Is jo-bo processing considered a "professional" way for film to be processed by a lab? I thought its Dip and dunk or nothing for colour? black and white dip and dunk or hand processing?.... but Jo-bo? scary for so many reasons.
Bob's posted elsewhere why he prefers the Jobo system, it's highly sophisticated & designed to do exactly what he needs.
You missed a third option, Roller transport, which is probably how most small labs have processed films for years now.
Most of the professional labs I used in the UK switched to RT machines for 35mm & 120 quite a few years ago now with no drop in standards. But it can be a different scenario in smaller semi-pro labs where staff are sometimes poorly paid, given bare minimum training and inadequately supervised. As soon as an RT machine is poorly maintained problems arise.
Aside from the OP's there's been another thread on a B&W processing & dirty negatives at the same time, the poster complained to the lab, who then found a similar problem with negatives that were still uncollected (processed at the same time). So they accepted it was their fault, were going to re-wash the negatives.
Ian
Is jo-bo processing considered a "professional" way for film to be processed by a lab? I thought its Dip and dunk or nothing for colour? black and white dip and dunk or hand processing?.... but Jo-bo? scary for so many reasons.
The thing about the dip and dunk systems is they are somewhat inflexible when it comes to changing development times for people who like to deliberately overexpose or underexpose film to gain certain effects......
as soon as we got requests for pulling the film two stops or more, you had to physically go into the processing chamber and start moving racks manually, in the dark, and that was very dodgy business. It would usually come out fine, but the risk of failure was pretty high.
If one had a Jobo, it's easy (from what I understand) to customize development time for deliberately over- or under-developing the film.
- Thomas
Thanks for the positive feedback on my services Andrew.
.......Film is not dead, this forum proves it , but the days of commercial jobs by professional photographers are dead, dead, dead, in Toronto and many large markets. Those doubting that are either ill informed or not in the game.
I encourage anyone here to try to service the niche need, that seems to be required for this membership.
the list of quality operations that I listed , though still running film, they will ultimately not be around, or not willing to process film, the commercial world has gone digital , sadly a lot of labs that fell off the face of the earth were owner operators who were just not ready to invest in the digital world....
I don't know what to reply to this... it sounds like I'm reading a horror story!
The days of commercial jobs shot by professional photographers who use film is VERY MUCH ALIVE! There are times when international clients fly down for shoots book me out to process in excess of 1000 rolls of 120 and 500 sheets of 4x5" Film and want it processed ASAP for them to take back to their country of origin...my machines run full pelt and I question why digital isnt taking some of my work load!!!
Admittedly there are days where I may only process 50-100 rolls of film...yes by old standards thats dead quiet. But on those days Im too busy hand printing ilfochrome.
I feel the main thing all this digital Hoo Har has done is separate the elite from the everyday. And when a big budget high end jobs need to be done where quality is paramount Film is always in action.
I have noticed the past year an increased interest in film and as a 100% traditional analog pro lab owner I do not think I'm in a niche market. It is big and thriving and in its most exciting time!!! I am sure it will be here long into the future.
Oh and as a bit of "proof being in the pudding" please see the 11th picture down in this link... Thats the top of the film bin that I just got the top of in the picture of my film processing workbench.. funny its full of spent film paper rolls....come in any time of day and that will be the case, it usually fills up a few times a day.
http://thelighthouselab.blogspot.com/2010/03/peek-through-lab.html
Stephen
I am happy for you , Australia maybe the last command post for commercial film business.
Sadly it is not alive and well in North America , I wish it was but it isn't.
I had a client just last month fly down from North America... at least film is cheaper to buy there! I Don't think Australia is the last command post at all.
I think I'm obsessive about keeping it alive in this part of the world. But there are so many awesome labs and people running them around the globe keeping it alive!
I wish we analog lab owners networked better and got out heads out of the darkroom and said Hi to everyone and let them know we are still here processing and printing!!! perhaps that's whats happened? We have all become so busy when so many fled over to digital we don't have time to pop out of the darkroom and say hello at a normal hour.... its 1am as a write this.
But is Bob really on some sort of photographic Galapagos? What about your printing business? Profitable? Obviously or Elevator wouldn't be around. Still waiting for some clarification on his earlier comments re: Elevator's pricing on 120 processing. Bob?
If this is not the case in Austrailia then I am very sceptical, but happy for you.
I do not know of any commercial photographers in the GTA *4.5 million souls* not using either phase or high end digital DSLR.
I think all the labs I listed work globally, mine included, I am glad for you that you are so busy with film processing , your company is indeed a niche service if you offer no digital whatsoever.
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