think Craig alludes to it) that colors change when mixed. eg red mist on green can give a grey et.c..

[David G. Healy]

Toast!!! Such a harsh statement.

Just a few more questions.

Perhaps Craig can explain what the white area (red arrow) in the upper ghost image area is.

Or, perhaps that changed colors due to multiple exposures on film.

Interesting that it didn't change the white colonnade support column, in the lower ghost image area

chris

Yep Toast. Photo analysis is just not your bag. Might Interpretive Dance be a little more your speed?

Take a look again and I'll throw you a bone, it's around Newman's neck and shoulder.

If something is exposed as WHITE on reversal film and then a second exposure is added, how in heck could it change colors...its REVERSAL film!

BTW, you ready to explain the process of multi exposure for us yet or are you hoping your ignorance in this regard will just fade away, and no one will be the wiser? Perhaps if you UNDERSTOOD the process you would not look so foolish, or then again maybe not.

You were doing so well with the teapots, c-stands-fingers, bumpers and logos. Now when to comes photographing or filming, videotaping Interpretive Dance, I doubt they'd even allow you in a studio, that takes pure talent, dealing with extreme contrast ratios is no day at the beach dealing with Dealey Plaza imagery.... btw, how'd you earn a moniker of photo analysis? Not the same way Wild Bill Miller did? You're leaving us with the illusion that your a photo analyst.... what is it, a photog or a photo analyst?

[Craig Lamson]

Toast!!! Such a harsh statement.

Just a few more questions.

Perhaps Craig can explain what the white area (red arrow) in the upper ghost image area is.

Or, perhaps that changed colors due to multiple exposures on film.

Interesting that it didn't change the white colonnade support column, in the lower ghost image area

chris

Yep Toast. Photo analysis is just not your bag. Might Interpretive Dance be a little more your speed?

Take a look again and I'll throw you a bone, it's around Newman's neck and shoulder.

If something is exposed as WHITE on reversal film and then a second exposure is added, how in heck could it change colors...its REVERSAL film!

BTW, you ready to explain the process of multi exposure for us yet or are you hoping your ignorance in this regard will just fade away, and no one will be the wiser? Perhaps if you UNDERSTOOD the process you would not look so foolish, or then again maybe not.

You were doing so well with the teapots, c-stands-fingers, bumpers and logos. Now when to comes photographing or filming, videotaping Interpretive Dance, I doubt they'd even allow you in a studio, that takes pure talent, dealing with extreme contrast ratios is no day at the beach dealing with Dealey Plaza imagery.... btw, how'd you earn a moniker of photo analysis? Not the same way Wild Bill Miller did? You're leaving us with the illusion that your a photo analyst.... what is it, a photog or a photo analyst?

Crawl back into your doghouse , you are no longer revelvant, just like Chris and your pal Costella.

[Thomas H. Purvis]

Having suffered a short "down-time" as a result of Barbara's grandchildren tearing out my modum/telephone connection line, it is not safely run through the attic where they can not destroy it again.

Nevertheless, the time was not wasted as some dumpster diving in the sheds for old information was undertaken as well.

Hopefully some of these photo's will assist in answering a few question.

The attached photo is from the November 29 issue of LIFE Magazine. It is of particular note as follows:

A. The photo (according to LIFE) was taken on 11/23/63 and the book cartons were restacked in their found position in order to "re-create the scene" from the sixth floor window.

This represents one of the earliest photographs taken, and it clearly demonstrates that more than ample room existed along the left side of the window to operate and fire the rifle with absolutely no interference from the pipes which run along the wall adjacent to the left side of the window.

B. One should note the location of the "patch" in the asphalt on Elm St., as this patch has been shown and discussed in numerous other photographs and represents a critical landmark in regards to the second shot/aka Z313 impact.

C. This item represents the sidewalk and steps which come down from the Stockade Fence location, down to Elm St.

And, in that regards, one should note the location of the "arrow"/"D"

D. Represents the location of impact to JFK, and as is clearly observed, this arrow location references the impact location for the third/last/final shot which occurred directly in front of James Altgens location, almost directly across from the sidewalk and steps which lead to the Stockade Fence.

===============================================

This photograph is of immense importance when attempting to correlate other photographic evidence which has been presented previously, and will be brought out again in regards to the subject of the last two shots.

Additionally, it should be noted that TIME/LIFE, with the original Zapruder film in hand. originally had a survey done on 11/25/63 in which they stated that the Z313 impact was the last shot fired.

