Each of us will have our own opinions, so here's mine. I will address color,
as black and white requires more information. First, don't even bother with
mini labs. Sure, we all use them for stuff that doesn't matter, but don't
send important film through one of their machines. As a generalization, I
look for a lab that uses dip and dunk machines. Another list member will
point out that there can be problems with these as well, an I agree that
there is an equal argument for the cine machine, but I think we will both
agree that there are two things that are important: nothing in contact with
the film but chemistry, and well-regulated chemicals. This limits you to
one of those two processes. Note that this, at least as far as chromes are
concerned, cuts out the one shot processes. When shooting chromes, the most
important thing is consistency. You should get the same speed and color
balance (color balance of chrome films can be chnaged buy the chemistry) day
in and day out. this is only possible with a well monitored, replenished
system.
I generally look for a lab that caters to commercial photographers. Labs
that cater to wedding and portrait photogs often have large minimum order
requirements, and often don't do much chromes. Commercial and such shooters
shoot a lot of chrome, and generally very particular.
Price will fool you. A good commercial lab can often be quicker and cheaper
than their competetion for chromes, although prints may be higher, due to
more hand work. Locally, I can get a 36 roll processed and mounted in less
that three hours for a bit under seven dollars.
And let me say to the bargain hunters (you know who you are) that I can't
imagine spending what we do on equipment, and then quibbling over a buck or
two on processing! We have fine equipment, but all that can be ruined in an
instant with bad processing.
Bill Pearce
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