Posted on December 23, 2012 at 4:27 am
By Carolyn Yeager
copyright 2012 carolyn yeager
Do you remember the nursery rhyme that goes:
Sugar and Spice and all things nice, that’s what little girls are made of.
How about this one:
Magic and Trickery and all things fakery, that’s what “the holocaust” is made of.
This very famous image associated with the so-called “Holocaust” that was discussed in the previous post has turned out to be fraught with fakery. A sharp-eyed reader, Paul Borresen, noticed something that, once seen, makes one wonder how it was not seen before!
What he noticed is that, in addition to the forged standing man exposed in my previous post, one of the men in the bunks appears twice in this Famous Buchenwald Lie-beration Photo, and the similarity is unmistakeable.
Viewing the photo above, enlarged as much as it can be … find the young man lying on his back with head turned toward the photographer, in the 2nd row up from the bottom, 3rd from the left. His head is resting on his food bowl. (close-up on left, below, designated ‘Original’)
Now look at the young man in the same position in the bottom row, 4th from the left. He is the same man! (close-up on right, above, designated ‘Copy’) The food bowl has been removed from underneath his head, leaving it to a military intelligence photo-retoucher to redo his throat and neck, but in a very un-anatomical manner. Have you ever seen a neck that looked like that? I have not. In an attempt to retain a lesser portion of the ‘gown’ he was wearing so that it would not look the same as the ‘original,’ more bare skin is left showing, but without any anatomical correctness whatsoever.
The retoucher was not a trained artist and was in over his/her head with this assignment. For example, look at the ear. It consists of a few strokes of light-colored paint in an attempt to make something resembling an ear, but failing. Ears are one of the most difficult parts of the body to draw or paint in a convincing manner, but it was necessary to add an ear to this ‘copy’ because the ear is not showing on the original man in the bunk above; it is buried against the upside-down food bowl and some material that’s covering it. The botched ear of the ‘copy’ is one of the biggest giveaways of fakery in this photo, but not the only one.
What’s with all these thick, black eyebrows?
Let’s look at the eyes and eyebrows next. The man whom we are calling “the original,” has very dark, thick eyebrows but otherwise looks normal. The shadow under his chin is probably what was actually there – bringing attention to the fact that a very bright light source in a dark room was shining on the men, and hitting the lower two rows of bunks more than the upper two rows. His “copy” also has very dark, flat eyebrows but they have been redrawn to begin higher up from the bridge of the nose and extend down to the outside corner of the eye, giving him a wild look. Adding to this wild-eyed look is the delineation of more distinct eyelids, rounding the eyes and enlarging the irises, all of which create the zombie look which the ‘original’ doesn’t have.
A couple more things were done in a futile effort to camouflage this ‘copy’: the rounding of the forehead, head, and hairline, and the squaring of the chin and lower jaw. A crude line of black paint, applied all the way up to the big, white ‘cauliflower’ ear, was evidently thought to suffice for a shadow under chin and jaw. Look closely especially where it meets the ear and you can recognize it is paint.
Yet, the nose, mouth, upper jaw and facial shadows remain exactly the same in both figures. The result is a grotesque second person that I suppose has been eliciting sympathy from clueless viewers all these years.
This grotesque, over-worked ‘copy’ is also smaller than it should be for the bunk it occupies – actually being the same size as the man peering out from the next bunk further down. Maybe the forgers thought this would make him look like a young boy. If so, they failed to realize that boys don’t have tiny heads! Now, this peering man has clearly had his eyebrows and eyes emphasized with black paint or pencil. Or he may be totally fake. Others whose eyebrows were treated similarly are: The “elie wiesel” face has heavily emphasized eyebrows; also the second and third man in the third row, and all the men in the top row. I believe the best explanation for this phenomenon is this: the poorly painted eyebrows of the ‘copy’ would stand out too much from the natural-looking eyebrows of all the rest, so it was decided to give a swipe of black paint to many other eyebrows also, including our ‘original.’
As a practicing artist most of my life, from childhood on, who has drawn and painted hundreds of faces and done many portraits, I know quite well how to touch up faces and how tiny adjustments can make a big difference in attaining a likeness. The assignment here was to do the opposite of attaining a likeness; it was to take a photographic carbon copy and make it look unlike the original. If I had done the work on this photograph it would be far superior to the image we have, which is a really sloppy job by people who are not artists and therefore don’t have “an eye” for how things actually look and/or don’t know how to make it look that way. Which is a good thing for us!
NEW ENLARGED IMAGES! In these close-ups showing more of the neck and the space around the faces. we can see more clearly how the head of the “copy” in the lower bunk is angled back, just slightly, since he is lying with his head directly on the floor of the bunk, not propped up as is the “original.” I think it’s likely that after altering the face and hair, and adding an “ear,” the forgers severed the face/head at the jawline and proceeded to paint a brand new neck that would fit the newly angled face with the slightly raised chin. This is why everything below the chin is so horribly wrong. We can see a collar bone and shoulder in the ‘original,’ but there is no bone structure at all in the ‘copy.’ The crude black line representing a shadow under the chin serves to “attach” the two parts together.
The ‘copy’ also has far less contrast, is overall grayish, which would happen from all the retouching, or also that this copy was set for low contrast. We can see that the shadows on the side of the face follow the same pattern even though they’ve been interrupted here and there. We can also see clearly how the upper line of the face was indented right below the cheekbone, and was added to along the mouth area. The line of the mouth between the upper and lower lips goes all the way to the edge of the face, but on the ‘copy’ it stops short of the edge. You can see the gray paint added at that upper corner of the mouth.
Hundreds of forged and mislabeled photographs make up the “Holocaust”
This is one photograph out of many that were also forged. I believe it is one of the most important because it has been given such a prominent place among the documents “proving” the “Holocaust.” Elie Wiesel, or his handlers, no doubt selected this photo – from many possible others wherein he could be falsely identified as one of the crowd – because it was already so well-known and was in many books and publications. Therefore, whenever it is published somewhere, it can be said that Nobel Prize winner Elie Wiesel is in the picture. However, they didn’t count on it being exposed as a fraud – they never do. But now it has been, and it’s up to us – all of you reading this – to see that the exposé becomes known everywhere this photograph appears. This is what it will take to break the spell.
What we have to fight against – our own people
A fellow revisionist who helps me with technical issues from time to time for this blog actually wanted me to hold back on this because he could not be sure that the two figures discussed in this article are the same man! What would it take to convince him? A confession from the perpetrators? A corroboration from an authority figure or a Jew? Why the difficulty in contradicting the given narrative?
A poster at Stormfront who boldly calls himself “The Hammer of God” had this to say when confronted with the empty black area in the NYTimes reprint:
Idk, newspapers did have pretty low-quality pictures at that time, so maybe that whole area was just set to black, but it looks bright enough for that person to have shown up. The lighting actually seems a bit brighter on that man, which makes it even stranger why that section would appear black. So, perhaps it is a forgery, but I can’t say for certain.
Some hammer. How do you “just set an area to black?” And why would they? When I saw that reprint of the NYTimes article it was instantaneous … Eureka! I didn’t have to think about it or doubt myself.
People like ‘The Hammer” should spend more time studying how the magic spell works. It works like this: Evidence doesn’t count; don’t trust it; don’t trust your own senses; trust the consensus. Far too many of us cannot break out of the consensus about the “Holocaust” and the ” evil Nazis.” For this reason, we need to clearly understand what is being done, and how it’s being done. The “how” is very important. It’s a kind of sleight of hand, a magic act, and we are the ones being both entertained and kept in servitude by it. This is how we will break the spell.