Or maybe its because every single professional shooter in the GTA switching to digital capture by the year 2004.

I run a scaled down small batch process for black and white clients who still shoot film, just to give you some scale, 1993- 200 thousand dollars per year in film processing,, 2012-10 -15 thousand a year if its a good year. We still do film processing for our clients as a required service that leads to printing, film processing does not in itself make any profit.

Survival in our industry is due to joining the juggernaut rather than fighting it. Lots of pro labs (ourself included) are doing fine, just not with film blazing the way.
We are one of a few that has kept an element of film and enlarger printing alive, 800 sq ft darkroom is fairly large by todays standards.

Quote Originally Posted by Rudeofus View Post
There was a lot of talk about how Kodak didn't seem to be able to scale down with declining market demand, but pro labs seem to have fared even worse. These labs could have focused on affordable small scale processing but apparently decided to hold on to their 10k a day processing setups. These "demanding clients who want consistency and run to run accuracy" don't seem to exist in meaningful numbers nowadays yet pro labs act like that's the only type of E6 shooter worth their attention.

Note that this fixation on "consistency and run to run accuracy" made these labs easy prey for the digital juggernaut. As mentioned before: if it is easier to find a brick&mortar store carrying E6 home dev kits than a lab doing E6, the problem can not only be attributed to E6 going out of fashion.