To linearize your CtP plates or not?

A bit of background
Back in the old film to plate days the standard prepress procedure was to linearize film output. That means a specific tone request in the original file results in halftone dot in the film equal to the file tone request. So, for example, a 50% in the file became a 50% tone in the film. Linear film was the agreed standard interchange file format between prepress tradeshops, publishers and printers. At that time, the final tone on the plate was not measured. Instead, the resulting tone in the presswork was measured and deemed to be in specification, or not, relative to the supplied linear film. I.e. At 133 lpi, a 50% tone in the film resulting in a final tone of about 71% in the presswork would be considered in specification. Interestingly, although the film was linear, the resulting plates were not linear due to the dynamics of exposure in the vacuum frame.

The arrival of CtP in the late 1990s eliminated film as the intermediary. As a result, measuring tone values on the plate became a process control metric. However, CtP plates seldom have a linear response to laser exposure and if a tone reproduction curve is applied to them to make them linear - the resulting presswork is usually too "sharp" - i.e. not achieving enough dot gain.

At the same time that CtP was rapidly being adopted, printers also began to use finer halftone screens, including FM screens, which had very different dot gain characteristics compared to the old published standards. Printers began to leverage the flexibility that CtP provided in being able to apply different tone reproduction curves to their CtP plates to achieve the tone reproduction on press that they required.

So the question for the printer becomes: should prepress first apply a curve to linearize the plate and then, if needed, apply another curve on top of the first to achieve the desired final press tone response?

I was shocked
So, just to confirm that the method that I have been using for the past 13 years was indeed the standard method used in the industry, I posed the question to an internet printer's forum: "Do you linearize your plates before applying a press curve (a two curve workflow - e.g. one to linearize the plate followed by another one to compensate for dot gain) or do you only apply a press curve to the uncalibrated plate (a one curve workflow - e.g. one to compensate for dot gain)?"

The response shocked me - a whopping 70% said they first linearized the plate with a curve and then applied a press curve while only 30% responded that they simply applied a press curve to the uncalibrated (natural state) plate.

70% using one curve on top of another? That makes no sense to me at all.

In a film to plate workflow, linear film is exposed to the plate in a vacuum frame. The function of the plate exposure is to reproduce the halftone dots in the film as consistently as possible across the surface of the plate, and perhaps more importantly, to create a robust halftone dot on the plate that will maintain its integrity on press. However, although the film may be linear, the resulting plates are not linear due to the dynamics of exposure in the vacuum frame. In North America using negative film there is typically a 2%-5% dot gain on plate at 50% (i.e. 50% in the film creates about a 54% on the plate) while in Europe and Asia where positive film was used there is typically be a 2%-5% tone loss at 50%.

In a CtP workflow, as with a film to plate workflow, the important thing is to set laser exposure and processing (or lack thereof) to the manufacturer's specifications so that the result is a robust halftone dot on the plate that maintains its integrity on press. However, as with a film workflow, the resulting plates are typically not linear due to the dynamics of laser exposure, individual plate characteristics, and processing.

In this example, the thick line that dips below the 0 line is the natural uncalibrated plate curve after the engineer has done their work setting up exposure and processing for the most robust dot possible.With this particular positive thermal plate the uncalibrated plate curve results in a negative value through the tones. The bottom numbers in the graphic are the requested tone values in the file - 5%, 10%, 20%.... 90%, 100%. The "0" line represents linearity. I.e. if the plate was linear then that 0 line would be straight and be the "plate curve". But, in this case, a 50% request has resulted in about a 47% on plate. This is fairly typical - a well and properly exposed CtP plate does not have a linear response (i.e. a straight line). Also note that it is typically not a classic Bell curve - there is no symmetry. Different CtP/plate combinations will each have their own characteristic natural curves.

So, from a CtP vendor engineer's perspective, it does not matter whether the result of their setup is a linear plate or not since a tone reproduction curve can always be applied to achieve whatever tones are required on plate - including linearizing the plate. What's important is that the exposed dot is robust and that the plate imaging is consistent across the plate and repeatable from plate to plate.Put another way - the key criteria is that when properly set up the plate will have a characteristic non-linear tone response. And that's fine - as long as the plate responds the same - i.e. delivers the same non-linear tone response – every time because without that consistency it is not possible to build any tone reproduction curves at all.

Some definitions

These definitions are not "official" however they are useful to keeping the issues and discussions clear.

