Dodging and Burning in Photoshop
Now I have a lot of dodging and burning to dio and before I actually show you I will show you what dodging burning does to the image and then I will actually show you the set up how I set up my dungeon bring layers and also we'll talk a little bit of theory because there's just so much that one needs to know to be able to successfully dodging burn just like with frequencies separation but slightly different things and I wanted to definitely make sure to share them with you today. So this is what I've done with the dodging and barry and I don't hesitate to add more and more dajun burn layers, I work with the curves and I'll show you the setup, but my point is I, um start with just one set off dodging burn curves, I work on some areas and then if I need to kind of get back, I just I will work all over the face and once I get back to the area where I've already applied some brush strokes, I just I don't want to mess it up. If I'm happy so far, I don't want to miss it out I'll just add ano...
ther set of dodging burn layers and I will work over that same area, but I will make sure that I don't mess that up because I can just delete o r change the capacity or do whatever I want because it's in the different set off layers and that's why I usually have a whole bunch of dodging burn sets live in one da jin burn folder so before I before I actually show you how I do it manually I want to get back to my presentation if I can figure out how to do that uh come on and then they're iss and then I want to talk a little bit about dodging and bernie ok come on one move for me as long as you guys can see it I'm not going to try to force it to move resist doesn't want it with okay this is that I get so definitely check out that link that I've been mentioning before because there's ah link tio my three part article enough stoppers that I spend a lot of time creating so please if you want to know more about dodging and burning there's just so much information not just the technical but also a lot of things that go beyond that I won't be able to talk about today um in order to understand how to use this technique successfully you must first understand the basic self rendering light and shadows this is something that painters learn in the beginning you know to be able to draw or paint you need to know how things work in two dimensional art how we take things that a three dimensional and put them on paper or on our blank pia's defile and make them look three dimensional or we take a photo and then and that value into the photo so in order to understand that we must understand how shadows in lights work in two dimensions and then human that means another thing that is absolutely necessary for anyone who wants to do portrait's either photography or retouching especially retouching because we tend to change things and we shouldn't be changing when we don't know what in the end looks really stick and what doesn't. So those two things that usually when you watch tutorial on dodging burn you want to hear about them but they're just super important they're more important than knowing how to set up those curves or whatever layers and how to work with your brush is also on that page that I set up there is video that I mentioned also yesterday I just recently created this both men and I think video where I talk about brushes now they work help and pressure works and how I turned everything off actually to do my doctor and burning them. Why? So I've shown a little bit off examples and theory there, so definitely check it out if you wantto learn dodging and burning or master dajun burning so here I just want to show you when we look at this fear here it looks patchy right it doesn't look clean and if the outlines were a little bit wobbly then we would know that the surface is just bumpy because the outline is perfect perfect circle on we still see those fascists we just feel like it's just a dirty bowl right but with a little bit of dodging and burning we can actually make it look smooth and even the difference between the two here is that when the light hits a surface then it kind of transit transitions into the shadow slowly we've dependent on the quality of the white if it's hard light than the transition will be rapid if it's soft ly than tradition transition will be softer and smoother but everything gets darker evenly if their patches or bumps that's when you start seeing shadows where it's supposed to be bright but there is a shadow that is caused by that whatever bump or patch off different collar or just a different value so dodging burn is exactly a technique tio remove all those imperfections on the skin on any surface and here's what it looks like on the skin so all those little shadows little bumps smaller, bigger patches that's what dajun burning helps us is you and it's a lot of or its powers of work so this is something that I wanted to mention yesterday and it seems like it's not very important but I've heard many times when I asked what what's your challenge for two master retouching and some people say patients and I feel like patients should be that you know if if you you have to force yourself to do it it's probably not your things so if you're a photographer and you still need to be touching to be done to you you just you probably better outsourcing something because nothing good will come out if you have to force yourself into doing this because it's hours of work and if if you do love it but you're trying to kind of you know set yourself up for success then this is what I've done for myself I know that I always retouching the evening women's dark outside I don't want to leave in the basement and we touched during the day so just wait until it gets dark I go to the gym in the evening I come back each hour sit down, put my laptop or my ipad here netflix, youtube documentaries, whatever and I sit and we touch for three, four hours a day absolutely every day unless I'm traveling because I hate touching on the small computer but if you if you set yourself for this you know you will be looking forward to that time and you won't even notice how three four hours pass by and just gone and you just can't wait until you come back home that's day and do it the same and watch whatever shows you have on a typical day's work how many images would you probably finish probably want just sometimes not even finished but in the last month I realized that I actually more more efficient if I started the image spend a couple of hours definitely make breaks it's amazing how our eyes air tricking us into believing that we're seeing what we're seeing you walk away for five minutes you come back and go home it's a completely different image so especially when it comes to dodging and burning so many times it happened to me a million times but also happened to other people I've talked tio I sometimes set up my dodging and burning and I'm dodging and I'm seeing that I'm dodging it's very slow but it's brightening and then I realized two minutes later that I'm actually working with a black brush over a black mask so I'm definitely not doing anything but I can swear that I was seen that I'm dodging so it's our brain and actually also this is not about retouching but I accidentally found brain games tv show just recently and I just love watching so any mutual artists should actually watch it because it the show talks about how our eyes miscommunicated a lot of stuff to our brain and so for us unusual artists we need to know that stuff because we are fooling the viewers and by knowing how to fool the viewers off our work, how to create those three dimensional objects in our images that's our brand. So we must know how the human visual system works. And this is exactly what I wanted to talk to you about just a little bit and kind of following up on that question. What I found recently is that starting the image, working for a couple of hours, making breaks, coming back, progressing a little bit further than shutting me down. Going saving, of course, go open another imminent, continuing working on something else, then closing it down. Probably a couple images per night. I definitely won't finish completely, because, again, when you work with beauty, you have the place so close. There is a lot of dodging and burning that's just a lot of time.
Beautiful photographs are used to sell hair and skin care products, cosmetics, makeup, jewelry, and so much more. Learn about the concepts and techniques that are used to create polished, ad-ready beauty images in Commercial Beauty Retouching with Julia Kuzmenko McKim.
It requires vision, skill, practice, and patience to create flawless perfection. In Commercial Beauty Retouching, you’ll learn the theory behind the the techniques and get helpful tips that will take your skin and makeup retouching to the next level.
Software Used: Adobe Photoshop CC 2014.2.2, Adobe Lightroom 5