Hubbry Logo
Dodging and burningDodging and burningMain
Open search
Dodging and burning
Community hub
Dodging and burning
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Dodging and burning
Dodging and burning
Dodging and burning
View on Wikipedia
from Wikipedia
An example of dodge & burn effects applied to a digital photograph
An example of dodge & burn effects applied to a digital photograph

Dodging and burning are techniques used during the printing process to manipulate the exposure of select areas on a photographic print, deviating from the rest of the image's exposure. In a darkroom print from a film negative, dodging decreases the exposure for areas of the print that the photographer wishes to be lighter, while burning increases the exposure to areas of the print that should be darker.[1]

Any material with varying degrees of opacity may be used, as preferred, to cover or obscure the desired area for burning or dodging. One may use a transparency with text, designs, patterns, a stencil, or a completely opaque material shaped according to the desired area of burning/dodging.

Many modern digital image editing programs have "dodge" and "burn" tools that mimic the effect on digital images.

Applications

[edit]

A key application of dodging and burning is to improve contrast (tonal reproduction) in film print-making; today this is better known as tone mapping in digital photography – see high-dynamic-range imaging. The technical issue is that natural scenes have higher dynamic range (ratio of light to dark) than can be captured by film, which in turn is greater than can be reproduced in prints. Compressing this high dynamic range into a print either requires uniformly decreasing contrast (making tones closer together) or carefully printing different parts of an image differently so that each retains the maximum contrast – in this latter dodging and burning is a key tool.

An excellent example is the photograph Schweitzer with lamp at his desk by W. Eugene Smith,[2] from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to produce, in order to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to dark shadow.[3]

Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two techniques. Adams wrote a comprehensive book on producing prints called The Print, which features dodging and burning prominently, in the context of his Zone System.[4]

They can also be used in less subtle ways, as in the stenciled lettering shown at the top of this article.

Technique

[edit]
Main article: Darkroom manipulation

By using completely opaque material as a cover over the preferred area for dodging or burning, absolutely no light will pass through and as a result, an outline of the material may be visible on the print. One way to prevent obvious cover-up lines is to slightly shake the burning material over the covered area while it is being exposed. Another way to prevent obvious cover-up lines is to use slightly less opaque material closer to the outline to produce a more subtle, faded effect.

Burning

[edit]
Burning: a darkroom technique

To burn-in a print, the print is first given normal exposure. Next, extra exposure is given to the area or areas that need to be darkened. A card or other opaque object is held between the enlarger lens and the photographic paper in such a way as to allow light to fall only on the portion of the scene to be darkened.

Dodging

[edit]
Dodging: also a darkroom technique

A card or other opaque object is held between the enlarger lens and the photographic paper in such a way as to block light from the portion of the scene to be lightened. Since the technique is used with a negative-to-positive process, reducing the amount of light results in a lighter image.

See also

[edit]

References and sources

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Dodging and burning

View on Grokipedia
from Grokipedia
Dodging and burning are essential photographic techniques employed during the printing or editing process to selectively manipulate the exposure of specific areas within an , with dodging lightening regions by reducing exposure and burning darkening them by increasing it, thereby enhancing tonal range, contrast, and visual depth. These methods originated in traditional workflows using film negatives and , where photographers like utilized them extensively as part of his to achieve precise control over print tones, often creating multiple test prints and marking instructions for selective adjustments. In the , dodging typically involved holding physical tools—such as hands, cardboard cutouts on sticks, or wire frames—between the enlarger source and the light-sensitive to block from targeted areas during exposure, while burning required additional timed exposures on masked sections to intensify shadows without affecting the overall print. With the advent of , dodging and burning transitioned seamlessly into software environments like and Photoshop, where they are implemented via digital brushes, radial filters, or graduated tools that allow non-destructive adjustments to exposure, highlights, and shadows on RAW files, preserving image details and enabling iterative refinements far more efficiently than analog methods. This evolution has made the techniques indispensable across genres such as , , and product photography, where they guide viewer attention, emphasize textures, and correct uneven lighting to produce more dramatic and balanced compositions.

