les_de_moss1

<p>DigiGraphics in Fort Collins, Colorado. <a href="http://www.digi-graphics.com">www.digi-graphics.com</a> Running E6 for the professional/commercial market since 1977. Refrema Rack & Tank. Ships processed film same day as received. Mail order rate for 35mm process & mount is $8.50.</p>

<p>Carls' Darkroom was bought by DigiGraphics LLC in Fort Collins, Colorado. Carl's Darkroom website is still up and running: www.carlsdarkroom.com , as well as the local phone number for Carl's 505-888-4505, which forwards toll-free to DigiGraphics. <br /><br />Pricing for E6 processing has not changed. Processing orders may be placed locally at Desert Photo (next door to Carl's on Quincy) which are shipped free to DigiGraphics. Orders may also be shipped directly to DigiGraphics using order forms available on the website. <br /><br />DigiGraphics has been in business since 1977. DigiGraphics runs 35mm through 8x10" E6/C41/BW and offers a range of other professional-level services for pro photographers and commercial clientele. DigiGraphics was a highly rated Kodak Q-Lab while that program was supported by Kodak. DigiGraphics owns Refrema processing equipment.<br /><br />My name is Les De Moss, Founder of DigiGraphics. I can be reached at: <a href="mailto:les@digi-graphics.com">les@digi-graphics.com</a> or by calling 505-888-4505 or 800-728-8596. Please don't hesitate to call or write. Carl's Darkroom wanted this transition to be as easy as possible... we'll do all we can to meet that goal.</p>

<p>Carls' Darkroom was bought by DigiGraphics LLC in Fort Collins, Colorado. Carl's Darkroom website is still up and running: www.carlsdarkroom.com , as well as the local phone number for Carl's 505-888-4505, which forwards toll-free to DigiGraphics. <br /><br />Pricing for E6 processing has not changed. Processing orders may be placed locally at Desert Photo (next door to Carl's on Quincy) which are shipped free to DigiGraphics. Orders may also be shipped directly to DigiGraphics using order forms available on the website. <br /><br />DigiGraphics has been in business since 1977. DigiGraphics runs 35mm through 8x10" E6/C41/BW and offers a range of other professional-level services for pro photographers and commercial clientele. DigiGraphics was a highly rated Kodak Q-Lab while that program was supported by Kodak. DigiGraphics owns Refrema processing equipment.<br /><br />My name is Les De Moss, Founder of DigiGraphics. I can be reached at: <a href="mailto:les@digi-graphics.com">les@digi-graphics.com</a> or by calling 505-888-4505 or 800-728-8596. Please don't hesitate to call or write. Carl's Darkroom wanted this transition to be as easy as possible... we'll do all we can to meet that goal.</p>

"Gerards Photo Lab" changed their name to DigiGraphics in 2002.

They are located at 2401 Research Blvd, just south of CSU off Center Avenue. 970.482.8595. Professional processing, scanning, printing services.

James- No, this will not result in slides. However, once your BW & C41 are processed normally, slides can made from the resulting negatives using a film material called VPF or Vericolor print film... available through most pro labs and many photofinishers. Additionally, you can shoot "copy slides" using regular color slide film, of the prints made from your negs, although the quality will not be as great as using a film to film process like VPF's.

 

Hope this helps.

BTW- you'll have no trouble finding a decent digital lab or minilab in NYC. You might check Fuji's web site to see if they list Frontier installations in your area.

There are many different types of digital processor/printers on the market today. The printer may be an inkjet, like the one you used, or a laser/led printer that prints onto traditional color print paper. If you are looking for the best quality digital processing, you need to locate a lab or mini-lab that is running something like the Fuji Frontier which prints to traditional photographic paper. The paper is refered to as RA-4. Asking any digital lab if they print on RA4paper will give you the answer you want. That said, you'll still need to locate a lab that does a good job with their equipment. It souldn't be too hard, but like anything, quality can vary a lot from store to store.

Jedidiah- Create the poster at whatever ppi is best for your printer. After creating the grid, select one of the guadrants and copy to the clipboard. With this portion of the image in the clipboard, you'll create a new document... The new document will automatically set its size and ppi to match that of the clipboard; in this case 8x10" at the same ppi of your original document. Then, with the new document selected, simply paste from the clipboard. No resampling will done because the size and ppi of the selection and new document will be the same.

 

Hope this helps!

Jedidiah- First create the full size poster in Photoshop. Create a grid (by dragging the rulers) to delineate each individual page for printing. Copy and paste each grid section to a new document. Print all the documents individually and tape away.

David- This is an intense subject that could fill volumes. At its simplist, and without knowing you're level of expertise, I'll put this forward.

 

First, your monitor must be calibrated - at a minimum - using Adobe Gamma. You say your screen is calibrated to Adobe 98? That may be your working space, but should not be a profile you'd use for your monitor. The monitor profile will be named by you after running Adobe Gamma.

 

Second, with a properly calibrated monitor, you need a (ICC) profile for the Frontier to which you can convert your images. IF the monitor is calibrated, and the Frontier profile is accurate, you'll see a close match between your screen and the final printed output.

 

Only then can corrections be made by you that will accurately reflect thr Frontier output.

 

The ICC profile for the Frontier should be available from your lab, and should be custom made by them, for their machine and paper.... not a 'canned' profile for Frontiers in general.

 

Hope this gets you started!