Yet, by 11/29/63, this had changed, and with the publishing of this photograh they now stated that the final shot impact was considerably farther down Elm St. than the impact of the Z313 shot.

[Thomas H. Purvis]

Having suffered a short "down-time" as a result of Barbara's grandchildren tearing out my modum/telephone connection line, it is not safely run through the attic where they can not destroy it again.

Nevertheless, the time was not wasted as some dumpster diving in the sheds for old information was undertaken as well.

Hopefully some of these photo's will assist in answering a few question.

The attached photo is from the November 29 issue of LIFE Magazine. It is of particular note as follows:

A. The photo (according to LIFE) was taken on 11/23/63 and the book cartons were restacked in their found position in order to "re-create the scene" from the sixth floor window.

This represents one of the earliest photographs taken, and it clearly demonstrates that more than ample room existed along the left side of the window to operate and fire the rifle with absolutely no interference from the pipes which run along the wall adjacent to the left side of the window.

B. One should note the location of the "patch" in the asphalt on Elm St., as this patch has been shown and discussed in numerous other photographs and represents a critical landmark in regards to the second shot/aka Z313 impact.

C. This item represents the sidewalk and steps which come down from the Stockade Fence location, down to Elm St.

And, in that regards, one should note the location of the "arrow"/"D"

D. Represents the location of impact to JFK, and as is clearly observed, this arrow location references the impact location for the third/last/final shot which occurred directly in front of James Altgens location, almost directly across from the sidewalk and steps which lead to the Stockade Fence.

===============================================

This photograph is of immense importance when attempting to correlate other photographic evidence which has been presented previously, and will be brought out again in regards to the subject of the last two shots.

Additionally, it should be noted that TIME/LIFE, with the original Zapruder film in hand. originally had a survey done on 11/25/63 in which they stated that the Z313 impact was the last shot fired.

Yet, by 11/29/63, this had changed, and with the publishing of this photograh they now stated that the final shot impact was considerably farther down Elm St. than the impact of the Z313 shot.

If one will hold that thought in regards to the impact locations for the second and third shot, this photo is also helpful in other ways as well.

http://mcadams.posc.mu.edu/russ/testimony/shaneyf2.htm

Agent Frazier was in the window of the Book Building at the control point with the rifle that was found at the window following the assassination.

Senator COOPER. May I ask a question there? How did you establish the location of the rifle in making those calculations?

Mr. SHANEYFELT. The location of the rifle was established on the basis of other testimony and information furnished to us by the Commission, photographs taken by the Dallas Police Department immediately after the assassination, and the known opening of the

It was an estimation of where the rifle most likely was based on the knowledge that the Commission has through testimony.

Mr. SPECTER. Senator Cooper, Mr. Frazier is present and has been sworn, and he is going to identify that. He could do it at this time, to pinpoint that issue.

Senator COOPER. I think we can just make a note of that, and go ahead with this witness.

Mr. SHANEYFELT. Commission Exhibit No. 887 is a picture of me that was taken on May 24, 1964. My location was at the sixth floor window of the Texas School Book Depository that we have designated as our control point. I have the rifle that is the assassination rifle mounted on a tripod, and on the rifle is mounted an Arriflex 16-mm. motion picture camera, that is alined to take photographs through the telescopic sight.

This Arriflex motion picture camera is commonly known as a reflex camera in that as you view through the viewfinder a prism allows you to view directly through the lens system as you are taking your photographs so that as I took the photographs looking into the viewfinder I was also looking through the scope and seeing the actual image that was being recorded on the film.

Mr. SPECTER. Was the view recorded on the film as shown on Exhibit No. 886 the actual view which would have been seen had you been looking through the telescopic sight of the Mannlicher-Carcano itself?

Mr. SHANEYFELT. Yes.

Mr. SPECTER. How did you determine the level and angle at which to hold the rifle?

Mr. SHANEYFELT. I placed the rifle in the approximate position based on prior knowledge of where the boxes were stacked and the elevation of the window and other information that was furnished to me by representatives of the Commission.

Mr. DULLES. You used the same boxes, did you, that the assassin had used?

Mr. SHANEYFELT. No; I did not.

Mr. SPECTER. Were those boxes used by Mr. Frazier.

Mr. SHANEYFELT. They were used by Mr. Frazier and used in making the measurements. I had to use a tripod because of the weight of the camera and placed the elevation of the rifle at an approximate height in a position as though the boxes were there.

