Really good news, and I'm happy for you your family and your dad, but it's a wrong diagnosis, not a miracle.

I do believe miracles happen (the fact that we're all alive is the biggest miracle of all) but this is science at its worst.

My ex's dad had...lungcancer.  He also had two heart valves that leaked, so they couldn't do anything about his heart because of his lungs and nothing to his lungs because of his heart.
The specialist gave him nine months at the most.
We decided not to tell him as he was already 78 and brooding.

He died this year, aged 91. Of kidney failure.

Had they told him he had only nine months left, he would have died nine months later.
That's not a miracle either, it's avoiding a self-fulfilling prophecy. We laugh at the "primitive man" who dies because the local sorcerer pointed a chicken bone at him. But when our local sorcerer does his "parlay", we immediately believe him.

Makes me think of StarWars. When Luke says "I can't believe that." , Yoda replies: "That's why you fail."

Sorry for the musings. The moon is full...

Wishing you and yours a quick recovery from the shock, and have a super Christmas and many years together in peace, love and harmony.

Why should voting be limited to those mentioned?

I vote for Leeco.

Chirpy chirpy cheep cheep...

lol.

The most basic rule is that there are no rules.
Creativity is a sacred uproar, a pathless land, an ongoing discovery, an anarchistic lovestory for outlaws.

If humankind (like this better than mankind, which is too MCP) had never tried to go beyond the rules, we would still be living in caves.

Which, from another point of view, might have had its advantages for Mother Nature...

If I may say so: there's no real engagement that comes not from the inside. There are huge changes going on, and it's a tough period for many, and probably for many others to come.
Yiou are on the inside. You feel it. Try to show this in your photo work. Go to where hunger is ugly and souls are forgotten and show it. By moving people, you may cause a movement, a shift, and help for the better.
Many artists have been more inspired when things go bad than when they go well.

And know you have friends here!

Most apps are still 32 bit, but they can run on 64 bit also. They are placed in another program files folder.

This is hard to read. The worst part is that they not only take your income, but also kick you straight into your self-respect. You're thrown back on survival.
If you can manage to keep cool, you may well see that there are other possibilities. A new kind of creativity is needed. Like the mammals surviving when the dinosaurs started disappearing.
Survival of the fittest.

Easier to do when you're single without kids.

I hope you'll find a good and satisfying solution very soon.

I'm with Akemi on this. I'll chime in with her untill you can say you're picking up good vibrations.

Not much you can do. Laptops have tn tft's and these are bad for color work as they change depending on the angle of view, and also have bad blacks.

You have so many great images that it must have been difficult for them to choose.
Wow.
Congrats!!!!!

Now where's that champagne?

OK. So here we go.

First of all when I look at one of those tonemapped images I see that they have deep blacks, bright whites, a normal midrange hues but better, much better shadow detail and light hues details.
So what we have to do is influence those two areas of hues: shadows and, let's call them brights.

We cannot use curves to get the full effect as curves is too general. We cannot use blend modes as these are even more general. We really have to use a mask that protects all we don't want to influence. And because we're not taliking about area's, we cannot paint it.

So what we do is use a so-called luminance mask. This means: we go to the channels panel and click the three channels (in RGB). The one with the best contrast is the one we now need. Here this was, as often, the blue channel. We copy that one by dragging it to copy, just like with layers and, with the copy active we click the dotted circle icon at the bottom, meaning we load it as a selection.

Then we click back on the composite (rgb) channel, evt. deactivate the copy (that is considered a mask and turns everything reddish), and we go back to layers.

In layers, we make a copy of our background and we add a layer mask (icons at the bottom of the panel). Immediately, the selected channel is loaded as a mask. Now this is great!

All we now have to do is click to select this mask and then tweak it. Frist, make another layer that's a copy of this copy-with mask so yopu can always reuse it. And hide it.
Just for fun, try some weird commands like, for example, desaturate or invert. You'll notice that the dark parts are less influenced the darker they are, and the bright parts are more influenced the brighter they are. (try this, and then use CtrlZ or CmdZ to undo).

This is exactly what we need. 

On the active copy, select the mask by clicking on it and open levels. Drag the sliders so everything becomes black except the brighter areas. But keep a soft transition.

Create another copy, click the mask to select it and, just like any other image (a mask is an image) invert it. Because in the inverted image the lighter greys are dark and the shadows are bright, we can, with this mask, easily use levels to make everything dark except the bright shadow areas.

Now we have the two basic layers to influence brights and shadows. Click on each layer to select it and, for example, use curves to make areas brighter or darker. Thanks to the masks, the influence is accented and limited to where we want it.

Some extra work can be done with other layers and with adjustment layers (these can always be tweaked afterwards, but influence all what's below them).

This is the idea. Now let's get practical for this image:

A very rough and quick first attempt:

I started with this:

I fully agree.

The whole "effect" (this is not real tone-ranging!) is based on more detail in the shadowy but not black areas and the ligher, but not highlight areas and leave the middle range  untouched. Black and white need to stay untouched.

The idea is to load a channel as a layer mask to influence the luminance, so you can control  how much and to which hues you apply a curve (or whatever).

Have one layer to influence the dark "greys" by inverting the mask and level it to more black and white with less greys in between, and one other to influence the light "greys" by leveling the non-inverted mask.

Give me a few days and if I forget: remind me!
I'll either cook something that matches (approcimately) or buy the plug.
And that's a promise.