If you're doing a lot of them it's hard to beat the economics of it too: you can buy a printer for not much money and do the prints yourself.
Inkjet printing places like mine, Rob's, and others run by people that hang out here offer quite a bit of hands-on assistance in ensuring you wind up with the best possible print from your image, instead of just straight chucking it to the printer and hoping for the best. Quite a bit different than what you experienced in Bangkok
Neil
a. I was thinking along the lines of 24 inch prints.. 20x24, 24x30.. these printers, at least in the past, were quite pricey. Especially once set up with bigger ink tanks, a RIP, etc. Have they dropped in price during this period?
b. Processing for printing, at least on my 2200, was different from processing for display viewing. How does this compare for wet printing?
c. At times I could hardly believe what I experienced in Bangkok, and I'm talking about the printing..
There, it's all about economics. Most aren't used to paying more than a 10-15 baht (20-30 cents) for a 8x10 and not much more for a 11x14. When I got involved with the shop who did most of my printing I quickly learned 99% of their business is printing files people took on compact point and shoots and were straight from the camera. They couldn't understand why it was important for me to get the correct colors or why when my shadow detail went missing I'd get upset. But to their credit they did allow me to 'eyeball' adjust one of their four printers (a huge 25 foot long monster) on the workstation side of things, and build a profile.. That was when they admitted they hadn't paid the guy to profile their system since they had their original contract which had long expired. Basically, their customers were more interested in getting a bunch of prints cheap and quick, than quality. It seemed to work for the shop and most of their customers.
A bump in my work was educating commercial customers. They didn't know what they were missing, until you showed them. And then they didn't care, until you brought a few magazines and pointed out their competition knew.. then they cared. It was disconcerting when their AD's didn't have a clue, and I didn't work with but a handful of commercial clients.
The part that hurts.. there are many photographers still shooting medium format film who are handing over big beautiful negatives.. only to lose most of the detail on the dreadful color lasers. No drum scanners either.