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Dodge and Burn in action

From: Photoshop CS3 Channels & Masks: Advanced Techniques

Video: Dodge and Burn in action

Now that we understand how to selectively enhance the contrast of a mask using the Dodge and Burn tools, that is, by setting the Dodge tool to Highlights and the Burn tool to Shadows, let's actually do the deed here. I am still working inside of the Images applied.tif file that I opened in the previous exercise. The only change I have made is to duplicate the Curves modification channel and rename it Dodge and burn, that's all I have done. Now let's go ahead and grab the Burn tool for starters here but before we begin painting, I want you to bring up your History palette. I don't care, how many states you are seeing inside your History palette. I want you to click in front of the most recent state in order to assign it as the source state. What that does by the way, is it keeps the state from sliding off the palette, when you have more than 20 operations because once you start painting with the Dodge and Burn tools, you are going to paint more than 40 times, and you are going to ruin all the stuff that existed in the past, and you may want to come back to it; that's the idea.

Dodge and Burn in action

Now that we understand how to selectively enhance the contrast of a mask using the Dodge and Burn tools, that is, by setting the Dodge tool to Highlights and the Burn tool to Shadows, let's actually do the deed here. I am still working inside of the Images applied.tif file that I opened in the previous exercise. The only change I have made is to duplicate the Curves modification channel and rename it Dodge and burn, that's all I have done. Now let's go ahead and grab the Burn tool for starters here but before we begin painting, I want you to bring up your History palette. I don't care, how many states you are seeing inside your History palette. I want you to click in front of the most recent state in order to assign it as the source state. What that does by the way, is it keeps the state from sliding off the palette, when you have more than 20 operations because once you start painting with the Dodge and Burn tools, you are going to paint more than 40 times, and you are going to ruin all the stuff that existed in the past, and you may want to come back to it; that's the idea.

So if you want to be doubly sure though, you could establish a snapshot by clicking on this little camera icon, and then you could rename it something, like Last good state or something like that; and spell it properly, that's always a good idea. So either way, which ever way you want to go, I am going to go ahead and work with the snapshot here and I will click in front of it in order to establish it as a source state for any future history brush modifications. Go ahead and hide the History panel, switch to the Burn tool, that's the tool that I have selected here, and make sure your Exposure value is set to something, like 30% will work for our first burn increments right here, first burn brush strokes.

You want to paint in pretty carefully. Now notice with an Exposure of 30%, not really doing too much damage to any of the hairs, which is good, but we are sitting in the background, the black, assuming that you are scrubbing enough. Now these hairs, right here, really don't make that much difference. If you are going to press Ctrl+Tilde (~), that is, switch to the RGB composite image, you can see that these are really fragile hairs right now, that's why I am painting them away. All right, now I am going to switch back to my tenth channel, which I can't get to from the keyboard because I am out of keyboard shortcuts at this point. All right, I am going to zoom in. Actually, one more thing that controls 0, would work for that but it doesn't, it switches you to the Fit in Screen mode. It actually zooms the image, isn't that interesting? I would like to tell you a little tidbits as we paint inside of an image.

All right, so let's go ahead and paint some more, like so. You can decide, how careful you want to be or how much hair you want to ruin. It is totally up to you. If you want to work quickly, if you are on the deadline, then you may choose to chop a few hairs off. If you have all the time in the world, then you want to create the most perfect mask ever created by man, that will go down on record in the Guinness Book of World Record. So it's the world's most perfect mask, then, of course, you can be very careful, if you like. I don't think such a category is ever going to be created but you never know, because Guinness Book is all about biggest, and badest, and stuff like that; not best. Anyway, at this point I think, I should press the O key in order to switch to the Dodge tool. I am going to reduce my Opacity value, just a little bit by pressing the 4 key for a 40% Exposure. Then I am going to go over this hair and see what I end up getting. I will go over this hair too, that looks pretty good.

I might zoom in on this area right there and paint over this hair but notice even though, I really want to save that hair, it's looking pretty darn choppy, and this exactly the, kind of, detail that I could bring back using the History Brush. We will come back to it, okay, don't do it yet. We will come back to it because we have got all the leisure time in the world. Thanks to the fact that we properly sourced that snapshot, it's going to remain there for us, no matter how many Burn tool and Dodge tools states we create. Notice we have got a ton and they are starting to roll of the palette, meaning that we have got more than 20 operations. When you get more than 20 operations, by default anyways, stuff starts rolling off. Okay, I just painted it with a wrong tool because I wasn't paying attention. So I will press the O key to switch back to the Burn tool and paint in this area right here, like so.

