Agree with the above that you got beautiful results out of this image. One tip I would share if you decide to get into creating your own images (or re-tuning the ones you find), whenever I work with a different material, I print out a calibration piece with greys ranging from 5% - 100% and then have that next to me while I go into the file. I then try to isolate what I want to be a foreground part of the image v. a background part of the image and assign them relative spectrums on the gradient, using Photoshop curves adjustment layers to force them to “fit” within the right groups.
If that’s confusing, an example would be, I would take the dragon’s claw, select it in Photoshop and then use a curves layer to ensure that all the shades of gray within that part of the image stay between (as an example) 5-30% black. Then if I want to push some parts of the image forward into the foreground (or vice versa) I can easily do so.
This is especially useful when you’re starting from an existing image not optimized for engraving, like a photograph, where light and dark are determined by where light falls instead of relative proximity to the viewer. Breaking it into foreground and background images lets you focus your attention one piece at a time, and ensure that each piece ends up being at the “front” or “back” of a relief image as appropriate.