A "plate curve" is a tone reproduction curve that is applied in the workflow to a plate in order to have it render tone values that are different from those it delivers when the laser exposure and processing (or lack thereof) have been set to the manufacturer's specifications. So, applying a linearizing curve that makes an inherently non-linear plate linear is an example of the use of a plate curve.

A "press curve" is a tone reproduction curve that is applied in the workflow to a plate in order to have it render tone values that are required to deliver a specific tone response on press. The assumption is that the laser exposure and processing (or lack thereof) have been set to the manufacturer's specifications.

By this definition, if only a linearizing curve is applied because a linear plate is needed to deliver the correct tone response on press then that linearizing curve is a press curve.

A plate curve in this sense is not related to tone reproduction on press. It is effectively a calibration curve. It brings the plate to a known condition. However, in a CtP environment, the manufacturer's setup of laser exposure intensity, processing chemistry, and processing time effectively calibrates the plate plate to a known condition. It might not be linear but it is known. There is no need to recalibrate by applying a plate curve to what is already calibrated.

Another way to look at the question

Let's suppose that a linear plate provided the tone response on press that we need. Would it make sense to then use two curves - one to linearize the plate (a plate curve) and a second curve (a press curve) to linearize the linearized plate? I doubt it. Makes more sense to just apply the one linearizing curve - based on the uncalibrated natural condition of the plate.

So, if that logic makes sense, why wouldn't it make equal sense if we needed a non-linear press curve? Just apply the one non-linear press curve based on the uncalibrated natural non-linear condition of the plate.

As long as the plate's tone response is consistent then it can be the basis on which to build press curves. However, if the plate is inconsistent in its tone response then the use of linearizing plate curves as well as the use of press curves will fail. You cannot use curves, plate or press, on a device that is inconsistent.

What the "authorities" have said*Some quotes on this topic from the Idealliance G7 guides:

6.2 Origin of NPDC curves
To determine the 'natural' NPDC curves of commercial CtP-based printing, G7 research analyzed numerous press runs made with ISO-standard ink and paper, and a variety of plate types imaged on “un-calibrated” CtP systems (no RIP curves applied, not even to “linearize” the plate).

5.4 Set up the RIP
Set up the plate making RIP exactly as you would for a normal job, but clear out any values in the current calibration table, or begin with a new, empty table. The first press run is best made with ‘un-calibrated’ plates – i.e. no calibration values in the RIP.
IMPORTANT: Do NOT linearize the plate-setter so that measured dot values on plate exactly match original file percentages. Contrary to common belief, this may reduce accuracy of subsequent steps.

a. PRINTING IDEALIZED TARGETS VALUES - Achieving calibration condition with raw or linear plates, not requiring a curve, is an ideal situation.

*A note about authorities. I had trepidations about including these points from G7 because I do not believe that people should blindly do what some authority says they should do. It is not enough to say "Do it this way because I say it should be done this way." If the authority cannot explain exactly why one way is wrong and another right then it is just an opinion and without evidence to back it up it is not a credible opinion. I included these quotes only because they may carry credibility for some readers of this post.

Scenarios“We’ve always done it this way!” or “This way works just fine!” Even when we have the time to think about how or why we do things a certain way, our thoughts are often clouded by that kind of thinking. However, it can make it easier to understand the merits of a one curve workflow compared with a two curve workflow if one breaks down the sequence of steps required to get a plate into the press room. Given the same final result, the fewer the steps - the better the workflow since it provides fewer opportunities for error.

Here are some examples of workflow scenarios to see what happens with a one curve workflow vs a two curve workflow:

One CtP & one plate shop - to achieve the same final result on press:
One curve workflow: one press curve = one curve total.
Two curve workflow: one linearization plate curve plus one press curve = two curves total.

One CtP & one plate shop using three different curves to optimize for three different papers. To achieve the same final result on press:
One curve workflow: one press curve per paper type = three curves total.
Two curve workflow: one linearization plate curve plus one press curve per paper type = four curves total.

One CtP & two plate shop - to achieve the same final result on press:
One curve workflow: one press curve per plate type = two curves total.
Two curve workflow: two linearization plate curves plus one press curve = three curves total.

One CtP & two press shop - to achieve the same final result on two presses:
One curve workflow: one press curve per press = two curves total.
Two curve workflow: one linearization plate curve plus two press curves = three curves total.