Mr. SPECTER. Was Mr. Frazier present at the time you positioned the rifle on the tripod?

Mr. SHANEYFELT. Yes; he was.

Mr. SPECTER. Did he assist in describing for you or did you have an opportunity to observe the way he held a rifle to ascertain the approximate position of the rifle at that time?

Mr. SHANEYFELT. That is correct.

Mr. SPECTER. May it please the Commission, we will, with Mr. Frazier, indicate, the reasons he held the rifle in the way he did to approximate the way we believe it was held at the time of the assassination.

http://mcadams.posc.mu.edu/russ/testimony/frazr3.htm

Mr. SPECTER - Did you handle the Mannlicher-Carcano rifle during the course of the onsite tests?

Mr. FRAZIER - Yes, sir.

Mr. SPECTER - The rifle previously identified as Commission Exhibit No. 139?

Mr. FRAZIER - Yes, sir; I did.

Mr. SPECTER - At what position--what was the basis for your positioning of that rifle during those tests?

Mr. FRAZIER - To position the rifle, we selected boxes of the same size and contour as boxes shown in a photograph or rather in two photographs, reportedly taken by the police department at Dallas shortly after the assassination.

We placed these boxes in their relative position in front of the window spacing them from left to right, according to the photographs which were furnished to us, and also placing them up against the window, with one of them resting on the window ledge as it was shown in the photographs.

Mr. SPECTER - In addition to the placement of the boxes, were there any other guides which you had for reconstructing the position of the rifle to the way which you believed it to have been held on November 22, 1963?

Mr. FRAZIER - Yes, sir; there was one physical obstruction in the building which could not be moved consisting of two vertical pipes located just at the left side of the sixth floor window. These prevented me or anyone who was shooting from that window from moving any further to the left.

The position of the rifle, of course, had to be such that it could be sighted out through the window, using the telescopic sight high enough above the window ledge so that the muzzle of the weapon would clear the window ledge, and low enough in position so that the bottom of the window, which was only partially raised, would not interfere with a view through the telescopic sight, which is approximately 2 inches higher than the actual bore of the weapon.

Mr. SPECTER - Did you position the rifle further, based on information provided to you concerning the testimony of certain eyewitnesses at the assassination scene concerning what they observed?

Mr. FRAZIER - Yes, sir; we attempted to put the muzzle of the weapon sufficiently far out the window so it would have been visible from below.

http://www.history-matters.com/archive/jfk...Vol18_0050b.htm

and:

LIFE Magazine, October 2, 1964.

FBI Agent at the window with rifle.

[Thomas H. Purvis]

Having suffered a short "down-time" as a result of Barbara's grandchildren tearing out my modum/telephone connection line, it is not safely run through the attic where they can not destroy it again.

Nevertheless, the time was not wasted as some dumpster diving in the sheds for old information was undertaken as well.

Hopefully some of these photo's will assist in answering a few question.

The attached photo is from the November 29 issue of LIFE Magazine. It is of particular note as follows:

A. The photo (according to LIFE) was taken on 11/23/63 and the book cartons were restacked in their found position in order to "re-create the scene" from the sixth floor window.

This represents one of the earliest photographs taken, and it clearly demonstrates that more than ample room existed along the left side of the window to operate and fire the rifle with absolutely no interference from the pipes which run along the wall adjacent to the left side of the window.

B. One should note the location of the "patch" in the asphalt on Elm St., as this patch has been shown and discussed in numerous other photographs and represents a critical landmark in regards to the second shot/aka Z313 impact.

C. This item represents the sidewalk and steps which come down from the Stockade Fence location, down to Elm St.

And, in that regards, one should note the location of the "arrow"/"D"

D. Represents the location of impact to JFK, and as is clearly observed, this arrow location references the impact location for the third/last/final shot which occurred directly in front of James Altgens location, almost directly across from the sidewalk and steps which lead to the Stockade Fence.

===============================================

This photograph is of immense importance when attempting to correlate other photographic evidence which has been presented previously, and will be brought out again in regards to the subject of the last two shots.

Additionally, it should be noted that TIME/LIFE, with the original Zapruder film in hand. originally had a survey done on 11/25/63 in which they stated that the Z313 impact was the last shot fired.

Yet, by 11/29/63, this had changed, and with the publishing of this photograh they now stated that the final shot impact was considerably farther down Elm St. than the impact of the Z313 shot.

