What would you pay to get your film developed?

[evan_parker]

I'm thinking of starting a film-processing and perhaps

contact-printing and proof-printing service for amateur black and

white photographers. I know that many people don't like to develop

their film, but for some reason I just really enjoy processing black

and white film to perfection, and making Adams' "score" come to life.

 

My question to you is: What would you pay to get your film (35mm and

120) developed in a choice of developers (Rodinal, HC-110, DD-X,

Ilfosol-S, Microdol-X, Photo Formularu BW-2, and possible PMK and

Pyrocat-HD)? Is there any service that you would like a

hobbyist/entreprenuer like me to provide that professional services do

not? My aim is to be an inexpensive and less time consuming

alternative to at-home processing, mainly for those who don't have

enough time to caress their own negatives the way they wish they could.

 

Any suggestions/comments/questions?

[kevin_quinlan]

The real problem I see with this is demand for this kind of service. The photographers who care enough about their work to want a specific developer's effect are often picky enough to let no one but themselves develop their negatives. The people who don't develop their own b&w negatives are often not aware, or just do not care, that different developers even exist. Mabye marketing over the internet on sites like this would be your best bet.With that said, If I had the money I would be happy to pay you to do my negatives :). Although I like the results I get myself, it can be a pain, because there isn't a sink in my darkroom, and the house has 1 bathroom and 4 people. Good luck anyway

 

price depends alot on the area your in...

 

Kevin

[frankl]

Film only processing runs between $5-7CDN here in Toronto last I checked (usually ~$15 with contact). Take 40% off these prices for US dollars.

 

Personally on non-critical stuff my time is worth more than this so i usually get a dev+contact or proofs and then do my own printing from there.

 

I'd pay 30-40% more for very specialized dev only service, but the other poster has a point, if you care this much you'll likely be wanting to do it yourself..

[dzeanah]

It'll be tough.

 

I recently discovered Diafine and am loving it; prior to this I was shooting XP2 and sending it to my lab for develop only, then I'd scan it locally. For $4 per roll.

[art_haykin]

Having owned and operated a custom B&W lab for over 30 years, I have a few comments, but first I should ask if you intend doing this via mailorder or strictly walk-in?

[evan_parker]

Mr. Haykin,

 

I'm thinking of doing primarily walk-in (if you can call it that, perhaps just picking up film from a local shop and having it developed in my bathroom) and perhaps some mail-in from photo.netters needing some extra rolls developed.

 

Seeing as how you have so much experience in the business, and judging by the knowledge you've dipslayed on the forums that I've seen, I don't even want to compare my services to yours, as I'm sure I will be put to shame :). But if I do decide to start up a low-volume, personal service, are there any comments that you'd like to make? Thank you so much for your time.

[lex_jenkins]

Evan, I've been asked to consider doing some custom developing. The reason I'm reluctant to do this more than once or twice as a favor is because I don't have a dedicated darkroom area. Don't underestimate the hassles involved in preparing a truly clean working environment.

 

Setting up for film and print processing is a major hassle. I have to filter all my water (I use distilled water to mix my chemicals, including into working solutions, but must rely on filtered tap water from our hard-water well for washing film and prints). Very time consuming to prepare the many gallons of water needed for washing several rolls of film or for any printing sessions.

 

Recently I neglected to check the condition of the water softener on our well. Wound up with tiny bits of lime scale coming out of the tap. Fortunately I noticed it in time and got a fresh carbon filter. Unfortunately I didn't adequately prerinse the new carbon filter. Wound up with tiny particles of carbon filtration material permanently embedded in the emulsion on two rolls. There is absolutely no way to undo the damage. If I pick them out tiny clear spots will be left that will translate into black spots on prints; if I leave them alone at least my diffusion head enlarger will render them as more or less gray spots that can be retouched. But imagine if those had been a customer's negatives? This is the only time I can remember such an irreparable problem occurring with my negatives and once (twice if you count both rolls) is too often.

