(Testimony of Lyndal L. Shaneyfelt)
Mr. Shaneyfelt.
white dots on a black background to give the appearance of continuous tone in the printed newspaper reproduction. And this is the only means by which a continuous-tone photograph can be reproduced.
Mr. Eisenberg.
Why is it called a halftone process?
Mr. Shaneyfelt.
I don't really know the answer but I would assume that it is because it gives you the tones in between black and white, or the halftones.
Mr. Eisenberg.
Now, a loss of detail is inherent in this process, is it?
Mr. Shaneyfelt.
That is true, particularly in regard to newspaper reproductions, where a relatively coarse screen is used in making the halftone. In a magazine publication, where a higher quality of printing is used, and a better quality of paper is used, it is possible to use a finer screen and thereby retain a greater amount of the detail.
Mr. Eisenberg.
Now, referring once more to the highlight running along the top of the weapon, and terminating at Oswald's left hand in Shaneyfelt Exhibit No. 4; when you compare this exhibit with Shaneyfelt Exhibit No. 1, does it appear that that highlight actually runs along the top of the weapon?
Mr. Shaneyfelt.
In the reproduction of the photograph on Exhibit No. 4, the impression is given that the highlight is along the top of the rifle, because you see no additional detail above that highlight along the top of the gun.
Mr. Eisenberg.
Now, if you compare that with Shaneyfelt Exhibit No. 1, where a similar highlight appears, does that highlight actually denote the top of the weapon, or is any detail above the highlight apparent in Shaneyfelt Exhibit No.1?
Mr. Shaneyfelt.
On Shaneyfelt Exhibit No. 1, the highlight does not denote the top of the weapon. There is detail present that shows other areas of the gun, the breech, above the highlight.
Mr. Eisenberg.
Now, would you say then that detail of the weapon itself, that is, the upper part of the weapon, had been lost along with detail representing the telescopic sight?
Mr. Shaneyfelt.
That is correct.
Mr. Eisenberg.
Bringing your attention back to Shaneyfelt Exhibits Nos. 2 and 3, which are the Life photographs, how did these photographs compare with Shaneyfelt Exhibit No. 4, the Detroit Free Press photograph?
Mr. Shaneyfelt.
The primary difference is in the retouching. In the area above and behind Oswald's right shoulder, the background has been retouched out on Exhibit No. 4, the Detroit Free Press. In the Life magazine reproduction, Exhibit No. 2, the background has been left in, and the retouching has been added to the shirt area around the right shoulder to enhance the detail along in that area.
The Life magazine reproduction, Exhibit No. 2, also has retouching around the scope of the rifle in order that it will not blend into the dark shirt that Oswald . was wearing and thus be lost in the reproduction process; this has not been done in Exhibit No. 4. The retouching along the top of the rifle stock is generally similar, in that it is in a straight line from the butt of the stock to the bolt. However, Exhibit No. 4 has a different type of retouching along the end or butt of the stock and the bottom of the stock or the lower edge of the stock between the butt and the trigger guard. Highlights along the top and bottom of the breech area are different in Exhibit No. 4 than in Exhibit No. 2.
There is a dark shadow between the legs of Oswald that is about halfway between the knee and the crotch that has been left in the reproduction of Exhibit No. 4, but has been retouched out of the Life magazine reproduction, Exhibit No. 2. These are the primary variations in the retouching on the two exhibits.
Mr. Eisenberg.
Does the highlight running at or near the top of the receiver or barrel in the bolt area show a continuous or an intermittent form in Cornmission Exhibit No. 2?
Mr. Shaneyfelt.
Commission Exhibit No. 2 shows a break in the highlight along the bolt, and is reproduced very close to the original photograph, which is Exhibit No. 1.
In fact, this area was probably not retouched, or this highlight was probably not retouched, for the Life magazine reproduction.
Mr. Eisenberg.
Now, you also mentioned that the retouching along the stock
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