Mr. Graef. Well, many times, we will take the actual copy and twist it. Anything goes to get the final results, whatever has to be done, for example if we want to make a curved shot of a label, a flat two-dimensional label, a printed label, and we wanted to curve that label, we might take an empty tin can and paste that on the tin can and tip the tin can so that the lens looking at it would pickup the curve. We would tilt the can to such a degree that the lens in its position would pickup this curve of the label, and, of course, we would make an exposure, so anything goes in camera modification.
You start with the fundamentals of learning film and paper; the characteristics of them—we have many grades of paper, many contrasts of paper; we have several different varieties of film; the time developing these various papers—all of these have to be learned by an applicant before he can go on to beginning the camera, so it is a progression of a trade that takes time.
Mr. Jenner. Does this include color work?
Mr. Graef. No; all black and white.
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.