 

Then there's the dust control battle. Bad enough that my darkroom is in the spare bathroom that also doubles as the laundry room - that effectively eliminates any chance of doing any film development or printing for 24 hours after doing laundry, even with a HEPA filter chugging along full time. But this entire end of the house has thick carpeting. I'm one of those people who hates indoor carpeting - I think the stuff is disgusting, a huge, nasty non-disposable diaper for all kinds of muck. I dislike indoor carpeting as much as indoor pets (other than fish or birds, which I can tolerate). Neither belongs in any living area and certainly not anywhere near a professional darkroom.

 

Unless I could afford a dedicated, not part-time this/that, darkroom with well planned and separate wet and dry areas, in-line water filters and a drying cabinet, there's no way I'd feel qualified to take on someone else's work. The only way I'd take on anyone else's work now is with the understanding that I will take all reasonable precautions but offer absolutely no guarantees whatsoever, not even a replacement roll of film. I'd rather offer advice and encourage others to do it themselves or have it done by a lab.

 

Finally there's the issue of cost-effectiveness vs. specialization. If someone presents you with a truly oddball film format, how are you going to develop it? Deep tank? Costs a lot of money to keep fresh chemistry in one of those; not very cost effective for a small operation; and limits you to one choice of developer. Nope, commercial labs already have that option sewn up. Specialty reels, for those odd occasions when someone presents a roll of 110 or 616 film? Maybe, but it'll take some effort just to find affordable reels in working order, and you may never recoup your cost for 'em.

 

As for PMK or any version of a pyro or pyro-cat or other exotic developer, what are the chances that a photographer who is serious enough to *know* about those developers and their possible advantages wanting someone else to do his/her development? Pretty slim. Either they've got a densitometer or access to one and will settle for nothing less than methodical testing, done their way, or they'd prefer to go the trial and error route on their own, learning what they can from each development test.

 

Nah, folks who are interested in - for lack of a better term - "fine art" b&w film development are most likely going to do it themselves.

 

That leaves the cash-'n'-carry crowd, the types folks like Art used to cater to: photojournalists and other working pros on the run who made their money taking photographs, not developing and printing them.

 

And that day is gone. Anyone who depends on film for that trade has got to be doing well enough to afford an assistant to handle those chores. Otherwise they've all gone to digital.

 

I suspect the few folks who'd want to use such a service would all requst push processing. Then they'd expect miracles. And who knows how badly underexposed their film really is? Only a clip test would give any idea about how to proceed, which is time consuming. No way to do that *and* claim to offer a less expensive alternative to the existing labs.

 

I hate to be a gloomy cloud on your parade but I just don't see a silver lining here.

[joe_symchyshyn]

Trying to be "inexpensive and less time consuming alternative" is almost possible. There is a rule that seems to follow pretty much everything...

 

"You want it good, you want it fast, and you want it cheap. Pick any two."

 

Unless you love working for free, there will be no way of making money doing one roll runs of PMK and then this and that AND keeping it inexpensive and a quick turnaround... I would venture to say that with all the different films, and all the different developers you'll be doing everybody's work separately. It's a nice idea, but unless you get serious volume you'll never make money at it.

 

If you want to build a market and really want to try this, I would first try running a D-76 replenisher mix and only offer the one developer. Have a one week turnaround so that you hopefully can build up some volume and then run things together. Pick up/drop off on Saturdays for example. You'll still have different times etc, but you'll at least have several fewer variables in the mix.

[pascal_miele]

The prices (no VAT) from a very good french lab in Paris (IMAGINOIR)

 

dev + contact (FB paper)

135/120 13,50 euros

220 26,80 euros

4x5 7,60 euros

 

special dev or push (with contact FB paper)

125/120 16.80 euros

220 33.45 euros

4x5 8.70 euros

 

1 euro = +/- $1

[james_megargee]

Evan, I admire your thought of a personalized film processing service. But

telling us that you would be running film out of your bathroom, i believe, is a

bit too personal for "professional processing". Stop and think for a moment

about your cost, not what someone else is willing to pay. First - from dry to dry

(including pick up and delivery)- how long would this take on average and

what is your time worth? Second - what would be your set up cost in chemistry

and materials? Do you have enough equipment, space, etc. to handle say a

twenty or thirty roll job and turn it around in a timely manner? Just some things

you should consider.