mPix/Miller's Professional Imaging
Bay Photo
Full Color
CPQ
WHCC (White House Custom Colour)
H&H
ACI --- American Color Imaging
MasterColor Professional Labs
Simply Color Lab

There are dozens more. Do an Internet search for Professional Color Labs.

Since I once ran the digital side of a pro lab, I have to make a few comments about working with labs:

Virtually all mainstream professional labs will use silver halide printers and process RA-4 compatible chemistry. All of them want to print from color corrected JPEG images in the sRGB color space, and most of them will provide you with their ICC printer profiles to use as Proofing Profiles in Photoshop or other post-production software.

Some labs will accept 8-bit and 16-bit TIFF images as well. If you tell them, most will accept Adobe RGB as the color space, but they have to know up front!

Some labs provide color correction services, but they charge extra for that. They also have no idea what you were looking for in the scene, so this can be hit or miss. It is MUCH better to calibrate your monitor and adjust your own images in post-production software.

Almost NO labs accept raw files because there are too many variables there. Many pro labs use Kodak Alaris DP2 software internally, connected to the Internet with Softworks ROES (remote order entry system). Others use Softworks ROES Client and Server. Net result is they don't like to use Adobe products, save for retouching.

If your camera is not white balanced properly, or if your monitor is not calibrated correctly when adjusting images, your prints may not look natural. DO NOT blame your lab. It is your responsibility to achieve correct exposure, white balance, and brightness in your JPEG files, and unless the lab is explicitly told to use another profile, the files will be interpreted as referenced to the sRGB standard. BE SURE you get their proofing profiles and use them correctly. Labs should be willing to help you get set up to do that.

Buy and use a monitor calibration system! To get accurate color, your monitor must be calibrated AND PROFILED, using a colorimeter or spectrophotometer and software. Kits are available from around $89 up. Really decent ones cost around $150. Do an Internet search for monitor calibration kits...

To reduce post-production time and improve quality, use a white balance and exposure reference target at the camera. If you NAIL your exposure and perform a custom white balance, you will be far, far down the road after your "field capture experience." The target can be as simple as a sub-$10 Delta-1 Gray Card, or as sophisticated as the Photovision One Shot Digital Calibration Target, or the ExpoDisc. Lots more: http://www.bhphotovideo.com/c/buy/Light-White-Balancing-Accessories/ci/12260/N/4077634549

If you record JPEGs in-camera, and wish to adjust them, you need an application that converts them ONLY ONCE, after making all adjustments to a proxy image. Lightroom, SilkyPix, and several other packages can do that. If the app converts the original JPEG to a 16 bit uncompressed bitmap, then applies the adjustments, then re-writes a JPEG, you'll get the least degradation. You can do that yourself if you use an app that does not do it for you. To eke out the best technical quality from your camera, record in raw and post-process to JPEGs for the lab. Raw capture gives you the most flexibility in post production to adjust color and contrast and exposure.

Finally, understand that working with a lab involves a relationship. COMMUNICATE with your lab about your photographic intentions, your files, your knowledge level... They will help you succeed! They want more of your business, and the only way to get it is to help you get the best from them.

First, find out what the lab's standard resolution is. It's often 240 PPI, for an 8x10, or perhaps 250 or 300 PPI. It may be LESS for larger prints. That's based on the standard viewing distance, which is generally the diagonal dimension of the print.

If final print dimensions in pixels are LARGER than the original file dimensions, I generally resize. If not, I crop to the aspect ratio, retaining all original data.

Lab software usually uses templates for printing that handle sizing and sharpening of prints up to about 16". Again, get your lab's best recommendation.

Labs using ROES (remote order entry software web sites) probably let you drop your images into online templates and adjust cropping on the fly.

According to Wikipedia: Seattle FilmWorks was renamed PhotoWorks.com. In 2000, six plaintiffs took legal action against PhotoWorks at King County Superior Court, Seattle. The action alleged that FilmWorks had engaged in deceptive practices as its film could only be developed by the company and that 'free' rolls of film were actually charged for. The company settled the claims out-of-court, and promised to give 900,000 free rolls of C-41 film to its customers within one year and 300,000 rolls to customers that did not qualify as part of the first group but who requested a roll in the following six months. PhotoWorks also agreed to stop claiming its film could only be developed by PhotoWorks. In 2001, PhotoWorks operated 35 retail outlets, but began closing them as it concentrated upon its mail order and internet business. By August 2003, only eight of these outlets remained when the company announced that these would be closed by the end of September 2003. PhotoWorks discontinued all film processing in 2010 after it was purchased by American Greetings. PhotoWorks ceased operations in all forms in early 2011 and sold its customer list to Shutterfly.