Mr. Graef. It is here in Dallas.
Mr. Jenner. The office you called?
Mr. Graef. The office I called—that's correct.
Mr. Jenner. I assume it has offices in other cities in Texas?
Mr. Graef. I believe so; so I called—but to reiterate—mainly our best source of employees has been the Texas Employment Commission. They have a larger pool to draw from, so I called—in the course of my dealing with them—they have various departments and in the course of dealing with them, I became familiar with one person.
Our particular photographic department is not one that we find experienced personnel readily, and the work we do is, I would say, quite different in various ways from ordinary photography, as most people know it. I will enlarge on that slightly by saying we do many, many things with letters. For example, we can take a straight line of type and we can curve it or bend it or twist it or put it in a circle, for example, and so, rather than just taking pictures of people as ordinary photographers do, this work which we perform for advertising agencies and artists in this area is a matter of training, learning first to use the equipment we have which takes some time, and then the differences in the material that we use.
For example, the characteristics of photographic paper, the characteristics of chemicals that we use, and it is only after learning and becoming familiar with the equipment and the materials that then you find out whether an employee will produce the work properly, on time, and well, and so, it is usually some time before an employee develops into or either becomes the kind of employee you want.
In other words, after this training period, and you have spent time with him teaching him the equipment and the material, perhaps at this late date, many months by now may have gone by—perhaps he can't—he isn't careful enough in the job—he begins producing, but perhaps we will say he doesn't work as hard as you would like, so quite often we spend a great deal of time teaching someone, only to find out after some months have passed that he isn't a desirable employee, but is just one of those things.
We must, of course, in order to find out if they will do the job, go through the process of teaching him the equipment and about the materials, so I've gone into this because it will help later on in explaining the termination of Lee Oswald with us, but because of these various facts that I have mentioned, I became familiar with one person in particular down at the employment office, the Texas Employment Commission—the agency.
I, of course, had never met this person, but through phone conversations I explained after many times what I needed, the type person I was looking for—perhaps with an artistic background, perhaps with photographic experience somewhere, in the Army or elsewhere, and I told her the various attributes that I thought a person should have in order to make a success of our work.