In a perfect world all scenes would fit into the density range of all targets. Why? Because having the same number of tones in the scene as compared to the paper target makes easier the job of making pretty pictures. Generally we’d like to use the measured density range of the paper as our camera’s density range entry in Setup>Preferences. However, not all scenes do fit all targets. Large differences in the range of scene brightness, produced by extreme reflectance variation (or an unusually contrasty lighting style) can easily exceed the target paper’s ability to faithfully render the scene, so measured density range values may not always work. Suppose you’re shooting black cordura luggage with satin zipper pulls and buckles, and the art director wants heavy side lighting-- but hold the shadow side fabric texture. What can you do?
Another situation where density range defaults may be unsatisfactory is in scenes where the contrast is very low. Consider another scenario where plugging in the paper’s density range may be inadequate. Suppose you’re shooting pastel golf shirts; yellow, pink, and teal. The art director wants the light very open, so you can see into every fold and crease. He likes a large light box close to the shirts. The image on the monitor looks flat and unsaturated. If you expose for the most important high value, the low values render weakly. If you try to expose for the low values, the most important high value is too dark. And both attempts are flat; lacking in contrast from highlight-to-shadow. What can you do?
In both of the above situations you can and should change the density range. Consider that every scene has an optimum density range for the accurate communication of emotion. Scenes that have extreme brightness range will require more tones between highlight and shadow. If the scene is too contrasty to fit a given density range parameter, you have two choices-- make the light less contrasty or increase the T2’s density range. Changing the light can change the emotional perception on the part of the viewer. Compromise may be the answer where you erode the lighting contrast to fit the scene into the capture. If you cannot change the light you must increase the density range, if you don’t, one or both of the ends of the scale will not render properly; highlights will blow and/or shadows will plug. Be aware that if you are shooting in a corporate environment and you’re new to the game, you’ll probably have little chance to get density range values changed. You might get some testing thru but don’t expect to effect change just because you’ve read this topic.
If we go back to our black & white photographic experience we will readily agree that scaling our negative for grade 2 paper when we have only grade 5 paper will yield less than optimum results. Or, if you have a high contrast film, you’re not going to shoot people indoors in front of open windows without a proper fill. The number of tones you need to capture the scene has to be fit into the number of tones the target can render. Different scenes may require different numbers of tones to properly fit the scene into the capture, unless you can truly control the light.
How does one choose the right number of tones for a given scene or target? Let’s start with setting the density range where it matches the density range of the target. How does one measure the density range of the target? You’ll need some sort of reflective densitometer, such as a Colortron II. Often, the printing press can supply the numbers you’ll want to plug into the density range dialog box. You’ll want to measure the paper base of the target paper. Also measure the maximum black the paper can hold. Subtract the paper base measurement from the maximum black measurement. If you zero the densitometer when you measure the paper base you can use the maximum black value directly. As an example, the Mole-Richardson sheetfed press measured .11D for the paper base. It also measured 1.87D for the max black. 1.87-.11= 1.76D. For Mole-Richardson we started with 1.80 plugged into the density range dialog box, and recommended moving to the 1.75 value after the 1.80 images started looking good.
Choosing the right density range value for the scene is not always simple. The corporate workflow usually dictates a consistent density range. The people that translate your digital capture to the press target have almost universally requested a file from you that doesn’t exactly match the minimum and maximum dot the press can render. Their request, almost always expressed in 256 levels, is a little dark in the highs and a little open in the shadows. That style of capture gives them flexibility when they translate your capture to the press.
If you are shooting in a lower volume, higher billable cost per image operation, you may want to optimize each and every capture for the density range value best suited for that particular capture. It’s done in the same manner as choosing film because of its rendering capabilities. You may have taken advantage of the newer E-6 emulsions with their different rendering styles; some are saturated, some are pastel, some are warm, some are extremely good at rendering neutrals. The T2 has all of these rendering capabilities in its software. The difference in the films rendering of pastel and saturated is no more than a density range difference in the emulsions. More density range equals more pastel renderings. Less density range equals more saturated color. Once you’ve mastered the general use of density range, personal preference will dictate the density range you’ll want to use to create the emotive reaction you’d like the viewer to experience, very much like choosing a film stock because of its rendering style. You may come to agree, that digital photography is not very different from film photography. For additional thoughts about density range, see the topic on Good Lighting.