This is a technique I learned back in the early 1970s from Ansel Adams’ Basic Photo Zone System books. I always carried red, orange, yellow, green and blue filters to selectively edit what was actually seen by eye to make the focal point of the photo contrast more when my goal was to shoot ‘artistically’. I also was doing photojournalism at the time and for that I’d limit filter use to yellow which compensates for the fact that Panchromatic B&W emulsions are more sensitive to blue wavelengths than the human eye and will render skies lighter in photos than normally seen by eye. What elevates a photo from ‘craft’ (accurately recording what is there as seen by eye) to ‘art’ is something made much easier with digital editing but the Achilles Heel for digital vs the silver based B&W negative / print medium is the limited range of digital sensors. For that reason if doing landscape work or other static subjects starting with two exposures: one with Zone 9 highlights 1/3 stop below clipping and another with + 3EV exposure via slower shutter is required to capture the same nuances in the shadows. I started working as pro photographer in 1972 assisting Monte Zucker, then the most popular PPoA teacher and author of the column on wedding photography. What made him so popular was developing new techniques for shooting weddings with color back in the late 1960s when photographers made the switch from longer range B&W prints to the much shorter range color prints on which getting detail in white dresses and black suits was nearly impossible in sunlight or with a single flash. Monte cleverly adapted the studio technique of using a foundation of even nearly shadowless fill via a flash on a bracket over the camera overlapped with a photo cell triggered ‘Key’ flash on a rolling modified medical IV pole he used because nobody made a similar base weighted rolling light stand. Because of my B&W Zone system experience I realized Monte was doing with flash on color prints by starting with centered fill and overlapping off axis key is what Adams’ did at the start of his process - fit the range of the scene to the range of the output medium, the print paper. Like Adams recording detail everywhere from black shoe laces to beadwork on dresses was just the ‘craft’ step of fitting scene to paper. What set Monte’s entire marketing approach apart from his contemporaries was NEVER showing straight out of camera photos to clients. He didn’t even bother making prints from the negatives for review. The lab we used would send back the 20 exposure strips of color negatives uncut from which he would select the exposures for printing as 10” x 10” prints for the leather bound album. Monte had started out doing his own B&W printing in the 1950s and understood like Adams did how to dodge and burn to “editorialize” what was captured by adding CONTRAST to what was most important by ‘dodging’ and lightening faces and ‘burning in’ hands and other exposed skin on darker backgrounds to prevent them from distracting. He also employed vignetting of both tone and sharpness on the edges of the photo to simulate on the prints how in person looking at a scene our perception “tunnels in” on the focal point and tunes out what is on the periphery, exactly the same ‘tricks of the artist trade’ painters had used for centuries and Adams employed when making his B&W prints. Adams Zone System was based on always printing on #2 grade paper, what with the Kodak system was used for making prints on cross-lit scenes outdoors on clear sunny days. The negative development time needed to render that level of contrast with detail from shadow to highlight with buttery smooth tonal transitions and linearly was the same both for Adams and Kodak. Sunny 16 was ‘normal’ development and once one understood the underlying technology - which I did via Kodak books in High School- it wasn’t very difficult to get very realistic full range photos with buttery smooth shadow details. Where Adams was different than Kodak was for photos taken with less contrasty lighting: cloudy, open shade, overcast. Kodak’s approach, necessitated by roll film, was to still develop the film “normally” as if for Sunny 16 contrast, but then change the grade of the paper to match the less dense highlights on the negative. Adams using sheet film or interchangeable backs on a Hasselblad med. format changed NEGATIVE DEVELOPMENT TIME increasing it for shots taken in less contrasty lighting to increase the highlight densities until they fit the range of #2 paper. Adams system was just a more tightly controlled version of, “Expose for the Shadows, Develop for Highlights (on the print)”. With digital sensors we must: 1) expose File A for highlight detail; 2) expose File B for shadow detail, then 3) blend together in post processing. After working with Zucker from 72-74 I was hired by National Geographic to reproduce photos and art for offset printing with halftones and CYMK color separations and then taught the techniques and RGB > CYMK color management as part of a college printing technology department and to magazine art directors and production managers as Production Manager at Judd&Detweiler from ‘77-80. In ‘82 I was hired by the US Information Agency and