</span><table border='0' align='center' width='95%' cellpadding='3' cellspacing='1'><tr><td>QUOTE (Jorge @ May 7 2003, 07:56 PM)</td></tr><tr><td id='QUOTE'> &gt;&gt;&gt; I believe he thought you were offering your services as a film processing lab, not as a reproduction and enlargement lab. So there lies the confusion.

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That&#39;s pretty much it--but so much of this is contradictory. I feel uneasy here--like a version of Scott Eaton. I&#39;m really a pretty nice person, I&#39;d be glad to help or try to. But everything that I know about processing tells me not to believe you--I&#39;m sorry, I just don&#39;t beleive the things you&#39;re saying. It doesn&#39;t matter to me if you only offer prints or reproductions--not processing--you have said otherwise above in these posts. Every post seems to contradict the other. You&#39;d have me believe you only do b&w or line work, and then mention RA4, R3, E6 etc. What difference does it make if a customer brings you art to shoot in house on chrome film, and you only process your in-house stuff? It&#39;s ALL the same in the end. I&#39;m not gonna beat up on you, I don&#39;t want to sound like a jerk here--but I&#39;m going to ask you some questions I should have asked upfront--I wouldn&#39;t have become annoyed, had I understood what it was you were doing. You&#39;re not some kid processing film in his bathtub. I take it you&#39;re some sort of lab, whether you believe me or not. It&#39;s different for me, so don&#39;t tell me the answers to these questions are "trade secrets"--as far as I&#39;m concerned there&#39;s no such thing. Believe me, there are more clever people in the lab business than you or I. They would have figured it out years ago, if they could run any of these processes without temp control or any sort of process control. It just doesn&#39;t work that way. Nobody who works in a lab will believe you. I&#39;ll tell you a "trade secret" aka common knowledge. It&#39;s no big deal to use CC filters to get accurate color on chrome films in an E6 line--even one in-control. There are so many variables, you may never even get it right. Every working pro has had to do this or maybe even does it everyday. If you said you needed a 25CC filter, then it would be a problem, but even here we go to .25CCs sometimes, so what&#39;s the big deal? It&#39;s also a trade secret--aka common knowledge--that people blame labs. Eevn labworkers blame the labs they work in. It&#39;s like an in-joke, so lighten up y&#39;all.

My questions, and I&#39;ll keep &#39;em brief:

1) what film, paper, chemistry are you using.

2) how do process--i.e. by hand, processors etc

3) I read on here somewhere that you don&#39;t use any filters on the lens, so how do you set up a filter pack to print a color neg or chrome onto RA4 or R3? I could see filtering out the source with large gels, but how to do the working pack? I could see a tri-color exposure with separation filters, but not on the source-at 20x24? So, how does this work?

4) How do you evaluate the finished product, if not with grayscales, color bars, control strips etc?

I&#39;ll just quit now, because it will get esoteric...I wonder somethings--- about why it would be such a big deal to make a 30x40 off a 35mm neg--when I can do that here on a Beseler MXT, but I really don&#39;t care & don&#39;t want to sound mean or anything. I&#39;m impressed that someone would figure out work-arounds and such, but then again--as someone who does some of this work and also farms it out, I just gotta kinda scratch my head. In the end, clients & customers don&#39;t really care about these things.

So, if you want--start over--why ask such a basic question about time & temp, and be so aloof about what you&#39;re doing? Don&#39;t tell me it&#39;s a trade secret...

Next post, I go back & remove all the above except this.

KT