Clendon,
Here's my (slightly differect) take on your flowers:
First, I agree with others that the lighting is a bit flat. This is a case
where a bit of fill from the T8 might work, or harder light from a single
strobe or reflector card.
Second, I don't agree about the processing. The machines can shift color,
but the only thing that can make one color the same as and adjacent one is
compresion from too much contrast. The ultimate example of that was the
late, lamented Agfa Ultra 50, a film that made Velvia look flat. I can't
believe that minilab paper has that much contrast.
Third, I doubt that either chrome films or higher saturation films will
help. Chrome films records a narrower range than negative film, about seven
stops against ten of recoverable information, so this will likely bring the
yellow and yellow-orange together. Of course, without seeing the actual
flower, I can't say for sure, the two hues may be far enough apart to
benefit from something like Velvia.
If I were you, I would start with some Portra 160, and scan the negatives
yourself, or have prints made at a pro lab. This low contrast film combined
with something like Supra paper (Kodak's mid-contrast paper) might just do
the thing.
One thing that we all miss as all films go to higher contrast and saturation
is the ability to record a subtle range of hues. There are certainly some
instances where a higher saturation is good (Velvia and some landscapes, for
example), but there are some cases where it is a detriment, and Portra 160
is about the only alternative.
Bill Pearce
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