Maury- $200... just a joke. Sometimes this list is tad too serious! Photography is an expensive hobby, however. I should know... I started at age 15 with fifty bucks of trays and chemicals, which has grown to an excess of a million dollars in commercial processing equipment. Hey... who says it's inexpensive? Yes, everything you say is true, it's magical, rewarding, and for many - worth learning. Just don't stay in the dark so long that you loose your sense of humor! That's a trade I would not find acceptable.

 

Cheers!

First: Stand over the toilet and drop in a couple of $100 bills, then flush. If you can do this without flinching, you're ready to learn more about processing.

 

Yes, many labs will give you a tour for the asking if you are a customer or potential customer. As far as home developing kits for BW: a good way to experiment around, and not much to loose. Ask the instructor at your local college for the text he uses... get a copy and self-instruct.

 

Good luck!

A critical look at a projected slide provides the answer. When projected, the sharpness you describe is an illusion, especially so when the image is viewed from a distance. On an up-close inspection, however, you will find that the lack of apparant grain is actually caused by lack of critical focus bewteen the slide and the screen.

 

Enlargements are made by focussing the film grain on the paper, using a high-power magnifyer, through an enlarger that is much like a projector. Photographic paper can resolve grain quite easily, and a sharp enlargement will reveal grain where a soft, projected image may not.

 

Additionally, our eyes get fooled when viewing a projected image on screen, partly because of the special reflective materials that the screen is made of, partly because of viewing distance, and partly because of the difference between viewing projected/reflected light, as opposed to reflected light off a enlargement.

 

The only way to determine if a slide can sustain a particular enlargement on print is to view the slide on a light table with a good quality loupe. If it's sharp in the loop, it will render a sharp print (up to a certain size). If it's soft in the loupe, you might be surprised to find that when projected onto a screen, it "appears" sharper than it really is.

 

Hope this helps!

Yes, you can filter or shoot tungsten film (which is balanced for tungston light sources)

Johnathan- This has little to do with your lab and much to do with incompatable film and lighting. This situation is no different than if you had placed an orange filter on your lens, shot some daylight photo's, developed your film, and got orange prints back... you get what you give in this instance.

 

That said, some degree of correction can be made in the printing of these negatives. As a practical matter though, the result will never be anywhere close to that of properly exposed film. The tones will be monochromatic and lack color distinction.

 

Hope this helps!

Any pro lab can return your C41 negs, process only , in rolls. There are several in the SF area.

Antony-

 

The N's stand for: Yellow, Magenta, Cyan, Density... in that order. The scale (+1,+2...) is not related to f-stops; it is an internal scale used to make fine adjustments. Four N's in a row NNNN, simply means that the operator made no manual adjustments to the automatic exposure determined by the machine.

 

Yes, you can request that all frames be printed using one exposure and filter pack, taking out all manual and automatic adjustments. To do this, you'd want to test one frame to see how it prints, then apply that exposure to all subsequent frames on the roll.

Alex- Hoping to hear the progress/outcome on your film situation. Please post an update or email me personally at: les@digi-graphics.com

 

Regards,

Yes, available memory and spooling can slow/crash printing, this depends on your system hardware, not the programs you are using. However, utilizing a 60MB file for 4x6 output is not only excessive, but unnecessary for achieving premium results. 9/10ths of the data you are sending in a file-to-print of that size serves only to slow the ripping process and will not add to the final print quality. As a guideline, you should size the image in PS to 4x6" at 300ppi; rendering an uncompressed file of aprox 6.5MB. A very common misunderstanding is that file ppi and print dpi are the same thing. They are not. If you are printing at 1400 or 2800 dpi, your file does not need to be 1400/2800 ppi. Start at 300ppi and test the result. Test higher ppi's for comparison and choose a working ppi that is as low as possible based on your output.

Dave, I don't see how this can be anything but the horizontal sizing on your monitor. Create a blank 72ppi 6x6" image in photoshop, and measure the onscreen ruler with a physical ruler to verify that both dimensions are the same. If the H dimension is off, adjust the H on your monitor until it's correct.

Clarify: Are you saying you rated and shot the film at 1600 *and* push processed by one stop, or you shot at 1600 and did *not* push process?

As a practical matter, it depends heavily on what you are shooting. In a controlled studio situation, the differences between the two films may be quite evident, and maintaining a consistent color balance begs for the use of professional film. If however, you are shooting outdoor landscapes with a wide range of colors, contrasts, and lighting, the differences will be far less important or noticeable.

Lance, I can tell you from over 30 years of pro lab experience that the processing of your negatives is far and away the most important step. There is but one chance to get it right. Prints can always be redone... negatives cannot.

 

Should you seek a quality pro-lab for processing? Absolutely. A larger pro lab, like ours, will have a technician dedicated to that process, as well as equipment and chemistry that is properly monitored and up to the task.

 

Hope this helps!

 

Les De Moss

www.digi-graphics.com

A lot of work, and a nice job! One thing bears mentioning... that every one-hour installation is a unique entity, staffed and run by a wide range of individuals with varying levels of knowledge and experience.

 

The quality of work from a Target lab in one town, has little bearing on that in another. And indeed from shift to shift and day to day, the quality of the work is subject to countless variations.

RE: David M. previous post-

 

Not only is that one solution, but this is offered by many pro labs for the asking. The premium helps to offset the additional labor required to baby-sit processing, which may include stationing a technician with the machine throughout the process. Many labs offer this type of coverage for a premium of 5-25% of the declared value.

 

I am not suggesting that this is a perfect solution, it is however, a system that has been used to address this problem for many years.