became Production Manager / Deputy Director of its Manila, Philippines published center where I worked from 83-87, 90-95 and 99-2001 converting it from analog-to-digital workflow. I started using Photoshop with V1 in 1992 and started doing HDR in Photoshop manually when it added layers and masking. I’d open the highlight and shadow files, copy the entire shadow exposure file, then paste it as a new layer over the highlight exposure, adding a black filled mask and then SELECTIVELY blending in the shadow layer around the primary and any secondary areas I wanted the view to be pulled to via CONTRASTING TONE AND DETAIL, creating in the process a simulation on the print of TUNNEL VISION by making anything I didn’t want the viewer to dwell on less ‘eye catching’ interesting than the areas I wanted them to dwell on and remember. 😊 I still used the same technique rather than automated HDR which creates an unnatural looking “sea of sameness” because it DOES NOT trigger the same “tunnel vision” sensation which is what makes one edit of the same scene more compelling and memorable “artistic” if you will, than another.😂
Wow that's an amazing journey you took ☺️ I appreciate you sharing your lifes work with us. Thanks so much for the comment. I still have a lot to learn ☺️ Thanks once again and I'm happy you took the time to watch the video ☺️
You went step by step through your process. It’s clear what changes you made and how they manifest themselves. The big question at every stage of your masking process is WHY? Why are you selecting specific areas for dodging and burning, in particular? Perhaps the image I’m seeing is too small and lacking detail, but I don't understand why you’ve chosen to lighten areas and darken other regions. It would be helpful if you could explain how you make these decisions. Also, how you shot and processed the image to get to the starting with the black-and-white photo, would be very helpful to know.
Hi and thanks for your very interesting comment 😊. I mostly do dodge and burn to try and give the image a more 3 dimensional look. All I do I lighten the light parts and darken the if needed dark parts 😊 Also I picture in my mind how I seen the image before I start processing 😊 Thanks so much for watching 😊
@@RichardBrockwell-hr1so Further to Richard's reply. I have used Linear and Radial masks extensively for some time now. If people (other photographers) ask why I lighten parts I now am happy in saying I am bring out the light that my EYES SAW. Our eyes see a much wider array of light including seeing details in dark areas. The camera will not have that range. So...I am not changing the photograph like AI might, just bringing out the light my EYES SAW. Hope that helps Remiss.
Further to Richard's reply. I have used Linear and Radial masks extensively for some time now. If people (other photographers) ask why I lighten parts I now am happy in saying I am bring out the light that my EYES SAW. Our eyes see a much wider array of light including seeing details in dark areas. The camera will not have that range. So...I am not changing the photograph like AI might, just bringing out the light my EYES SAW. Hope that helps Remiss.
These techniques work very well in "shaping the light" and are also useful in color photography. I usually shoot B&W in infrared with a modified camera with a deep black IR filter over the sensor. While this gives dramatic images, especially of green foliage (it turns white) and black skies, these techniques really enhance the image. Add a little "Orton effect" and it can create a very dreamy image that can be quite artistic and beautiful.
Thanks for the video! I just went back and re-edited a photo using this technique and am much happier with the results. I'll definitely be working it into my processing from now on!
Excellent explanation Richard. When the sky mask appeared in Lightroom I stopped using the linear mask for the sky. You have convinced me that a linear mask and then intersecting the new mask with the sky is a much better way. I also right-click and copy radial masks when dodging (lightening areas) to speed things up. Possibly more tan one radial depending on what I am lightening and how much i need.
I have no doubt that it is good to know these techniques, the question is knowing where and in how much dose to apply them. For my taste, it would be much more subtle in its application since the final result for me is overloaded with "dramatism", in black and white it usually seems more "artistic" due to its artificiality but if that were in color, we would immediately see this tendency to exaggerate tones and textures in the skies and generally "overact" to impress. I'm not saying it's wrong, I'm saying it's a choice. Others may prefer to retain what they saw with their eyes and make an edition more faithful to that moment, more natural, less impressive perhaps, but surely more credible too.
Hi there, thanks for the comment. Please bear in mind that it is a RAW file and needs masking and adjustments, just like a negative would in film photography. Ansel Adams the great black and white photographers quote says "You don't take a photograph, you make it." Thanks for your opinion though 😊. Thanks for watching.