Now we are getting a little more freedom because these hairs are in pretty good shape. So what I recommend you do is just make sure that the black areas are nice and black by painting over them. In this corner, I am going to come in pretty tight, actually, with the small brush. Then I am going to increase the size of my brush and do this number here. Now don't give up on the image, you have got a lot more to do. Down here at the bottom, there is a big shoulder that you can miss, if you start getting too impatient, if you start feeling like, "Ah, I think I did everything". Then say like, "oh darn! There is some more image left that I haven't scrolled to." It happens all the time, believe me. Impatience is a big factor, when you are using these tools.

All right, anyways, it helps if you narrate what you are doing. I find that the time close by much more quickly. When you are listening to somebody narrating, it goes by very slowly. Anyway, this looks pretty good to me. I am now going to zoom out, like so. I want to test the blackness of this area to make sure I have got a good black boundary going, by switching over to the Magic Wand tool. Grab that Magic Wand, make sure the Tolerance value is set to 0, Anti-alias off, click in the black. I am in very good shape, that's good. If you didn't select a big swath of black here, if there is some areas left close to the shoulder, or the hairs, or that kind of thing, that you feel like that you need to get into, then you can do some additional burning, just go ahead and de-select the image, and burn very carefully into these hairs. I am not going to worry about it too much at this point.

I have got a big black border, I like it. I am going to now grab my Lasso tool and I am going to Shift+Drag around this area, like so, in order to select it, all right? To add it to the selection and then I am going to press Alt+Backspace or Option+Delete because my foreground color is black, in order to fill that region with black, like so. Now the final thing I am going to do, after de-selecting the image, I am going to zoom in on these fragile hairs that I love so very, very much, and then I am so very concerned for it. My goodness, I am going to go really fairly tight to them with the Lasso tool. I am Alt+ Clicking or Option+Clicking with this tool in order to select this region because I want to get rid of those little dusty guys right there; Alt+Backspace or Option+Delete to get rid of them.

So again, you can be as careful or as fastidious as you want. I might actually--Let's see, I will go get my Burn tool and paint into this region too because we do have some dust going on here; but here is my point, what I really want to do more than anything on earth here, is I want to reestablish these hairs and they are looking pretty particularized at this point. So let's go ahead and grab the History Brush right there, there it is in the palette and I am going to reduce the size of my cursor a little bit, like so. I want to make sure that it's soft and then I am just going to paint along here. Oh, that's nice. That is very nice, I am happy. I am a happy person; I am a happy masker, happy musketeer, as I were.

All right, let's go ahead and paint up here as well along this hair to reinstate this as well and I think that's looks pretty darn good. I might paint in this region and paint over here. Now this is going to require that you paint very carefully. So it's up to you, if you want to get in there and do that. Now if you feel like you went too far --Actually, I am thinking these hairs look like a little bit to neon now. You could go ahead and back step, which I am going to, and then you could press the 5 key to reduce the Opacity to 50%. I am going to do one more thing, I am going to bring up my Brushes palette here by clicking on this little toggle the brush palette icon right there, you can also press F5. I am going to turn on the Noise option because that noise option--Notice, how my brush gets noisier on screen here. That noise option is going to allow us to better match the digital noise inside of this image.

Now close that palette and let's go ahead and zoom in, see if I can do a better job. I will paint along here and this is looking more natural to me, actually. Then I will paint on this little weird guy, this, sort of, bent leg of a hair over there and then I will paint right there as well in order to reestablish those details. All right, that's the, kind of, thing you can do. If you are feeling careful and fastidious, and you want to get that award for the best mask ever, there it is. In the next exercise, we are going to perform a little bit of manual magic by reinstating these hairs that we can't even tell what they are. We are going to paint that region back in, we are going to do our best and I would like you to join me, of course.

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This video is part of

Image for Photoshop CS3 Channels & Masks: Advanced Techniques
Photoshop CS3 Channels & Masks: Advanced Techniques