Overview and principles

Definition and origins

Dodging and burning are fundamental techniques in , originally developed for analog processes to selectively control exposure on , thereby adjusting the tonal values of specific areas in an image. In digital workflows, similar adjustments are made using software tools. Dodging refers to the act of reducing light exposure to particular regions, which lightens those areas (typically ) and helps reveal details in , while burning involves increasing exposure to particular regions, which darkens those areas (typically highlights) and helps control details in highlights or enhance midtones, thereby improving depth and contrast overall. These methods allow photographers to compensate for limitations in the negative and achieve a more balanced final print or image. The origins of dodging and burning trace back to the early practices of 19th-century , coinciding with the development of negative-to-positive processes that required manual light manipulation during exposure. As photographers transitioned from contact to using enlargers in the late 19th and early 20th centuries, these selective exposure controls became essential for refining prints from silver emulsions, enabling greater artistic expression beyond the camera's capture. The of the terms reflects their physical execution in the darkroom: "dodging" derives from the motion of tools that "dodge" or evade the light beam from the to shield parts of the paper, preventing overexposure, while "burning" alludes to the intensified light that "burns" details into the , akin to scorching the image. These terms gained widespread recognition and systematic application through ' Zone System, developed in the 1930s and 1940s with Fred Archer, where Adams emphasized their role in tonal visualization during printing, as detailed in his 1941 book The Print.

Fundamental concepts of exposure control

Photographic paper and other light-sensitive materials used in printing respond to the cumulative amount of exposure they receive, which determines the —essentially the darkness or opacity—in the resulting . This forms through a where silver halides in the are reduced to metallic silver proportional to the light intensity and duration. Selective manipulation of exposure is central to dodging and burning: dodging blocks from specific areas during the initial exposure, reducing local light accumulation and yielding lighter tones; burning, applied after the base exposure, adds extra to targeted regions, increasing for darker tones. Integration with the , formulated by and Fred Archer, provides a structured framework for these adjustments. The system conceptualizes tones on a scale of ten zones, ranging from Zone 0 (pure black, no detail) to Zone X (pure white, maximum highlight), with Zone V as at 18% . Dodging and burning enable tonal shifts across zones during printing—for instance, dodging can reposition midtones from Zone V to Zone IV, introducing subtle gradations and preserving detail that might otherwise be lost in a uniform exposure. This approach ensures the print reflects the photographer's visualized tonal relationships, extending the system's principles from exposure and development into post-processing control. Optically, the principles underlying these techniques stem from the characteristic curve of the photographic material, which illustrates the nonlinear response of to exposure. Known as the Hurter-Driffield () curve, it graphs optical DD against the base-10 logarithm of exposure EE (typically in lux-seconds). In the straight-line portion, where most usable tones form, the relationship approximates: D=γlog⁡10E+CD = \gamma \log_{10} E + C Here, γ\gamma represents the material's contrast (the curve's , often 0.5–2.0 for papers), and CC is a constant accounting for base and minimum . Dodging decreases local EE, lowering DD to lighten areas, while burning elevates EE, boosting DD for darkening—exploiting this logarithmic scaling to fine-tune tones without affecting the overall image structure. From an artistic standpoint, dodging and burning expand the effective of an image beyond the capture medium's limits, often 7–10 stops for or sensors, by redistributing exposure to balance extreme highlights and shadows. This selective control enhances visual impact, drawing attention to key elements while subduing distractions, and fosters a more nuanced emotional response in the viewer—transforming a flat negative into a print with depth and .

