The Altgens photo is vast and sprawling, encompassing many figures, but there are strange and anomalous features in one particular part of it --the area in and around the doorway of the Texas School Book Depository (TSBD). And, all of the anomalies center around the figure whom we refer to as Doorway Man or Doorman. That area can't represent more than 5% of the whole photograph, but, it is where you will find a gathering of motley figures whom Ralph refers to, affectionately, as "The Addams Family."

Let's examine them one by one, starting on our right, as we view the image, and moving left.

(1) Black Hole Man is so named because his head is like a black hole from space---where light cannot enter. It's rather strange to see a headless person, but what makes this image even more strange is that he is using his hands to block the glare from the sun. Why would he have to do that if his eyes were in utter darkness? The woman below him is doing that with one hand, but we can still see her face. And considering how far out his elbows are, we don't think his arms are blocking the light from reaching his face either. But, the crucial thing is that there must have been some light reaching his eyes if he needed to use his hands as a vizor to block the light. And despite the vizoring he is doing, the lower part of his face would definitely be in light. His hands could not cast a shadow large enough to blacken his whole face including his chin. There is no way his entire face could be obliterated by what we're seeing. We assert that his face was blackened out deliberately to hide his identity. Was he the real Billy Lovelady? Yes, he was. That is our contention, and it was fully explained on the Lovelady page.

(2) Obfuscated Man is the man whose face is obliterated with that amorphous, unintelligible, cloud-like blotch of white. In the context of the whole Altgens photo on newsprint, the white blotch blends in with the white shirt of Black Hole Man standing behind him. And that is why we say he has been obfuscated or practically removed from the picture. And keep something very important in mind: many of these crops got enhanced behind the scenes. Some have argued that the white blotch is actually a forearm and elbow, but it isn't, although they probably aimed for that in a tricky deception. That man has got both his arms folded across his chest. So, unless you think he had 3 arms, that idea can't be right. Why did they want to obfuscate him? We think he had to be Joe Molina or Otis Williams, and it is a very tough call. Both were about that height and portly and wore a white shirt and tie. And both were said to be in that location.

Can you see the white blotch above? It is a little right of center, obstructing the man's face. It looks like somebody put a dab of Wite-out there, doesn't it?- and that is essentially how they did it using a product called Kodak Opaque. Someone suggested that it looks like a giant white tarantula, curled up and clinging to his face. I'd say it looks more like a white raccoon. Have you ever seen anything like it before in a photograph? Note that the hair of the African-American woman in front of Obfuscated Man had to be extended in order to complete the obfuscation. Her hair was not as large and extended as it appears.

To get an idea of how well Obfuscated Man was obfuscated, you need only look at the intact Altgens photo as it appeared in newsprint.

Poof! Gone with the wind, isn't he? And it goes to show that the undoing of the JFK conspiracy has been home-computing and the Internet, which have enabled all of us to view the evidence under magnification and bright light. The conspirators never dreamt that technological advances would unravel their evil scheme, but it did.

First, you need to know that that is not a legitimate image. It is a photoshopped image. And I am using the word photoshopped generically. I have a non-digital image of the Altgens photo. It's in the October 1964 LIFE magazine, and it even has a blowup of the doorway. The "white blotch" as I call it (in the center) was here made to look like an elbow, like the guy was visoring his eyes. It has no such form in the magazine. It just looks like a totally amorphous white blotch. Somebody put a dab of the photographic equivalent of Wite-out there. Then later, it was converted into an elbow. But that is NOT an elbow. That man has got both arms going across his chest. So unless, he had three arms, he could not have been visoring his eyes. You see his left hand and wrist, don't you? What do you think that hand is doing? It is grabbing his right elbow. As I said, he's got both arms crossing his chest. Nobody would just hold one arm across his chest. That's laborious. The whole idea is to create a sling-like effect, where each arm is supporting the other like two kids balanced on a see-saw. The only guy who did it with one arm was Napoleon, and he stuffed his hand in his shirt rather than hold it up.

