In black and white photography, burning and dodging allow the photographer to control the final look of an image or print. Burning a part of the photo means making it darker, while dodging makes part of the photo lighter. They both help make the scene more dramatic by adding darker shadows or contrast to an image. Carefully applying burning techniques makes a print pop.
In the Chemical Darkroom
One of the easiest burning techniques involves making a large piece of card stock with a hole in it. After the photographer makes a test print and determines which areas he wants to darken, he makes another print at the same exposure. Before turning the enlarger off, he holds the hole in the card stock above the areas that need burning. The holes let extra light fall on the photography paper, which darkens it. The card stock shields the rest of the print and keeps it at the same exposure.
Masks
Photographic paper doesn't darken under red light, so if you hold a transparent red-shaded masking paper over it, you can stop the light from a black-and-white enlarger from changing the exposure of the red-masked areas. Typically, the photographer uses rubylith, which combines a clear polyester backing sheet with a red-colored emulsion. She makes a test print and holds the rubylith over the print. Around the areas that she wants darker, she cuts away the red-colored emulsion with a utility knife. In the darkroom, she aligns the cuts with the enlarger projection before adding the photography paper. After she makes an exposure to the rubylith, she removes it and exposes the rest of the paper. The areas where she cut the red-colored emulsion away end up exposed longer and they turn darker.
In Photoshop
Photoshop, the premier digital editing tool, includes both dodging and burning tools that a photographer can use to change the exposure of areas on an image. He first selects the burning tool from Photoshop's pallet. To selectively darken only the shadows; he selects "Shadows" and sets the exposure to around seven percent. Then he applies the burning tool to the light areas of the image he wants to darken. For burning mid-tones that need increased contrast, the photographer increases the brush size and uses short,quick brush strokes.
In Lightroom
Lightroom, a popular photography manipulation and organization program, includes a tool called the adjustment brush, which can do burning as one of its functions. To burn, the photograph selects the adjustment tool and sets it to "Burn" on the drop-down menu. Then he adjusts the tool to the desired size, feather and exposure. Typically, a photographer uses a smaller brush than the area being burned and paints a mask over the area. A mask is the area the program applies for the burning effect. The feather controls how much the mask bleeds into surround areas. The exposure controls the effect's intensity. Once a mask covers the area needing burning, the photographer can change the effect by moving the exposure slider.
In black and white photography, burning and dodging allow the photographer to control the final look of an image or print. Burning a part of the photo means making it darker, while dodging makes part of the photo lighter. They both help make the scene more dramatic by adding darker shadows or contrast to an image. Carefully applying burning techniques makes a print pop.
In the Chemical Darkroom
One of the easiest burning techniques involves making a large piece of card stock with a hole in it. After the photographer makes a test print and determines which areas he wants to darken, he makes another print at the same exposure. Before turning the enlarger off, he holds the hole in the card stock above the areas that need burning. The holes let extra light fall on the photography paper, which darkens it. The card stock shields the rest of the print and keeps it at the same exposure.
Masks
Photographic paper doesn't darken under red light, so if you hold a transparent red-shaded masking paper over it, you can stop the light from a black-and-white enlarger from changing the exposure of the red-masked areas. Typically, the photographer uses rubylith, which combines a clear polyester backing sheet with a red-colored emulsion. She makes a test print and holds the rubylith over the print. Around the areas that she wants darker, she cuts away the red-colored emulsion with a utility knife. In the darkroom, she aligns the cuts with the enlarger projection before adding the photography paper. After she makes an exposure to the rubylith, she removes it and exposes the rest of the paper. The areas where she cut the red-colored emulsion away end up exposed longer and they turn darker.
In Photoshop
Photoshop, the premier digital editing tool, includes both dodging and burning tools that a photographer can use to change the exposure of areas on an image. He first selects the burning tool from Photoshop's pallet. To selectively darken only the shadows; he selects "Shadows" and sets the exposure to around seven percent. Then he applies the burning tool to the light areas of the image he wants to darken. For burning mid-tones that need increased contrast, the photographer increases the brush size and uses short,quick brush strokes.
In Lightroom
Lightroom, a popular photography manipulation and organization program, includes a tool called the adjustment brush, which can do burning as one of its functions. To burn, the photograph selects the adjustment tool and sets it to "Burn" on the drop-down menu. Then he adjusts the tool to the desired size, feather and exposure. Typically, a photographer uses a smaller brush than the area being burned and paints a mask over the area. A mask is the area the program applies for the burning effect. The feather controls how much the mask bleeds into surround areas. The exposure controls the effect's intensity. Once a mask covers the area needing burning, the photographer can change the effect by moving the exposure slider.
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