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96:(ratio of light to dark) than can be captured by film, which in turn is greater than can be reproduced in prints. Compressing this high dynamic range into a print either requires uniformly decreasing contrast (making tones closer together) or carefully printing different parts of an image differently so that each retains the maximum contrast – in this latter dodging and burning is a key tool.
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By using completely opaque material as a cover over the preferred area for dodging or burning, absolutely no light will pass through and as a result, an outline of the material may be visible on the print. One way to prevent obvious cover-up lines is to slightly shake the burning material over the
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may be used, as preferred, to cover and/or obscure the desired area for burning or dodging. One may use a transparency with text, designs, patterns, a stencil, or a completely opaque material shaped according to the desired area of burning/dodging.
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lens and the photographic paper in such a way as to block light from the portion of the scene to be lightened. Since the technique is used with a negative-to-positive process, reducing the amount of light results in a lighter image.
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and his humanitarian work in French
Equatorial Africa. The image took 5 days to produce, in order to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to dark shadow.
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elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two techniques. Adams wrote a comprehensive book on producing prints called
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covered area while it is being exposed. Another way to prevent obvious cover-up lines is to use slightly less opaque material closer to the outline to produce a more subtle, faded effect.
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A key application of dodging and burning is to improve contrast (tonal reproduction) in film print-making; today this is better known as
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lens and the photographic paper in such a way as to allow light to fall only on the portion of the scene to be darkened.
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They can also be used in less subtle ways, as in the stenciled lettering shown at the top of this article.
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decreases the exposure for areas of the print that the photographer wishes to be lighter, while
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Limitations of the Medium: Compensation and accentuation – The
Contrast is Limited
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programs have "dodge" and "burn" tools that mimic the effect on digital images.
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An example of dodge & burn effects applied to a digital photograph
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increases the exposure to areas of the print that should be darker.
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for a technique used during the printing process to manipulate the
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253:"Kodak Consumer Education: Basic Darkroom Techniques, Meeting 6"
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92:. The technical issue is that natural scenes have higher
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To burn-in a print, the print is first given normal
278:"Schweitzer with lamp at his desk by W EugeneSmith"
203:A card or other opaque object is held between the
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295:4.209: The Art and Science of Depiction
99:An excellent example is the photograph
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64:Any material with varying degrees of
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101:Schweitzer with lamp at his desk
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88:in digital photography – see
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90:high-dynamic-range imaging
354:Photographic techniques
27:Photography terminology
234:References and sources
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150:Darkroom manipulation
49:of select areas on a
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72:Many modern digital
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39:Dodging and burning
18:Burning and dodging
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51:photographic print
41:are terms used in
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337:978-0-8212-2187-7
116:Albert Schweitzer
16:(Redirected from
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148:Main article:
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112:A Man of Mercy
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299:Julie Dorsey
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261:. Retrieved
257:the original
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86:tone mapping
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80:Applications
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307:slide 57–59
218:Blend modes
167:Burning: a
135:Zone System
123:Ansel Adams
109:photo essay
43:photography
263:2012-01-28
239:References
228:Vignetting
131:Adams 1995
328:The Print
199:technique
171:technique
144:Technique
127:The Print
348:Category
223:Darkroom
212:See also
205:enlarger
197:darkroom
181:enlarger
177:exposure
169:darkroom
47:exposure
317:Sources
187:Dodging
159:Burning
114:on Dr.
66:opacity
59:burning
55:dodging
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332:ISBN
103:by
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