Historical development

Analog darkroom era

Dodging and burning techniques, which originated in the late with the advent of enlargers, gained widespread adoption in the early , coinciding with the increased use of enlargers for projection printing, which allowed photographers to selectively control light exposure on the print during development. Prior to this, contact printing—where the negative was placed directly on the paper under uniform light—limited such manipulations due to the lack of focused projection, making it difficult to isolate specific areas for adjustment without affecting the entire image. The shift to enlargers enabled more precise tonal control, transforming work from a mechanical process into an interpretive art form. Ansel Adams' 1950 book The Print played a pivotal role in standardizing these practices, providing detailed guidance on dodging and burning as essential tools for achieving desired contrast and depth in black-and-white prints. Influential photographers like and members of , formed in 1932, employed dodging for precise tonal control in their landscapes and portraits, emphasizing sharp detail while using minimal manipulation to correct exposure flaws and enhance natural forms. This approach contrasted with earlier Pictorialist methods but built on their legacy of intervention. In the , the introduction of variable contrast papers further complemented dodging and burning by allowing contrast grades to be adjusted via color filters during , reducing the need for multiple stocks while enhancing the techniques' flexibility. During the movement (1890s–1920s), these techniques were instrumental in softening photographic realism through selective lightening and darkening, creating painterly effects that blurred the line between and , in opposition to the emerging straight photography ethos.

Transition to digital workflows

The transition from analog to digital dodging and burning began in the late with the advent of early tools, marking a pivotal shift in photographic workflows. , initially developed by brothers Thomas and in 1987 and acquired by in 1988, was first released as version 1.0 on February 19, 1990, for the Macintosh platform. This software introduced the tools in version 2.5, released in November 1992, adapting traditional techniques to pixel-based editing and enabling photographers to selectively lighten or darken areas of digitized images without physical alteration. Concurrently, scanner technology in the , such as early drum scanners and systems like the Sitex imaging computers, allowed for the creation of digital negatives from film, bridging analog capture with computer-based manipulation. Hybrid methods proliferated in the 1990s, combining analog originals with digital refinements to ease the adoption of new workflows. Drum scanning of film negatives and prints became a standard professional practice during this decade, where high-resolution scans—often fluid-mounted on rotating cylinders—provided editable digital files that retained the fidelity of analog bases while permitting software-based dodging and burning adjustments. Kodak's Photo CD system, launched in , further facilitated this hybrid approach by digitizing photographic prints and negatives onto compact discs at commercial labs, producing multi-resolution files suitable for on early personal computers and TVs. The digital transition offered significant advantages over irreversible analog changes, primarily through non-destructive capabilities that preserved original files while allowing iterative adjustments to exposure and contrast. By the , global adoption accelerated with the rise of RAW file processing in digital cameras, which captured unprocessed data and enabled precise, layered dodging and burning in software like Photoshop, becoming the industry standard for professional photographers worldwide. Despite these advancements, the shift sparked resistance among photographers, particularly purists influenced by Ansel Adams' emphasis on meticulous analog control, who debated the authenticity of digital manipulations as potentially undermining the "straight" photographic print. Adams himself, in late interviews, expressed enthusiasm for electronic imaging's potential to surpass film, yet his legacy fueled ongoing discussions about whether digital tools like early Levels and Curves adjustments—predecessors to modern dodging—compromised artistic integrity.

Traditional techniques

Dodging procedure

In traditional , dodging involves selectively holding back light from specific areas of the printing during exposure to lighten those regions and reveal more detail in highlights. The primary materials required include an for projecting the negative, a to control exposure duration, dodging masks such as cut pieces of , cardboard shapes attached to wires, or even the photographer's hands, along with barn doors on some enlargers for larger adjustments; safelights provide illumination for working without fogging the , while developing trays hold the chemical solutions for . The procedure begins by identifying highlight areas on the negative that appear too dense or blocked up, using a contact sheet or initial test print for reference. First, create test strips by exposing narrow sections of under the at increasing intervals (e.g., 2, 4, 8, 16, and 32 seconds at f/8 with a standard contrast filter) to calibrate the base exposure time that yields balanced midtones. Once determined, typically aiming for a total base exposure of 10-30 seconds to allow manipulation room, position the full sheet of (e.g., 8x10 inch resin-coated ) under the , focus the image, and start the timer for the full duration. During this exposure, apply the dodging over the target highlight areas—such as skies or faces—for approximately 10-30% less time than the base (e.g., holding back for the last 3-9 seconds of a 30-second exposure), continuously waving or circling the tool to prevent sharp edges and ensure even reduction. After exposure, process the print in developer (1-2 minutes with agitation), (30 seconds), fixer (2-5 minutes), and wash, then dry and evaluate under white to refine. Variations in technique allow for nuanced control; distance dodging, where the mask is held farther from the (e.g., midway between enlarger lens and surface), produces softer, more gradual transitions ideal for broad areas like horizons, while close-up dodging near the creates sharper boundaries for precise details like edges of objects. Integration with pre-flashing expands the 's tonal range by first giving the entire sheet a brief, uniform low-level exposure (e.g., 1/10th of the base time without the negative in place) to overcome the material's and enhance highlight sensitivity, after which standard dodging can be applied to further refine local tones without risking flatness. Common errors include over-dodging, which holds back too much light and results in unnaturally flat, washed-out lacking texture; this can be mitigated through multi-stage dodging, where the area is masked in successive partial exposures (e.g., holding back for 50% of the time in one pass and 25% in another) for gradual adjustment and better integration with surrounding tones.

