3.3 Laboratories
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Laboratories
There are three main types of photographic laboratory:
Minilabs are usually small high street operations offering a range of high-speed photographic and digital services, predominately for the amateur market, although digital advances have increased their pro market share.
Professional labs offer a wide range of premium quality services that specifically meet the needs of professional photographers and industry. These include:
The Digital Imaging Technician works at a computer (usually a Mac) and is expected to assess, adjust, manipulate, resize and amend digital files prior to printing. Prints are either produced on photographic paper, or on one of the wide range of paper surfaces available using inkjet printers. The role may also involve scanning negatives and transparencies, producing proof prints, and archiving and cataloguing images. In many Prolabs, design and layout work is increasingly becoming an additional part of the role.
The Film Processing Technician uses a sophisticated, computer controlled machine to process film, before passing it to another area of the laboratory to be printed or scanned, or sending it out directly to the customer. Processing times can be adjusted to compensate for lighting and exposure variables, and cross processing is frequently requested to create special effects. Photographers often want to discuss their specific requirements with the technician who will be handling their film - so the role can offer good opportunities to build lasting professional relationships with the client base, although it is worth noting that many of these techniques can now be produced through Photoshop.
The Print Finisher uses precision cutting and mounting equipment to prepare and mount prints for display. They are usually employed by professional laboratories, although some large photofinishers and mini-labs also offer print finishing services.
The Photographic Printer produces prints from negatives, transparencies or digital files. The role includes responsibility for setting up the printing machine, making adjustments, faultfinding and problem solving. In some Minilabs and in all Prolabs, the Printer is expected to make colour and density corrections to produce the optimum result for the client.
Larger labs may also employ significant numbers of designers, receptionists and sales executives as well as a computer maintenance people and a finance director. All these people need a certain amount of knowledge of the imaging processes involved.
Industry Issues
The Laboratory sector has suffered considerably in recent years as large chunks of its business have disappeared. In the consumer market, the adoption of digital technology combined with decreasing cost and increasing quality of computers and printers, as well as cameras, has resulted in people being able to print their own images at home. In addition, even though consumers now have more opportunities to capture images, they are frequently choosing not to print them - digital allows them to be selective and print only those images they want to keep rather than an entire roll of film, while the Internet allows images to be shared via email or the web, often negating the need for prints. Combined, these factors have had a significant impact on Photofinishing and Minilabs.
However, Minilabs have also benefited from these changes in technology, which have allowed them increasingly to move into Prolab territory, resulting in a proliferation of 'Mini Prolabs'. In addition, kiosk technology is growing in popularity, allowing consumers to obtain more-or-less instant lab-quality prints direct from digital media, providing new opportunities for Minilabs to sell more prints. Although around a third of digital camera owners still do not print their pictures, the number that print in the high street is increasing (21%, up from 5% in 2003) while the number that print at home is declining (42%, down from 53% in 2003)19 . It appears to be Prolabs that have suffered most, with anecdotal reports that the number of Prolabs in the UK has declined by around 60% compared to a few years ago20.
Prolabs occupy a small market, with low awareness, especially amongst new entrant Photographers. They are finding it increasingly difficult to compete with home/office ink jet printers, which are now capable of producing sufficiently good quality output that professional Photographers are tending to use them in preference to traditional photographic prints produced by Prolabs.
However, the outlook is not entirely gloomy; there is anecdotal evidence that Photographers are returning to Prolabs as they realise the time savings they can provide - it takes time, not to mention skill, to produce good quality output from a digital camera and home printer; once the cost of this time is factored in, it often proves cheaper to outsource the printing to a Lab.
In addition, although there are concerns that the market is increasingly moving towards 'cheap and cheerful', or a level of quality that is simply 'good enough', there is nevertheless a marked difference between the perceived quality of an inkjet print and a 'traditional' laboratory-produced print. While the latter is considered to have an intrinsic value, there is much less, if any, attached to an inkjet print. However, to contradict this, there is evidence that in the art world, high quality inkjet prints are now as acceptable to most gallery owners as prints on photographic paper21 .
