Bob, you say that split grading adds to the perception of detail in telephone lines. I imagine that the same holds true for things like ship's rigging.
Hopefully, this is just what I need to take this image from a "9" to a "10," so to speak.
Try for 11.
Tastes differ, but I think this image would make a killer van dyke print if you can make a big digital negative or if you shot it big to begin with. The dark hull and rigging would really show nicely. A toned cyanotype would be nice too; see what Sandy King has been up to on lfinfo. The historical subject matters usually look good on a historical process too.
The alt process option can come in handy and creative when you have a nice B&W image that doesn't seem ideal for normal gray silver.
I usually selenium tone but what about sepia? The local camera store doesn't have much in the way of traditional supplies anymore but I do remember they had a couple of sepia tone kits on the rack, still.
I would love to make a cyanotype or something. That would be cool!
All the galleries around here want exclusives. I've been getting away, sliding under the wire so far because everything I have consigned up to this point has been just post cards and small stuff like 5x7. (Catering to the tourist crowds who don't want to haul big prints home in the trunks of their cars.)
Although I understand the cyanotype and Van Dyke processes, I have never done them. I'd have to study up before I tried to make one for money. Still... the idea is still rattling around inside my head.
I've got a couple rolls of film to develop tonight. After that, it's time to hit the darkroom and get cracking on this print.
Won't fit your schedule, but you can order the starter kit (chemicals, instructions, paper) for cyanotype and vandyke at bostick & sullivan. It's super easy. Mix the liquids like they say, brush it on the paper and let it dry. Contact print it outdoors. Bring it in and process it.
It's not just the different color results. It's a combination of texture, exclusiveness, and the way it handles tones; for darks they tend to be a little more contrasty. For highlights, you can still get good tones depending on variables like single/double coated, paper choice, amount of exposure.
Sepia toning normal silver prints is worthwhile depending on the subject. It doesn't make a big difference in changing contrast, which is normally a good thing. I've copied lots of old photos (portraits and such from 100 years ago) and the copies looked real nice sepia toned sometimes. It's a safe chemical but very stinky.
As noted a cyanotype would be cool, or IMO a very slight sepia then selenium would make this a killer.
If you are going to sepia, you really need to lay some highlight tone down so that the bleach then tone will be apparent. Without tone in the highlight you may go to paper white and usually that looks like shite.
She was going through the channel from Presque Isle Bay into Lake Erie. There was a fairly narrow window of opportunity. I took two or three shots to try to get one without any other boats but the channel was too busy. This is the one that is least cluttered.
I thought about tinkering, cropping or using some other chicanery to remove the boat but I decided to leave it in because it creates a contrast between "Old & "New" or "Big & Little."
Still thinking about this. Probably will start printing later on today. I'll make some extra prints so I can play with toner, etc.