First a word or two about gravity. There is reasonably wide belief that gravity may be due to the exchange of "something" (usually called gravitrons) as if it should be possible be possible to construct such a theory, then all four of the known forces would have very similar theoretical structures and all "action at a distance" would better understood. Unfortunately, great efforts by people order of magnitudes better in math physics than me, have failed - if anything as I understand it, they have nearly concluded that such an approach is doomed. Thus, I think your POV (and Einstein’s) is more correct for gravity. The critical test is about to be done. There are several LGIs (That is not correct acronym, but words gravity laser and interferometer are in it, but I think one letter is missing. Later by edit: perhaps it is "B" and LB is long Base Line? LBGI?) now nearing completion to look for gravity waves. If found, the idea that something is propagating will be strengthened, if not found, that idea will be set back a lot, I think.)
I have my money on your and Einstein’s POV, namely there is nothing going between Earth and moon, keeping them together as they jointly go around the sun. I.e. although I no longer can do the tensor math of the "warped space" theory, I like that POV. Mass "distorts" space its self, giving the illusion of gravity. But as I said, I think nature/ God (what ever you like) had at least two ideas and gravity is not the same as the other 3 forces in it basic "exchange of something" to produce "action at a distance," but I am quite ignorant about all this.
As far as a drawing of the Roland circle spectrograph, I have none. I was astounded that Wiki only has two paragraphs on all "spectrographs" and only one small drawing which contains error in that the slit (small blue line on the entering light path of Wiki' top drawing in their very brief confused article.) is not shown parallel to the lines on the grading, as it must be to function. (Properly shown it would just be a dot, as slit should be sticking up out of the paper - guess they did the best they could in 2D, but should have note telling the correct orientation.) Do this to make one:
Draw as big a circle as you can on sheet of paper (the Roland Circle, here after, RC.). At the center of RC, with the same setting of the compass, or same soup bowl if you have no compass, draw a small arc of this same circle (that is the Mirror/Grading, MG, here after). Note that the center of the MG circle, if it were the full circle is on the RC. Call that center point of the MG circle "A."
Now note that all the light that leaves point A and hits the MG reflects and come back to point A. I.e. it re-focuses at A. Now a little distance from A, but still on the RC, mark point "S." (That is the entrance slit) All wavelengths of light ("White Light" , WL, in other words) from S reflected by the MG will again focus on the RC, but the location will be on the other side of point A by the same distance that S is removed from A. I'll call that point S'. Now except for placing the film strip, always on the RC exactly, you are done. At points other than S' each different wavelength will form a sharp image of the silt exactly on the RC.
Can skip this entire paragraph as not important for you, but I just mention: We do not want the WL focused at S' to scatter and lower the sensitivity of the film elsewhere, so we place some absorber there (a WL trap). High quality work uses film emulsion on thin glass plates that can bend to conform exactly to the RC, for reason I will not explain unless asked - has to do with film shrinking uncontrollable amounts during development. The larger the RC the greater any two different wavelengths will be separated on the film. - Easier to measure wavelenths accurately. The "spherical aberrations" will also be less important if RC is large. Also a really great instrument has MG that is an "off axis paraboloid" with a "blaze" to concentrate the light mainly into one "order" - but I skip these last details and will not explain, even if asked.
Now again repeating this new challenge for your "no photons" idea:
Since there is no movement of any object with mass and “photons” do not exist, why does each of the wavelengths of light form sharp images of the entrance slit on the film AT DIFFERENT LOCATIONS?
Something is clearly traveling from the MG to the RC along different paths as I can stand between the MG and RC and cast a "shadow." - i.e. the lines (colors of light) that need to go thru me to get to / refocus on the RC will not be found on the film.
Saying this, I realize that it would be equally effective to just ask you:
If "no photons" nothing traveling between light source and film, how can shadows be formed in the shape of the silhouette of the object interposed between the source and the film? Specifically, I would like to hear how you explain a partial eclipse of the moon, with no photons traveling.
All I have done with my more complex spectrograph question is to establish that this "something" is composed of many differ types of something - same thing the greatest hero of physic who ever lived, Newton, did with glass prism and a small slit in his window blinds on a sunny day in a dark room many years ago.
I am reminded of my post in the "birds in a truck" thread, which gave me one of those rare opportunities to demonstrate that
James R was in error. I made a complex variant with mile hig truck, evacuated interior, electromagnetic rail gun, etc. and proved James was wrong. A few post later, some one noted that an Elephant jumping up and down inside the truck would also show that the weight of the truck, as measured by the scales it was sitting on, is definitely not a constant as James had stated. As noted there: I have been a physicist too long to be always very simple in my explanations / proofs of someone else's errors, but as you can see from the large type question above, I am slowly learning how.
Also simple question, and very destructive of your “no photon” ideas, is a film camera. How does the 2D image form on the film, looking exactly as the photographed scene, if nothing is going between?
PS do not feel bad to be wrong. Keep trying to find new ways to understand things. Problem is you were born after many great thinker have already died. Valid new ideas ain't as easy to do now. BTW, the Greeks had light all wrong. They thought some invisible radiation with no mass shot out of the eyes, to "feel" the effect of sunlight on the objects it struck. They were closer to the truth than you as at least they could explain shadows.