(3) Big Afro Hair Woman, with the radiant smile, was actually standing on Elm Street, which was rather far away from the TSBD steps. She wasn't nearly as close to those behind her as she appears. In the collage below, you can see another view of her, and on the right side, you can see circled the area in which her hair appears to have been extended in the Altgens. Her hair was actually raised in a tight bun.

If you have any doubt that she is the same woman, look at the image below. She's #10:

Look how big her hair is! It's 4x bigger than that of the other African-American women near her. They gave her that large hair in order to hide what they didn't want you to see.

(4) Black Tie Man is the man standing next to Doorman on his left, which is to our right as we view the image. However, he is an impossible figure. He is seemingly standing behind Doorman, but he is also overlapping him, which is physically and anatomically impossible. Doorman's left shoulder is missing, when it should be visible. In the collage below, on the left, we show how Doorman would look without Black Tie Man present. All we did was blacken-out Black Tie Man- nothing else. And on the right, we show where his left shoulder should be and undoubtedly was - before the picture was tampered with.

It may be worthwhile to consider the anatomy of the collar bone or clavicle. It's a rather long bone, which serves as a strut between the sternum and the scapula. Interestingly, it is the only long bone in the human body that lies horizontally. To be configured as Doorman appears to be in the Altgens photo, he would have to have had no clavicle.

Here is the above collage again with spinal and shoulder axis lines drawn in on Doorman. What we are seeing can't be real. You can't have a straight spine and deeply sloping shoulders at the same time. The shoulders move with the spine. The head leads; the body follows; and the shoulders just go along for the ride. On the left, Doorman is a monstrosity, while on the right, the art work shows how he was really put together.

Supposedly, Black Tie Man wasn't even standing that close to Doorman. Who would stand that close to anybody?

Many do not even take Black Tie Man to be a human figure. They think he looks like a towel or rag thrown over Doorman's shoulder, especially in lower resolution versions. The most important thing to realize is that his position relative to Doorman is physically, anatomically, and photographically impossible. If Black Tie Man were standing behind Doorman, then Doorman's shoulder should be visible. If he were standing in front of Doorman, then Black Tie Man's shoulder should be visible. Either one or both of them should have a visible shoulder, but in the Altgens, neither does.

Notice also how distorted Doorman's left ear is, which is on our right. Compare it to his right ear, which is on our left. His left ear is grossly deformed, swollen, and lacking the normal architecture of an ear. It looks like a cartoon ear, and a lousy one at that. That ear got deformed by the placement of Black Tie Man into the picture. There is no other reason why it looks so bad.

Our resident illustrator Richard Hooke has once again demonstrated his amazing talent by developing the following collage. Noticing that the physical size and proportion and position of Oswald and Doorman correspond in the two pictures, Richard simply moved the left arm and shoulder of Oswald over to Doorman. Note first that the length of Oswald's arm proved to be perfect for Doorman. And note second that Oswald's drawn-in left shoulder looks perfectly natural and normal on Doorman. Furthermore, it made me realize that I was being too conservative before in showing how Doorman's real shoulder encroached upon Black Tie Man's figure. It encroached upon it a lot more.

Early on, I realized that Doorman's cuff looked wide- even compared to Oswald's- but I didn't know why. Then, Richard Hooke figured it out: Doorman's sleeve is falling down over his outstretched hand, and his hand is stretching, that is, widening, his cuff.

That is not his wrist at the end of Doorman's cuff; it's the broad part of his hand. His hand is expanding the bottom of his cuff as he clasps his wrist in his habitual stance.

Also, look at the distortion in Doorman's face as he is mashed up against Black Tie Man. In the collage below, you can see the margin of his face, both au natural and traced. How could his face acquire a shape like that? It is obviously not the way it was. Does it not look like a bad case of the mumps? Look at the shape of his left ear (on our right). It is obviously distortion, and that distortion came from the conspirators placing Black Tie Man in there. Photographic alteration is not an exact science, and tell-tale signs are often left behind.

We suspect that they moved the image of Black Tie Man where it is to hide the unique form of Oswald’s shirt on his left side, which you can see in the image below. We will have more to say about Black Tie Man's identity later.

