East Coast Film Lab can process ANY C-41 roll film format, from 110 to 126, APS and 35mm, 120, 220, and sheet films up to 5×7. All roll film formats are machine-processed through a FujiFilm C-41 processor. Our machine receives nightly maintenance cleanings, with complete rack, tank and crossover procedures weekly. Quality control is maintained daily by our PMA-certified Photofinishing Engineers using fresh control strips measured on a fully-calibrated densitometer and plotted to track any deviation.
Unlike many send-out services available through major retailers, we process irregular (110, APS, etc) film the day it arrives, and it is scanned and uploaded immediately, with the gallery link sent to you. No more waiting three or more weeks to see results from a mystery processing clearinghouse, you can view your 110 and APS film in a matter of days, if not hours.
Sheet film is processed by hand with professional chemicals and even higher standards of perfection.
When it comes to color correction, there are many opinions and approaches to just how much should be done. Many of our customers request to have no corrections done at all, either for exposure or color, and we are happy to honor that request. If no specific instructions are provided, we will do our absolute best to apply color or exposure corrections, as appropriate, though we are limited by time and technology. Lab software allows for a relatively wide range of corrections to be applied, though not as wide as specialized software such as Photoshop or Lightroom. However, there simply is not enough time to open every frame from every roll in an external editing program. Also, as everyone has different tastes, what looks great to you may be overexposed or tinted to the next person, so we apply corrections to get a relatively neutral result, as true to the type of film as possible. Just as there are specialized films for different situations (such as daylight and tungsten-balanced films), we aim to get expected results from a specific type of film. If someone has used tungsten-balanced film under non-tungsten lighting, we assume it is intentional, and strive to deliver results to match the film.
In recent years, a variety of companies have come to offer various specialty films with certain characteristics, whether it be pre-exposed images, light leaks, static exposure, or different color palettes and hues. Kodak also manufactures their exceptional Vision3 35mm motion picture film, and many people are rolling custom rolls from short ends, with and without remjet backing, to take advantage of this film’s qualities. Vision3 is offered in Daylight and Tungsten-balanced varieties. Shooting tungsten film under daylight conditions, for example, gives a strong blue cast, notably used in so-called “day as night” photography, enabling moody images to be created without being limited to shooting in darker conditions. If you wish to use tungsten-balanced film in normal daylight, and do not want this blue cast, it’s as simple as using a #85B color correction filter on your lens. If a filter is not used, scans of these negatives will almost always show a strong blue cast. While this can be corrected in post-processing, that degree of color correction is beyond what we will provide without specific instructions, for a number of reasons. First and foremost, if someone is shooting tungsten-balanced film and is simply unaware of the blue cast and simple corrective filter, we believe they should be made aware that the film is being used in a manner in which it was not intended. Second, while our software allows for a wide range of color correction, it was not expected to encounter such a heavy color correction, and cannot give as good a result as the same image corrected in Photoshop or Lightroom. Third, because everyone has different tastes, we believe that degree of dramatic color change should be determined by the photographer, and we generally assume that someone shooting specialized film understands the reason for this specialization, and they are likely going to be doing a certain amount of post-processing anyway. Most of these photographers use our scans as a type of “RAW” file from which to work, and our color correction to remove the blue cast may also take away from other qualities they would prefer to retain in the final image. Shooting tungsten-balanced film in daylight, and receiving daylight-corrected images, would be similar to shooting a specialized film (such as DubbleFilm’s “Bubblegum” product, with its pink color cast) and having that specialized quality removed. It is our belief that this would be an inappropriate overuse of color correction.
Ready to see how amazing your film can look when processed by a professional lab?