Burning procedure

Burning in the involves selectively increasing the exposure to specific areas of to darken shadows and midtones, enhancing contrast and detail in targeted regions. This technique, akin to the setup for dodging, utilizes an with diffuse illumination, such as cold light, to ensure even lighting and minimize defects, along with tools like cards, hands, or custom wands—often inverted from dodging tools—for precise control over shadows and midtones. Additional exposure filters may be employed to adjust contrast grades, particularly with variable-contrast papers, focusing on lower zones to deepen tones without affecting . The procedure begins with a base exposure of the entire print to establish overall , typically determined through test strips exposed in incremental times (e.g., 2, 4, 8, 16 seconds) to identify the optimal starting point. Following the base exposure, prolonged additional exposure—often 20-50% more than the base, such as 10-15 seconds or 1.5 times the initial duration—is applied to dark areas using masks or cards held at a distance to create a soft penumbra edge, preventing harsh transitions. The tool is kept in constant gentle motion during this phase to ensure even darkening, and the print is then agitated in the developer tray to distribute chemistry uniformly, promoting consistent tone development across the image. Common techniques include burning skies or backgrounds in landscape prints to add depth and drama, as seen in ' "Clearing Winter Storm," where the sky received 10-15 seconds of extra exposure to intensify clouds while preserving foreground details. This method is frequently combined with dodging for comprehensive contrast control, allowing photographers to lighten select areas during the base exposure and darken others afterward, thereby realizing a visualized tonal range aligned with the Zone System's emphasis on placing shadows in Zones I-II. Excessive burning can lead to muddiness, where overexposed shadows lose texture and detail, resulting in flat, illogical values such as grayish rocks in a scene requiring deep blacks. To remedy this, selective dilution of the developer in targeted areas or reduced agitation can be used post-exposure, though careful timing during the burning phase remains essential to maintain print quality.

Digital techniques

Software-based dodging

Software-based dodging involves using digital tools in photo editing applications to selectively lighten specific areas of an image, simulating traditional techniques through pixel-level adjustments. In , the primary tool is the Dodge Tool, accessible via the toolbar or the 'O', which allows users to lighten areas without altering hue or saturation. This tool features options for Range (Shadows, Midtones, or ) to target specific tonal areas and Exposure settings from 1% to 100% to control the intensity of lightening. Alternatives include Lightroom's Adjustment , which applies local exposure increases for dodging by painting over areas with customizable brush size, flow, and density. In , the open-source equivalent is the Dodge/Burn Tool, which can lighten (in Dodge mode) or darken (in Burn mode) pixels, targeting specific tonal ranges (Shadows, Midtones, or ) and using the current brush for application. A typical workflow begins with duplicating the image layer to enable non-destructive edits, preserving the original file while allowing adjustments on a copy. Users then select the Dodge Tool or equivalent, adjusting size and opacity to achieve soft feathering at edges for natural transitions. Focusing on Midtones during dodging helps maintain detail in shadows and highlights, reducing the risk of haloing artifacts around high-contrast edges. Advanced features enhance precision, such as Photoshop's Overlay blend mode for real-time previews of adjustments on a separate layer, revealing tonal changes without committing to the edit. Integration with Curves adjustment layers allows for targeted dodging by creating a new layer set to Screen blend mode and painting with white on midtone areas for subtle lifts, offering more control than direct tool application. In recent tools like (introduced in the ), AI-assisted dodging incorporates automated masking to detect and lighten facial features or skies intelligently, streamlining the process for and edits. Best practices emphasize working in 16-bit color mode to minimize banding in smooth gradients during repeated dodging passes, ensuring higher fidelity in tonal ranges. Always use low exposure values (around 5-15%) and multiple light strokes rather than heavy applications to build effects gradually and avoid over-lightening.

