Yes. Point No. 1 on all photographs, A, B, and C, points to the stock of the rifle, particularly the top area of the stock running from butt of the rifle to the breech.
On photograph A this No. I area is rather indistinct but shows that the rifle stock runs in a straight line from the butt up about two-thirds of the way to the breech, where it curves down around a highlight that is clearly visible on photograph A of Shaneyfelt Exhibit No. 14. It curves around that highlight and then recurves up to the breech.
In this same general area of No. 1 of photograph B, there is a dark area which, is an area of retouching that is on the photograph which is Shaneyfelt Exhibit No. 13, that runs from the butt of the rifle all the way to the breech without curve or recurve around the highlight.
The highlight is still present on this photograph. However, the retouching line runs straight past and is a straight line of retouching and does not follow the actual configuration of the rifle stock in that area.
Mr. REDLICH. Just So the record is completely clear on this, Mr. Shaneyfelt, the retouching marks which. appear in pictures B and C of Shaneyfelt No. 14, are the retouching marks which appear on the photograph furnished to the Commission by Life magazine and which has been designated as Shaneyfelt Exhibit No. 13 ?
Mr. SHANEYFELT. That is correct The retouching does not appear as prominent in the Life magazine photograph, which is Commission Exhibit No. 13. as it does in the photographs B and C of Shaneyfelt Exhibit No. 14, because photographs B and C were made with special lighting to bring out this retouching, but they are nevertheless, the points of retouching are nevertheless, there on the Life magazine photograph.

Mr. Redlich.

And photographs B and C of Shaneyfelt Exhibit No. 14 actually made from the photograph which is Shaneyfelt Exhibit No. 13 ?

Mr. Shaneyfelt.

That is correct.

Mr. Redlich.

Will you continue?

Mr. Shaneyfelt.

Photograph C of Shaneyfelt Exhibit No. 14 shows at point 1, which is the area of the upper edge of the stock of the rifle, this straight line retouching going directly from the butt to the breech without a recurve, and not in conformity with the actual contour of the stock of the rifle in that area.
Points No. 2 in all photographs A, B, and C, point to the telescopic sight of the rifle. In photograph B retouching is shown around this point No. 2 where retouching has been added to enhance the detail around the rifle scope. This, is also shown clearly as retouching at point 2 in photograph C.
Point No. 3 in photographs A, B, and C, in Shaneyfelt Exhibit No. 14, the area along the top of the rifle beyond .the breech Just above Oswald's left hand. There is a retouching line that runs from Oswald's hand to the where the gun protrudes past his shoulder. This is clear in photographs B and
at point No. 3.
Photograph A at point 3 shows how the photograph appears in that area on Commission Exhibit No. 133-A
Point No. 4 refers to the retouching along the lower edge of the right Oswald, and that area No. 4 of photographs B and C clearly show this retouching along the edge of the elbow and a large spot just below the elbow where a shadow between two fence posts has been removed in order to show the contour of the elbow in better detail.
Point No. 5 refers to the shoulder area of the photographs A, B, and C in Shaneyfelt Exhibit No. 14. The photograph A, point 5, shows the shoulder it is in Commission Exhibit No. 133-A, and point 5 in photographs B and shows the retouching along Oswald's right shoulder.
Point No. 6 in photographs A, B, and C refers to the right side of neck and chin area, and point 6 in photographs B and C clearly shows the retouching along the right side of 0swald's neck, and around his chin and slight retouching into, slightly into, his cheeks.

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Last Update: Wed, 3 Aug 2016 21:56:32 CET