Digital BW, The Print

I stand by Clayton's method. 

I tried using a few plug-ins, and while sometimes the results are what 
you are looking for and sometimes not, I found that most times I could 
emulate the look of the plug-in in PS anyway, just in more steps. Plus 
I hate giving away the flexibility that layers allows and I like to 
keep things in 16-bit during the editing stage.

While I generally use use the method Clayton advocates (make sure the 
Hue/Sat layer is under the channel mizer on your layers view), I find 
that sometimes I prefer a curves adjustment here either in place of, or 
in conjuction with, the Hue/Sat layer. This allows me to fine-tune 
things even more in the highlights and shadows for each channel. Not 
all images need this, but some do. It goes with out saying, that all of 
these techniques can be applied with masks, as needed.

There was a comment earlier about throwing out the "garbage" blue 
channel. While I may be in the minority here, I find the blue channel 
often contains the element I am looking for to make certain images pop 
or stand out. An example is a field of different lavender types that I 
shot at a lavender farm this summer. Or one time I shot a portait of a 
friend practicing yoga. As he had grey eyes and a fair complection, the 
blue channel gave a dramamtic look to the portrait, while the green and 
red channel version looked rather mundane. True, it usually contains 
more noise, especially in the shadows, but careful noise treatment of 
the blue channel can usually bring this to within acceptable levels.

And, as others here have pointed out, no one way approach best with all 
images. If you take some time to experiment, your time invested will 
definitely pay off.

Paul G.