Dodge Burn Capture One

Posted : admin On 1/29/2022
WHAT IS IT

Girls, this one’s for you: Professional retoucher, Yanyanista, shares her thoughts and tips as she transforms a ‘RAW’ girl into a Beauty Doll in Capture One Pro 9. Men are welcome. October 13, 2016. Quick Dodge and Burn Trick for Capture One Pro. Create a Silhouette using Luminosity Masking in Capture One Pro. Edit a Country Scene with Capture One Pro.

Dodge Burn Capture One
  • In this video we will take an all encompassing look at skin retouching in Capture One, including healing, dodging and burning and color correcting.
  • Editing In Capture One Pro. Removing Blemishes In Photoshop. Micro Dodge And Burn. Advance Frequency Separation. Editing The Background. Global Dodge And Burn. Skin Work And Skin Toning. Eyes And Teeth Whitening. Finishing In Capture One Pro.
A targeted adjustment to lighten (Dodge) or darken (Burn) parts of an image. The term Dodge and Burn comes from a darkroom technique used with film.
You can dodge both lights and darks, and burn both lights and darks in an image. Dodging and burning is about adding depth to your image by making targeted contrast and colour adjustments.
DODGE (LIGHTEN)
C1 tools that can lighten parts of an image include the:
  1. Exposure slider (heavy handed, but not so if constrained by a Luma range or mask), The Brightness slider helps little, because it squashes the histogram and has less impact on highlights and shadows;
  2. Highlights slider which impacts the top 25% of the highlight tones in the image and tapers off into the upper midtones;
  3. White point slider which impacts the top 5% of highlight tones and does not taper into the upper midtones (percentages are rough estimates);
  4. Lightness slider in HSL (C1’s Colour Balance tool);
  5. Levels Tool; and
  6. Curves Tool.
BURN (DARKEN)
C1 tools that can lighten parts of an image include:
  1. Exposure slider (heavy handed, but not so if constrained by a Luma range or mask). The Brightness slider helps little, because it squashes the histogram and has less impact on highlights and shadows;
  2. Shadows slider which impacts the bottom 25% of the shadow tones in the image and tapers off into the lower midtones;
  3. Black point slider which impacts the bottom 5% of shadow tones and does not taper into the lower midtones (percentages are rough estimates);
  4. Lightness slider in HSL (C1’s Colour Balance tool);
  5. Levels Tool; and
  6. Curves Tool.
WHAT NOT TO USE
I would not use the Brightness slider, the Highlights or Shadows sliders or the White Point of Black Point sliders to Dodge and Burn. These tools are better suited for global adjustments rather than targeted adjustments like Dodge and Burn. Plus, I would not run the risk of hurting my global adjustments to achieve a targeted adjustment. There are better tools to use. I would not use Levels either, as Curves are more powerful. The jury is out on the Lightness slider.
That leaves Exposure and Curves. Three suggested methods are set below.

METHOD 1 (BEGINNER)
Dodge and burn capture one 21
Burn layer
New Empty Adjustment Layer called Burn
Dodge and burn in capture one pro 12Move the Exposure slider down a third or half a stop (I have seen minus one stop used). No changes occur on the image as the mask is empty.
Set your brush Opacity at 100%, Flow at 5% or 10%. Draw in the mask in the areas you want to darken (Burn). Using such a low Flow allows you to subtly apply the adjustments. Use the Opacity slider on the layer to make further refinements.
Dodge layer
New Empty Adjustment Layer called Dodge
Move the Exposure slider to the right a third or half a stop (I have seen plus one stop used). No changes occur on the image as the mask is empty.
Set your brush Opacity at 100%, Flow at 5% or 10%. Draw in the mask in the areas you want to lighten (Dodge). Using such a low Flow allows you to subtly apply the adjustments. Use the Opacity slider on the layer to make further refinements.
Note: this method allows you to dodge lights and darks, and burn lights and darks.

METHOD 2 (ADVANCED)

Burn Layer
New Fill Adjustment Layer called Burn
Apply a Luma range to the fill layer to select the lighter areas you want to adjust. You cannot apply a Luma range to an empty layer, nothing happens. Use the Curves tool to make your changes. The power of Curves and Luminosity masks allows targeted adjustments. The Curves tool is only used to Burn on this layer.
Dodge layer
New Fill Adjustment Layer called Dodge
Apply a Luma range to the fill layer to select the darker areas you want to adjust. You cannot apply a Luma range to an empty layer, nothing happens. Use the Curves tool to make your changes. The power of Curves and Luminosity masks allows targeted adjustments to the light areas. The Curves tool is only used to Dodge on this layer.
You could Dodge and Burn on single layer, but separating the layers allows more precision and makes the adjustments easier.
When making the Curves adjustment use the RGB channel to alter both colour and luminosity. Any changes in the Curves luminosity channel will only impact the luminosity values.
Note: this method only allows to dodge lights and burn darks.