190 video lessons · 26381 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 2h 13m
    1. The Odyssey Continues
      2m 39s
    2. Mapping one image onto another
      7m 12s
    3. Making a custom contrast mode
      7m 10s
    4. Luminance blending
      8m 40s
    5. Forcing the visibility of underlying layers
      4m 4s
    6. Adjusting the appearance of clipped layers
      4m 34s
    7. Selecting a Blend If channel
      6m 12s
    8. Enhancing highlights by hiding them
      5m 9s
    9. Smart Object first, layer mask second
      7m 22s
    10. The Fill Opacity Eight
      4m 30s
    11. Blending Smart Filters
      7m 24s
    12. Cleaning up edges
      7m 39s
    13. More fun with luminance blending
      6m 22s
    14. A first peek at the Calculations command
      12m 11s
    15. Masking a softly focused model
      11m 46s
    16. Moving layers and masks between images
      7m 35s
    17. Matching colors
      9m 13s
    18. Building transitional blended layers
      6m 33s
    19. Restoring normal colors
      6m 50s
  2. 2h 33m
    1. Layer masks, clipping masks, and knockouts
      1m 20s
    2. Rotating and stretching
      7m 54s
    3. A jet of motion blur
      9m 18s
    4. Keyboard tricks
      5m 4s
    5. Merging sky and landscape
      6m 3s
    6. Masking an adjustment layer
      6m 37s
    7. Creating two windows into an image
      7m 42s
    8. Whitening teeth and adding other highlights
      3m 46s
    9. Mapping a texture onto an image
      4m 1s
    10. Isolating a texture with a layer mask
      6m 44s
    11. Welcome to the glass composition
      3m 18s
    12. Balancing shadows and highlights
      5m 51s
    13. Masking the glass
      7m 24s
    14. Masking the text
      9m 23s
    15. Adding and blending the goldfish
      8m 45s
    16. Assembling the perfect group photo
      5m 12s
    17. Aligning photographs automatically
      5m 26s
    18. Masking in each person's best shot
      5m 18s
    19. Masking densely packed people
      6m 17s
    20. Crafting the perfect final poster
      5m 16s
    21. From the improbable to the impossible
      1m 56s
    22. The fantastical "world of clones" effect
      10m 0s
    23. Upsampling and blurring a background
      8m 39s
    24. Adding a knockout mask
      8m 3s
    25. Choking edges with Gaussian Blur and Levels
      3m 46s
  3. 2h 27m
    1. The corrective power of masking
      1m 6s
    2. The amazing luminance mask
      7m 22s
    3. Brightening and neutralizing the eyes
      8m 22s
    4. Adjusting a nondestructive composition
      5m 52s
    5. Creating a corrective mask
      6m 4s
    6. Averaging away irregular flesh tones
      3m 52s
    7. Modifying specific colors
      7m 46s
    8. Initiating the color mask
      6m 0s
    9. Refining the color mask
      6m 40s
    10. Adjusting the edges around fabric
      7m 56s
    11. Perfecting hair
      9m 35s
    12. Sharpening with a High Pass layer
      10m 12s
    13. The also-amazing density mask
      4m 48s
    14. Adjusting the knockout depth
      8m 48s
    15. Fashioning a depth map
      6m 12s
    16. Invoking a depth mask from Lens Blur
      6m 38s
    17. The perfect depth-of-field effect
      6m 25s
    18. Sharpening an archival photograph
      7m 7s
    19. Creating an edge mask
      8m 29s
    20. Making a High Pass sandwich
      7m 46s
    21. Applying the edge mask
      6m 2s
    22. Customizing your sharpening effect
      4m 6s
  4. 2h 3m
    1. Channel Mixer, I am your father!
      1m 39s
    2. Three ways to gray
      7m 49s
    3. Meet the Channel Mixer
      8m 26s
    4. Mixing a custom black-and-white image
      7m 10s
    5. Creating a professional-level sepia tone
      5m 36s
    6. Employing the Black & White command
      8m 1s
    7. Extreme channel mixing
      4m 50s
    8. The infrared photography effect
      6m 43s
    9. Taking shadows to the brink of black
      3m 56s
    10. Elevating highlights, leeching saturation
      5m 58s
    11. Deepening a black-and-white sky
      5m 49s
    12. Infusing luminance levels with color
      5m 44s
    13. Creating an opposing colorization scheme
      4m 58s
    14. Bolstering contrast with the Green channel
      5m 37s
    15. A tiny improvement to a terrific technique
      7m 39s
    16. The simple (but wrong) approach to red-eye correction
      6m 39s
    17. Channel-mixing red pupils
      9m 18s
    18. The expert approach to red-eye correction
      5m 20s
    19. Fixing problem coronas (pupil edges)
      8m 9s
    20. Making pupils match
      4m 8s
  5. 2h 33m
    1. Chops are dead; long live maskops
      1m 37s
    2. The Calculations command
      8m 16s
    3. Blue Screen blending
      7m 40s
    4. Refining the Blue Screen mask
      5m 53s
    5. Brushing away color fringing
      7m 24s
    6. Locking the transparency of a layer
      6m 22s
    7. Nondestructive layer painting
      7m 36s
    8. How the Add blend mode works
      8m 40s
    9. How the Subtract blend mode works
      6m 43s
