Digital BW, The Print

Ok, this is becoming clearer ...

On Sat, Jul 30, 2005 at 02:07:55PM -0700, Paul Roark wrote:
> Ben,
> 
> > > Second, I make a duplicate image -- both should be converted to 
> > > RGB before the curves are applied.
> > 
> > Do they need to be flattened?  My top layer is usually a Channel Mixer
> > layer.
> 
> No, I make a duplicate or copy image, not a duplicate layer. 

I got that.  I meant, do the duplicate and original images have to
be flattened.  It seems that the answer is "yes" -- or at least,
if it's not necessary, it's more efficient.

> > > Third, I apply the cool curve to the duplicate and the warm curve to the
> > > original.
> 
> The curves are applied to the entire images.  Usually my selection is saved,
> so I forgot to say that no selection should be on the image at this point.

This helps.

> > > Fourth I align the clone tool at (.001, .001) or whatever your
> > > "Information" palette says the upper left hand corner of the image is.
> > >   Have the clone tool at one pixel for this.
> > 
> > Align?  Is that "option-click to define a source point", or something
> > else?
> 
> I'm probably not using the right terminology.  Use the "Alt" key with the
> clone/rubber-stamp tool to set the input/source point at the upper left
> corner of the duplicate/copy image, then click on the original image at the
> same exact point to be sure the pixels are exactly matched.

Ok, I did understand you correctly, then -- your "alt" is my "option",
since I use a Mac.

> > > Fifth I set the clone tool to 100% hardness and the largest size and
> > > with a single sweep, I clone the entire duplicate, cool-colored 
> > > image over onto the warm-original,
> 
> This is where the selection has to be on the original to restrict the
> cloning to the areas you want to be the tone of the duplicate/copy image.

Huh ... I'm not getting the cloned material to line up.  I tried using
copy and paste instead of clone stamp, as an experiment.  From how it
looks on the screen, it seems like it ought to work.  I'll post again
when the test print finishes ...

Seems like this method wouldn't work as well when the mask is less
than 100% opaque, though.  Is that how you do it when you want a more
subtle duotone effect?  How do you do that, anyway?

One last question.  Is there a way to apply one curve (tone) to, say,
the middle-to-highlights, and a different one to the shadows -- and if
so, can the crossover be made gradual?  I think that might be a nice
effect, and I'd like to play with it.

A million thanks.

-- 
 Ben Rosengart                                          ben@...
       "Young people should be seen and not heard, because they're
        good-looking but not too bright.  We're pretty bright now,
        but we're ugly." -- Grace Slick on the '60s youth movement