Board_Advisors_etc 3..5

burning-in can be a helpful technique, overuse of
burning-in can create areas that are grey and
murky, and can decrease contrast, especially in
black and white prints. Burning-in requires prac-
tice, and the added ‘‘burning’’ time changes with
each negative printed.
Burning-in an area on an image can be done with
orwithoutaspecific‘‘burning-in’’ tool.Somephoto-
graphers prefer to use their hands, held together in
such a way that there is a small hole between the
hands or fingers through which light can pass. In
some ways, this is easier than using a burning-in
tool with a static opening, because the size of the
hole a photographer’s hands are making can be
changed during the burning-in time and is infinitely
variable. A burning-in tool is usually a piece of opa-
que board with a small hole cut or torn somewhere
near the middle of the board. The tool (whether
board or hands) is then held between the light and
the easel, and is moved rapidly back and forth to
create a small ‘‘spotlight’’ or light directed onto the
image in the area that needs additional light. The
rapid back-and-forth movement creates a feathered
effect that ensures that the burned-in area will blend
with the surrounding areas and with the rest of the
image. If the burning-in tool remains static, the area
of added light will stand out from the rest of the
image with clearly-defined borders.
Once a photographer has determined that an area
needs to be burned-in, he places an unexposed piece
of photographic paper into the easel and exposes it
for the already-determined length of time. Then,
without moving either the easel or the enlarger, and
without changing the aperture setting, he turns back
on the enlarger lamp to add more light to selected
areas. This is most easily done with a foot pedal, as
thatallowsthephotographertohavebothhandsfree
to cover the image and only allow light to fall in the
selected area. However, a foot pedal is not necessary,
andburning-incanbeaccomplishedwithanykindof
timing device. It is important that nothing be moved
before or during the burning-in, as re-exposing areas
of the image after movement will cause blurring on
the final image—so not only should the photogra-
pher be sure not to move anything before adding
light, he should also be careful not to bump the
enlarger or the lens with his burning-in tool while
making the exposure.
The time needed to burn-in areas agreeably can
vary widely. Since burning-in occurs after the initial
exposure time, burning-in times are almost limitless.
If desired, the photographer can make a test strip in
the area that needs to be burned-in, taking as his
starting time the overall exposure time and increas-
ing the time from there. Once satisfied with the tone

of the area on the test strip, the photographer can

make a full-sized print and burn-in the area for the

amount of time indicated by the test strip. The photo-

grapher can also use trial and error to determine how

much additional time an area needs, making edu-

cated guesses based on each print he attempts.

Obviously, past a certain point, continued light in

an area of a print will turn that area black. This can

be used to the photographer’s advantage if he is

interested in creating, for instance, an artificial vig-

netted-edged effect—here, the photographer would

burn-in each edge for a sufficient amount of time to

turn the edge black, making sure to feather the

edges into the rest of the print. Using this technique,

the photographer can change the appearance of the

format he is printing, such as by burning-in the

edges to a circular or oval shape.

Burning-in can also be used to create other visual

effects in the darkroom. Just as edges of burned-in

areas are softened by moving the burning-in tool for

the duration of the additional exposure, hard edges

can be created by holding a piece of opaque paper

with a specifically cut out area stationary between

the light and the easel. While most photographers

want any burned-in areas of their prints to blend

into the non-burned-in areas, there are certainly

ways to play with the obviousness of burning-in.

Burning-in can be helpful in evening out tones in

prints made from uneven or thick negatives, the

additional light often bringing out information

that did not come through in the initial exposure.

Most digital image manipulation software in-

cludes a variable-sized burning-in tool, which can

be moved across the image to darken certain areas.

However, it often seems that digital burning-in

quickly de-saturates and muddies colors, rendering

them less vivid than non-burned-in areas. While it

can be a useful tool, burning-in seems best used spar-

ingly and in small areas, both digitally and in tradi-

tional darkrooms.

JENNYALLREDRedmann

Seealso:Darkroom; Dodging; Enlarger; Exposure;

Manipulation

Further Reading

The Focal Encyclopedia of Photography. New York: Focal

Press Ltd. (McGraw-Hill Book Co.), 1969.

International Center for Photography: Encyclopedia of Photogra-

phy. New York: Pound Press (Crown Publishers Inc.), 1984.

McDarrah, Gloria S., Fred W. McDarrah, and Timothy S.

McDarrah.The Photography Encyclopedia. New York:

Schirmer Books, 1999.

Swedland, Charles.Photography: A Handbook of History, Materials,

and Processes. Atlanta: Holt, Rinehard and Winston, Inc., 1974.

BURNING-IN