Until a year or two ago, the salesman was dead wrong. The only way to change
saturation past the film design stage is to print on different paper. Most
papers have different contrast, and the saturation will only appear to be a
little enhanced on the more contrasty version.
Then, the saturation wars began. Manufacturers began to enhance the
saturation of the papers, along with the ever-increasing saturation of the
film. Still, developing, cheap or otherwise, didn't have much to do with
things.
(note: labs that cater to snapshooters now tend to use higher contrast
paper, for snappier results. Pro labs will tend to use the equivilent of
160NC [or offer a choice], as there's no need to get things, especially
exposure right on, because of the increased latitude. More sophisticated
shooters know, and pay; snapshooters don't care, and won't pay)
The big difference is scan and print machines. While these offer great
advantages for the lab owner, and some for the photographer, they can also
be used to snap things up. Ironically, I would expect the cheap labs to snap
things up more.
The moral, when you go in a camera store, the clerk can be anything from a
Brooks grad to a burger flipper.
Bill Pearce
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