Above, on Oswald's left (on our right), you can see the collar, the lapel, and the button loop coming off the lapel. That button loop was there to secure the button located under the right collar on the other side, which you can see clearly. That is an unusual construction for a shirt. How many men’s shirts come with a button loop? Do you think Lovelady's shirt was fashioned that way? They had to cover that up, which seems to be why Black Tie Man was put there.

(5) Doorman, himself, must be considered an anomaly because of what is going on with Black Tie Man, who is covering up Doorman's left shoulder. And, associated with that, the line of Doorman's upper arm is wrong; it is too vertical and too medial. And it looks mangled. They virtually eliminated the point of Doorman's shoulder, and that is where his arm should be going.

Since Doorman's missing shoulder is such a crucial anomaly, Ralph is going to expound on it from his experience as a chiropractor. Unless something is terribly wrong with you- neurologically- your two shoulders form one continuous plane. There is no step-down effect from one shoulder to the other. That means that if we can identify the plane of one shoulder, we can extend it over to the other and see where it goes. In this case, we have just enough visibility to form a line, a plane, for Doorman's right shoulder. And when we extend it over, this is what we get.

It extends well out into the white of BT Man's shirt. Is there any chance that Doorman just dropped his shoulder way down low on his left side? No, there isn't, and we know that because Doorman's head is vertical. Do you see how it is parallel with the white column? Everything is connected; everything is coordinated. If he were leaning over that much, his head would be leaning too. It would not be vertical--but it is.

Also, the modifications to Doorman's face and hairline to "Lovelady-ify" him, as best they could, must be considered an anomaly. Yes, Doorman has got Lovelady's forehead and his hairline too, with the reverse widow's peak. There is an ovalness to the top of his head which resembles Lovelady and not Oswald. So, there are some matches to Lovelady, even though there are more matches to Oswald, and the largest elements of the image match Oswald.

Essentially, Doorman is Oswald from the eyes down, and he is Lovelady from above the eyes to the top. 

But, what are you going to do -mentally- when you realize that Doorman is an amalgam of Oswald and Lovelady? Well, you know that amalgams of people don't actually exist in real life, and therefore, something was done to the image to make it that way.

So, did they start with Lovelady and "Oswald-ify" him? Or did they start with Oswald and "Lovelady-ify" him?

Well, it could not have been the former, and for multiple reasons. First, the big, major elements of the image: the loose-fitting, over-sized, sprawled-open, outer shirt with the long left lapel and the v-neck t-shirt are all a match to Oswald. And those big elements would have been impossible to change. You can only change the relatively small things. And second, from the beginning and all along, the drive was to finger Oswald. There was no chance that Oswald's supporters got hold of the Altgens photo to modify it in his favor, to insert him in the picture when he wasn't there. If it was done at all--and it was--it had to be to get Oswald out and Lovelady in.

Doorman was like a centaur, except that instead of being half man/half horse, he was half Oswald/half Lovelady--and except that instead of being half and half, he was more like 90% Oswald and 10% Lovelady.

And it was easy as pie for them to do this. Below is a demonstration of how the upper part of Doorman's head matches that of Young Lovelady, and it is really the only thing that matches Lovelady.

On the left below is what Doorman must have looked like originally, and on the right below is what they turned him into.

Look at this: when we cut off the foreheads on both of them to eliminate the substitution, we get a perfect match between Oswald and Doorman. This is truly the money shot.

6) Fedora Hat Man and the Woman and Boy we shall treat as a unit, given their close proximity.

We are very uneasy about the appearance of the woman and the boy. The boy is visibly taller than she is, which means that he is being elevated somehow. But, we don’t know of anything that he could have been standing on. So is she holding him? But, if so, how is she supporting his weight? The boy seems perfectly vertical. He is not that small; and she is not that big. He has to weigh at least 40 pounds. So, how can she be holding him up so seemingly effortlessly? And how exactly is she holding him? How is she keeping him from falling over? We can't see her arm going around him nor his arm going around her. And how is he perched so perfectly straight?

