Page 10 - FOR THE PALACE

The facts suggest three different photographs shot on three different cameras, two digital and one film. The shot
of Andrew is an outside night shot (confirmed by Andrew’s own statement “Those are my traveling clothes”) by a

Paparazzi photographer using a digital SLR with electronic flash. The camera would be set on automatic with the
electronic flash set on TTL to capture a high resolution image by just point and shoot; there would be no time to

vary the settings.

Giuffre’s photograph is shot at a similar resolution to Andrew’s photograph. By enlarging a section of the skin on

Giuffre’s arm the grain and shadow suggests an outside shot, also in the dark. Where Giuffre has been cut out of

this dark background her arm has the same thick dark unnatural outline once it is overlaid on Maxwell’s white
sweater. However, the red eye endorses it was shot with electronic flash only.

The shot of Maxwell is of a much lower resolution definitely shot on a film camera with daylight film at 400 ASA/
ISO using a mixture of the available tungsten light filled in with electronic flash. Tungsten light on daylight film

was a trick photographers used in the 1980’s when shooting pale white female models in bikini’s for holiday

brochures in a studio. The orange colour temperature of tungsten light made the models look tanned.

The black edge where Andrews face meets the white background is caused by cutting Andrew out of a black

background and pasting him onto a white background, it cant be avoided only improved by removing more black

to a thinner line, it is definite proof Andrew does not belong in this photograph. The same rule applies with
Giuffre’s arm the sensor has allowed enough light from the flash to record an accurate flesh tone with a dark

background. Without doubt the original photograph of Giuffre would have appeared completely dark within the

whole area underneath her arm. The regimental one centimeter strip of dark alongside Giuffre’s torso is the result

of removing a large section of dark from under Giuffre’s arm to reveal the background of Maxwell’s photograph.
(Please see Fig. 10.)