One CtP & one plate shop - what happens if a new batch of plates do not perform as the previous batch did:
One curve workflow: modify one press curve so that the plate tones are the same as the previous plate batch = one modified curve total.
Two curve workflow: modify one linearization plate curve plus apply the standard press curve so that the final plate tones are the same as the previous plate batch = two curves total.

One CtP & one plate shop - what happens if the press curve needs to be tweaked/adjusted:
One curve workflow: modify one press curve to achieve the required tone reproduction on press = one modified curve total.
Two curve workflow: one linearization plate curve plus modify one press curve to achieve the required tone reproduction on press = two curves total.

One CtP & one plate shop - what happens if the CtP device is replaced:
One curve workflow: measure the new plate output and modify one press curve to achieve the same tone reproduction/dots on plate as with previous CtP = one modified curve total.
Two curve workflow: measure the new plate output and modify the linearization plate curve to linearize the plate then apply the existing press curve = one modified curve for two curves total.

Looked at this way, the linearization plate curve, in the vast majority of cases, is redundant. It serves no useful purpose except to add complexity and another point of failure.

Choosing a CtP - some considerations

Focussing laser energy
The laser system that exposes the plate in a CtP system has an impact on the consistency of the halftone dots that make up the image on the plate and therefore the consistency and integrity of the final presswork. The more well focussed, and hence sharper, the beam of exposing energy the more consistent the resulting halftones will be.
The four main ways that laser energy is focussed on a CtP device in order from basic to most sophisticated:

1) Depth of field. This is the method most often seen used in internal drum CtP machines and film imagesetters. It is similar in concept to how depth of field works in a camera. Although a lens can precisely focus at only one distance, the decrease in sharpness is gradual on each side of the focused distance, so that within the depth of field, the unsharpness is imperceptible under normal conditions. Typically requires constant calibration to maintain imaging consistency.

2) Hard focus. The laser is focussed for the particular plate when the CtP system is initially set up. This method is not able to cope with issues of variations in plate media thickness or as plate surface to exposure focus point changes. Hot spots and/or banding may appear.

3) Auto focus. The laser does an auto-focus for the particular plate each time just before actual imaging begins. This method is not able to cope with issues of variations in plate media thickness or as the plate surface to exposure focus point changes. Hot spots may appear.

4) Dynamic auto focus. The laser continuously adjusts focus for the particular plate during actual imaging. This method is able to cope with issues of variations in plate media thickness or as the plate surface to exposure focus point changes. Hot spots are unlikely.

The "tape test"

To get an idea as to how well the focussing system is on a particular CtP device, simply make a large "X" using Scotch tape/Sellotape on the back of the plate. Image a 50% halftone screen across the entire plate. Remove the tape and process the plate.If, after processing the plate, the tape is visible in the 50% flat tone patch then you know that any variations in plate thickness, or plate surface to exposure focus point, that is equal or greater than the thickness of the Scotch tape/Sellotape will result in variation in halftone screen tones and therefore presswork. It's unlikely that in day to day production that you'd stick tape to the back of a plate before exposing it, however it is quite possible for a small piece of debris to land on the CtP drum or back of the plate during pre-exposure handling.

Ideally, the imaging integrity of the best system would not be compromised by the tape on the back of the plate and all you will see is a large flat 50% tone - no visible "X" pattern.

During the CtP manufacturing process the geometric accuracy of the CtP drum on which the plates will eventually be mounted and imaged is measured.
Geometric compenstion
Imagine a grid wrapped around the CtP's imaging drum.

In a perfect world the grid would have perfect integrity.

In reality - the drums are never perfect cylinders.

For those CtP devices that have this capability, geometric correction distorts the bitmap that will be imaged on the plate in order to compensate for differences in the geometry of the imaging drum on the CtP device. Geometric correction also provides CtP device to CtP device integrity so that the plates from different machines will be as identical as possible.

Thermal compensation
Aluminum plates expand and contract with temperature change as much as film does - about 0.5mm across a 1m plate (typical 8-page size) for every 5°C (9°F) temperature change.
That 5°C change in temperature will result in a half row of dots @ 175 lpi misregistration plate to plate which can result in the need for the shop to reimage all four plates in a process job even if only one is actually needed.
Plate imaged twice at different temperatures. Without temperature compensation, the change in plate size due to the ambient temperature change results in a misregistration of the image.
Thermal compensation, for those devices that have this capability, corrects for ambient temperature variations by scaling the bitmap in such a way that it is as if the plates were always imaged at a single temperature.

