The above discussion spoke on layering EV masks to create dodge/burn effect. Could someone provide a little clarification of layering masks vs. increasing/decreasing an EV mask in one go?
I have created a second instance of exposure for this purpose and set the mask exposure to the area then balanced the whole scene. Seems it would add unecessary processing to the image. Still learning here so curious and didn’t wish to hijack the original thread. If this is explained elsewhere then references are more than welcome.
It is mostly a workflow thing, some people must have the paint brush-like user experience found in other applications, and what you’ve referenced provides that. There are some cases where it is genuinely useful, for me personally, I haven’t used that technique since I became proficient in masking in DT.
Lots of brush strokes might have an impact on performance, since DT must recompute all the strokes when the pipeline updates.
If you’re happy with a select and not a series of brush strokes, then I’d keep on that way of doing it.
I generally use a path mask along with some feathering/refinement options to target the patch I want to change. I find multiple brush shapes too hard to adjust after-the-fact.
Makes sense as I have not really found a need. Are there any examples of where is would be useful? The benefits of using the technique? Wouldn’t mind practicing if there is a practical use for the technique.
LR tends to use a brush, but what won me over to DT was the paths tool to draw a mask for any effect including dodging and burning.
The beauty about DT is if you asked 100 users what is a good workflow you would get 200 different answers. If a user is happy doing cumulative efforts with a paintbrush, then all good for them. Myself, I draw a path and experiment with how much adjustment of the exposure slider. I then use feathering to get an invisible transition.