Software-based burning

In editing software, the Burn tool in serves as a primary method for selectively darkening areas, functioning inversely to the tool by reducing exposure in targeted regions. The tool's options bar includes parameters such as Range (Shadows, Midtones, or Highlights) to specify tonal areas affected, Exposure (0-100%) to control intensity, and Protect Tones to prevent color shifts or clipping. Similar to the Dodge tool, it employs a brush-based interface where repeated strokes accumulate the effect, allowing precise control over contrast enhancement. Equivalent tools exist in other professional software. Affinity Photo's Burn Brush Tool darkens pixels cumulatively, with adjustable Context (Shadows, Midtones, Highlights) to limit effects, alongside brush settings for Flow (1-100% for gradual application rate), Opacity, and for edge softness, enabling non-destructive edits on layers. In , burning is achieved through Local Adjustment layers, where users create a dedicated "Burn" layer, apply a Draw Mask Brush (opacity often set below 10% for subtlety), and reduce Exposure (e.g., -2 stops) or sliders to deepen specific areas without a dedicated brush tool. The burning process typically involves selecting the range to deepen contrast in darker tones, painting with a soft on a duplicate layer for non-destructive , and using layer masks to isolate effects to precise regions like edges or backgrounds. For subtlety, Exposure is commonly set between 5-15% to avoid harsh transitions, building the darkening gradually through multiple passes. Flow control, via the brush palette in Photoshop or directly in , allows incremental buildup (e.g., 20-50%) to refine the effect without over-darkening. Enhancements often integrate burning with global adjustments, such as applying a Levels layer to compress shadows overall before localized burning for balanced . In retouching, symmetrical application—mirroring strokes across the face's central axis—ensures even and sculpting, enhancing features like cheekbones without . This technique pairs burning in shadowed contours with dodging in highlights for three-dimensional depth. Since Photoshop's 2021 release, Neural Filters like Skin Smoothing automate aspects of burning by intelligently reducing tonal variations in areas, simulating subtle darkening for smoother, more natural results with adjustable strength sliders. On mobile platforms, apps like offer comparable functionality via the Selective tool, where control points are placed on areas, and is swiped negatively (e.g., -20 to -50) to darken localized regions with adjustable influence radii for precise, mask-like effects.

Applications and variations

In photographic printing

In portraiture, dodging and burning have been essential for enhancing facial features and creating depth in physical prints, particularly in studio work during the mid-20th century. Photographers often dodged highlights on faces to soften blemishes and reveal subtle skin tones, while burning shadows in backgrounds to isolate the subject and add dramatic separation. For instance, in fashion and portrait prints by photographers like , these techniques allowed for refined tonal control in silver gelatin prints, emphasizing garment textures against controlled lighting. In , dodging and burning enable the dramatization of natural elements in analog prints, as exemplified by ' Yosemite works. Adams meticulously dodged to lighten foreground details like rock formations and trees, while burning skies to deepen contrast and evoke mood, transforming negatives into visionary prints such as "Monolith, the Face of " (1927), where selective exposure created stark whites against inky blacks. His custom setup, with individually switched bulbs for dodging and burning cards for additional exposure, was pivotal in achieving these effects in large-format Yosemite landscapes. In commercial printing for magazines before the digital era, dodging and burning ensured tonal consistency across batches of reproductions, addressing variations in and output. Printers applied these methods to balance in product shots or editorial images, maintaining visual uniformity when scaling up for offset lithography, though challenges arose in replicating exact dodges and burns for high-volume runs without . Variations of dodging and burning extend to alternative processes like , where selective UV exposure alters Prussian blue intensity in contact prints. By shielding areas during exposure—similar to basic analog dodging—practitioners can lighten specific regions, while prolonging exposure burns in deeper tones, allowing creative manipulation in non-silver emulsions for abstract or botanical prints.

