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A Valentine gift for real researchers.


Jack White
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I have been studying Houston Street SPECTATORS in Nix, Bell, "Altgens 5", Dorman, etc.

I think this is an area never researched and which retouchers failed to match up the people.

If some of the people are missing or in the wrong place, as I believe, the authenticity

of the images is compromised. I did not go all the way to Elm because the figures were

getting too tall.

If anyone wants to compare people, this is a good starting place. I plan to do others.

Any curious genuine researcher will want to try to match up all the people. Good luck.

It is very wide and I suggest that you SAVE IT TO YOUR DESKTOP AND REOPEN.

It will then be about 50 inches wide for viewing each person much closer.

Comments welcomed.

Jack

PS...my first observation, WHILE DOING IT, is that the right had side is shot in

perspective, and from the mid-point northward, it is shot head on, as if Bell

had changed his position to farther north, looking directly east. As far as I know this

is not possible with the camera Nix was using. THE PHOTOS should all appear to vanish

to the same vanishing point to the north. The scene on the north end of the block

MUST be in perspective if shot from the south end of the block. THE PERSPECTIVE

CANNOT CHANGE!

(thanks to Jerry Logan for correcting of a major typo)

post-667-1266210597_thumb.jpg

Edited by Jack White
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I am convinced that assembly of the panorama DISPLAYS POSITIVE PROOF THAT THE BELL FILM IS A COMPOSITE

VIEW MADE FROM CAMERAS IN TWO LOCATIONS ALONG HOUSTON!

Note that just like the Z film, the camera tilts upward at the crucial time that the limo is in view. All we get is an

occasional glimpse of Jackie's hat or a cop helmet.

Films from two different cameras are morphed together at about mid-block, to create a total panorama in which

the first half has perspective, and the seconc half HAS NO PERSPECTIVE!

I believe this is a major identification of fakery of the Bell film.

Jack

Edited by Jack White
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Guest James H. Fetzer

An impossible one, Jack. The entire photographic record appears to have been compromised. I can't wait for Tink and Jerry and Lamson to show up and explain away another photographic impossibility.

Question for photo, lens, camera, photography and perspective experts:

What kind of lens will photograph half a scene IN perspective and the other half NOT in perspective?????

I don't know.

Jack

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Guest John Gillespie
An impossible one, Jack. The entire photographic record appears to have been compromised. I can't wait for Tink and Jerry and Lamson to show up and explain away another photographic impossibility.
Question for photo, lens, camera, photography and perspective experts:

What kind of lens will photograph half a scene IN perspective and the other half NOT in perspective?????

I don't know.

Jack

---------------------------------------------------

I want to add a Valentine's Day gift, my new signature, herewith:

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I see Joseph Milteer....

Good study Jack, I like the "fake" Nix panorama

Just saved it to my computer

Edited by Dean Hagerman
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I am convinced that assembly of the panorama DISPLAYS POSITIVE PROOF THAT THE NIX FILM IS A COMPOSITE

VIEW MADE FROM CAMERAS IN TWO LOCATIONS ALONG HOUSTON!

Note that just like the Z film, the camera tilts upward at the crucial time that the limo is in view. All we get is an

occasional glimpse of Jackie's hat or a cop helmet.

Films from two different cameras are morphed together at about mid-block, to create a total panorama in which

the first half has perspective, and the seconc half HAS NO PERSPECTIVE!

I believe this is a major identification of fakery of the Nix film.

Jack

Jack,

I know I'm just a nit picker, but I think it's kind of hard to prove the Nix film has no perspective when this is a composite of the Bell film.

Jerry

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I am convinced that assembly of the panorama DISPLAYS POSITIVE PROOF THAT THE NIX FILM IS A COMPOSITE

VIEW MADE FROM CAMERAS IN TWO LOCATIONS ALONG HOUSTON!

Note that just like the Z film, the camera tilts upward at the crucial time that the limo is in view. All we get is an

occasional glimpse of Jackie's hat or a cop helmet.

Films from two different cameras are morphed together at about mid-block, to create a total panorama in which

the first half has perspective, and the seconc half HAS NO PERSPECTIVE!

I believe this is a major identification of fakery of the Nix film.

Jack

Jack,

I know I'm just a nit picker, but I think it's kind of hard to prove the Nix film has no perspective when this is a composite of the Bell film.

Jerry

Jerry...you are correct. I was working from a folder labeled "Bell Frames"...but I had brainlock when writing the text. Thanks.

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I see Joseph Milteer....

Good study Jack, I like the "fake" Nix panorama

Just saved it to my computer

Dean...SAVE THE NEW ONE. Jerry Logan pointed out that I typed Nix when I meant Bell.

Brainlock is my only excuse. I saved frames from Bell into a folder named BELL FRAMES

but when typing the text, I typed Nix. I don't know why.

Jack

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I am convinced that assembly of the panorama DISPLAYS POSITIVE PROOF THAT THE NIX FILM IS A COMPOSITE

VIEW MADE FROM CAMERAS IN TWO LOCATIONS ALONG HOUSTON!

Note that just like the Z film, the camera tilts upward at the crucial time that the limo is in view. All we get is an

occasional glimpse of Jackie's hat or a cop helmet.

