Oswald in the doorway: the blog of the Oswald Innocence Campaign, by Ralph Cinque

Well, I'm glad to have this:

I realize that you can't see it very well, but it shows MM from the Costella frames of the Zapruder film. And it's quite true, as Hondo says, that starting out, she's turned to her right some. But then, she straightens out, and she stays straightened out. She never turns left. 

Since the final few frames are the ones that matter, let's enlarge them.

I started with 309 since that's the one I put up clearly showing that she was facing straight. 310 looks the same. 311 looks blurry but the same.  And the same is true for 312. 

I'm satisfied that is the same, and anyone who tries to read turning left into that is blowing smoke. And note that she would have to turn quite a lot to her left to point her camera at the Kennedys. 

And then, if we put up Robin Unger's frame of 315 flooded with light:

I wouldn't call that turned either. But something good has come out of this. By trying so hard, Hondo has demonstrated that he now accepts that the Moorman photo was taken an angle. He's not fighting it. He's trying to fulfill it. And that's good because there are people who are still fighting it. They think a person who was squarely facing the street took it. I'm glad he knows better.

But now, I want that statement that you claim that the Doorman wandered around the doorway during the motorcade, hanging out with Carl Jones for a while and then moving up to the center of the landing where he is seen in the Wiegman film. It's implied in what you're saying, so say it.