In digital image editing

In digital image editing, dodging and burning techniques are widely applied in retouching workflows to enhance visual appeal without altering the overall composition. For instance, in photography, the tool is used to selectively lighten areas of or product surfaces for smoother textures, reducing blemishes while preserving natural tones, often with midtone range settings at low exposure levels to avoid over-brightening. Similarly, the Burn tool darkens edges to create vignette effects in images, drawing focus to the central subject and adding depth, typically applied in shadow ranges for subtle contrast enhancement. In , these methods facilitate seamless integration of multiple elements by adjusting local to match environmental conditions. Dodging highlights on overlaid objects ensures consistent illumination, preventing unnatural seams in layered scenes, a practice common in Hollywood since the early 2000s for blending live-action with digital assets. This approach, often executed via adjustment layers in software like Photoshop, supports non-destructive edits that maintain flexibility during iterative VFX pipelines. Beyond , dodging and burning extend to creative arts, simulating realistic lighting in and . In applications like Procreate, Color Dodge blend mode lightens underlying layers based on painted intensity, emulating traditional dodging to build highlights and simulate light sources, while Add mode further enhances brightness for dynamic effects. This has broadened the technique's use in workflows, where Burn tools darken specific areas to define forms and shadows, aiding in the creation of illustrative compositions with enhanced dimensionality. Recent trends in the 2020s incorporate AI to automate dodging and burning, streamlining for efficient digital outputs. Tools like Retouch4me's Dodge & Burn plugin apply selective highlight and shadow adjustments automatically, achieving uniform textures in portraits with one-click processing, reducing manual effort from hours to seconds. Similarly, Zoner Photo Studio X's 2025 AI masking update enables precise subject isolation for targeted burning or dodging in landscapes, supporting batch edits and selective clarity to balance tones without over-processing.

