Digital dodging and burning

[MurrayMinchin]

Probably so. Those guys are a bunch of hard-nosed purists.

Yup, it can be like cat vs dog people...group hug?

 

[MattKing]

We do value people who manage to keep to the topic of the thread .
Comparative analysis between the "realms" can be helpful.
But arguing about the benefits of cats at a dog show? Nah.
The sub-fora structure serves a role: it aids focus, and serves the interests of those who wish to stay within a narrow specialty.
Asking people to not use a particular thread to raise an issue but instead raise the issue in a different thread on the same site is fundamentally different than censorship.
Personally, I'm mostly a film and darkroom fan, but I intentionally chimed in early because I support those whose interests differ.

 

[Alan Edward Klein]

I did check off Hybrid thread because I'm interested in how digital dodging and burning differ when you use them on scanned film vs. original digital shots?

 

[koraks]

I'm interested in how digital dodging and burning differ when you use them on scanned film vs. original digital shots?

For me, it's the same, really. Once an image is digital, I throw at it whatever I think works best. At that point I don't distinguish anymore whether the original was a sensor or a piece of film. The only caveat is that with negative film scans, I have to do an inversion and on color film a color correction, but after that, anything I might use on an originally digital image I could just as well use on a scanned image.

 

[GLS]

I use Photoshop with a set of actions that create a series of luminosity masks covering a target range of tones (darks, mids or brights). These masks are bound to curves adjustment layers. I select an appropriate layer and adjust the curve to taste. This layer I might apply globally to the image, or for finer control, place it in a group with a secondary mask and brush the adjustment back in to certain areas as desired. This approach allows for exquisite control of tonality.