Mr. Shaneyfelt.

This is about as far as one can go in the establishment of time that a picture was taken from the actual film. This cannot be done in this instance.

Representative Ford.

I notice on some prints which are now developed commercially that they have a date on the edge.

Mr. Shaneyfelt.

Yes.

Representative Ford.

Is this a universal practice now?

Mr. Shaneyfelt.

No; this varies with the different processors. It is used by the large companies. I believe Eastman Kodak uses it. Your larger processing companies use it, but your smaller, maybe one-man shop or small photographic shop will probably not use it. It is at the discretion of the shop actually.

Representative Ford.

Can you tell from a print which has been developed which processing plant processed that print?

Mr. Shaneyfelt.

Not without some specific stamp of the processing company on it.

Mr. Eisenberg.

I think we should add here for the record that the sling which is presently on the rifle is, as any other sling, a removable sling, and not one that is fixed into the rifle.

Mr. Mccloy.

It seems to me that this band here in Exhibit 746 is a, might very well be a reproduction of this, this lighter side of this rather enlarged leather part of the sling.
It seems to be just about the same length.

Representative Ford.

That is, what is on the rifle.

Mr. Mccloy.

Which is on the rifle. I wonder, and here it is again in Commission Exhibit 133A--133A has that---of which it is an enlargement. Isn't it possible that is a reproduction of that leather sling?

Mr. Shaneyfelt.

It could be possible.

Mr. Mccloy.

This is not a string by any means.

Mr. Shaneyfelt.

That is true; it is broader. I get the impression by this shadow at the top, closest to the rifle, just below the bolt, there is a faint shadow there that would indicate a double string or rope, and it then becomes narrower as you are looking at the edge of two ropes lying together. On the Exhibit 133B I get the same interpretation of a double-rope effect, partly because of the knot-tying and so on, and you see the shadow between the strands slightly in some areas, and, as I stated before, I cannot, because of the limited amount of that showing, say that it is not the sling. I find it more consistent with the sling showing in Exhibit 133B, which is very definitely----

Mr. Mccloy.

A bowknot--133B seems to have a knot at the swivels.

Mr. Shaneyfelt.

Yes.

Mr. Mccloy.

Which doesn't appear on the rifle now.

Mr. Eisenberg.

Shaneyfelt, I now hand you the cover of Life magazine for February 21, 1964, which consists of a photograph quite similar to Exhibit 133A, and I ask you whether you are familiar with this photographic cover?

Mr. Shaneyfelt.

Yes; I am.

Mr. Eisenberg.

May I have this introduced, Mr. Chairman, as 754?

Mr. Mccloy.

It may be admitted.
(Commission Exhibit No. 754 was marked and received in evidence.)

Mr. Eisenberg.

Have you compared Exhibit 754 with Commission Exhibit 133A?

Mr. Shaneyfelt.

Yes; I have.

Mr. Eisenberg.

What is your conclusion on the basis of that comparison?

Mr. Shaneyfelt.

It is my opinion that it is the same picture reproduced on the front of Life magazine, which is Commission Exhibit 754.

Mr. Eisenberg.

Does Commission Exhibit 754 appear to have been retouched in any significant way?

Mr. Shaneyfelt.

Yes; it does.

Mr. Eisenberg.

Could you show the Commission that retouching?

Mr. Shaneyfelt.

Yes; I could. I might state that it has been my experience in the field of reproduction of photographs for publication, in which a halftone screen is made from which the photograph is then printed, it is normal procedure, and was at the time I worked for a newspaper, to retouch the photograph to intensify highlights, take out undesirable shadows, generally enhance the picture by retouching the photograph so that when it is then made into a halftone