There are also services that Prolabs can provide, such as large-format output, that home printers cannot yet economically replace. In addition, there are reports of a backlash against the practice of Photographers sending out images in digital format only, with many clients now preferring to have prints as well, as these are considered easier to view22 . Hence there are expectations that the Prolab market will stabilise and may even experience an upturn - albeit one that will almost certainly require substantial on-going investment, an ability to adapt and respond rapidly to new opportunities and market changes, and business innovation - for example, it has been suggested23 that Prolabs are well-placed to offer a wider range of services to Photographers, such as marketing, image archiving, on-line portfolios and other web services, that can help to build mutually beneficial relationships and engender customer loyalty.
However, switching to digital has been extremely expensive for Prolabs. The cost of equipment is high, and needs frequent updating, often resulting in a catch-22: failing to invest in technology can severely damage the business, yet many Labs often do not have enough money to keep up24. In addition, the switch can be difficult to achieve without adversely affecting workload. Although digital technology is considered to be shifting the responsibility for quality away from the Lab and onto the Photographer, many Photographers are felt to lack the necessary digital capture, post-production and colour management skills. As a result, Prolabs often have to spend significant time post-producing poor quality input in order to produce output that meets expectations.
Nevertheless, investment in the right equipment and staff can pay dividends, typically by reducing floor space and reducing costs of consumables, as computer systems replace traditional darkrooms, and increasing efficiency, for example through being able to transmit files electronically, and by opening up the possibility of providing additional new services to the client base.
19 Figures from Fuji, reported in A Civil War, OneStop Magazine, April 2005
20 Skillset Prolabs and Manufacturers Focus Group, July 2005
21 Rhubarb-Rhubarb Portfolio Event, August 2005
22 Skillset Photographers Focus Group, July 2005
23 Skillset Prolabs and Manufacturers Focus Group, July 2005
24 Corporate Chemistry, Professional Photographer, March 2005
Laboratories
There are three main types of photographic laboratory:
- Photofinishing (D&P)
- Minilabs (see Photo Retail and Minilabs section)
- Professional (Prolabs)
Minilabs are usually small high street operations offering a range of high-speed photographic and digital services, predominately for the amateur market, although digital advances have increased their pro market share.
Professional labs offer a wide range of premium quality services that specifically meet the needs of professional photographers and industry. These include:
- Processing film
- Printing from film and digital files
- Digital image manipulation and retouching
- High end scanning
- Large format printing and mounting for exhibition and display purposes
- Production Manager
- Digital Imaging Technician
- Film Processing Technician
- Print Finisher
- Photographic Printer
The Digital Imaging Technician works at a computer (usually a Mac) and is expected to assess, adjust, manipulate, resize and amend digital files prior to printing. Prints are either produced on photographic paper, or on one of the wide range of paper surfaces available using inkjet printers. The role may also involve scanning negatives and transparencies, producing proof prints, and archiving and cataloguing images. In many Prolabs, design and layout work is increasingly becoming an additional part of the role.
The Film Processing Technician uses a sophisticated, computer controlled machine to process film, before passing it to another area of the laboratory to be printed or scanned, or sending it out directly to the customer. Processing times can be adjusted to compensate for lighting and exposure variables, and cross processing is frequently requested to create special effects. Photographers often want to discuss their specific requirements with the technician who will be handling their film - so the role can offer good opportunities to build lasting professional relationships with the client base, although it is worth noting that many of these techniques can now be produced through Photoshop.
The Print Finisher uses precision cutting and mounting equipment to prepare and mount prints for display. They are usually employed by professional laboratories, although some large photofinishers and mini-labs also offer print finishing services.
The Photographic Printer produces prints from negatives, transparencies or digital files. The role includes responsibility for setting up the printing machine, making adjustments, faultfinding and problem solving. In some Minilabs and in all Prolabs, the Printer is expected to make colour and density corrections to produce the optimum result for the client.
Larger labs may also employ significant numbers of designers, receptionists and sales executives as well as a computer maintenance people and a finance director. All these people need a certain amount of knowledge of the imaging processes involved.
