Before we get into the lengthy FAQ, we’ll do our best to surmise the most common questions. Racquet Film didn’t start out as a lab; we’ve been a professional photo agency for over two years. Our HQ didn’t just start out at as a shed – it’s one of the most stringently maintained, aesthetically beautiful, progressive analogue establishments in the world. We go over every scan by hand, we use the world’s best equipment with regular quality checks. We use six different B&W developers depending on customer needs, Kodak direct chemicals for all C41, process E6 in-house, have a gallery, store and showroom. We are a global community, then a film lab. It just so happens the film lab part turned out pretty darn perfect. Thanks to all our customers for their support.
Racquet Film is the photo lab division of Racquet Creative PTY LTD, a photography conglomerate behind Racquet Studio and R&T (2016/17). Racquet Film is a Brisbane-based film lab who process photo film (good old fashion 35mm, 120 and 220 formats). We have colour, B&W, E-6 (Slide) and negative restoration capabilities. We also sell cameras, offer classes, advice, and can assist with camera issues (on a case by case basis). For specifics, read the full FAQ. If you can’t find the answers you seek, contact us.
First we were a photo agency. Then we were a photography lab (or a film lab, or a place that takes canisters of film, puts them in chemicals, scans them and allows you to look at them on your computer). Then we were a gallery, showroom, institute and finally, we reached our final goal: a community. Photographers from all over the world use our services, ask advice from us and interact with us on a daily basis, simply because we see film development as an art, not a production line.
35mm (135) and medium format (120 and 220). We hand develop B&W, C41 and E6 processing in-house (using high tech rotary development), with reasonable turnaround times and stringent quality control methods. We opt for quality over quantity and aim to leave every customer satisfied with their results; if you're first question is how quickly can my rolls be done, we might not be the lab for you. If you're after the best possible image, we strongly recommend trying us out.
Decades ago, 'drug store labs' and 'one hour photo processing' locations would use automated machines to provide customers with quick, low quality images and prints. As time went on, labs that focused on quality (not quantity) started to pop up. The term 'pro lab' is simply a blanket term for a photo processing lab that focuses on providing the highest quality images the customer can obtain, rather than trying to rush the timely process of film. Film development is not something that should be rushed, and to do it correctly takes time. If you'd prefer a fast turn around over a quality image, we suggest using labs that offer these services. Racquet Film said NO to automation, meaning no roller processing that could potentially damage your film. This follows suit with other amazing pro labs around the world including Carmencita, The Darkroom and Richard's. A PRO lab does NOT mean that it's a lab for pros; film is for everyone!
You can send it to our PO box, drop it off in person or visit one of our Drop Offs. The form and more details can be found here. In short, you fill out our form, put it in a small satchel with your film and send it to an address, or drop it off to us directly.
Racquet Film develop for some of the most well known photographers around Australia and throughout the world; we are not just a film lab, but a film community. We've received personal praise for our skills from acclaimed international war journalist Tim Page and have had our developing work in the windows of some of the largest retail stores on the planet. We have done national campaigns and content for Wrangler Australia, Volley, Lack of Color, Zulu & Zephyr, Arnhem Clothing, Stevie May, Afends, Ray-Ban, Topdeck Travel, The Bare Road, Sunday Somewhere, For Lovers Only, VICE, Hazel+Folk, Someday’s Lovin, Style Addict and more. We are at the forefront of analogue development in Australia, and we’re only getting bigger. If that doesn't sound somewhat impressive, we're also super down to earth, love developing people's first rolls, and we're pretty damn cheap!
New Farm, Brisbane. Visit us at Shop 6/608 Brunswick Street, or send your rolls to PO Box 2067, New Farm 4005, QLD. We're directly under the Bank of Queensland (right opposite the Brunswick Hotel).
Well, pop in and visit us. Our address is 6/608 Brunswick Street, New Farm. Alternatively, you can stop by one of our Film Drops.
Very well. We use rotary processing methods, done by hand with an experienced lab tech watching every step of the process. We then dry in temperature and dust controlled environments, before scanning using a Fuji Frontier 3000, Noritsu HS-1800 (incoming), Pakon 135 Plus or EPSON V-800 depending on client requirements. We look over ever scan, providing unparalleled quality control on every JPEG and TIFF file that leaves our store. Scans are routinely uploaded to Dropbox and the link is emailed to you in order for you to access and download them. If your roll had any deviations or issues, we include 'Lab Tech' notes in the email we send you and give you an update on exactly what happened.
Turnover times can vary, however we ask that you give us two to seven WORK days (Monday-Friday) to complete your job. C41 rolls are generally processed faster, and 80% of our rolls are processed and sent to clients within four days of receiving them (B&W, E-6 and C41 included). With that said, sometimes it can take all seven (7) work days unless you choose our (optional) 'rush' service, which is determined on a case-by-case basis. It's important you understand what 'work days' are, and if you're unsure please ask! If you haven't received your scans in 14 days, we recommend calling us to sort out the issue!
Our scan sizes are all 16bit, 300DPI exports. We offer three different sizes: low, medium and high (pro). All of these sizes are gauged by the images longest edge: low offers a longest edge of 1500px, medium offers 2250px, and high is 3000px. High (Pro) scans also include a more lengthy colour correction process to ensure you get the perfect image the moment you receive it back from us. This is our most common scan method and a crowd favourite for a reason.
We sure do. Fill out the form, bag up the film and get it over to us!
We certainly can. Half frame images (which provide double the imagery per roll) are run through the Fuji Frontier and provide you with two images per frame. If you'd like us to crop images so that you get singular images, a ten dollar surcharge applies.
