Re: Beginner Density Questions & Digital Negs

Thanks Michael,

You cleared up a bit of the confusion. I¹m still wondering if it generally
proves harder to keep the detail in the highlights than in the shadows (is
this why density is such an issue?) I¹m not new to inkjet printing and the
concept of fitting a tonal range to a particular media type is not new to
me, but unfortunetaly, even in inkjet printing I haven¹t dabbled with a
densitometer.

I find Clayton¹s articles and posts on the Digi B&W list very informative.

³The actual negative density could go as high or higher than 2.7 for pt/pd,
or 19< steps on a T2115 wedge² - so higher density translates into greater
tonal range...yes?

Thanks again,
Gu

On 5/15/06 11:23 AM, "Michael Koch-Schulte" <mkochsch@shaw.ca> wrote:

> Gu,
>
> In this context the value of 1.9 is referring to the "reflective" density In
> practical terms a densitometer in reflective mode would measure the darkest
> part of your print.
>
> The actual negative density could go as high or higher than 2.7 for pt/pd, or
> 19< steps on a T2115 wedge. What the film is capable of recording is a much
> larger range than what the print can reflect. The goal is to "fit" the tonal
> range of the negative onto the paper to retain as much of the image details in
> the original scene. Think of it this way: you have a piece of music written
> for 88 key grand piano (the negative) and you need to rescore it to be played
> on a 44 key organ keyboard (the print). They are two different instruments but
> it doesn't necessarily mean that the organ won't sound great once you're done.
>
> The densest part of your negative is where your highlights will print on
> paper. This is where the least amount of reaction between emulsion and UV
> light occurs and hence the emulsion is washed off the paper during rinsing
> creating a lighter area.
>
> When creating a negative it is helpful to know what the tonal capabilities of
> your emulsion and paper combination are, this is why a stepwedge is often used
> prior to creating a negative. If you can tailor the negative (in camera or
> digital) to "fit" the paper emulsion then you avoid making a picture that is
> either too flat or too contrasty. You can however always add contrast agents
> to some emulsions to alter the range to fit the negative.
>
> Coloured inkjet negatives, historically, are said to have a smoother contrast
> than black only inks. This is not as much true today as it was yesterday when
> dot sized were 8-10 picoliters. Inkjet printers now are at the 1 picoliter
> plateau which means grain is not very apparent in newer printers. Some
> speculate that half picoliter printers will soon hit the market allowing near
> perfect black only negatives.
>
> Interesting article on comparing the 2200 and the R200
> http://www.cjcom.net/articles/digiprn3b.htm
>
> ~m
Received on 05/15/06-03:35:10 PM Z