Great video. I have never used Camera RAW but would have no problem opening it up right now and do what I wanted. Thanks for showing how easy it is to combine two masks like sky and gradient or the two clipping icons in the histogram. Subscribed:)
Great editing and result! For those interested in speeding up your editing you can shortcut key getting new radial mask (looks to be “J”) and can show all pins (“S” in Lightroom) to easily pick any mask you want to alter. Particularly useful if you have a large number of them as in this tutorial. Love this example as it showed my I’m not really dodging and burning enough to get the dramatic effect delivered on this photo - impressive!
This is a technique I learned back in the early 1970s from Ansel Adams’ Basic Photo Zone System books. I always carried red, orange, yellow, green and blue filters to selectively edit what was actually seen by eye to make the focal point of the photo contrast more when my goal was to shoot ‘artistically’. I also was doing photojournalism at the time and for that I’d limit filter use to yellow which compensates for the fact that Panchromatic B&W emulsions are more sensitive to blue wavelengths than the human eye and will render skies lighter in photos than normally seen by eye.
What elevates a photo from ‘craft’ (accurately recording what is there as seen by eye) to ‘art’ is something made much easier with digital editing but the Achilles Heel for digital vs the silver based B&W negative / print medium is the limited range of digital sensors. For that reason if doing landscape work or other static subjects starting with two exposures: one with Zone 9 highlights 1/3 stop below clipping and another with + 3EV exposure via slower shutter is required to capture the same nuances in the shadows.
I started working as pro photographer in 1972 assisting Monte Zucker, then the most popular PPoA teacher and author of the column on wedding photography. What made him so popular was developing new techniques for shooting weddings with color back in the late 1960s when photographers made the switch from longer range B&W prints to the much shorter range color prints on which getting detail in white dresses and black suits was nearly impossible in sunlight or with a single flash. Monte cleverly adapted the studio technique of using a foundation of even nearly shadowless fill via a flash on a bracket over the camera overlapped with a photo cell triggered ‘Key’ flash on a rolling modified medical IV pole he used because nobody made a similar base weighted rolling light stand. Because of my B&W Zone system experience I realized Monte was doing with flash on color prints by starting with centered fill and overlapping off axis key is what Adams’ did at the start of his process - fit the range of the scene to the range of the output medium, the print paper.
Like Adams recording detail everywhere from black shoe laces to beadwork on dresses was just the ‘craft’ step of fitting scene to paper. What set Monte’s entire marketing approach apart from his contemporaries was NEVER showing straight out of camera photos to clients. He didn’t even bother making prints from the negatives for review. The lab we used would send back the 20 exposure strips of color negatives uncut from which he would select the exposures for printing as 10” x 10” prints for the leather bound album.
Monte had started out doing his own B&W printing in the 1950s and understood like Adams did how to dodge and burn to “editorialize” what was captured by adding CONTRAST to what was most important by ‘dodging’ and lightening faces and ‘burning in’ hands and other exposed skin on darker backgrounds to prevent them from distracting. He also employed vignetting of both tone and sharpness on the edges of the photo to simulate on the prints how in person looking at a scene our perception “tunnels in” on the focal point and tunes out what is on the periphery, exactly the same ‘tricks of the artist trade’ painters had used for centuries and Adams employed when making his B&W prints.
Adams Zone System was based on always printing on #2 grade paper, what with the Kodak system was used for making prints on cross-lit scenes outdoors on clear sunny days. The negative development time needed to render that level of contrast with detail from shadow to highlight with buttery smooth tonal transitions and linearly was the same both for Adams and Kodak. Sunny 16 was ‘normal’ development and once one understood the underlying technology - which I did via Kodak books in High School- it wasn’t very difficult to get very realistic full range photos with buttery smooth shadow details.
Where Adams was different than Kodak was for photos taken with less contrasty lighting: cloudy, open shade, overcast. Kodak’s approach, necessitated by roll film, was to still develop the film “normally” as if for Sunny 16 contrast, but then change the grade of the paper to match the less dense highlights on the negative. Adams using sheet film or interchangeable backs on a Hasselblad med. format changed NEGATIVE DEVELOPMENT TIME increasing it for shots taken in less contrasty lighting to increase the highlight densities until they fit the range of #2 paper. Adams system was just a more tightly controlled version of, “Expose for the Shadows, Develop for Highlights (on the print)”.
With digital sensors we must: 1) expose File A for highlight detail; 2) expose File B for shadow detail, then 3) blend together in post processing.
