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  1. #21

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    I read that most photo shops are using traditional chemicals to make prints (from digital or film), because the cost of chemicals is much lower than the cost of ink for inkjet or dye for dye-sublimation processes.

  2. #22
    jd callow's Avatar
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    Quote Originally Posted by elekm View Post
    I read that most photo shops are using traditional chemicals to make prints (from digital or film), because the cost of chemicals is much lower than the cost of ink for inkjet or dye for dye-sublimation processes.
    It is also much faster.

    *

  3. #23

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    I guess I should feel blessed, there are 3 labs/photo stores near me that will take 120. Of the three, I've used two of them, and they both do fine work, even in an hour. I wish it was as cheap as 3 euros though.

    For me the big problem is that the only local shop doing E-6 quite doing it last month. So, I'm about to start running my own.
    At least I've got enough backlog of film to use the kit almost immediately.

  4. #24
    Stephen Frizza's Avatar
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    ergh!

    Quote Originally Posted by msage View Post
    Maybe if more film photographers worried about quality and patronizing labs that catered to us instead of worrying about finding THE cheapest deal and saving a f*****g nickel on a print, a few labs may survive. OK, I feel a little better saying that.
    I couldn't agree more with you! I own a small pro lab in Sydney Australia and if you want quality you have to expect two things. First a wait in time and secondly to pay more money!

    on the note of another poster

    I don't know of any "prolab" which could process film, print a proof sheet and print by machine a whole roll of 5x5" prints in one hour. this sounds like minilab to me! and if something like this is required of a pro lab then expect a 100% surcharge on the job as that kind of turn round sounds totally unreasonable to me.

    Also as for complains to drying marks its not hard to ask a pro lab to re wash a film!

    On the issue of clip marks in a frame, If a client tried to squeeze an extra frame onto a roll of film where a frame really shouldn't go...is the lab operator really responsible for that neg getting the hanger clip though the frame? If its so important to save the frame tell the lab operator before you hand them the film that you have "Squeezed a frame in" where the hanger clip needs to go. that way the lab operator can alter their processing method and save it!
    if you don't know how many frames of 6x7 should fit to a roll of 120 ask the lab! its 10 not 11, 36 exposure film can shoot 37 frames but when your squeezing 38 or 39 frames (yes I've seen it god knows how!) .... expect a chance of loosing one! the film recommends 36 exposures for a reason!

    Ok another thing scratches, Scary and certainly shouldn't happen in a pro lab!
    however not all scratches are occurring because of the lab! sometimes it can be grit in the camera or the canister gate etc... and if it is the lab and it is a one off event while unfortunate and they should take responsibility I do have to say shit happens.

    I really feel if you are squeezing the labs for cheaper and cheaper prices, faster turn rounds and more services expect the incidence of problems occurring with your work to increase.

    Stop bitching , treat your analog labs with respect! you'll appreciate them when their gone!
    Last edited by Stephen Frizza; 06-28-2008 at 04:27 PM. Click to view previous post history.

  5. #25
    David A. Goldfarb's Avatar
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    In New York you could get one hour turnaround on E-6, but I suspect it would be a double rush at 200% (yes, two hundred percent) surcharge, since the normal NYC turnaround on E-6 is four hours from the larger pro labs.

    Most NYC pro labs will do negs and contacts with 24 hour turnaround standard to allow for drying time. Not sure what they would ask for one hour or something along those lines.
    flickr--http://www.flickr.com/photos/davidagoldfarb/
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  6. #26
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    I am contemplating going my own way with colour as I live in the 'burbs of Toronto in a nice town called Oakville, the only decent lab discontinued all film processing last year and went digital everything. For the most part in suburbia the concept of film photography is an alien one.

    Not a big deal for me as I shoot black and white 95% of the time but at some point I want to process and print colour myself because, the next decent film lab that cares is in Toronto and I want to control the process a lot more.