It looks more like he is standing next to her on something to achieve the elevation, and she is standing close to him. But, there is nothing there--in the context of this situation--for him to be standing on. But what if mother and son were lifted from another picture and placed there? And, with that thought in mind, why is the boy wearing a winter wool cap pulled way down over his ears when by that time, it was over 70 degrees and sunny? Others were standing nearby in short-sleeves or t-shirts. It was an unseasonably warm day for November. And remember that children have high metabolism and good circulation; they are like little furnaces. A boy his age would be most uncomfortable being so warmly clad on that day.

Let us elaborate about this from Dr. Cinque's perspective as a chiropractor. Consider that when a woman is holding a child, especially one of his size, she tends to do things to reduce the strain on her muscles, that is, to lessen the load. Often, she will have the child straddle her hip-bone, sitting on her, which transfers the load from her relatively weak arms to her relatively strong legs. Or, she may lean back so that the child is lying on her chest, where leaning back causes passive structures, such as the ligaments and spinal facet joints, to bear some of the load, taking the strain off the muscles of her arms. There are other shifts she could make to ease the burden. But this woman isn’t reacting to the weight at all, even though he is a rather large child for such a tiny woman to support. Yet, she looks totally unfazed. Who is she, Superwoman?

It is difficult to believe that she could be holding him up like that. So, the question becomes, was the image of the mother and boy put there to cover up the face of the man wearing the Fedora hat? We know from reading Jim Douglass, JFK and the Unspeakable (2008), that Jack Ruby was in Dealey Plaza on 22 November 1963. Several witnesses reported seeing him there. So, was Jack Ruby standing behind them wearing the Fedora hat? We think there is a strong probability that it's him.

Another TSBD employee, Vickie Adams, was on the 4th floor when the shots rang out. She ran down the stairs--the same stairs that Oswald was supposedly bolting down at the same time, although, of course, she didn't encounter him. But, when she went outside, she saw Jack Ruby. She said he was acting like he was in charge and barking orders like a cop. She was sure it was him, and she maintained that for the rest of her life. That places Jack Ruby outside the TSBD, and makes it ever more likely that Fedora Hat Man was him. Barry Ernest wrote a book about Vickie Adams entitled, The Girl on the Stairs (2010), which is well worth reading.

Another sign that the Woman and Boy were not really there is the distortion of the nose of the black woman who is in front of and below them. She has got a nose like Pinocchio, and that isn't typical of anyone, and certainly not someone of African ancestry. That distortion of her nose was due to the placement of the Woman and Boy into the picture. Notice also how weirdly the black woman's hair looks too, being flat on top and with weird angularity in front. You can't blame this on the overall image quality or anything relating to image handling because the others around her look perfectly normal.

After installing the Woman and Boy in the Altgens photo, they decided to install a Woman and Baby in the Towner film to confirm the former. Why they thought a Woman and Baby could pass for a Woman and Boy I do not know. But, here is how it came out. This was not a photograph of real people. It is pure techno-art.

(7) Finally, we are uncomfortable about the Black Man in Profile, who is right in front of and below Doorman, covering a substantial portion of Doorman's lower torso on his right side, our left. Many people don't see him at all, unless prompted.

Black Man's height appears to be awfully low compared to Doorman's. It's almost as though he is kneeling or sitting, but we realize he was standing on a lower step. You can see that Black Man's head is partially concealed by the white column, but Doorman was not that close to it. It only looks that way because of Altgens' angle, which is known as "parallax". Black Man had to be on a low step, perhaps the 2nd step, while Doorman was up on the top landing, which accounts for their height difference. However, being on a low step close to the bottom also put Black Man way forward of Doorman. So, why does Doorman's arm appear to be in front of Black Man? It's very weird. Doorman is separated from Black Man in three directions: he is well above him; he is well behind him; and he is well to the east of him. So, how could Doorman get his cuff in front of Black Man's neck?

We are seeing Black Man's face in profile. Below it we see Doorman's sleeve. Below that we see a shamrock-shaped area of whiteness, which presumably is the torso of Black Man. What else could it be? And alongside that is the merger of Doorman's shirt and Black Tie Man's jacket. But, why does Doorman's sleeve seem to be in front of Black Man and dividing his head from his torso? It doesn't make sense, and there is no way to explain it. We think it was fabricated. We suspect that Black Man was pieced in, above and below Doorman's cuff. Carl Jones wasn't even visible to Altgens. The parallax effect of the angle cut him out. He was in the part of the doorway that was excluded from Altgens' view.

