Quote Originally Posted by RattyMouse View Post
Ok, I understand now. I have to just try it and see how it looks to my own eyes. I think what has disappointed me so far are my prints from scans that have come back from my film development lap. They look OK on the screen, but nowhere near as good as what I think a medium format print should be. Clearly a proper shop should be doing better it seems from what I am hearing.


All good. I think, sire, that you need to seek out a pro lab with a stellar reputation in producing fine art quality prints to exhibition standard (ask to see the sort of work that might closely parallel what you produce in terms of film images). Then take them for a spin with something you really, really want to see printed. At the start, it assumes your negatives/trannnies are well exposed, focused, sharp and especially not too dark (I'm sure they are good! ). Darkroom printing is often a solo discipline guided by judgement and experience to produce a print that is the bespoke vision of the photographer. Hybrid / lab stuff involves you identifying the print you want, calling the shots, and working with (never against) a highly skilled team working toward a common goal of producing a print that everybody is happy with — but especially you!

I can tell you something: I have had occasion to be enthralled at the B&W works of a few photographers here on APUG produced in their own wet darkrooms, but generally less enthralled by their colour work. This is not throwing barbs or knives, nor is it a criticism, but making a point of the way individuals see and master their chosen technique. I probably produced only 10-15 beautiful FB prints from 1990 to 1999, as opposed to 400+ Ilfochromes (still counting in the hybrid process), which no doubt accords me the award of Epic Fail in B&W, LOL! Fine. I stick to what I know best.