Digital BW, The Print

Joost, first of all I should restate that, "one of the things" instead
of "the one thing".
There are no guidelines I can arrive at for this, you simply have to
play. I've heard the "warm forward cool receding" thing before, and
think it's valid sometimes, other times not so much. I see warm as
more opaque than cool sometimes, not always. It's just a matter of
what brings the image alive on paper, hopefully.
I use these blends all kinds of ways, and despite using very similar
settings more often than not, I wind up trying several for each image
as I'm doing test prints anyway toward a final. I'm often suprised at
the conclusion and would not have been able to predict without seeing
it on paper, even with previews showing hue.
To start with though, your idea is valid and well worth trying, it's
similar to one I've used a lot.
Tyler

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "horstenj"
<j.h.j.h@...> wrote:
>
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Tyler Boley" 
> <tyler@> wrote:
> 
> > In my opinion the one thing that contributes to a 3 dimensional 
> > quality in monochrome is to work with subtle hue shifts throughout 
> the scale, Many 
> > analogue methods have this as well, it has a long tradition. 
> 
> Hi Tyler,
> 
> I really appreciate your original post and all the valuable 
> reactions it has evoked. What sticks out for me is the point you 
> raise above. Can you elaborate on this? I'm phantasizing about 
> cooler/bluer tones that tend to receed and warmer/redder tones that 
> tend to come forward.  I'm currently setting up a set of QTR curves 
> for the UT3D inkset, including some split tone curves, and I'd love 
> to experiment in this direction. Would a curve with cool shadows and 
> carbon or selenium highlights do the "trick"? Or is it way more 
> subtle than that?
> 
> Kind regards,
> 
> Joost
>