So, the image of Carl Jones was pieced in, and we believe we have found the source. There is some post-assassination footage of him by Phil Willis in which Carl Jones is walking down the steps of the TSBD, on the east side of the median handrail, and he has his head turned exactly as it is in the Altgens photo. We think that is where they got the image of Carl Jones to place into the Altgens photo. Take a look. Is it not an uncanny match? 

And, you can also see Carl Jones in the Wiegman film, which was taken at the same time, where he was turned the other way, towards Kennedy, as you can see below. So, during the shooting, he was never turned and looking east; he was only turned and looking west- as you would expect under the circumstances since that's where Kennedy was, and that's where people reported hearing gunfire.

Now, let's compare the Wiegman film to the Altgens photo in regard to the Doormen. First, be aware that there are two Wiegman Doormen. The first appears for one full second, and it's the very first second of the film. The second appears for just a tiny split-second, and it's during the 4th second of the film. Here they are, the two Wiegman Doormen, with the first on the left and the second on the right:

Notice that Doorman1 on the left looks slender while Doorman2 on the right looks stocky. Doorman1 has hair; Doorman2 looks bald. Their shirt sprawls are very different, one being v-shaped, the other r-shaped. D1 has a rectangular-shaped head; D2 has an oval-shaped head. D1 looks gaunt in the face; D2 looks cherubic. They are definitely not the same man, and the one on the left was Lee Harvey Oswald. There is no telling who the other one was. But, there is no good reason to believe that D2 was even there. Oswald left for the lunch room by that point, and his spot was empty. The image of Doorman2 was added to the film. He isn't real. The fact that he doesn't match Doorman1 tells you that he isn't real. Also, the fact that he is standing there looking straight ahead, stiff as a board, stiff as a Cigar Store Indian, and detached from the pathos of the scene tells you that he isn't real.

So, Wiegman Doorman1 was real, and he was Lee Harvey Oswald, just as the Altgens Doorman was also Lee Harvey Oswald. These three below were one and the same man:

Notice on the 1st Wiegman Doorman on the left and Oswald in the middle, the same triangular face, the same slender build, the same clothing with the same shirt with the same open sprawl, the same hand clasp. And of course, the same is true of Altgens Doorman on the right. What, do you think Lovelady looked and dressed and configured himself exactly like Oswald? He didn't! But, the second Wiegman Doorman was someone else, definitely not Oswald, not Lovelady, and not the Altgens Doorman. Here he is compared to the Altgens Doorman:

2nd Wiegman Doorman looks balder; the top of his head is rounder, more dome-like, not flat like Altgens Doorman. His whole face is round, not angular like Altgens Doorman. His shirt is not sprawled open as much, and not at all on his right side (our left). And on his left side (our right) his shirt collar is dropped so much, it looks unrealistic. How could a collar drop like that? It's way down and over on his shoulder. The margin of his shirt rises vertically, then suddenly it collapses? What shirt behaves like that? He looks stockier, heavier, more barrel-chested; his t-shirt is not v-shaped. Its material goes all the way up his neck, and his neck shadow is way off to the side. We don't see anything like that on Altgens Doorman. There is no reason to believe that they are the same man. We believe that 2nd Wiegman Doorman, who is supposed to be Lovelady, was inserted there to hide the fact that Oswald had already left. He had begun his trek to the lunch room. The image of 2nd Wiegman Doorman is a photographic fakery.

Look at the difference in the shape of the shirt-sprawl between the two of them. It was supposed to be the same guy in the same spot at just about the same moment in time. Why is the outline of that sprawl so different? One is v-shaped and the other is r-shaped.

There is another reason why the 2nd Wiegman Doorman looks fake. Look at the frame below. It is one of the most poignant images from the assassination. The people in it are reacting to the catastrophe, either turned to their right to see what they can or reacting to it in some way. You see the women with hands to their mouths. You can see the emotion. But, the 2nd Wiegman Doorman is just standing there, straight as an arrow, like a Cigar Store Indan. How could he do that at that moment? How could anybody?