    10. Focus, noise, and other masking challenges
      5m 33s
    11. The Add mode in action
      7m 51s
    12. The Subtract mode in action
      8m 25s
    13. Comparing two channels with Difference
      5m 24s
    14. Enhancing the contrast with Curves
      9m 11s
    15. Gathering details with Apply Image
      9m 43s
    16. Dodge highlights, burn shadows
      6m 6s
    17. Dodge and Burn in action
      8m 24s
    18. Painting in the scalp
      10m 1s
    19. Painting away the face and chin
      4m 53s
    20. Compositing complementary images
      4m 13s
    21. Multiply, Minimum, Blur, and Apply Image
      6m 40s
    22. Crafting the final composition
      7m 7s
  6. 1h 57m
    1. Mark of the Pen tool
      1m 35s
    2. The big paths project overview
      6m 51s
    3. How to make a path
      8m 25s
    4. Corner points and freeform polygons
      8m 6s
    5. Editing paths with the arrow tools
      5m 2s
    6. Adding and deleting endpoints
      5m 15s
    7. Adding and deleting interior points
      6m 6s
    8. Converting a path to a selection
      3m 35s
    9. Converting a path to a mask
      6m 38s
    10. Smooth points and control handles
      8m 57s
    11. Making cusp points
      6m 0s
    12. Combining paths in a vector mask
      7m 55s
    13. Turning a path into a shape layer
      8m 57s
    14. Combining paths to make a layer mask
      7m 52s
    15. Mixing layer and vector masks
      10m 14s
    16. Editing character outlines as paths
      8m 39s
    17. Using the Convert Point tool
      7m 8s
  7. 3h 17m
    1. Where there's a will, there's a way
      1m 18s
    2. Masking natural cast shadows
      4m 10s
    3. Applying the cast show
      4m 2s
    4. Creating a difference mask
      3m 7s
    5. Applying an arbitrary map
      3m 50s
    6. Making the flesh mask
      7m 17s
    7. Roughing in an object mask
      6m 49s
    8. Drawing missing details with the Lasso tool
      4m 7s
    9. Combining flesh and object masks
      3m 53s
    10. Amplifying the cast shadow
      4m 10s
    11. Selectively choking edges
      3m 58s
    12. Power duplication in Photoshop
      7m 9s
    13. Masking blond hair
      5m 48s
    14. Using Levels to mask iterations
      3m 14s
    15. Drawing an iteration boundary
      4m 55s
    16. Merging the best of two Levels iterations
      4m 4s
    17. More fun with Dodge and Burn
      6m 14s
    18. Fixing edges with the Pen and Stamp tools
      7m 29s
    19. Pulling from another file with Apply Image
      4m 52s
    20. Blending clipped layers independently
      5m 43s
    21. Building the flame mask
      9m 22s
    22. Amplifying the flame
      3m 53s
    23. Masking an image against a busy background
      5m 15s
    24. The Freeform and Magnetic Pen tools
      6m 52s
    25. Masking with arbitrary maps
      9m 32s
    26. A more deliberate approach to arb maps
      10m 51s
    27. Combining arb maps with paths
      9m 28s
    28. Masking with the help of the History brush
      11m 38s
    29. Creating a High Pass mask
      7m 25s
    30. Coloring in the outlines
      8m 31s
    31. Mastering Calculations
      7m 29s
    32. Subtracting and merging the beak
      11m 6s
  8. 1h 33m
    1. The meaning of bit depth (and why you care)
      2m 50s
    2. Scanning line art in 8-bit and 16-bit
      5m 9s
    3. Measuring the 16-bit difference
      8m 9s
    4. Correcting 8-bit images in the 16-bit space
      9m 31s
    5. Opening a raw image directly in 16-bit
      6m 13s
    6. Editing in Camera Raw, opening in 16-bit
      8m 22s
    7. 16-Bit/channel vs. 32-bit/channel (HDR)
      8m 18s
    8. Working with auto-bracketed photographs
      5m 6s
    9. Using the Merge to HDR command
      6m 0s
    10. Adjusting the HDR preview
      6m 0s
    11. Building a 32-bit sky mask
      6m 29s
    12. Properly exposing land and sky
      4m 25s
    13. Modifying a layer mask in 32-bit
      4m 56s
    14. Converting to and correcting in 16-bit Lab
      12m 7s
  9. 2h 8m
    1. Photoshop flirts with the third dimension
      1m 13s
    2. The displacement map
      8m 24s
    3. Making custom waves
      7m 14s
    4. Creating a Gaussian distribution
      4m 32s
    5. Using a two-channel displacement map
      6m 28s
    6. Creating a rustic edge effect
      8m 21s
    7. Distorting and shading with a DMap
      6m 34s
    8. Moonlight reflecting off water
      8m 48s
    9. Mapping the reflection onto the water
      7m 7s
    10. Dipping the moon into the water
      6m 18s
    11. Turning flesh into stone
      7m 55s
    12. Wrapping the stone around the face
      7m 27s
    13. Softening a displacement map
      8m 5s
    14. Making a repeating watermark pattern
      9m 22s
    15. 3D embossing with Lighting Effects
      10m 48s
    16. The amazing credit card type effect
      6m 56s
    17. Lightening the credit card letters
      6m 16s
    18. Wrapping the background around the text
      6m 27s
  10. 1m 43s
    1. Goodbye
      1m 43s

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