Very dynamic composition. The eye follows it around.

will ALWAYS suck ass This is good? ;-)

Varian< Yes it did get that way. Not sure I like that or not. I was also playing with an RGB filtering tutorial from that same Luminos Landscape site, (original image was color). I may have mucked something up? Still, sort of interesting.

Hmm... Wouldn't that be a Marketing win for some printer company; an exhibition from the old Adams negatives.

That is sad! Good she has Mom there to help. [Think of the poor sound guy who now has to live out the rest of his life knowing he traumatized a little girl!] We all grow up too soon.

I was just there, and I did leave a message. Don't be sad! I am a bit concerned about having my email address so prominently displayed. Don't mind you having it. It is a very nice site. I think we'll be seeing a lot of clouds this december.

Slynky always asks the hard questions! Though it deserved a long answer because its possible to use these things in different ways. I liked your short, to the point, answer. Have you used the special inks in the Epson?

I'll tell you what I think duotones, etc. are. When printing B&W (on a press, like with a magazine), there is only a limited dynamic range you can get using one "black" ink and different size dots. So for real high quality results, particularly in "art" coffee table books, they use a couple different inks. As an example, think "black" and "light gray". By making the dots with different shades of ink, (on good glossy paper), they could get better dynamic range. More inks cost more time/money; so there were two tone flavors, three tone, and four tone, depending on desired quality and costs. Now, if the inks are not just pure grays but have some color, the B&W image can also be given a warm or cold "tone" to it. Much like the results in the B&W darkroom using chemical toners, selenium, sepia, gold, blue, etc. The results (with both actually) gives a "deeper" looking image than just by coloring or shifting the color balance in Photoshop. This is because, (very slightly) the image colors shift a little bit between the shadows and highlights. [With B&W coffee table books they actually used funky ink colors to get the best results. The results can be simulated with full color Yellow, Megenta, Cyan, Black dyes, which is usually how a B&W picture is printed (on a press) today.] Since Photoshop is used for production pre-press stuff, it has the capabilities to convert grayscale to duotones, tritones, or quadtones. They were never really meant for CRT screens, but they look pretty cool on a CRT, so why not? Now, inkjet printers use CYMK dyes, so whatever software converts the bits to splashes of ink is really doing a quadtone. However, for creative reasons, some folks like to play with the duotone settings in PShop. [However, there is an extra step, but don't worry about it: grayscale->duotone->RGB->printer. They are actually sending a RGB image to the printer driver.] Now, inkjet printers with standard CYMK dyes work pretty good when printing a B&W print. But not perfectly. So some company, (in Britain?), supplies different funky colored dyes to try to improve the results. [Here, its grayscale->duotone->printer using funky ink. This also needs special driver software.] They also make some claims about archieval stability. They invented a Marketing name for this, piezo-something, to make it sound impressive, but quite a few ink jets use piezoelectric cartridges to splash the ink anyway, (others boil it). Now, Epson gets real bothered by anyone putting different ink in their machines, (can you guess why?). So folks also offer conversion kits. Do you need this? I think you'd like working with the old chemical toners in your B&W darkroom. They are pretty toxic so be very careful. If you do PShop stuff for viewing on a CRT screen, just doing the duotone conversions is fun. Also, by having some control over the image tone you can maybe hide inadequacies (if any) in ink jet printers. The real use for the funky inks is if you want to print very high quality B&W on an inkjet. You also sort of need to know this stuff if you are working with press people reproducing your work, just so they don't snow you. Hope this helps. It sounded good to me anyway as I was making it up ;-) I think its basically correct, but if someone can add details, or has had actual experience with the products out of Britain, I'd like to know more.

Bless the diligent souls that create beautiful hand printed work in the color darkroom. The world is a better place for their efforts. For myself, I found it was not at all FUN. Feeling around in complete darkness loading the paper. Watching the drum spin for half an hour. Finding the color is wrong, and needing to start over, (at $$ per sheet). Only to find in the morning some chemical streak missed seeing... On other hand, B&W darkroom is a blast! Creative. Fast. (relatively) inexpensive. Useable yellow safelight. Nothing beats a 6X7 negative printed on fibre paper! (cept maybe a 8X10 contact printed). Alas, do not even do much of this anymore. Needs dedicated dustfree space, which do not have. Film scanners and photoshop can work wonders using corner Jiffy-Mart processing for the messy parts. I'll not comment about quality, as that is a very multifaceted topic. My advice would be to find a local school/hobbiest group/etc, and work in their darkroom for awhile to see if you like it, before spending a lot of money. There are always work-arounds for things like timers. Important thing is if you like the work. If you find you like it, go for it!

Very fractally (word?).

Like all real estate; location, location, location! I do like the control you have over B&W.

Nice dynamics and balance here.

Both are very nice.