Films from two different cameras are morphed together at about mid-block, to create a total panorama in which

the first half has perspective, and the seconc half HAS NO PERSPECTIVE!

I believe this is a major identification of fakery of the Nix film.

Jack

Jack,

I know I'm just a nit picker, but I think it's kind of hard to prove the Nix film has no perspective when this is a composite of the Bell film.

Jerry

Jerry...you are correct. I was working from a folder labeled "Bell Frames"...but I had brainlock when writing the text. Thanks.

No problem Jack! Nobody's perfect. The only reason I mention it is that, unlike Nix, we have images of Bell filming the motorcade.

We can see that Bell turned while photographing. So I'm not surprised that the roll, pitch or yaw of the camera would change.

The major break that occurs at the garage entrance appears to be the result of Bell adjusting the roll of his camera. Frame by frame we can see the garage divider go from tilted to full vertical.

The major tilt visible in the frames of the Court Building is the result of a camera roll that Bell has corrected by the time he films the Records building.

You are mistaken that there are no perspective effects in the film of the Records building. If you study the windows and their frames you'll see that the photos were taken from an angle, not orthogonal as you've suggested.

Jerry

Bell_SK5.png

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The animators of the Bell film were very lazy. Animating a motionless crowd on the sidewalk was easy.

But animating the moving limo and cops was hard. Solution (as in Zapruder) CROP OUT MOST OF THE

LIMOUSINE. PUT IN AN OCCASIONAL COP HELMET OR JACKIE PINK HAT. PUT IN THE CHROME DIVIDER

IN THE MIDDLE. This frame is taken from a sequence of the "limo moving" which can be determined

by the moving chrome divider. But this means they had to put in Bill Greer and Roy Kelllerman. To

make it easy, they pretended that the car was in dark shadow (which the Dorman film disproves).

In the greenish shadow, Greer and Kellerman are there, but poorly drawn and colored. And the

back of the limo...NO OCCUPANTS AT ALL!

Jack

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You know...concerning the entire Z-film fakery, the logic I have seemingly always used, since I first learned of the assassination at a very young age was quite simple I felt. Basically I learned over time how many witnesses were silenced in some awful way, I learned how valuable pieces of evidence were tampered with or destroyed so on, so forth. Now the logic I used was simple, if so many witnesses were silenced "altered" (via testimony for example), eliminated or the like and if we can consider the Z-film probably (pre-alteration in my view) one of the greatest "witnesses" to the scene of the crime and yet, it has not been totally eliminated nor at least tampered with, would it not be logical to conclude in some way that it has been (or could definitely well be/could have been) "silenced" or compromised in some manner...? I mean come on, the film (pre-alteration) is probably the best witness to the crime and it comes out "perfectly" unaltered...lol? I honestly find that very difficult to believe and I always will unless very powerful evidence is given to the contrary. My apologies to go off topic a bit there Mr. White.

Edited by B. A. Copeland
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The animators of the Bell film were very lazy. Animating a motionless crowd on the sidewalk was easy.

But animating the moving limo and cops was hard. Solution (as in Zapruder) CROP OUT MOST OF THE

LIMOUSINE. PUT IN AN OCCASIONAL COP HELMET OR JACKIE PINK HAT. PUT IN THE CHROME DIVIDER

IN THE MIDDLE. This frame is taken from a sequence of the "limo moving" which can be determined

by the moving chrome divider. But this means they had to put in Bill Greer and Roy Kelllerman. To

make it easy, they pretended that the car was in dark shadow (which the Dorman film disproves).

In the greenish shadow, Greer and Kellerman are there, but poorly drawn and colored. And the

back of the limo...NO OCCUPANTS AT ALL!

Jack

Jack,

I'm afraid you're mistaken. The white bar is not the chrome divider as can be observed by noting that the white bar remains stationary while Mrs. Kennedy's hat moves toward, in front of, and past it.

What you've mistaken for the divider is actually a sign held by a man on the east side of Houston.

The greenish object is probably his coat.

Jerry

th_Bell.gif

Much.png

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I see Joseph Milteer....

Good study Jack, I like the "fake" Nix panorama

Just saved it to my computer

Dean...SAVE THE NEW ONE. Jerry Logan pointed out that I typed Nix when I meant Bell.

Brainlock is my only excuse. I saved frames from Bell into a folder named BELL FRAMES

but when typing the text, I typed Nix. I don't know why.

Jack

No problem Jack

I have not looked close enough to have noticed it was the Bell film either!

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I am convinced that assembly of the panorama DISPLAYS POSITIVE PROOF THAT THE BELL FILM IS A COMPOSITE

VIEW MADE FROM CAMERAS IN TWO LOCATIONS ALONG HOUSTON!

Note that just like the Z film, the camera tilts upward at the crucial time that the limo is in view. All we get is an

occasional glimpse of Jackie's hat or a cop helmet.

Films from two different cameras are morphed together at about mid-block, to create a total panorama in which

the first half has perspective, and the seconc half HAS NO PERSPECTIVE!

I believe this is a major identification of fakery of the Bell film.

Jack

Jack have any of these been cropped as the photographer appears to have missed his subjects ?

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