Digital BW, The Print

Ben,

So, is it working for you now?  Once you get the hang of it, it's easy.
Most of the work is getting the masks the way you want them to separate the
tones.  

Obviously with this method the split toning it's more than just having the
highlights one tone and the shadows another.  You can define the tones in
the places you want them.  That said, I've found that subtlety makes the
split toning work best.  In a B&W, an obvious difference of tones can look
odd.  I don't want the viewer to be hit in the face with what might look
like a gimmick.  Getting a reaction in the viewer of coolness or warmth
without the viewer really being aware that there are different tones would
be ideal.

> ... 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 tried to make most of the UT7 and UT2 curves such that this would be easy
to do right on the curves.  Just look at where the points are for the
different toned curves.  For example, if you want cool highlights on the
neutral or warm tone curves, just look at the coordinates of the R & G
curves for the 25%/191 point on the cool curve, pull up the neutral or warm
curve, and change the 25%/191 coordinates to what the cool curve had.  Save
the curve under a new name.

The shadows can get tricky if you try to inter-mix the coordinates from
different curves.  So, I'd leave the 100% to 75% (0 - 63) points of any one
curve pretty much as is.  You can make some off-setting, up & down moves of
the R & G curve points there, but posterization is more likely in that part
of the curve.

Have fun.

Paul
www.PaulRoark.com