If you select shipping, a flat rate of $10.50 (Australia-wide) applies, and we will cut and sleeve your negatives and ship them back to you. We give clients the option to store their negatives with us, and we’ll ship them back in bulk at no extra charge ($10.50) once a client has reached their folder limit. Most of our clients prefer this option, though you may rest easy knowing your negatives are cut and sleeved after processing, and filed safely in storage. If you wish to keep you negatives uncut, simply let us know.
This depends on a number of variables. How it was stored, the type of film and whether or not it was left in camera all come into play. The benefit of developing with Racquet is if we run your roll and there are no images on it, we give you a $5 store credit for the unused scan, unlike most labs (who will charge the full fee). Most film is fine, and you'd be surprised how resilient it is!
You sure can. Our new showroom in New Farm is Australia's biggest film-focused workspace, showroom, lab and gallery. Our address is 6/608 Brunswick Street, New Farm. Hours are on our contact page!
Our pricing page does a pretty good job of surmising what we do. Everything, basically. From cross-processing medium format film to developing disposable cameras, we can handle it all, and sell you a camera.
As many as you want. We don't recommend taking films further than three stops if you wish to maintain quality, but we're all for experimentation, and we'll do exactly as you ask. With that said, Racquet Film are not liable for the unsavoury results you'll likely end up with ! 🙂
For colour and E6 processing we use Kodak Flexicolor Chemicals with repeated quality checks, while maintaining a backup three bath kit for both processing methods to use during high volume periods. For black and white, we realise that every emulsion requires a certain type of treatment, so we stock Ilford ID-11, Microphen, Ilfosol and Kodak XTOL, D76 and TMAX, choosing which chemical to use depending on what the client requires.
If you purchase pro scans, our dedicated post-production team will work on your scans and emulate any sample or reference images you may choose to provide to the best of their ability. Purchasing pro scans will not make your photos better nor will it correct mistakes.
We do! We offer high quality printing services from size A4 to size A2 in premium finishes. Our paper is all 250-380GSM, gallery quality paper printed using our state of the art, world-class Canon printer. Print times vary as does pricing, but more information can be found on our dedicated printing page. We offer framing services too.
We sure do. If you send ten or more rolls our way of colour film or E6 (135, 120 and 220 accepted), we’ll knock 10% off the final charge for you. Just let us know in the notes!
We recommend sending us an email or using anything on the ‘contact us’ page.
We’re always doing something film-related, but between Racquet Studio (professional photography services) and Racquet Film (a film photography lab) we’re pretty busy. Our regular hours are listed on the contact us page.
Submitting any film type to Racquet Film for processing (of any sort) constitutes an AGREEMENT by you that any damage or loss by our companies, subsidiary or agents, will entitle you to replacement with an equivalent amount of unexposed film alongside processing services that total those initially rendered. Except for such replacement, the acceptance by our company, subsidiary and or agents of the service you request is without other warranty or liability expressed or implied, and recovery for any incidental or consequential damage is excluded. Racquet Film shall not be liable for any loss of income or profits, loss of contracts or for any indirect or consequential loss or damage of any kind howsoever arising from any lost or damaged material submitted to our company, either directly or through a third party, including Australia Post and other registered couriers. For more details, read our Terms of Service, which cover every element of our dealings with customers in detail.
High (PRO) scans involve colour correction, and ensuring the black and white points on your image are correctly dialled in. We go over all our scans, but naturally higher paying clients are allocated more time to ensure the photos they receive back are perfect. People who are generally against these scans say it's because they don't like to edit their film. Unfortunately, if you don't like to edit your film, you shouldn't be scanning in the first place. As soon as you digitise an image, it's edited. 'High' (or PRO) scans are simply us using slight tonal, brightness and density shifts to eradicate the erroneous interpretation of your image that the scanner has made. It's like taking it back to new. We do this with all our scans as previously mentioned, but high res scans get special attention. The other benefit is always having a great file to edit and print!
Yes! You can find them here.
If your scans are severely under or overexposed and we are unable to cut them, we’ll store them in archival quality, full length sleeves. The last thing we want to do is cut into one of your precious negatives, so we always edge toward the cautious side in circumstances such as this. The full length sleeves are still archival quality and perfect for storing your negs in, and they allow you to cut them at your will (should you wish) without the risk of us missing a frame or cutting off a corner.
Racquet Film are not liable for any artefacts, dust or markings on your negatives after they leave the store. We dry negatives in a temperature controlled environment, handle all negatives with care and sleeve them in the same manner. Please note this when selecting ‘develop only’ for any film type or format. If you dirty your negatives by accident, we can offer a rewash service for $3 a roll (uncut) or $6 a roll (cut). We cannot guarantee all markings (example: scratches) can be removed during this process. We encourage all customers to have their film professionally scanned; for a small increase in price you rest easy knowing the film has run through one of the best scanners on the planet and no markings of such will be found.
We offer rush services on a case-by-case basis for 50-75% atop the original cost. We don't offer rush jobs to all clients as there's simply no way we can manage a generalised process when we personally monitor and quality check every single roll, scan and negative that passes through our lab. If you're umsure about this, order email@example.com prior to submitting a rush job to see if we're capabale of processing it with you. Rush jobs can be done within 24 and 48 hours.
Don't worry! If you sent your rolls by mail, we'll send you an invoice to your email (just make sure it's clear!). Payments in store are made as per usual, by card! Let us know if you have any further questions.