OK! Hopefully, most observed that there exists just a "tad" of difference between the manner in which Lyndal Shaneyfelt held the rifle (on a tripod) while he photographed the re-enactment, as opposed to the manner in which FBI Agent Robert Frazier held the rifle at the time that the survey work was actually done.

Back to the "asphalt patch".

This will be a rehash for those who followed along the first time, however it is always worthwhile to follow up again just in the event that something may have gotten missed.

The LIFE Magazine photo clearly shows the asphalt street patch as being considerably farther down Elm St. than the location of the lamp post which is seen in Z272.

And, as previously discussed, the sidewalk construction and crack-control joints provide an easy reference for placement of the location of this patch as well.

In correlation of the location of this asphalt patch, which is relative to the second shot/aka Z313 shot, one must correlate several photographs in order to readily understand what the fact of the SS assassination re-enactment actually were.

Beginning with the Newman family, as their location (as well as that location which James Altgens had moved to) is quite relevant in regards to the actual location of Jean Hill and Mary Moorman and the first yellow curb marking.

As well as a critically important crack which runs directly across Elm St. in this location.

[Thomas H. Purvis]

Having suffered a short "down-time" as a result of Barbara's grandchildren tearing out my modum/telephone connection line, it is not safely run through the attic where they can not destroy it again.

Nevertheless, the time was not wasted as some dumpster diving in the sheds for old information was undertaken as well.

Hopefully some of these photo's will assist in answering a few question.

The attached photo is from the November 29 issue of LIFE Magazine. It is of particular note as follows:

A. The photo (according to LIFE) was taken on 11/23/63 and the book cartons were restacked in their found position in order to "re-create the scene" from the sixth floor window.

This represents one of the earliest photographs taken, and it clearly demonstrates that more than ample room existed along the left side of the window to operate and fire the rifle with absolutely no interference from the pipes which run along the wall adjacent to the left side of the window.

B. One should note the location of the "patch" in the asphalt on Elm St., as this patch has been shown and discussed in numerous other photographs and represents a critical landmark in regards to the second shot/aka Z313 impact.

C. This item represents the sidewalk and steps which come down from the Stockade Fence location, down to Elm St.

And, in that regards, one should note the location of the "arrow"/"D"

D. Represents the location of impact to JFK, and as is clearly observed, this arrow location references the impact location for the third/last/final shot which occurred directly in front of James Altgens location, almost directly across from the sidewalk and steps which lead to the Stockade Fence.

===============================================

This photograph is of immense importance when attempting to correlate other photographic evidence which has been presented previously, and will be brought out again in regards to the subject of the last two shots.

Additionally, it should be noted that TIME/LIFE, with the original Zapruder film in hand. originally had a survey done on 11/25/63 in which they stated that the Z313 impact was the last shot fired.

Yet, by 11/29/63, this had changed, and with the publishing of this photograh they now stated that the final shot impact was considerably farther down Elm St. than the impact of the Z313 shot.

OK! Hopefully, most observed that there exists just a "tad" of difference between the manner in which Lyndal Shaneyfelt held the rifle (on a tripod) while he photographed the re-enactment, as opposed to the manner in which FBI Agent Robert Frazier held the rifle at the time that the survey work was actually done.

Back to the "asphalt patch".

This will be a rehash for those who followed along the first time, however it is always worthwhile to follow up again just in the event that something may have gotten missed.

The LIFE Magazine photo clearly shows the asphalt street patch as being considerably farther down Elm St. than the location of the lamp post which is seen in Z272.

And, as previously discussed, the sidewalk construction and crack-control joints provide an easy reference for placement of the location of this patch as well.

In correlation of the location of this asphalt patch, which is relative to the second shot/aka Z313 shot, one must correlate several photographs in order to readily understand what the fact of the SS assassination re-enactment actually were.

Beginning with the Newman family, as their location (as well as that location which James Altgens had moved to) is quite relevant in regards to the actual location of Jean Hill and Mary Moorman and the first yellow curb marking.

As well as a critically important crack which runs directly across Elm St. in this location.

With the location of the Newman family, as well as James Altgens (and the lamp post) firmly located, a photograph from a different perspective, places the asphalt patch location into perspective of the overall street scene.

And, in event that one so wishes, they can go back through a variety of photographs and actually count the sum total of the construction/expansion joints in the sidewalk from the lamp post location expansion joint to the construction joint which is directly past the asphalt patch as one travels down Elm St.

