Mr. Shaneyfelt.

That is correct.

Mr. Redlich.

And that was the date when you testified in connection with the reenactment that was conducted in Dallas?

Mr. Shaneyfelt.

That is correct.

Mr. Redlich.

During your previous testimony, Mr. Shaneyfelt, you testified concerning the retouching which, according to your testimony,-had been performed on the photograph which has heretofore been designated as Commission Exhibit No. 133-A; is that correct?

Mr. Shaneyfelt.

Yes.
(Shaneyfelt Exhibits Nos. 8, 9, 10, 11, 12, and 13 were so marked and introduced. )

Mr. Redlich.

I hand you now an exchange of correspondence between the Commission and Life magazine, which has been designated as Shaneyfelt Exhibits Nos. 8, 9, 10, 11, and 12, together with a photograph furnished to the Commission by Life magazine which has been designated as Shaneyfelt Exhibit No. 13, and I asked you to review this correspondence.
For the record, Mr. Shaneyfelt, have you read this correspondence?

Mr. Shaneyfelt.

Yes; I have.

Mr. Redlich.

This correspondence will show that the Commission advised Life magazine of your prior testimony, and requested of Life magazine the original photograph upon which the retouching was performed. Does Shaneyfelt Exhibit No. 13 purport to be that original photograph, Mr. Shaneyfelt?

Mr. Shaneyfelt.

Yes; it does.

Mr. Redlich.

And Shaneyfelt Exhibit No. 13 was forwarded to you by the Commission for examination; was it not?

Mr. Shaneyfelt.

That is correct.

Mr. Redlich.

The Commission asked you to examine that photograph in order to describe in greater detail the actual retouching which was performed on that photograph preparatory to publication; is that correct?

Mr. Shaneyfelt.

That is right.
(Shaneyfelt Exhibit No. 14 was marked and introduced. )

Mr. Redlich.

I now hand you another exhibit which is designated as Shaneyfelt Exhibit No. 14, and ask you to describe how it was made, and what it purports to demonstrate?

Mr. Shaneyfelt.

Shaneyfelt Exhibit No. 14 is a chart that I prepared to illustrate the retouching that I found in my examination of the Life magazine photograph which is Shaneyfelt Exhibit No. 13. This chart consists of three different photographs. Photograph A is a normal print of Commission Exhibit No. 133-A. Photographs B and C are photographs of the Life magazine picture, which is Shaneyfelt Exhibit No. 13, made using special lighting technique in order to portray the retouching that has been added to the Life magazine photograph, Shaneyfelt Exhibit No. 13.

Mr. Redlich.

On each of these three photographs there appear a series of numbers starting with No. 1, and running consecutively through No. 11; is that correct?

Mr. Shaneyfelt.

That is correct.

Mr. Redlich.

Can you describe the significance of these numbers ?

Mr. Shaneyfelt.

The numbers with red arrows were placed on the photographs to point to specific areas of retouching, and relate them to these same areas of the photograph which is Commission Exhibit No. 133-A.

Mr. Redlich.

And as I understand it, using No. 1 as an example, the arrow next to No. 1 in photograph A of Shaneyfelt Exhibit No. 14, points to the stock of the rifle as it appeared in the picture which has heretofore been designated as Exhibit No. 133-A.
The arrow next to No. 1 in photograph B of Shaneyfelt Exhibit No. 14 points to the same spot on the stock of the rifle and points to a specific indication of retouching which you will subsequently describe?

Mr. Shaneyfelt.

That is correct.

Mr. Redlich.

And the arrow next to No. 1 in photograph No. C of Shaneyfelt Exhibit No. 14 points to the same spot on the rifle; namely, the stock, and is placed here in order to indicate in more specific detail the type and manner of retouching which was done at this particular location?