I'm going to pount his dead horse another time...
> I just took a set of photos back to the processor because all the prints
looked badly overexposed, even though the >negatives were all perfect. I
have been having more and more trouble getting competent photofinishing. I
suspect that >this problem is universal, and may be contributing to the rise
of digital, despite the limitations of current consumer-level >digital
cameras: to the average bear, the photos look equally good (bad, really),
and people don't know what they are >missing. Perhaps the average bears are
correct to go to digital.
Just keep trying other labs. I don't think Joe Average will do better with
digital if he needs to make prints with his cheap inkjet printer.
> I think you're right. It's a conspiracy. I have never had so many
> problems with prints or slides. My slides have been coming back scrached
> and wrinkled in their masks. My prints are most often improperly
> exposed... I refuse to go digital.....might just use black and white
> exclusively unless I am going to use a professional color lab for
something
> special.
As I have said, note that chromes are an ever shrinking part of the market.
Never go to a photofinisher with a job that is for them low volume. That's
not what they do, and shouldn't be expected to do.
> When people have problems with processing, I wish they'd name
> names, like, Target in Omaha. The only place I have ever had
> trouble with film processing was Target. They ripped the
> negative and then had the nerve to include a note that "the
> negative was received ripped." Maybe we will see a pattern.
Interesting, as Target's one hour labs are operated by Kodak/Qualex, and all
overnight work is sent to a Qualex lab. The overnight work may go to Kansas
City from Omaha, where I have had overall good results.
> Perhaps I am fortunate in not been having these problems. I send all 35mm
> transparency, with the exception of Scala 200X, to Qualex (a.k.a. Kodak
> Premium Processing) using the drop box at a local discount store. Yes, it
> takes 5-7 days, but I'v had very few problems considering the quantity of
> film I'm using (over a roll per week). The biggest issue was one instance
> of lost film and that one was bizarre; an entire bag of film was lost. On
> all other occasions, what was misplaced was eventually found.
Equally bizzare. Most of the Qualex/Kodak labs used cine processors for
slides, but at current volumes, I can't imagine they can keep one up and
running. Some have used a dip and dunk line for slides, better matched to
the volume. Generally, I prefer that process, but in a photofinishing
situation, they probably don't receive the attention required for good
results. I ind that mass photofinishers don't do so well in the
dust/scratches/waterspots department.
> Medium format 120/220? Another story and I quickly stopped sending it to
> Qualex.
Imagine, in today's world, how many people shoot 120 that would even
consider sending it to Qualex. I'm surprised they still offer the service.
They can't afford the skilled help for this job.
> Everything else (35mm B/W and color negative, and all medium
> format) goes to a pro lab in Indianapolis, either by priority mail or via
a
> friend of mine who owns and operates a local studio. Biggest problem I
had
> with Qualex processing 35mm color negative was color balance.
You're at the mercy of the printer. Color balance will vary even between pro
labs. At least you can have that reprinted.
>I may start using them again for B/W negative as color balance of that
cannot be
> botched, but it takes them forever to process and print it.
Extremely low volume. See above.
Again, check price between pro labs and Qualex or fuji for chromes. You will
most likely find only a few dollars difference. My local pro lab charges
$6.75 for mounted E6. Those Fuji mailers usually run between four and five
bucks. I get mine in three hours. You wait a week. From the same emulsion, I
get the same results, weeks apart. You take your chances.
Bill Pearce
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