Mr. Shaneyfelt.

there was nothing in these photographs to indicate that they are other than the same photograph.

Mr. Eisenberg.

Now, when you say that the only variations appear to be variations in retouching, that would be based on the conclusion that they were the same photograph, is that correct?

Mr. Shaneyfelt.

Yes.

Mr. Eisenberg.

Could you describe those variations which are apparently due to retouching, Mr. Shaneyfelt?

Mr. Shaneyfelt.

Yes. There is an area to the right of Oswald's head and shoulder, to my left as I look at the photograph, that has been airbrushed or otherwise altered, to intensify the outline of the shoulder, which would be Oswald's shoulder.
In addition there is retouching around the stock of the rifle, and along the other portions of the rifle where it crosses Oswald's body, that has been added to intensify the detail in that portion of the photograph.

Mr. Eisenberg.

When you say "around the stock," could you specify as to whether you mean the top, bottom, end, or all three or any two of those boundaries?

Mr. Shaneyfelt.

In Shaneyfelt Exhibit No. 4 there is retouching on both the top and bottom and butt of the stock, and also a highlight running along the top of the gun from the bolt forward toward the muzzle.
There is an additional highlight along the bottom of the gun Just forward of the trigger assembly between the trigger assembly and the hand.

Mr. Eisenberg.

Now, there is a highlight on Shaneyfelt Exhibit No. 1 running near the top of the barrel or receiver, is that correct--terminating at Oswald's left hand?

Mr. Shaneyfelt.

Yes.

Mr. Eisenberg.

What is the relation between the highlight at the top of the barrel or receiver in Shaneyfelt Exhibit No. 4 and the highlight just referred to in Shaneyfelt Exhibit No. 1?

Mr. Shaneyfelt.

In Exhibit No. 1, that highlight along the bolt of the gun is in two parts, and the highlight in the photograph or the reproduction of the photograph, Exhibit No. 4, is a continuous highlight.

Mr. Eisenberg.

Is it your opinion that the highlight in Shaneyfelt Exhibit No. 4 is based upon the highlight in Shaneyfelt Exhibit No. 1?

Mr. Shaneyfelt.

Yes.

Mr. Eisenberg.

But it differs, at least, in that it makes a continuous highlight where none appears in Shaneyfelt Exhibit No. 1, is that your testimony?

Mr. Shaneyfelt.

That is correct.

Mr. Eisenberg.

Now, in Shaneyfelt Exhibit No. 1, a telescopic sight is apparent on the rifle, and no such sight is apparent in Shaneyfelt Exhibit No. 4. Do you have any opinion as to the reason for the lack of a sight appearing on Shaneyfelt Exhibit No. 4?

Mr. Shaneyfelt.

Yes.

Mr. Eisenberg.

Could you give that opinion?

Mr. Shaneyfelt.

I believe that the sight does not appear in the reproduction of the photograph on Shaneyfelt Exhibit No. 4, because it was not retouched to intensify the detail of the sight, and, therefore was lost in the engraving process. I do not believe that there was any retouching over the sight in order to purposely obliterate it from the reproduction in Exhibit No. 4.

Mr. Eisenberg.

Now, is there generally a loss of detail in reproduction of illustrations appearing in newspapers, Mr. Shaneyfelt?

Mr. Shaneyfelt.

Yes; there is. This is apparent in other areas of this photograph when compared with Shaneyfelt Exhibit No. 1, in areas of Oswald's shirt, where wrinkling appears in Exhibit No. 1, and is lost in the reproduction. Also, the wrinkles in the dark areas of the trousers are not reproduced in the halftone process, but this detail is lost by the process.

Mr. Eisenberg.

What is this halftone process which you mention?

Mr. Shaneyfelt.

This is the halftone process by which a continuous tone photograph, such as Exhibit No. 1, is photographed through a screen so that it can be broken up into a dot pattern of black dots on a white background and