Altgens 6- Revisited Part III
Altgens 6- Revisited, Reflections Part III
To re-establish the mood on analyzing Altgens 6, here is Altgens 6 again. This time we will look at the reflections in the side of the presidential vehicle in Altgens 6. When we did this with Altgens 5, we discovered that the reflections said the vehicle was somewhere else when its photo was taken and that image was then inserted into the location of the vehicle in Altgens 5. The reflections did not match where the vehicle was in Altgens 5. This verified what the altered, composite tires indicated, a fake photo. We will the same technique used in Altgens 6- Revisited, Reflections Part III.
Here is a crop which will give us a closer look.
The images reflected here are ones that do not seem right for the position of the limousine. The images are a jumble suggesting alteration. They are altered. Why waste the time painting black smears in various spots on the side panels of the vehicle if not trying to hide something. Like the Altgens 6 photo the Zapruder film is notorious for image alteration.
If the limousine is at the position of Zapruder frame 255 then what we should see reflected is what is shown the following Z frame 255. We should see the grassy area between Elm and Main and the wall plus shrubbery to the rear of the vehicle. Instead we have something else, other scenes showing vehicles and buildings.
The angle of incidence should always point to what is being reflected, some object or person. The angle of the incident ray and the angle of the reflected ray or equal. This is true whether the limousine is positioned at Z frame 170, or at Z frame 255. The angle of reflection should point to the person seeing or photographing the image that is reflected. In this case, Altgens further to the west down Elm Street.
We don’t see the grassy area across Elm Street from the Grassy Knoll. Instead we see something that might be SW corner imagery or Houston Street imagery.
All I can do is describe what I see there. There are 4 panels that can be described on the side of the presidential limousine. The first panel, the front tire panel, has a light spot that looks like it might be the front part of a motorcycle but, that is blacked out with black paint smeared across the panel into the next panel obscuring how the two are connected.
In the next panel, the driver’s door panel is an indistinct image below the black paint smear that has been said to be a reflection of Rosemary Willis. This image looks like Rosemary. It’s possible but, unlikely due to size and placement on the vehicle. The image is too small to match the size of the motorcycle policemen pictured floating nearby. Rosemary, in Zapruder runs a long side of the limousine. This would be the wrong angle of view according to the law of incidence / reflection from where Altgens was standing. According the Z frame 255 the vehicle is long past the SW corner, about 200-250 feet. Rosemary’s refection should be on the back portion of the limousine, if at all. Her image suggests the SW corner of Elm. So, what are the reflections to her rear on the side of the limo? What reflection could they be?
Above the motorcycle policeman who is shown quite clearly there is what can be taken as a street with vehicles on it with their head lights shining. From the position of the vehicle and Altgens position there should not be a street reflected. Reflecting street scenes would put the vehicle in the intersection. What would be shown are the grassy area, the shrubs, and the retaining wall in front of the monument area of the Reflecting Pool. Here is Z frame 255. The problem is nearly the same for Z frame 170.
Just as an aside there is a small silhouette ghost image in the sprocket “area”? Or, just below the sprocket area, there seems to be two, there is a silhouette of what can only be Clint Hill attempting to mount the back of the limousine. If not Clint Hill, it is still a suspicious appearing image. If Clint Hill then how is that possible?
This type of thinking relies too heavily on the assumed authenticity of the Zapruder film in every frame or some other film evidence. The argument over exactly where the presidential limousine is will be discussed in the next part of this work.
What if the presidential limousine is not at Z frame 255 but, it is actually at the SW Corner of the TSBD just pass the R L Thornton Freeway Sign? What if the image or more correctly part of the image of the limousine is just turning the corner of Elm and Houston Street, about where Jim Towner has it? Then you might get a street with vehicles, head lights on, and motorcycle policemen shown in the reflection. In other words the side of the presidential vehicle might be a composite of several different image panels from different photos.
The next thing to note on the second panel is the large black paint smear which destroys the images connecting to the third panel, Nellie Connally’s window panel. There we see an image of a street between two buildings. Where is the street? Who knows? The black smear trails two lines of paint into the 4th panel, the rear panel.
In the 4th panel we see what might be a distorted image of the monument peristyle on the SW corner of Main and Houston as reflected from Houston Street in the turn. There is a large black painted rectangle blocking the view of the buildings there. That makes it hard to determine if that is a scene of Main Street.
The reflections on the side of the presidential limousine suggest that the vehicle is made up of panels from different photos. This matches with the weird perspective of the interior of the limousine showing Jack and Jackie Kennedy.
In Part IV we will discuss the placement of the presidential limousine on Elm Street.