david strachan Posted January 23, 2018 Share #1 Posted January 23, 2018 Advertisement (gone after registration) I never printed in my darkroom days without some change in the neg. Some I'd take a lot of contortions to get what i wanted, after a proof print of course. Some prints were never repeatable, all long gone..given away to admirers. I don't see manipulations of the micro scale...everything seems to be HDR, or black-point shift. Does anyone still do dodge-burn in their software? ... Quote Link to post Share on other sites More sharing options...
Advertisement Posted January 23, 2018 Posted January 23, 2018 Hi david strachan, Take a look here Dodging and Burning?. I'm sure you'll find what you were looking for!
Jeff S Posted January 23, 2018 Share #2 Posted January 23, 2018 Of course, local adjustments as well as global adjustments. Luminosity, tonality and texture haven’t changed; only the tools and processes to get there. And paper choice, display lighting and conditions, etc, remain vital. Jeff 1 Quote Link to post Share on other sites More sharing options...
farnz Posted January 23, 2018 Share #3 Posted January 23, 2018 (edited) Definitely, Dave. There are a number of ways to do it in Photoshop but the one I most frequently use is to add a duplicate layer, change its Blend Mode to "Screen" to dodge or "Multiply" to burn, add an inverted mask to hide the effect in the layer and then 'paint in' the effect with a soft brush in the area I want to dodge or burn. Lowering the brush's opacity allows me to control the degree of dodge or burn as needed. Pete. Edited January 23, 2018 by farnz 1 Quote Link to post Share on other sites More sharing options...
david strachan Posted January 23, 2018 Author Share #4 Posted January 23, 2018 Well that's why your images are such a pleasure.. All best Pete... Quote Link to post Share on other sites More sharing options...
farnz Posted January 23, 2018 Share #5 Posted January 23, 2018 <blushing profusely> You are too kind, Dave. Pete. 1 Quote Link to post Share on other sites More sharing options...
david strachan Posted January 23, 2018 Author Share #6 Posted January 23, 2018 (edited) Of course, local adjustments as well as global adjustments. Luminosity, tonality and texture haven’t changed; only the tools and processes to get there. And paper choice, display lighting and conditions, etc, remain vital. Jeff Goodonya Jeff. Right down to display conditions...which is important too IMO. Thanks... Edited January 23, 2018 by david strachan Quote Link to post Share on other sites More sharing options...
plasticman Posted January 23, 2018 Share #7 Posted January 23, 2018 Advertisement (gone after registration) This is how I use the selective u-point technology in Nik Collection’s Viveza 2. It’s perfect for very localized adjustments - but I think a lot of people maybe take the changes too far. I always make sure the alterations still look totally natural. 2 Quote Link to post Share on other sites More sharing options...
Exodies Posted January 23, 2018 Share #8 Posted January 23, 2018 As natural as a two dimensional image can be. 1 Quote Link to post Share on other sites More sharing options...
farnz Posted January 23, 2018 Share #9 Posted January 23, 2018 As natural as a two dimensional image can be. Photoshop seems to struggle with three-dimensional images, as do my cameras. The 16/8 Hologon seems to cope a little better though. Pete. 3 Quote Link to post Share on other sites More sharing options...
wda Posted January 23, 2018 Share #10 Posted January 23, 2018 (edited) I also find Viveza 2 ideal for selective tonal adjustments. Using PS or LR calls for extreme care when boudaries are not too well defined tonally; otherwise tell-tale signs ruin the effect. Edited January 23, 2018 by wda 2 Quote Link to post Share on other sites More sharing options...
stunsworth Posted January 23, 2018 Share #11 Posted January 23, 2018 I use a different technique to Pete in Photoshop. I select the area I want to adjust using the lasso tool making sure there’s a large feathering value - normally 200 pixels. I then use a curves layer on the selected area to make the required adjustment. 2 Quote Link to post Share on other sites More sharing options...
250swb Posted January 24, 2018 Share #12 Posted January 24, 2018 (edited) Does anyone still do dodge-burn in their software? ... Always. I use either the conventional dodge and burn tools in Photoshop, make selections, use gradation, or the selective tool in Nik software. All are essentially doing what I did in the darkroom to make 'fine prints'. The older print books such as by Adams are still good for understanding the reasons to dodge and burn, and while it was properly restricted to B&W in those days it can be applied to colour now the world has gone digital. The vast majority of B&W exhibition or published photographs by 'the greats' will have had some dodging and burning done...... https://theliteratelens.com/2012/02/17/magnum-and-the-dying-art-of-darkroom-printing/ .....the point being is to make the image speak more clearly about what the photographer wants from the image. Edited January 24, 2018 by 250swb 3 Quote Link to post Share on other sites More sharing options...
jaapv Posted January 24, 2018 Share #13 Posted January 24, 2018 Very often. For small corrections I use the PS tools, for more extensive dodge and burn I will layer a selection -well feathered or pixel precise depending on my intentions- and use tools like "darken", "lighten", "multiply" or "screen". For things like eyes etc. the sharpening brush can be very useful. 1 Quote Link to post Share on other sites More sharing options...
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