References

  1. https://digital-photography-school.com/dodging-and-burning-in-lightroom/
  2. https://skylum.com/blog/dodge-and-burn-photography
  3. https://www.35mmc.com/04/05/2020/dodge-burn-and-other-heresies-darkroom-technique-part-5-by-sroyon-mukherjee/
  4. https://www.anseladams.com/ansel-adams-bio/
  5. https://photographylife.com/dodging-and-burning-in-lightroom
  6. https://photographylife.com/mastering-dodge-and-burn-in-photography
  7. https://skylum.com/blog/dodge-and-burn-oldschool-techniques-or-useful-tools
  8. https://fstoppers.com/post-production/essential-techniques-dodging-and-burning-657125
  9. https://www.anseladams.com/products/ansel-adams-the-print
  10. https://www.guidetofilmphotography.com/dodging-burning-darkroom-techniques.html
  11. https://groups.csail.mit.edu/graphics/classes/CompPhoto06/html/lecturenotes/08_HDR_6.pdf
  12. https://fstoppers.com/education/how-use-ansel-adams-zone-system-digital-world-417047
  13. https://www.kodak.com/content/products-brochures/Film/Basic-Photographic-Sensitometry-Workbook.pdf
  14. https://nvlpubs.nist.gov/nistpubs/jres/7/jresv7n3p495_A2b.pdf
  15. https://www.haroldhallphotography.com/ansel-adams-and-group-f64/
  16. https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/atlas_silver_gelatin.pdf
  17. https://timlaytonfineart.com/pictorialism/
  18. https://www.firstversions.com/2015/07/adobe-photoshop.html
  19. https://www.webdesignmuseum.org/software/adobe-photoshop-2-5-in-1992
  20. https://fstoppers.com/natural-light/sitex-computers-photoshop-80s-7360
  21. http://drumscan.blogspot.com/2012/04/quick-introduction-to-drum-scanner.html
  22. https://www.zdnet.com/article/digital-photography-in-1991-and-beyond/
  23. https://photopxl.com/the-craft-and-creative-advantages-of-a-non-destructive-workflow/
  24. https://www.scienceandmediamuseum.org.uk/objects-and-stories/digital-photo-manipulation-history
  25. https://www.thewanderinglensman.com/2021/07/would-ansel-adams-embrace-digital.html
  26. https://www.alanrossphotography.com/would-ansel-adams-shoot-digital/
  27. https://www.ndsu.edu/pubweb/~rcollins/242photojournalism/homedarkroom.html
  28. https://www.largeformatphotography.info/darkroom-primer.html
  29. https://www.ilfordphoto.com/exposure-testing/
  30. https://www.largeformatphotography.info/forum/showthread.php?26363-Printing-question-regarding-exposure-times
  31. https://rhdesigns.co.uk/flashing-and-fogging/
  32. https://modusdever.com/assets/The_Print.pdf
  33. https://www.ilfordphoto.com/wp/wp-content/uploads/2017/04/Making-your-first-print.pdf
  34. https://helpx.adobe.com/in/photoshop/using/default-keyboard-shortcuts.html
  35. https://helpx.adobe.com/lightroom-classic/help/apply-local-adjustments.html
  36. https://docs.gimp.org/2.10/en/gimp-tool-dodge-burn.html
  37. https://digital-photography-school.com/non-destructive-dodging-and-burning/
  38. https://phlearn.com/tutorial/master-dodge-burn-photoshop/
  39. https://shotkit.com/photoshop-vs-neo-ai/
  40. https://helpx.adobe.com/photoshop/using/tool-techniques/burn-tool.html
  41. https://helpx.adobe.com/photoshop/desktop/repair-retouch/adjust-light-tone/dodge-or-burn-image-areas.html
  42. https://affinity.help/photo2/en-US.lproj/pages/Tools/tools_burnBrush.html
  43. https://www.captureone.com/blog/dodging-burning-capture-one-pro-8
  44. https://phlearn.com/tutorial/30-days-photoshop-day-19/
  45. https://digital-photography-school.com/how-to-enhance-portraits-using-gray-layers-to-dodge-and-burn-in-photoshop/
  46. https://phlearn.com/tutorial/photoshop-basics-the-burn-tool/
  47. https://helpx.adobe.com/photoshop/using/neural-filters-list-and-faq.html
  48. https://support.google.com/snapseed/answer/6157827?hl=en
  49. https://www.photo.net/forums/topic/268516-the-richard-avedon-look/
  50. https://www.nps.gov/yose/learn/historyculture/ansel-adams.htm
  51. https://www.alanrossphotography.com/blog/in-the-darkroom-with-ansel-adams/
  52. https://www.alanrossphotography.com/ansel-adams/yosemite-special-edition-photographs/making-the-ansel-adams-yosemite-special-edition-prints/
  53. https://fstoppers.com/post-production/how-photos-were-edited-darkroom-days-2994
  54. https://www.alternativephotography.com/beat-the-blues-making-cyanotypes/
  55. https://helpx.adobe.com/photoshop/using/dodge-burn-image-areas.html
  56. https://phlearn.com/pro-visual-effects/
  57. https://procreate.art/handbook/procreate/layers/layers-blend/
  58. https://digitaldesign.aalto.fi/digital-design-workflows/raster/photo-editing-basics/color-correction/brightness-contrast/
  59. https://www.lensrentals.com/blog/2023/06/how-ai-tools-are-making-retouching-easier-than-ever/
  60. https://www.slrlounge.com/zoner-photo-studio-x-gains-ai-masking-for-amazing-retouching-burning-dodging-and-more/
Add your contribution
Related Hubs
User Avatar
No comments yet.