After working with Zucker from 72-74 I was hired by National Geographic to reproduce photos and art for offset printing with halftones and CYMK color separations and then taught the techniques and RGB > CYMK color management as part of a college printing technology department and to magazine art directors and production managers as Production Manager at Judd&Detweiler from ‘77-80. In ‘82 I was hired by the US Information Agency and became Production Manager / Deputy Director of its Manila, Philippines published center where I worked from 83-87, 90-95 and 99-2001 converting it from analog-to-digital workflow.
I started using Photoshop with V1 in 1992 and started doing HDR in Photoshop manually when it added layers and masking. I’d open the highlight and shadow files, copy the entire shadow exposure file, then paste it as a new layer over the highlight exposure, adding a black filled mask and then SELECTIVELY blending in the shadow layer around the primary and any secondary areas I wanted the view to be pulled to via CONTRASTING TONE AND DETAIL, creating in the process a simulation on the print of TUNNEL VISION by making anything I didn’t want the viewer to dwell on less ‘eye catching’ interesting than the areas I wanted them to dwell on and remember. 😊
I still used the same technique rather than automated HDR which creates an unnatural looking “sea of sameness” because it DOES NOT trigger the same “tunnel vision” sensation which is what makes one edit of the same scene more compelling and memorable “artistic” if you will, than another.😂
Wow that's an amazing journey you took ☺️ I appreciate you sharing your lifes work with us.
Thanks so much for the comment. I still have a lot to learn ☺️
Thanks once again and I'm happy you took the time to watch the video ☺️
You went step by step through your process. It’s clear what changes you made and how they manifest themselves.
The big question at every stage of your masking process is WHY? Why are you selecting specific areas for dodging and burning, in particular? Perhaps the image I’m seeing is too small and lacking detail, but I don't understand why you’ve chosen to lighten areas and darken other regions.
It would be helpful if you could explain how you make these decisions. Also, how you shot and processed the image to get to the starting with the black-and-white photo, would be very helpful to know.
Hi and thanks for your very interesting comment 😊. I mostly do dodge and burn to try and give the image a more 3 dimensional look. All I do I lighten the light parts and darken the if needed dark parts 😊
Also I picture in my mind how I seen the image before I start processing 😊
Thanks so much for watching 😊
@@RichardBrockwell-hr1so Further to Richard's reply. I have used Linear and Radial masks extensively for some time now. If people (other photographers) ask why I lighten parts I now am happy in saying I am bring out the light that my EYES SAW. Our eyes see a much wider array of light including seeing details in dark areas. The camera will not have that range. So...I am not changing the photograph like AI might, just bringing out the light my EYES SAW. Hope that helps Remiss.
Further to Richard's reply. I have used Linear and Radial masks extensively for some time now. If people (other photographers) ask why I lighten parts I now am happy in saying I am bring out the light that my EYES SAW. Our eyes see a much wider array of light including seeing details in dark areas. The camera will not have that range. So...I am not changing the photograph like AI might, just bringing out the light my EYES SAW. Hope that helps Remiss.
First class, thank you very much 😊😊😊
Thanks for watching 😊
Remember to hold the option key when using radial gradients, so that you are able to fine tune each of the four sides independently.
Great tip ☺️ thanks for watching and thanks for the comment ☺️
These techniques work very well in "shaping the light" and are also useful in color photography. I usually shoot B&W in infrared with a modified camera with a deep black IR filter over the sensor. While this gives dramatic images, especially of green foliage (it turns white) and black skies, these techniques really enhance the image. Add a little "Orton effect" and it can create a very dreamy image that can be quite artistic and beautiful.
Hi there, I also do infrared photography ☺️. I have a converted camera with a 720nm sensor ☺️. Thanks for the comment 😊
I like your simple approach to making stunning B/W art. Simple dodge and burn technique. Earned a new sub from me. Awesome work my friend!
Thank you for the lovely comment 😊
Very helpful. It amazes me how much filters over small areas of a photo can substantially change the end result. Something I'll start doing more of.
Hey, thanks for watching ☺
Thanks for the video! I just went back and re-edited a photo using this technique and am much happier with the results. I'll definitely be working it into my processing from now on!
Hi there 😊 I'm happy this video helped you with your images .
Thanks for the comment 😊
Excellent explanation Richard. When the sky mask appeared in Lightroom I stopped using the linear mask for the sky. You have convinced me that a linear mask and then intersecting the new mask with the sky is a much better way.
I also right-click and copy radial masks when dodging (lightening areas) to speed things up. Possibly more tan one radial depending on what I am lightening and how much i need.