Lovelady accounted for himself during the assassination. He was involved with people; he was engaged with people. He wasn't off by himself. This was already after the shots, and he said he was standing there with Bill Shelley and Sarah Stanton, engaged with them, and then Gloria Calvary came up to them and told them that the President had been shot and that she saw the blood. Then immediately, Lovelady and Shelley left for the railroad tracks, and on the way, they turned around and saw Officer Baker enter the building- from a distance. It all happened very fast, so how does that leave time for Lovelady to be standing there alone, rigid, isolated, and looking straight ahead like a Cigar Store Indian? It doesn't. That guy is fake!

Watch below as the image toggles back and forth between the first Wiegman Doorman nd the second one. They are two different guys. The first one, who is higher up, was Oswald and the second was who knows who. They stuck him in there because Oswald left.

Returning to the Black Man in Altgens, Carl Jones, why is he turned the direction that he is? We know why he is turned the way he is in the Wiegman film--because that was the direction in which President Kennedy got shot. But, what could he be looking at in the Altgens photo? We say nothing. It's just more photographic fakery.

Carl is looking due east in the Altgens photo, and that isn't real. He wasn't doing that. He was looking west, as we see in Wiegman. They were taken at the same time, within a second of each other. So, you can't assume he relocated. Was his image implanted in the Altgens photo? Yes! He wasn't even visible to Altgens. He was there, but he was tucked behind the column, invisible to Altgens. The parallax effect took him out of view. As to why they implanted him, it may have been to hide the tattered appearance of Oswald's shirt, which you can see below.

Imagine if that had shown. It surely would have given it away that the Doorman was Oswald. It's also possible that they did it to cover up Doorman's hand-clasping, which was Oswald's habitual stance. It's not as though everybody stands that way.

Oswald had the entrenched habit of standing with his hands clasped in front, and we have many images of him standing like that in the last two days of his life.

We realize that is a lot of manipulating for one photograph. They must have had a crack team of experts waiting in the wings. We know that the Altgens6 was delayed in being sent over the wires. Roy Schaeffer, who was a newspaper image-processor who worked at the time for the Dayton Daily News in Ohio, has informed us that the Altgens6 photograph did not reach his newspaper until early the next morning, which was Saturday morning, the 23rd. Only a few newspapers published the Altgens6 on the 22nd, and they were all Evening papers.

So, did they have time to make the alterations? As Jim Fetzer says, "The fact that the alterations can be seen is proof that they had time to make them." The presence of the patsy in a photograph taken during the assassination would have, obviously, ruined everything for the conspirators. So, they had to fix it. Why didn't they just get rid of the picture completely, that is, destroy it? That is a good question, but we do not know.

Bear in mind that it takes only one alteration to prove that the photo was altered. If they tampered with the Altgens photo even once- just one tiny little bit-it incriminates the entire official account of the JFK assassination. To deny that the Altgens was altered would require disproving every single accusation that we have made here. If we are right about even one, the case for subterfuge is made.

Let's say it turns out that there is an innocent explanation for one of the incongruities that we pointed to above. It would only mean that there was one less from a rather long list. If they tampered with that photo even once, they obstructed justice, and we are certain that they tampered with it many times.

So, we don't have to be right about every last point. If we are right about even one, we have proven our case, that they messed with that photo for criminal and nefarious reasons.

And don't anybody apply the word "editing" in reference to the Altgens photo. In this case, "editing" could only mean manipulating and obscuring the content of the image to manage perceptions and alter conclusions. There is no legitimate editing of a forensic photo. Moreover, the only reason to alter the Altgens would have been if someone had been there who should not have been there. And there was surely one person who could not have been allowed to be there: Lee Harvey Oswald. So they had to get rid of him; and that is surely what they tried to do, although unsuccessfully. We can still make him out.

So now, the jig is up. We know now, beyond any shadow of a doubt, that the Doorman was Oswald--and it means that Lee was innocent. The Altgens photo is the smoking gun of the JFK assassination, and it tells us--with absolute certainty--that Lee Harvey Oswald didn't do it.