Industry Issues
The Laboratory sector has suffered considerably in recent years as large chunks of its business have disappeared. In the consumer market, the adoption of digital technology combined with decreasing cost and increasing quality of computers and printers, as well as cameras, has resulted in people being able to print their own images at home. In addition, even though consumers now have more opportunities to capture images, they are frequently choosing not to print them - digital allows them to be selective and print only those images they want to keep rather than an entire roll of film, while the Internet allows images to be shared via email or the web, often negating the need for prints. Combined, these factors have had a significant impact on Photofinishing and Minilabs.
However, Minilabs have also benefited from these changes in technology, which have allowed them increasingly to move into Prolab territory, resulting in a proliferation of 'Mini Prolabs'. In addition, kiosk technology is growing in popularity, allowing consumers to obtain more-or-less instant lab-quality prints direct from digital media, providing new opportunities for Minilabs to sell more prints. Although around a third of digital camera owners still do not print their pictures, the number that print in the high street is increasing (21%, up from 5% in 2003) while the number that print at home is declining (42%, down from 53% in 2003)19 . It appears to be Prolabs that have suffered most, with anecdotal reports that the number of Prolabs in the UK has declined by around 60% compared to a few years ago20.
Prolabs occupy a small market, with low awareness, especially amongst new entrant Photographers. They are finding it increasingly difficult to compete with home/office ink jet printers, which are now capable of producing sufficiently good quality output that professional Photographers are tending to use them in preference to traditional photographic prints produced by Prolabs.
However, the outlook is not entirely gloomy; there is anecdotal evidence that Photographers are returning to Prolabs as they realise the time savings they can provide - it takes time, not to mention skill, to produce good quality output from a digital camera and home printer; once the cost of this time is factored in, it often proves cheaper to outsource the printing to a Lab.
In addition, although there are concerns that the market is increasingly moving towards 'cheap and cheerful', or a level of quality that is simply 'good enough', there is nevertheless a marked difference between the perceived quality of an inkjet print and a 'traditional' laboratory-produced print. While the latter is considered to have an intrinsic value, there is much less, if any, attached to an inkjet print. However, to contradict this, there is evidence that in the art world, high quality inkjet prints are now as acceptable to most gallery owners as prints on photographic paper21 .
There are also services that Prolabs can provide, such as large-format output, that home printers cannot yet economically replace. In addition, there are reports of a backlash against the practice of Photographers sending out images in digital format only, with many clients now preferring to have prints as well, as these are considered easier to view22 . Hence there are expectations that the Prolab market will stabilise and may even experience an upturn - albeit one that will almost certainly require substantial on-going investment, an ability to adapt and respond rapidly to new opportunities and market changes, and business innovation - for example, it has been suggested23 that Prolabs are well-placed to offer a wider range of services to Photographers, such as marketing, image archiving, on-line portfolios and other web services, that can help to build mutually beneficial relationships and engender customer loyalty.
However, switching to digital has been extremely expensive for Prolabs. The cost of equipment is high, and needs frequent updating, often resulting in a catch-22: failing to invest in technology can severely damage the business, yet many Labs often do not have enough money to keep up24. In addition, the switch can be difficult to achieve without adversely affecting workload. Although digital technology is considered to be shifting the responsibility for quality away from the Lab and onto the Photographer, many Photographers are felt to lack the necessary digital capture, post-production and colour management skills. As a result, Prolabs often have to spend significant time post-producing poor quality input in order to produce output that meets expectations.
Nevertheless, investment in the right equipment and staff can pay dividends, typically by reducing floor space and reducing costs of consumables, as computer systems replace traditional darkrooms, and increasing efficiency, for example through being able to transmit files electronically, and by opening up the possibility of providing additional new services to the client base.
19 Figures from Fuji, reported in A Civil War, OneStop Magazine, April 2005
20 Skillset Prolabs and Manufacturers Focus Group, July 2005
21 Rhubarb-Rhubarb Portfolio Event, August 2005
22 Skillset Photographers Focus Group, July 2005
23 Skillset Prolabs and Manufacturers Focus Group, July 2005
24 Corporate Chemistry, Professional Photographer, March 2005
