(Testimony of Lyndal L. Shaneyfelt)
Mr. Eisenberg.
So that the presence of that same feature as a retouch in both photographs might be coincidental, or at least might not have been done by the same person?
Mr. Shaneyfelt.
That is correct.
Mr. Eisenberg.
And in your mind that similarity of feature does not preclude Free possibility that a completely unretouched photo was submitted by the Detroit Free Press to Newsweek?
Mr. Shaneyfelt.
That is right.
Mr. Eisenberg.
Now, Mr. Shaneyfelt, I hand you page 30 of the New York Times, issue of February 19, 1964, which again contains a photograph similar to those you have been testifying as to---and which page I have marked Shaneyfelt Exhibit No. 6---and I ask you whether you have examined that photograph?
Mr. Shaneyfelt.
Yes; I have.
Mr. Eisenberg.
And what is your conclusion conceding that photograph, Mr. Shaneyfelt?
Mr. Shaneyfelt.
I found this to be generally similar in all visible characteristics to the photograph which is Commission Exhibit No. 133--A, and found no differences to suggest that it is other than the same photograph as Exhibit No. 133--A. However, the lack of detail in the halftone reproduction on Shaneyfelt Exhibit No. 6 precludes a positive identification with Commission Exhibit No. 133--A.
Mr. Eisenberg.
Do you see any retouching in this photograph, Mr. Shaneyfelt?
Mr. Shaneyfelt.
Yes, I do.
Mr. Eisenberg.
Can you describe that?
Mr. Shaneyfelt.
In the photograph reproduced on Exhibit No. 6 this is retouched along the right shoulder and to the right side of the face of Oswald. In this instance, that has been put in in a solid medium gray, to make it appear as the extension of the building or the fence that appears in the background of the original photograph.
There is retouching around the rifle stock--in fact, the stock itself seems to have been lightened all along the lower portion near the butt; a highlight along the top has been retouched along the top from the butt to the breech; some retouching along the butt of the stock, and also along the bottom edge of the stock, running upward toward the trigger.
The highlight that appears in Exhibit No. 1 along the bolt as a two-section highlight or a broken highlight appears in this same general area on the gun in the reproduction on Exhibit No. 6 as a solid highlight and one continuous line. There has been a highlight added along the bottom of the gun just forward of the trigger guard and just below Oswald's left hand. Also a highlight has been added along the top of the gun above Oswald's left hand to show the gun as apart from the dark shirt, so that the gun and shirt do not blend into one continuous tone at that point. There appears to be some retouching of Oswald's shadow, in that it has been toned down to a medium gray shadow so that it will not blend into the lower portion of his legs.
Mr. Eisenberg.
Which of the reproductions which you have so far examined does this most resemble, Mr. Shaneyfelt: the Detroit Free Press, the Life, or the Newsweek reproduction?
Mr. Shaneyfelt.
This corresponds to both the Detroit Free Press and the Newsweek reproductions of the photograph, in that it contains the two white dots along the right leg, centrally located between the ankle and the knee as they appear in those two reproductions, and, therefore, may be derived from the same basic print, since this characteristic does not appear in Commission Exhibit No. 133-A or in the Life magazine reproductions on Shaneyfelt Exhibits Nos. 2 and 3.
Mr. Eisenberg.
What about the retouching in the New York Times photograph, Mr. Shaneyfelt, how does that compare with the retouching in the Detroit Free Press and Newsweek photographs?
Mr. Shaneyfelt.
The retouching is different from any of the other Exhibits Nos. 4 and 5.
Mr. Eisenberg.
Would you conclude, therefore, that the New York Times, like Newsweek, may have received from its source an unretouched photograph which it proceeded to retouch?
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