Directing the Printing Process
The responsibility for producing a pleasing print rests with both the photographer and the lab. If there is anything the lab needs to know about the film before they crack open the cartridge and start to work on it — such as the film needing to be pushed or pulled — this is the time to tell the staff. When you have reasonable expectations and communicate using the same language, you and the lab can work together to make everyone happy.
Pro labs usually offer several grades of prints:
Machine prints. This is the most automated process. The printing machine analyzes each frame and adjusts the color to make sure whites are white, blacks are black, and flesh tones are believable. The sophistication of the machines is what primarily determines the quality of the colors. Cropping and color correction will not necessarily be done to your taste.
Custom machine printing. This process, which necessitates more human involvement, offers better color correction and cropping options. If your negatives are good to begin with, custom machine printing should deliver good quality prints.
Custom hand printing. Ideally, you light, compose, and expose so your image is perfect and can be printed nicely without custom processing. If not, custom printing will take problem images and make good prints out of them, or take good images and get great prints.
Paper for color prints generally comes in two contrasts. Consumer labs use a high-contrast paper because it compensates for the lower-quality lenses in inexpensive cameras. Professional labs use color printing paper with lower contrast, which delivers more pleasing skin tones and works better for images created under the controlled conditions in which professionals shoot.
Paper for both black-and-white and color prints is now available with glossy, satin, or matte finishes. Glossy prints are better for scanning and reproduction because the fine detail is clearer. Matte paper hides fingerprints but has a tiny bit less detail and contrast.
Giving your lab a sample print with color (usually skin tone) that you like is a very good way to establish a good relationship. Tell them what you like about the print. (“Please make my skin tones look like this; I like this color.”) Be as specific as possible. Everyone sees different things, so don't assume they can tell what you like. Ideally, give the lab a couple of sample prints reflecting several lighting situations — direct flash, bounce flash, sunlight, window light, shade, or incandescent.
Once you find a lab that makes good prints, don't abandon them if they mess up occasionally. Unexpected color problems may be due to a change in personnel. Many photographers claim that only one employee can print their negatives correctly. When that employee goes on vacation, they hold onto their film until the employee returns.
