Mr. JENNER. Oh, all black and white? Mr. GRAEF. All black and white. We shoot color copy occasionally, but we don't do color work. Mr. JENNER. That is, when I say color work, I intended two things--first, color film and secondly, colored ultimate product. Mr. GRAEF. Colored film, no; we do not develop colored film and we don't shoot colored film. We might, in black and white, make a two-color a set of two-color negatives or something, for example, we might shoot part of a label and furnish a negative that would print the black on something and we might furnish an additional negative that would register with the first, that would print a color. For example, a colored border around the black copy and we would furnish these two negatives to a customer and he might print it in two colors, choosing whatever colors he wanted. Mr. JENNER. Yes; he could use whatever ink he wished to employ on the mat? Mr. GRAEF. That's correct. Mr. JENNER. Or, do you sometimes use lead slugs? Mr. GRAEF. Never. Mr. JENNER. Of course, the customer would make a lead slug from the mat and then print it? Mr. GRAEF. Yes. Or, have a plate made, for example, in offset printing from our negatives--he could burn in plates and which would run two colors. He could burn his black plate and he could burn his red plate, for example. Mr. JENNER. Well, I got you to digress a little bit from telling us your teaching of Mr. Oswald from his gradual development or undevelopment? Mr. GRAEF. Of course, Oswald was not the first one that has come into our department, because his wasn't an unusual case. He was just another employee among many whom I have trained during these years--through these years. Mr. JENNER. Were there others you were training at this time? Mr. GRAEF. No. Mr. JENNER. Of substantially like experience? Mr. GRAEF. No. There were others in various stages of training, but none who was starting from the very beginning, we'll say, so, of course, even though he had had--he said he had had experience in photography, we started from the very beginning because the papers that you ordinarily use in amateur photography are somewhat different from the papers that we use in our work. The film that you would use in amateur photography is different than the film that we use in our work, so we start from the beginning in every case and this was the situation with Lee Oswald. I began--we'll say for the first 3 or 4 days--he probably followed me around just to see what went on, learned how to make a print on the contact frame the way that our customers require, and became familiar with the routine of the department and little by little he was allowed to do various things to begin his training.