I'm glad this video was of help 😊 thanks for watching and thanks for the lovely comment ☺️
Brilliant stuff great video lovely picture when finished 😊
Thanks Graham 😊 also thank you for watching 😊
Thank you for taking the time to work through the process.
Thanks for watching ☺️
do you bracket? or exposure to avoid clipping highlights? which camera would you recommend?
Hi there, I expose to the right of the histogram until I see highlight clippings. I recommend a mirrorless camera ☺️ thanks for the comment 😊
I have been nervous of using masks... but what you have done here has given me the push I needed to give it a try. Thanks.
You're welcome and I hope you start using masking now 😊 thanks for the comment 😊
Very helpful, thank you.
Thanks for the comment and for watching the video 😊
Wow, very impressing!
Thanks for watching 😊
Very interesting and clear step by step explanation. Thank you very much!
Thank you very much 😊
Why do you prefer radial gradients over a brush?
I have more control over the shape with radial gradients. Thanks for the comment 😊
Excellent explanation, thank you
Thanks for watching 😊
GREAT VIDEO THANKS !
Thanks for the comment and for watching 😊
A really useful video! Thank you so much 😊🙏
You're welcome ☺️ thanks for watching ☺️
Wow very informative thank you. Do you ever do portraits? Would love to see you edit a portrait thank you
Thanks for the comment 😊 I can give portraits a shot 😊
Brilliant use of masks to make selective adjustments. I like how you used 2 masks to adjust the exposure in the sky.
Thanks for the comment and for watching ☺️
It's not brilliant. It's a bit darker than the original. 😁
Thank you Robert! Very interesting and made me do an instant Like/Subscribe. Looking forward to further techniques! Cheers
Thanks for watching and subscribing ☺️
@@RichardBrockwell-hr1so Thank You for the follow up. Cheers
Very interesting process.
Thanks for watching ☺️
yes we enjoyed the video :) , Thank you.
Thanks for watching ☺️
I loved
thanks for watching 😊
Thanks for another informative video. Could you do a video in the future concerning how to remove hot spots in BW IR photographs?
Thanks so much for watching and also for leaving a comment ☺️.
I will do my best about your requested video ☺️
WOW! Just what I needed...thanks so much for sharing your techniques...Beautiful.
you're most welcome. thanks for watching 😊
excellent video
Thanks for watching ☺️
Loved it
Thanks for watching ☺️
Nice vid! Looks good 🙂 Top tip: you can duplicate the masks; it’d have saved you a good bit of time 🙂
Thanks for the tip ☺️ and thanks for watching ☺️
I watch a lot of videos about photography and it's getting repetitive after a while, this video was unique.
Thanks for watching and I love the comment ☺️
final sky is too dramatic to me ;)
Thanks for watching 😊
Some prefer it dramatic, some prefer it lighter 😊
I have no doubt that it is good to know these techniques, the question is knowing where and in how much dose to apply them. For my taste, it would be much more subtle in its application since the final result for me is overloaded with "dramatism", in black and white it usually seems more "artistic" due to its artificiality but if that were in color, we would immediately see this tendency to exaggerate tones and textures in the skies and generally "overact" to impress. I'm not saying it's wrong, I'm saying it's a choice. Others may prefer to retain what they saw with their eyes and make an edition more faithful to that moment, more natural, less impressive perhaps, but surely more credible too.
Hi there, thanks for the comment. Please bear in mind that it is a RAW file and needs masking and adjustments, just like a negative would in film photography. Ansel Adams the great black and white photographers quote says "You don't take a photograph, you make it." Thanks for your opinion though 😊. Thanks for watching.
Great video. I have never used Camera RAW but would have no problem opening it up right now and do what I wanted. Thanks for showing how easy it is to combine two masks like sky and gradient or the two clipping icons in the histogram. Subscribed:)
Thanks for watching the video and you're most welcome ☺️ love the comment 😊 thank you so much.
Great editing and result! For those interested in speeding up your editing you can shortcut key getting new radial mask (looks to be “J”) and can show all pins (“S” in Lightroom) to easily pick any mask you want to alter. Particularly useful if you have a large number of them as in this tutorial.
Love this example as it showed my I’m not really dodging and burning enough to get the dramatic effect delivered on this photo - impressive!
@@pll66 Great tips 👍 Thanks for watching and love the comment ☺
yellow or red filter might help too, great video
Thanks 😊 will try those filters.