How CtP plate readers read plates

Dedicated plate readers take a different approach to measuring dot area than densitometers. What they do it use an internal CCD camera to take a continuous tone photograph of the plate area at high resolution and magnification:

Depending on the instrument's software and display technology, this original image may or may not be shown to the user.

In order to calculate the dot area, virtually all plate readers use a thresholding algorithm to determine what is the non-printing plate and what is the printing dot.* Put another way, the software decides that a pixel of X tone level and lighter in the captured image is the plate while levels darker in the captured image than X tone level are identified as ink carrying dots.

However, because the halftone dots in the photo will have a slight softness to them, the result is a slight ambiguity as to where the transition from non-image plate to ink carrying dot occurs. Change the threshold and you change the size of the dot the instrument "sees" and hence the tone the instrument reports.

For example at a threshold value of 139 (from a range of 0-255), the software sees this as the printing dots:
and reports a dot area value of 50%

If the threshold is a tone value of 175 the software sees this as the printing dots:
and now reports a dot area value of 55%

So which is best, or more accurate, for measuring halftone dots on plate? Well, in a GATF study of products for measuring the dot area on CTP printing plates (RTR 27: Plate Reading Technologies and Their Performance on CTP Plates) a spectrodensitometer gave very similar overall results compared to the best CCD-based solution for plates.

In their defense, dedicated plate readers can provide more information, such as halftone frequency and screen angle, than a densitometer when measuring plates.

* The extremely sophisticated and expensive Jandel planimeter requires the user to trace where they believe the dot edges are in order to differentiate between plate and dot areas.

Using a densitometer to measure plates

Despite what you may have heard from vendors - yes, you can use a densitometer to read offset plates. This can be especially helpful for the smaller printshops who may not have the resources to purchase dedicated plate readers.

Densitometer basics

Color reflection densitometers are designed to accurately measure Black, Cyan, Magenta, and Yellow colorants on substrates like paper. However lithographic plates usually don't have C, M, Y, K images on a white substrate, instead the plate material is usually brushed aluminum with a grey color. The color of the image itself will vary according to the plate type and vendor.

You need to be aware of these reflectance and color properties since they effect how you use your densitometer when evaluating your plates.

Contrast

Because of plate color properties, the contrast between image and and non-image areas of the plate is typically less than half that of ink on paper, as a result it may not be possible to calculate dot area for some densitometer/plate combinations.

Aperture size

The densitometer aperture (measuring window) should be the largest possible for your brand of instrument - as long as it's not larger than the image area you are measuring. This helps average out the reading and minimizes the effect of random plate patterns.

Densitometer Status

The instrument should be set to "Status T" unpolarized in part because this setting has a wider response to the various plate coating colors.

Consistency is more important than absolute accuracy

Conventional and digitally imaged plates typically use the same aluminum base material. However the different types of mechanical or chemical graining that prepares them for lithography results in a different surface texture which in turn scatters light differently. In order to achieve consistent dot values. To help achieve consistent dot value measurements, you should try to maintain a consistent alignment of the densitometer to the plate. Perhaps using the base of the densitometer aligned to the edge of the plate. Also, zero the densitometer and read the 100% area on the same spot each time and take readings from the center of each target patch.

If you know that a patch on the plate represents a 50% tone (i.e. it is a checkerboard) but your densitometer reports the patch being, for example, a 54% tone while the plate prints correctly on press then 54% becomes the target for that patch on the plate. The idea is that you are controlling your plate imaging process by monitoring and minimizing variation. Your priority is to maintain consistency in the measured dot areas.

Alternatively you could change the dot gain calculation "N" factor. Densitometers use one of two formulas for measuring dot area; the Murray-Davies or the Yule-Nielson equation. They are the same equation however the Yule-Nielson equation utilizes an "n"-factor to "factor" out the optical dot gain (the Murray-Davies equation is equivalent to the Yule-Nielson with n set to 1.00). The n-factor is experimentally determined by adjusting it until the densitometer reads the ‘desired value’ at a known dot percentage. Typically a 50% tone is used because it is easy to spot. You'd print a number of tone values close to 50% (e.g.45% and 55%) then use a loupe to find the tone patch that ‘looks like' a 50% tone - a checkerboard. Next adjust the n-factor on the densitometer until that patch reads 50%. The n-factor is typically applied when a densitometer is used to measure printing plates since printing plates are assumed not to have any optical dot gain.