Quote Originally Posted by jamesiscool
I have indeed used tri tone separation masks on some of my work. It is basically the same as dye transfer separation. And it does make luminous prints where there may be a need for masks to allow better control of the shadow/mid tone/ highlight areas of the print. But I still feel from all of the prints I've seen that it is still possible to get that same luminosity from a properly exposed and properly printed negative. It is the negatives with the extreme tonal ranges either too flat or too contrasty that welcome such masking treatments. If you propose to handle all of your printing that way, I applaud your efforts. I just don't think it is necessary for every one to be done with masks. But I have seen Lynn Radeka's work and love it. But I have seen hacks like me do work with just as much separation and luminosity as that. But it's your choice and your time.
I am happy to hear that you have used tri tone separation masking. I have been trying to determine the sequence that one would engage to arrive at the masks that would allow the printing of the shadows separate from the midtones and highlights, the midtones separate from shadows and highlights, and highlights separate from shadows and midtones. Would you be so kind as to elaborate on the process that you used to arrive at these masks. By that I mean the sequence of separation to arrive at negative masks that would allow printing the camera negative through the mask.

I would really like to see some of the work that you have which exhibits the degree of separation and luminosity that you indicate. Perhaps you would be willing to share that with me/us. Obviously if I could achieve what I desire an easier way then I am all for that.

By way of information, the last time that I checked Radeka was not up to speed or anywhere near up to speed on tri tone separation masking. I don't know that Lynn has even thought along those lines. At least he never indicated that to me in our conversations.