ON1 Short Clip – Dodging and Burning Using Blend Modes

Dodging and burning can make or break a photograph. It’s also a way of leaving your own signature on a piece of work. There are many ways to do it but in this video, we’ll look at using a couple blend modes and a brush to quickly turn a good photograph into a great one. You don’t always need complex tools to make profound changes in your work. Simple tools applied in a sophisticated way can make all the difference!

11 comments on “ON1 Short Clip – Dodging and Burning Using Blend Modes”

      1. On July 20, 2017 at 11:11 am J. Mack replied:

        There is not a better feeling than watching a basics video and truly gaining excellent, valuable tips by watching their creative process! Thanks Jim!

  1. On July 7, 2017 at 11:30 am William Moss wrote:

    I use to do a lot of this in PS, before they turned PS into a rental, then I moved away spending more time in LR & NIK as On1 wasn’t very good then. Seeing your videos made me realize how much I missed the fun of dodge & burn. My problem has been how to accomplish this in a meaningful way using On1. Watching other ‘guest coaches’ didn’t provide the guidance I needed. Plus Raw has been, until June, unusable for me and I lacked the knowledge of flipping back and forth between masks, layers, FX and Layers. I am just now starting to feel comfortable with Raw so your Scotland and Chicago videos have been very timely.

    I’ve enjoyed watching you work and learning. Lets have more. Thank you very much!

    Bill

    1. On July 7, 2017 at 12:23 pm Jim Welninski replied:

      Thank you Bill! I’ve always found the dodging and burning process the place where a photograph begins to “click” for me. More to come for sure!

      Jim

  2. On July 9, 2017 at 3:13 pm adgreen1972@gmail.com wrote:

    Jim,

    Thanks for this tutorial. I have just purchased On1 Raw and it is pleasing to know it can do everything I used to do in Photoshop.

    Also appreciate all these tutorials as well – great idea!

    Cheers,
    Aaron

    1. On July 10, 2017 at 3:07 am Jim Welninski replied:

      Hi Aaron,

      Welcome to the ON1 community! I’m glad you found the tutorial helpful. I think you’ll find PhotoRAW a powerful, self contained tool that allows great flexibility and creativity. Let me know if I can be of any help.

      Jim

  3. On July 17, 2017 at 10:42 am Mike Romanchak wrote:

    I was thrilled to learn about the dodge and burn techniques in your latest video. My question is about the physical tools you use. Your edits were very precise and not something I think I could do using my finger on the Mac Pro laptop I use. Do you have any recommendations on using track pads and pressure sensitive stylus pens to refine your edits?
    Michael R.

    1. On July 17, 2017 at 11:05 am Jim Welninski replied:

      Hi Michael,

      It’s really difficult to do this kind of work with a mouse. I use a pressure sensitive Wacom Intuos Pro tablet and pen. It takes a little getting used to when you first start with it but once you get the hang of it you’ll never go back.

      Jim

  4. On July 20, 2017 at 2:36 am Roger Moss wrote:

    Hi Jim,
    Thanks for the demo, and a more natural approach to RAW post-processing than some other presenters seem to employ.
    Something which has always bugged me is the unnatural look of HDR images and those which show ‘the power of the toolbox’. Since moving to digital as soon as I judged that it had come of age as a viable alternative to the reversal film with which I’d previously worked, I’ve shot almost exclusively in RAW (NEF) format using non-CC LR and PS.
    I’ve been able to achieve a lot to bring out the best in my images, but for me shooting the image remains the most important factor in the process of creating images, but many people now seem to regard that as merely ‘a starting point’.
    For me capturing an instant when nature has brought everything together is still an uplifting experience, but I’m also aware that we can’t always be around at the defining moment. I therefore value the power of RAW processing to compensate for any shortcomings in light conditions, etc., when I was shooting.
    What I’m getting to is a heartfelt belief that we now have the power to take things way too far in terms of post-processing tweaks – and that the results look unnatural and ‘stylized’.
    Your thoughts on this?
    Thanks for your time.

    1. On July 20, 2017 at 1:28 pm Jim Welninski replied:

      Hi Roger,

      Thanks for your very thoughtful comment. You raise some questions that are central to my thinking. It is true that we have the capability to take things too far. This is true not just in photography but in any other art form as well. Your idea that the moment of shutter click is central resonates with me. But for me, the making of a photograph encompasses the entire process, including post processing. I think it is important for me to connect with the inner Images that arise in me while shooting. Those Images are what drive my process. I think of a photograph not as a thing, but as an event, something that can take on a life of its own. Much of the time, what comes out of my camera is only a starting point. I’m not after a visual record of the thing I’m shooting. I’m after the inner encounter I had with that thing. So it seems to me that what’s really important is what drives the process. If someone is trying to make a pretty picture then that’s what they’ll get. And that’s fine. There’s nothing wrong with that. But I’m after something else. Processing software is a tool. In the hands of a skilled and inspired artist those tools can produce inspiring work. A guitar played by a beginner sounds horrible, no matter how many expensive processing toys are hooked up to it. Steve Ray Vaughn could take the same guitar and make magic. The Imaginal World is what drives the artist. He or she wonders what could be rather than being concerned with things as they are. This is why I believe that focusing on the inner processes of art making are far more important than focusing on the tools. Tools give us only possibilities. My view is that imagination, interpretation, and technical skill are the vital ingredients that make the difference.

      Jim

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