[Thomas H. Purvis]

Having suffered a short "down-time" as a result of Barbara's grandchildren tearing out my modum/telephone connection line, it is not safely run through the attic where they can not destroy it again.

Nevertheless, the time was not wasted as some dumpster diving in the sheds for old information was undertaken as well.

Hopefully some of these photo's will assist in answering a few question.

The attached photo is from the November 29 issue of LIFE Magazine. It is of particular note as follows:

A. The photo (according to LIFE) was taken on 11/23/63 and the book cartons were restacked in their found position in order to "re-create the scene" from the sixth floor window.

This represents one of the earliest photographs taken, and it clearly demonstrates that more than ample room existed along the left side of the window to operate and fire the rifle with absolutely no interference from the pipes which run along the wall adjacent to the left side of the window.

B. One should note the location of the "patch" in the asphalt on Elm St., as this patch has been shown and discussed in numerous other photographs and represents a critical landmark in regards to the second shot/aka Z313 impact.

C. This item represents the sidewalk and steps which come down from the Stockade Fence location, down to Elm St.

And, in that regards, one should note the location of the "arrow"/"D"

D. Represents the location of impact to JFK, and as is clearly observed, this arrow location references the impact location for the third/last/final shot which occurred directly in front of James Altgens location, almost directly across from the sidewalk and steps which lead to the Stockade Fence.

===============================================

This photograph is of immense importance when attempting to correlate other photographic evidence which has been presented previously, and will be brought out again in regards to the subject of the last two shots.

Additionally, it should be noted that TIME/LIFE, with the original Zapruder film in hand. originally had a survey done on 11/25/63 in which they stated that the Z313 impact was the last shot fired.

Yet, by 11/29/63, this had changed, and with the publishing of this photograh they now stated that the final shot impact was considerably farther down Elm St. than the impact of the Z313 shot.

OK! Hopefully, most observed that there exists just a "tad" of difference between the manner in which Lyndal Shaneyfelt held the rifle (on a tripod) while he photographed the re-enactment, as opposed to the manner in which FBI Agent Robert Frazier held the rifle at the time that the survey work was actually done.

Back to the "asphalt patch".

This will be a rehash for those who followed along the first time, however it is always worthwhile to follow up again just in the event that something may have gotten missed.

The LIFE Magazine photo clearly shows the asphalt street patch as being considerably farther down Elm St. than the location of the lamp post which is seen in Z272.

And, as previously discussed, the sidewalk construction and crack-control joints provide an easy reference for placement of the location of this patch as well.

In correlation of the location of this asphalt patch, which is relative to the second shot/aka Z313 shot, one must correlate several photographs in order to readily understand what the fact of the SS assassination re-enactment actually were.

Beginning with the Newman family, as their location (as well as that location which James Altgens had moved to) is quite relevant in regards to the actual location of Jean Hill and Mary Moorman and the first yellow curb marking.

As well as a critically important crack which runs directly across Elm St. in this location.

With the location of the Newman family, as well as James Altgens (and the lamp post) firmly located, a photograph from a different perspective, places the asphalt patch location into perspective of the overall street scene.

And, in event that one so wishes, they can go back through a variety of photographs and actually count the sum total of the construction/expansion joints in the sidewalk from the lamp post location expansion joint to the construction joint which is directly past the asphalt patch as one travels down Elm St.

Perhaps this time!

[Thomas H. Purvis]

For those who may have missed the momentious event, some time back I awarded DVP my "BONEHEAD" of the Year award.

This award was given in recognition of the fact that as loudly as DVP proclaims the WC's truths, he made the generally stupid mistake of acquisition of the SS Assassination Reenactment film, and provided it on U-Tube.

This film clearly demonstrates that after the "drive through", a SS Agent comes down off the concrete steps/walkway (which leads to the stockade fence, and thereafter replaces the third shot/aka Altgens impact cone back out into the center of Elm St., and then he walks back to the curb and obtains the Z313 impact cone (located directly past the asphalt patch) and thereafter carries this cone back out into the center of Elm St. and places it at the Z313 impact location.

It should be noted that there also exists a few others who know little about the SS assassination re-enactment, and in fact tend to attempt to place the second shot impact back down close to the lamp post.

The films; photo's; and assassination re-enactment surveys don't lie!

People however, do tend to get confused by the facts.

[Thomas H. Purvis]

So, for a final perspective in which one can readily identify the locations of Jean Hill & Mary Moorman, as well as other relatively important landmarks.