Frequently Asked Questions

Q: I’ve never sent film away for processing. What are the risks?
A: Nothing is 100% risk free, but we take every reasonable precaution. Over the past twenty years we’ve processed tens of thousands of rolls of film without a major incident. Our reputation depends on reliable, consistent processing, and we don’t take chances!

Q: Do you handle special requests for experimental prints, special chemistry, toning, colorization, and alternative processes?
A: You bet! But we need to discuss it beforehand. Contact us and we’ll figure out the best solution.

Q: What’s so great about having a Q-Lab certification?
A: Qualifying for Kodak’s Q-Lab program means that our E-6 processing line is meeting the highest standards of consistency and accuracy. Our bi-weekly tests are sent to Kodak for evaluation, and we always meet or exceed their requirements.

Being part of the Q-Lab program is nice, but our real test comes from winning the approval of our customers. Some of the most demanding photographers in the country depend upon our E-6 processing – we aren’t going to let our customers down!

Q: What’s the difference between a commercial or a repro print?
A: The lower-priced commercial grade prints are likely more than sufficient quality for most applications. Even our smallest commercial print is dodged, burned, and carefully evaluated. Our repro prints cost a bit more because we do spend extra time making subtle variations, and we do them posthaste, within 24 hours. Also, our repro prints are open to our customers’ subjective evaluation – if you want us to try it a tiny bit darker or more magenta, we’re happy to give it shot and let you choose your preference.

Q: How can I get the best possible print from slides and transparencies?
A: The ultimate sharpness and fidelity can be achieved using the Ilfochrome materials (formerly known as Cibachrome). Because Ilfochromes are printed directly from the original film, there is no generational loss that comes from making an internegative.

We hesitate to make internegatives from transparencies because the loss of quality is often disappointing. Many photographers shoot color negative film in a second camera body or film holder simply to produce a high-quality color negative original. If you prefer C-prints, printing from color negative film is the best practice.

Q: My old Cibachromes are nice, but they’re awfully contrasty. Is there anything you can do about the contrast?
A: First, Ilford has improved Ilfochrome to the point that the contrast issue is no longer a major concern, and most well-exposed transparencies make excellent prints without us having to resort to heroic measures.

For challenging subjects and high-contrast situations, we are expert at making special contrast-reduction masks from your chromes. Using these masks lowers the contrast of the resulting print, with no loss of detail or clarity. We recommend consulting with your printer about the characteristics of particular transparencies and what you desire your prints to look like.

More questions? Please contact us.