Nowadays, that's not quite the case. Even if you have all your printing done at a lab, you still must assume at least part of the responsibility for the exact rendering of the color in the digital file. Most photographers approach this as a problem in color calibration or color management. This is consistent with a traditional film testing approach -- you get a new batch of emulsion and you test it by taking photos through different colored CC filters: 025Y, 5M, 81A, etc. The idea is to find the particular bias of a certain emulsion and compensate for it. The concept behind digital color management is similar, although it's a bit more complex. The problem is that, with film, the basic tonal/color rendering is fixed at manufacture. The photographer/lab has only minor influence on the color rendering. Digital, on the other hand, is much more malleable. Hue, saturation, and value rendering can be manipulated to extremes. This kind of control is scary for the traditional photographer because the safety valve of fixed rendering is no longer present. The color can be anything you want it to be ... so what do you want it to be?