How much do you know about the job you’re about to shoot? What kind of paper will it print on? Is it a coated paper stock? Is the printing press sheet fed or is a web press? If it’s a web press, is it heatset? How about the total inks; what’s the maximum amount of ink the paper can accommodate? How many impressions are scheduled? Do you know the measured density range of the press/paper your job will print on?
While these questions may be foreign to you they are standard fare for the color separation house that preps files from scans of your film and files from your digital camera. If you are to exploit the true potential of the digital capture process you will need to shoot files with the paper’s characteristics in mind.
Luckily, this kind of preparation is not new to you. Shooting different films has prepared you for the different contrast ranges particular to those films. And if your black & white experience includes graded paper, you probably shot differently for each grade if you used the contrast of the paper to create custom transition of tone.
Like many photographers, your clients may not know where a job will print. They may not know if it will print on a coated paper stock. Of course you can still shoot the job without knowing what’s up. But the best results will come from crafting custom transition of tone for the paper target.
Educating your clients may be more difficult than you imagine. But once they understand how much better their job will print when it’s properly shot, they’ll be more inclined to get you all the pertinent information. Knowledge is power-- with the knowledge, you’ll be empowered to shoot the best possible file for your client. So ask away!
What should you ask? First, find out if you’re shooting for coated paper. If the target is coated you’ll be able to keep the density range up around 1.8 to 2.0. Next, you’ll want to know what the press can hold for separation of highlights and shadows. You’ll want to shoot the file, setting those endpoints exactly; using aperture and lighting, rather than shooting sloppy and remapping the densities after the capture.
You’ll want to know how much ink the press can handle. That will dictate the CMYK transform parameters. How much gray component you’ll need to replace with black ink. If the paper is of poor quality and the ink limit is low, you might want to light harder to help separate what few tones the press can render.
Ask away and understand that you may not always get the information you seek. When you do get that information you’ll know why it’s valuable and you’ll know what to do with at least some of it (if you don’t, ask us and we can give some recommendations.
These parameters all concern the capture and the transform to cmyk. Capture information is contained herein and cmyk transform information can be had from a number of sources. We recommend Dan Margulis’ Color Theory series. Contact Dan through his e-mail: dmargulis@aol.com or check with anyone on our MegaVision Tech Support staff.
There is great value in visiting your local pre-press house. Tours are always welcomed and you can learn a bunch about how the process works. Ask plenty of questions, answers (and opinions) will not be hard to come by. Check with the local separation houses and service bureau businesses. Anyone who wants your business or your client’s business will be more than accommodating in presenting the value of their operation.
Learn all you can. Like any knowledge you’ll eventually take it for granted and it will go a long way when you least expect it to.