B&W Challenge No. 16 Dodge and Burn

[hmca]

Not that long ago Peterj created a thread on dodging and burning.

This is a technique that started in the darkroom as explained in this video by Ted Forbes.

Ansel Adams was known for employing this technique in his work.  You can see some beautiful examples of his work in this gallery.

Aside from the methods described in Peter's thread, I am including links to additional methods of dodging and burning which may be of interest:

Using Levels

Using Dodge and Burn tools in PS/PE

There are also various tutorials available for dodging and burning using LR if you prefer.

Dodging and burning your black and white images can help you define the area you want to draw the viewer's eye to and add depth to your image.  I was first introduced to this method a number of years ago by a member of my camera club
who had a solo exhibit at a local college.  I did a search and found that he has an Instagram Account and thought you might enjoy seeing some of his work.   I found his work very inspiring and hope you do as well.


Although we like to encourage you to go out and shoot something specifically for a challenge, this month I invite you to look through your images for work that you may have already converted to B/W and see how some dodging and burning might enhance your work.
I find this to take some time so much prefer to use it on an image that I think works well as a black and white to begin with.  Hope you'll find some time to try this technique and share the method that you used, as well as before and after pictures using the technique.

I used the 50% gray layer on overlay to do my dodging and burning.

Before:




After:





Before:




After:




Finally, as this challenge is all about learning from each other, please feel free to offer suggestions for improvements or additional methods that you like to use.

Thank you and I look forward to seeing your dodged and burned images!
As the changes are subtle they may be hard to notice.  I am going to edit my post in hopes that I can include examples where you might have a better time noticing the change.

[Bailey]

I converted the original image to B&W using Elements+.

I then used my normal dodge & burn technique - 50% grey layer in Overlay mode. Paint with white and black brush to dodge and burn image to bring out more detail in the shadows and darken the highlights (concrete and cafe sign) a bit.

Before

After

I very often also use one or more Levels Adjustment Layers in the same way as your linked video to maximise the tonal range and highlight elements of an image. I posted an example of how I use Levels Adjustment Layers in another thread.

[hmca]

Thanks for getting us started, Bailey. You have chosen a great example that clearly illustrates the difference before and after using dodging and burning.

[Bailey]

no problem hmca

[kdcintx]

Converted to B&W in PSE 14, then used 50% gray layer in overlay mode to dodge and burn.  I rarely use the dodge and burn tools but prefer the overlay method.


Original B&W

preview.ibb.co/gGmPV0/orig.jpg


Dodge and Burn Version

preview.ibb.co/fQ0ZV0/Edit.jpg

[Fauxtoto]

farm5.staticflickr.com/4815/45796470552_50a8c9320a_b.jpg

I wanted to show the roughness of the landscape that stroke me, represented by the small mature conifers grossly shaped by the wind, the rocky shore, the sinuous road, the bad weather and the sea. To my taste, this image simply does not work. Hey, it happens! Among other things, the perspective does not show the relative small size of the trees and, whether in colour or B&W, the tones from the foreground and the background, and all the layers, I could say, are too similar, which creates a lot of confusion. Not a keeper, but it has given me a challenge from which I learned.

In ACR, I processed the original to obtain two different images, one for the foreground and one for the sky. I converted the original in B&W through Gradient Map, to create a luminosity mask which I used to blend the two images together. In the sky, the main conifer and some of the grass, most of the dodging and burning done was to add a little bit of contrast, by slightly whitening pale areas and darkening darker areas. I dodged the sea and burned the branches of the conifer in the lower right corner. With the Clone Stamp Tool, I erased the parking at the left and cut part of a distracting branch in the front. I used a little bit of Haze removal to add contrast again, Shadows/Highlights at 20, 26, 11, Adjust Sharpness at 127%, and vignette.

In jpg, the original unprocessed RAW file:

farm5.staticflickr.com/4844/31974608698_432db47815_b.jpg

[Sydney]

Before dodging and burning:


After dodging and burning:


I dodged areas of the statues and burned areas of the foliage behind and beside the main standing one. The images need to be clicked on to expand them so as to fully show the effect.

[hmca]

Fauxtoto, I think you have created a lovely black and white image from your original. Your dodging and burning has added depth to your image. I am continuing to learn about checking the edges of my pictures. Your elimination
of the parking area may seem like a small detail but it definitely enhances the curve of the roadway. Thanks for including the details of your processing and for contributing to this not very popular challenge!

Sydney, I find that if I keep open both of your images, and click one after the other, the effects of the dodging and burning are more easily detected. I just tried it with mine and it is much easier to see the subtle differences that way.
When I look at the man at the top of the fountain I think he may actually appear to have more depth without the dodging that you applied. What do you think? However, I find the other areas that you dodged and burned work well.

[Sydney]

I agree Helen, I definitely went overboard with the guy on top!

[Bailey]

Hi Sydney,

Which method for Dodging & Burning did you use?

If you used the 50% grey layer (overlay blend mode) then you can fine tune the D&B by painting with various shades of grey to adjust the intensity of the D&B.

I agree with hmca that the man in the original has more depth but the shadows on him are too dark on my screen.  If they are on your screen as well, maybe consider using a different shade of grey than black or white to keep some of the depth produced by the shadows while at the same time reveal some more detail in them without lightening them too much.

hth

[Bailey]

[offtopic]

Nov 12, 2018 15:24:20 GMT Fauxtoto said:

...
the tones from the foreground and the background, and all the layers, I could say, are too similar, which creates a lot of confusion. Not a keeper, but it has given me a challenge from which I learned.
...

Hi Fauxtoto,

I know this challenge is about dodging and burning but it might be a shame to discard this image prematurely.

I don't know if you use the Levels Adjustment Layer much, but I find it a very useful tool for adjusting tones, adding contrast and depth to B&W images. D&B is normally the last processing I use to fine tune an image.

I agree the tones from front to back are similar. In this situation I would most probably try multiple Levels Adjustment layers with separate masks for the tree, the background and grass/flowers in the foreground and play with the various black/white/grey sliders to set black, white and grey points to try to add contrast, depth and highlights to the image. You might be pleasantly surprised with the increased depth and contrast in the result.


[/offtopic]

[Fauxtoto]

Nov 13, 2018 0:28:36 GMT hmca said:

contributing to this not very popular challenge!

Helen,

Thanks for your comments. Burning and dodging may not be the sexiest topic in town, it still is an important and relevant technique, especially in relation with B&W and landscape photography. Good choice!

[Fauxtoto]

Nov 13, 2018 1:22:24 GMT Bailey said:

D&B is normally the last processing I use to fine tune an image.

[...] I would most probably try multiple Levels Adjustment layers with separate masks

Bailey,

I don’t find that your comment was offtopic. Generally speaking I agree with you that “Levels Adjustment layers with separate masks” for different parts of the image can help. In fact, for B&W, many professionals suggest Curves adjustment layers with masks. In some cases, though, achieving an accurate mask may not reveal itself to be that easy... I also agree with you that dodging and burning would come after such a step. As for my image, I am not burning it totally, I am just putting it aside.

[Bailey]

No problem Fauxtoto 

[billz]

I love this challenge, but constantly forget to play. I promise to try to do better.

The first is my image as shot this morning,



after managing the contrast in in Silver Efex Pro,


and finally after dodging/burning on a 50% gray layer set to overlay.


Thanks for the refresher on this technique. Looking forward to seeing December's theme and reminding myself to participate.