There are several different ways to perform dodging and burning in Photoshop. In this month's article, we will cover the "traditional" way. This technique can be used in any version of Photoshop. Next month, we will examine another method that is unique to the latest version of Photoshop (CS). Before starting, let me make one thing very clear. The dodge and burn tools located on the tools palette are NOT the right tools for the job. These tool do exactly what they say (lighten and darken), but they quickly damage pixels beyond repair. Even limited use of the dodge or burn tools tends to create a muddy blur that looks terrible. As digital photographers, we spend a lot of time and money producing the highest quality pictures possible. Why then would we deliberately use a tool that destroys pixels? Can't think of a good answer? Neither can I. How then can we mimic the dodging and burning effect without causing unnecessary damage to our image?

It is a good idea to begin by looking the image over and clarifying exactly what needs to be done. What parts of the image should be darkened? What parts need to be lightened? What parts are fine just the way they are? In this case, I begin with an image shot in the Wasatch Mountains near my home. The foreground mountains are in shadow and look properly exposed. The mountain in the background, however, is in direct sunlight and would benefit from a slight darkening to extract detail and blend with the foreground.

Having determined what changes are to be made, I create an adjustment layer (click on the black and white circle at the bottom of the layers palette). Any type of adjustment layer will work. Out of habitat, I usually select Levels, but Curves or Hue/Saturation work just as well. When the dialog box opens, click "OK" without making any adjustments.

The layers palette provides the best method of dodging and burning. Setting the blend mode to "multiply" darkens the entire image and layer masks let you apply the darkening selectively.

At this point, I have the original image and an adjustment layer that makes no adjustments. Next, we change the layer's blend mode (the pull down menu located at the top of the layers palette). To darken the image, change the adjustment layer's blend mode from normal → multiply. This will darken the entire image by 1 stop. To lighten the image, change the blend mode from normal → screen. This will lighten the entire image 1 stop. When images require both lightening and darkening, it can be accomplished by creating two different adjustment layers, one set to multiply and the other to screen. Other then the blend mode, both layers are treaded the same. In this example, I want to darken the sunlit mountains, so I only need one adjustment layer with the blend mode set to multiply.

At this point, the entire image is darker, not just the sunlit mountains. To make the darkening selective, I will apply a layer mask to the adjustment layer. "Black hides, white shows" is a good way to think about layer masks. Any part of the mask that is black, hides the effect of that layer (in this case the darkening effect) while white areas of the mask show the layer's effect. Painting with gray (or white with a low opacity setting) works similar to white, but produces a lesser effect. I find it helpful to start with a completely black layer mask. This completely hides the darkening effect, displaying the image as it originally appeared. This helps me make changes based on the original image, rather then trying to fix the altered image. To do this I select the layer's mask (on the layers palette, click on the white box in the center of the adjustment layer). A square will highlight the mask indicating that it is active. Next, fill the mask with black. This is accomplished by going to Edit → Fill. When the dialog box opens, set use to "black" and click "OK." This will completely hide the darkening effect from the image.

Using the brush tool, I paint with white over areas of the image I want to darken. For the best results, I use a soft edged brush set to low opacity (15-20%). These settings create a subtle effect that lets me gradually build up the darkening effect. Each stroke of the brush only adds a 15-20% darkening effect instead of the full effect. By reclicking the mouse and going over the same area multiple times, I can darken the area without unrealistic results. Similarly, a large, soft edged brush produces a gradual transition between the areas being darkened and those areas that are to remain untouched. Accidental brush strokes can be undone by switching the brush color from white to black and painting over the same spot.

Dodging and burning are common tools in the printmakers toolbox. While they do have limits, for example darkening a highlight will never bring out detail that was never recorded, they provide the photographer with the ability to fine tune an image to meet a creative vision.

Chris Gamel has been an active wildlife photographer for the past 14 years. The combination of his biological research and photographic interests has taken him around the world. In 2001, Chris discovered the joys of digital photography and he hasn't looked back. Chris lives with his wife and daughter in Salt Lake City where he teaches courses at Weber State University and Salt Lake Community College. To see more of Chris's photography, visit his web site at www.Animal-Antics.net.

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