Dodge And Burn Capture One Pro


METHOD 3 (INTERMEDIATE)
This method allows you to dodge or burn shadows, midtones and highlights (both colour and luminosity). It is based on a technique used by Kasia Zmokla. Shadows, midtones and highlights can all be affected because of the curve adjustment made.
Burn layer
New Empty Adjustment Layer called Burn
Go to the Curves RGB tab, click on the mid-point and move the curve downwards. No changes occur on the image as the mask is empty.
Set your brush Opacity at 100%, Flow at 5% or 10%. Draw in the mask in the areas you want to darken (Burn) including shadows, midtones and highlights. Using such a low Flow allows you to subtly apply the adjustments. Use the Opacity slider on the layer to make further refinements.
Dodge layer
New Empty Adjustment Layer called Dodge
Go to the Curves RGB tab, click on the mid-point and move the curve upwards. No changes occur on the image as the mask is empty.
Set your brush Opacity at 100%, Flow at 5% or 10%. Draw in the mask in the areas you want to lighten (Dodge). Using such a low Flow allows you to subtly apply the adjustments. Use the Opacity slider on the layer to make further refinements.

Dodge And Burn Capture One

Dodge & Burn is a subject where opinions differ. There are many ways to make areas in the picture lighter or darker. We quickly discuss the different methods and test them for suitability – there are sky-wide differences.

Dodge & Burn Tools (DE: Abwedler & Nachbelichter)

Photoshop has always offered two tools for Dodge & Burn. Surely everyone has experienced this situation: take the Dodge tool and painted around in the picture, oops done too much, used the Burn tool to compensate, and the final result: light and dark patches in the image in which nothing would fit anymore. Many put these two tools in the “not to use” drawer.

It gets much better if you create an additional layer, fill it with neutral gray (50% gray) and switch it to the “Linear Light” blending mode:

50% gray layer

A 50% gray layer in blending mode “Linear Light” initially does not change the image. But if you make the layer lighter or darker — of course also partially — the picture also becomes lighter or darker. The advantage of the 50% gray layer is that we can also work with regular brushes, and if something went wrong, you could always paint over with 50% gray to get back to the original state.

Some people use the blending mode “Soft Light”, which has a more subtle effect (hard to push it really dark or light). Other than the layer has an impact on saturation, which should be taken into consideration.

Pro Tip: You can also leave the layer empty and paint with black or white – the effect is 100% the same and saves storage space.

Multiple RAW conversions

What is sometimes helpful is to use different RAW conversions.
One for the skin tones, one for the background, one for the hair — depending on what the picture requires. These individual RAW developments are loaded as layers in Photoshop and can then be masked accordingly. Of course, there are a lot of options here, because RAW development offers countless parameters — but this technique inflates the Photoshop file properly and can only be used at the very beginning. So you have to be sure of your decisions here.

Dodge & Burn Curves

Two curves – one for Dodge and one for Burn – are the optimal solution. Masking the effect in and out with white and black is very simple. Switching between layers is pretty easy with the following shortcut
Windows: Alt +, (down), or Alt +. (up)
Mac: Option +, (down), or Option +. (up)

However, the correct usage of curves for Dodge & Burn needs to be learned. There are many people out there, pushing and pulling their curves by their current mood. In addition to luminance, curves can also influence saturation and contrast. Tiny differences can make big differences.

ConnyWallström (a photographer, retouching-teacher, and software developer based in Sweden) tested various curves over a more extended time and compared them with the results of exposure levels of the raw converter Capture One.

The idea for that process was that a raw converter such as Capture One reproduces the most natural and realistic way of dealing with color with different exposures without simultaneously causing color problems and color shifts.

The result of the research was a 2-point gradation curve that he integrated into this retouching toolkit. So if we use the following Dodge & Burn curves, we can assume a natural, realistic result. At the same time, we work consistently and time-efficiently, since it is an action in Photoshop that always works in the same way.

But that’s not all. Many who already use this retouching toolkit know that this action creates two folders and that in addition to the special curves for Dodge and Burn, hue/saturation corrections are included.
Here is the reason for the hue/saturation corrections:
When we take an analytic look at a portrait picture, we find out that by increasing luminance, the saturation tends to decrease; with decreasing luminance, the saturation tends to increase. If we only lighten an image based on luminance, the proportion of saturation in the now lighter areas is suddenly too high (vise versa). The use of such hue/saturation corrections is, therefore, a measure against saturation problems caused by Dodge and Burn to save editing time in retouching.

Burn

Such hue/saturation corrections make the most sense when processing skin (skin build-up, blood flow in the skin).

Of course, this cannot be generalized 100%. Every image requires slight adjustments to the hue/saturation correction layers due to other camera manufacturers and raw formats. Therefore, a recommendation is to adjust those layers slightly for each image. However, one cannot avoid looking at the saturation in the image afterward (at least briefly).

Hidden Gems / Tips and Tricks

Pro tip 1: Separately adjusted curves for very granular, high-contrast structures such as make-up (see example below) are useful to avoid flattening the contrast.

(Photo by 𝐕𝐞𝐧𝐮𝐬 𝐇𝐃 𝐌𝐚𝐤𝐞- 𝐮𝐩 & 𝐏𝐞𝐫𝐟𝐮𝐦𝐞 from Pexels)

Capture

Pro tip 2: Dodge & Burn tools — these work perfectly for eyebrows. If you paint them on an empty layer, you can make individual hair lighter and darker for a realistic result. You will only affect the painted hair, which is very useful.

Don’t forget Dodge & Burn is much easier by using Wacom tablets.

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