    Bill
    "Life moves pretty fast, if you don't stop and look around once and a while, you might just miss it."
    Ferris Bueller

  7. #27
    Travis Nunn's Avatar
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    Quote Originally Posted by Stephen Frizza View Post
    Stop bitching , treat your analog labs with respect! you'll appreciate them when their gone!
    Steven, I wasn't going to respond until you added this comment at the end. Yes, you're right, not all scratches occur at the lab, sometimes they are the fault of the camera, user, whatever. It has long been said around where I live that if you want your film processed right, go to Action Photo. After all, it's where all of the pros got their film processed. Well, they stopped processing film a year or two ago. If I had only had one or two problems, I wouldn't really worry about it too much, but me and many others have had so many problems time after time after time. The fact is they just suck. Plain and simple. That's why I pay considerably more to ship my slides out to get processed.

    Maybe if some of these places would have a little more consideration for their customers we'd respect them a little more.

    You could always move here to Richmond, we need a good pro lab!
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  8. #28
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    Last summer, I was felt betrayed when the owner of my professional photo lab showed me the photos he took during his recent vacation to Peru. Normally, he shoots his vacation photos with a medium format film camera; but last year, he switched to a digital camera. Since his photo lab was geared toward film users, he was the last person I expected to go digital. While I was supporting his business, he was taking the first steps toward abandoning it.

  9. #29
    Stephen Frizza's Avatar
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    I perhaps he was also taking a holiday from analog?....

  10. #30
    2F/2F's Avatar
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    "What's an MFer like me to do?"

    Ha ha. You are a self-described cheap MFer...maybe that's why they were giving you such trouble.

    The only way to get 100% satisfaction would be to develop your own. You said you are a cheap MFer. Not cheap enough to develop your own though...which would save you a ton of money, and help keep the chemicals alive for the rest of us.

    Also, I would say that if he does not routinely do medium and large format, then he is not a "pro" lab. Any "pro" lab is full service without hassle. If there is something they don't offer, they'll find someone who does and send it to them.

    In short, do your own, or send your stuff to a real lab. Unfortunately, this is the only way to make 90% sure that things will be OK.

    I can't help but wonder what you all mean when you say "pro" lab, after all of these posts here. To me, a pro lab is a lab that can cater to *any* professional lab needs of a photographer with high quality results and excellent customer service. If medium format is an oddity, or they don't have any actual enlargers to make prints by hand, they are not a pro lab, plain and simple. They may be in business, and may even make a profit, but they are not pros.

    This is not meant to spark another endless "how is 'pro' defined debate". Perhaps I am just lucky to live within driving distance of A and I, so I am spoiled. No lab is without its problems or mistakes, but I still maintain that a pro lab is full service, offering anything a pro photographer (this includes commercial, fine art, and editorial) *might* need.

    By this definition, and pure spatial necessity, the place would also have to be industrial sized, not located in a mini mall. A pro lab has a dip and dunk processor, a Kreonite, 8x10 enlargers, commercial inkjet printers, lightjet printers, drum scanners, a digital darkroom, a wet black and white lab, offers custom printing and proofing, custom digital editing, lightbox service, you name it, *and* the staff to operate it all, manage the customers, and mange the business end of things.

    It comes down to this: If the lab cannot take something from straight out of your camera (*any* camera) and get it to a point where it can be delivered to a client and/or hung on a wall, they are not a "pro" lab.

    Ironically enough, you yourself listed one of the most affordable ways to get work done at a pro lab: drop it off at Wal Mart. If it is something "weird", they will send it to Fuji. If you are worried, include special instructions.

    Additionally, medium and large format customers are probably the only reason "true" pro labs still do film at all. There is no need for a Refrema, DeVere 8x10s, and a wet lab if people are just bringing in their 24-exposure WalMart brand vacation pix to get developing and low rez scans.

    And I think we all have to admit that our beloved true pro labs would all go belly up if they did not do digital work primarily. Thus, we should not totally shun digital. In this way, it is keeping film alive to a degree.
    Last edited by 2F/2F; 06-29-2008 at 12:46 PM. Click to view previous post history.
    2F/2F

    "Truth and love are my law and worship. Form and conscience are my manifestation and guide. Nature and peace are my shelter and companions. Order is my attitude. Beauty and perfection are my attack."

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