My thanks for the kind words, Mo. They are what keep me at the level I am at right now. Without them I would not be there, I am sure.

To make my "E"
In my art program - I open a blank work area
Then I open Insert Text box
Then I resize the E to font size about 64 and then outline it so the Color or Grey will go on it.
Then I open my color box - and more color box - where I put in my 127 numbers in my Red, Green and Blue Boxes
Then I click O K and I have my Grey "E"
Next I remove my outline around my "E"
Next I Save It someplace.
Then I open the "E" and Resize and Crop it to about 9 X 6 inch or similar. Then I Re Save it.


Now, I put the image on my computer screen. Then, I open the image in the work area and make about four work copies. Then I put the original away. Then, I open my "E" as well.
Next, I place the "E" over a Mid Grey point in my image (checking various points). Doing this is where I place one image above the other in the same frame. When I find my closest match of tones, between the"E" and Image Tone, I open my HUE SATURATION TOOL.
Next, I remove the color, to black and white. Then I remove the brightness to black. Then, I enlarge my Check area I work on to 700 to 900% on my work area. Doing this, I can really focus on the area I want to work on. While I work on my Mid Grey Values, the White in the "E" gives me the chance to Check my Whites as well.

Next, I slowly replace the brightness back in (using the V C Peep Hole or Small Opening with the Slider). Doing this, depends on area I am working on - as a guide until I obtain a Seamless Match. My Match is between the "E" and Scene Mid Grey Value. When I finish that, I do the same for Color. When I finish Color, I check Hue setting to see if I need any correction. When I complete everything, I click on Done and leave HUE SATURATION. Then I open BRIGHTNESS CONTRAST and check if those need correction. Following that I check my SHARPNESS Tool for any correction. Next, I save two final copies - one for color and one for black and white. As I work here, Very Often, I shall Step Back from the Screen a coupleof Paces. Then I go Down on One Knee. Then I Study My Work in Progress, Next, I do check the Magnification I am at - or at Full Frame. Also, I sometimes use a Magnifying Glass here as well - if needed.

Following are ideas I have tried in recent times I hope someone may find helpful.

My cam I set to PROGRAM MODE and my ISO at 800 MANUAL with the E V at
MINUS O.7 for most of my studies.

My VIEWCATCHER - PARTLY OPEN I use to study my subject - with and without the cam. Next - in the cam - I work up my EV - using my E V control. My idea to MATCH the GREY of the V C to as close a GREY TONE in the cam. My cam is set to Black and White. My subject I aim at through the opening in the V C and set the EV with the EV Control. My idea is to MATCH a Grey Value in the Subject with the Grey of the V C. When I finish this MATCH, I then decide - do I leave it B and W or set the cam to COLOR?

Next, I try to study Eye Level Line by sighting down a straight edge. My intention is to put the Eye Level on the Top Horizontal Third Line in the cam and on the P C. Next I take images from different parts of the scene - up end down (right to ground level), from side to side. . While I do this I try to find "frames" to frame my Subject.

Also, being light, I always keep a copy or copies of INTERNATIONAL ARTIST with the camera. My reason is - I use the articles on painting an image as a guide for my own work in setting up shapes, patterns, Tonal Values, brightness, contrast.

When I finish taking the images, I put the images on the computer and study them - doing no work. My idea here is to study the image as an Old Master would study and work on a painting.

My study is done using a colour chart by PHI MATRIX (I have both a colour
and home made black and white version from the colour one ) to help with my image colour and black and white Tonal Value accuracy on the P C.

My image study I start by studying my Eye Level Line with my chair even with the P C Screen. Doing these studies - studying Grey, White and Black - help greatly to hone one's ability to observe and portray Tonal Values, Shapes and Size of my Main Subject. While I am doing this, I also try to focus on - what is my Point of Focus - my Main Subject - and how to best portray it? First I study the images on the P C in black and white - this is
like doing a Grisaille underpainting on a painting canvas in HUE SATURATION in my art program on the P C...

In any tool in my art program - every number I put in my VALUE BOXES - I look at asan artist doing painting stroke or strokes. My thought applies to both above and below the Default Value as the image is changed. Thinking this way applies toBlack and White Gray Tonal Values as well as all Color Shades.

When my initial black and white study is mostly complete, I return to my background area a second time. My idea here is - to give that area only the amount of Details, Tonal Values and colour that is needed for the final image. Doing this can take time - depending on how that part looks. A magnifying glass is a good help for studying small areas. Also my idea is to not to work on too wide an area at one time.

An option at this point for above - and below - is to work up all the various Grey Shades accurately for a complete black and white image only.

As I continue to work on my background, I am able to start considering my main subject area. Here I try different levels of colour, brightness, contrast and subject placement to see how these areas work with the background. Working on accurate detail in this area can take time as the main subject has to be the most accurate part of the image. A magnifying glass can be a real bonus for doing small details.

Working on my main part of my image, I find there can be times something in the background needs to be improved or changed. Having some of the main subject in place, I am able to make these changes or additions more accurately. When those details are finished, I try to focus on the middle and foreground.

My middle and foreground details are then studied and details and texture are added to the image as needed. Like my other areas, I try to go slow and sometimes use a magnifying glass for small, fine detail and texture.

When everything looks complete, I sit back a couple of paces or more from the screen. My chair is on the same level with the image - and I am able to study my image carefully. My focus is on Eye Level. Doing this, I am able to assess if I need to do any further corrections or make any more additions to the image.

Finally, I resize and crop my image to make the most pleasing image I can. Image shape can often make or break an image. Frequently, I use the measurements in a painting reproduction for my image shape. These measurements I am able to type in the size boxes - in my Cropping Tool.

Also, I always keep a copy or copies of INTERNATIONAL ARTIST at the P C. My reason is - I use the articles on painting an image as a guide for my own work in setting up shapes, patterns, Tonal Values, brightness, contrast.

These ideas are added to the ones already posted.

When I finish this exercise, I may have the image(s) printed and framed.
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This may seem a bit picky but 127 isn't exactly mid grey. In fact you cannot
obtain exact mid grey in an 8 bit image. For many purposes 127 or 128 is near enough for practical purposes, but there are situations where it is necessary for it to be exact. This is why a16 bit image does not use all of the available levels; in fact, it just uses the full 15 bits plus one single level from the 16th bit. Instead of covering 65536 levels it only covers 32769 (32768 + 1). This enormous loss is acceptable because 32769 is still way beyond what can be distinguished visually. You couldn't really do the same with a 8 bit because the full 256 levels are only just enough to see a full range of visible colours;129 would be hopelessly short.
GHK