1) I find when making natural light fine art prints, skies almost always need to be burned in to suggest the color appropriate to the natural situation as determined by your visualization of the scene. Twice or thrice base exposure is normal.
Originally Posted by hoffy
2) Keep the burn card constantly moving and far enough from the paper to create a wide penumbra.
3) Some situations involving man-made structures with straight lines forming boundaries (buildings jutting skyward) with areas to be burned, narrow projections like singular trees, and the like may be impossible to burn to desired tones without masking. However, cutting outlines of failed prints to burn (projection masking?) with has never worked better for me than technique 1.
4) Dodging and burning is part of the "art" of print making, and can (should) take time to master.
5) see Making a Fine Art Print. Note there is a slight "burn line" at the mountain/sky interface. It is nearly unnoticeable on the actual 8x10 print required for computer scannning, but emphasized by scanned digital representation. It is a natural occurrence of the sky that it is lighter at the landscape bound horizon. Still, the larger actual fine art prints of this scene show no obvious burn line, because they are printed on larger paper sizes, allowing more room for burning and more diffusion of the burn car's penumbra.
6) Try shooting with some blue–absorbing filtration, perhaps to as far as a deep yellow, in order to get a head start on the skies before the printing stage. Orange and red filters tend to wipe out natural scene tonalities in favor of overly dramatic, unnatural, and sophomoric (IMO) representations.
Last edited by ROL; 01-29-2012 at 07:23 PM. Click to view previous post history.