Skip to main content

Is the Famous Photo of Lee Harvey Oswald Posing with the Gun Used to Kill JFK a Fake?: 3D Forensic Analysis Reveals the Answer

As long as the 20th century remains in living memory, the assassination of President John F. Kennedy will continue to draw public interest. A great many Americans feel they still haven’t heard the “whole story” behind what happened on November 22, 1963; a few have dedicated their lives to finding out, growing less inclined to accept the possibility of a lone gunman the deeper they get into the documents. But that gunman, Lee Harvey Oswald, does figure directly into some of the material held up as evidence of a conspiracy. Take the “backyard photos” that depict him posing with what was ultimately found to be the very gun used to kill JFK.

Such images would seem strongly to implicate Oswald in the assassination, and the Warren Commission seems to have regarded them in just that way. But for nearly six decades now, some theorists have argued that the backyard photos are fake — an idea that began with Oswald himself, who before his own assassination insisted that he’d never seen them in his life, and that someone had “superimposed” his face onto another body.

The Vox video above lays out the main elements of one particular picture that have been called repeatedly into question: the angles of the shadows, the shape of Oswald’s chin, the length of the gun, and Oswald’s unusual posture.

“In the 1960s and 1970s, forensic experts tried just about everything to test the authenticity of this photo,” says the video’s narrator. They couldn’t find any evidence of fakery, but they didn’t have the 21st-century technology at the command of the UC Berkeley School of Information’s Hany Farid, a well-known specialist in the analysis of digital images. Farid and a team of researchers reconstructed Oswald’s body and weaponry (though not the copies of The Militant and The Worker, two ideologically opposed newspapers, he brandished in his other hand) and found that everything added up, from the seemingly misaligned shadows cast by the sun to the stability of his odd stance. If there was indeed a conspiracy to kill JFK, then, it wasn’t a conspiracy of proto-Photoshoppers.

Related Content:

2,800 JFK Assassination Documents Just Released by the National Archives

November 22, 1963: Watch Errol Morris’ Short Documentary About the Kennedy Assassination

The Existentialism Files: How the FBI Targeted Camus, and Then Sartre After the JFK Assassination

Noam Chomsky on Commemorating the JFK Assassination: It “Would Impress Kim Il-Sung”

Long Before Photoshop, the Soviets Mastered the Art of Erasing People from Photographs — and History Too

Why the Soviets Doctored Their Most Iconic World War II Victory Photo, “Raising a Flag Over the Reichstag”

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

Is the Famous Photo of Lee Harvey Oswald Posing with the Gun Used to Kill JFK a Fake?: 3D Forensic Analysis Reveals the Answer is a post from: Open Culture. Follow us on Facebook and Twitter, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.



from Open Culture https://ift.tt/3neQw6b
via Ilumina

Comments

Popular posts from this blog

Board Game Ideology — Pretty Much Pop: A Culture Podcast #108

https://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/secure/partiallyexaminedlife/PMP_108_10-7-21.mp3 As board games are becoming increasingly popular with adults, we ask: What’s the relationship between a board game’s mechanics and its narrative? Does the “message” of a board game matter? Your host Mark Linsenmayer is joined by game designer Tommy Maranges , educator Michelle Parrinello-Cason , and ex-philosopher Al Baker to talk about re-skinning games, designing player experiences, play styles, game complexity, and more. Some of the games we mention include Puerto Rico, Monopoly, Settlers of Catan, Sorry, Munchkin, Sushi Go, Welcome To…, Codenames, Pandemic, Occam Horror, Terra Mystica, chess, Ticket to Ride, Splendor, Photosynthesis, Spirit Island, Escape from the Dark Castle, and Wingspan. Some articles that fed our discussion included: “ The Board Games That Ask You to Reenact Colonialism ” by Luke Winkie “ Board Games Are Getting Really, Really Popular ” by Darron Cu...

Ishkur’s Guide to Electronic Music: An Interactive, Encyclopedic Data Visualization of 120 Years of Electronic Music

In a very short span of time, the descriptor “electronic music” has come to sound as overly broad as “classical.” But where what we (often incorrectly) call classical developed over hundreds of years, electronic music proliferated into hundreds of fractal forms in only decades. A far steeper quality curve may have to do with the ease of its creation, but it’s also a factor of this accelerated evolution. Music made by machines has transformed since its early 20th-century beginnings from obscure avant-garde experiments to massively popular genres of global dance and pop. This proliferation, notes Ishkur—designer of Ishkur’s Guide to Electronic Music —hasn't always been to the good. Take what he calls “trendwhoring,” a phenomenon that spawns dozens of new works and subgenera in short order, though it’s arguable whether many of them should exist. Ishkur, describes this process below in an excerpt from his erudite, sardonic “Frequently Unasked Questions”: If fart noises were sudde...

How Led Zeppelin Stole Their Way to Fame and Fortune

When Bob Dylan released his 2001 album  Love and Theft , he lifted the title from a  book of the same name by Eric Lott , who studied 19th century American popular music’s musical thefts and contemptuous impersonations. The ambivalence in the title was there, too: musicians of all colors routinely and lovingly stole from each other while developing the jazz and blues traditions that grew into rock and roll. When British invasion bands introduced their version of the blues, it only seemed natural that they would continue the tradition, picking up riffs, licks, and lyrics where they found them, and getting a little slippery about the origins of songs. This was, after all, the music’s history. In truth, most UK blues rockers who picked up other people’s songs changed them completely or credited their authors when it came time to make records. This may not have been tradition but it was ethical business practice. Fans of Led Zeppelin, on the other hand, now listen to their...