After much pondering I thought I would look at split toning to control the tonal contrast as used by traditional darkroom and high end book printers, I played around with duotone, tritone and quadtone and in the case of this photograph quadtone worked best for me as it gave me more control points across the tonal range. On screen the photograph may seem rather dull but when printed all the subtleties of the image are revealed, visually the print is more coherent, the addition of colour had given the greyscale tonal range more depth that just a straight black and white print.
Not all black and white photographs require a split tone, in most cases a neutral tone works for me both visually and technically by letting a particular paper do it's magic, sometimes just by using a warm paper like Museo Portfolio Rag or Harman's Gloss Baryta will do the job when married to a carefully profiled printer.
The photographic film used was Ilford's Delta 100 [8x10 sheet] and scanned on a Epson V850 printer. The scanned photograph was developed in Lightroom and the Quadtone applied in PhotoShop with additional adjustment curves. The quadtone was made up of admixture of black, warm and cool greys - no quick fix sepia split tone preset where allowed near the image.
The photograph was printed through Lightroom's print module on a HP Z3200 and Epson SC P9000 printer, both printers have had bespoke icc profiles made for the range of papers used in the tests. The papers tested so far are Museo Portfolio Rag, Hahnemuehle smooth photo rag, Breathing Color's Optica One which today made some rather nice prints on the HP z3200 printer, Optica One is slightly more brighter than the other rag papers I use and it seems to respond well to the quadtone, I might need to make a slightly different adjustment curves for the non OBA [optical brightening agents or fluorescents] papers.