Bring a Photograph to Life Using Levels With Zones
videos

Bring a Photograph to Life Using Levels With Zones

Final Product What You'll Be Creating

In this tutorial you’ll learn how to use levels in Photoshop to add a spark of life to an otherwise dull photograph. We’ll divide the image into different zones in order to process them independently, achieving an interesting look. Let’s get to work!

Republished Tutorial

Every few weeks, we revisit some of our reader's favorite posts from throughout the history of the site. This tutorial was first published in May of 2010.


Watch the Video


Step 1

The first step is to open the image to pre-process it with Camera Raw. If you have a raw file (like .CR2 files on Canon cameras) just open it in Photoshop. If you are using a JPEG image to start, go to File > Open As, choose “Camera Raw” as the file type and open your file. Then the Camera Raw dialog will appear.

Open file in Camera Raw

This is the original image:

Original image

Step 2

Increase the temperature using the first slider. We’re looking for a warm look, so choose a value close to 8000k. Also, decrease the saturation to give it an older look. Do not change Contrast or Blacks as we will be changing them later using levels and curves.

Temperature and saturation in Camera Raw

Step 3

Go to Lens Correction and add some Lens Vignetting by moving the Amount slider down to -21. Then hold Shift and the “Open Image” button will change to “Open Object”. Click it.

Vignetting in Camera Raw

Step 4

Before starting to tweak levels and curves, remove anything you don’t want in your final image. In the example image there was a girl in the bottom left corner that I had to remove using the Clone Stamp Tool (S). Right-Click the layer and select Duplicate Layer, click OK and then Right-Click the new layer and select Rasterize Layer.

This way you will keep a copy of the original raw file that you can edit in Camera Raw just Double-Clicking on the layer’s thumbnail. Do your cloning and healing process in the new layer.

Removing unwanted people and objects from image

Step 5

Now we will start working with the different zones of the image. We can divide our image in 5 sections:

  1. The left walls in the foreground.
  2. The right walls in the foreground.
  3. The white building in the background.
  4. The road.
  5. The sky.
The five zones of the image

Step 6

We will start with the 4th zone: the road. Choose the Pen Tool (P) and select the Paths option (second button) in the upper toolbar. Now draw the shape of the road.

Selecting the road with the Pen Tool (P)

Step 7

Once you finish with the Pen Tool, Right-Click the newly created shape and select Make Selection. Make sure Anti-Aliased is ticked and Feather Radius is set to 0px, then click OK. Now go to Layers > New Adjustment Layer > Levels and create a new levels layer called “Road”.

New Levels Adjustment layer on selected zone

Now let’s adjust the levels. Double-Click on the Road Levels layer and the Levels Adjustment window will appear. Now move the black handle to the beginning of the histogram, and the white handle to the end of the histogram.

This increases the contrast of the area, as the white point of the histogram matches the white point of the area, and the same with the black point. However, you have to be careful because the smaller the area between the black and white handles, the less information you leave on that area. Move the middle handle to the right until it looks good.

Levels Adjustment

Step 8

Now repeat the process with the first, second and third sections (refer to Step 5). Use the Pen Tool (P) (or any other selection tool you prefer) to select the area, make a new Levels Adjustment Layer and move the handles to match the histogram.

Sometimes, like with the left wall, it’s good to make more than one adjustment layer: one for the whole area, and another one for a smaller area within. For instance, for the left wall I used a layer for the whole building, and then another layer for bottom floor of the first building.

Comparison of no levels, some levels and full levels adjustments.

Step 9

Once the road and all the buildings have their own Levels Adjustment Layer, let’s work with the sky. Right-Click on the first layer (the original image, not the rasterized one) and select New Smart Object via Copy. Rename the layer to “Sky Layer” and move it to the foreground. Double-Click it to edit it in Camera Raw and use the following settings:

Camera Raw settings for sky layer

Notice that we have decreased the temperature, in order to cool the sky a little bit. Also we have decreased the exposure and increased the contrast in order to get some details in the clouds. Now use the Pen Tool (P) to select the sky, bordered by the buildings’ roofs.

Right click the new path and choose Make Selection, and use the selection as a mask for the Sky layer. It’s good to feather after having set the mask rather than before, as you can see how the different values for the feather work in real time, using the Masks panel.

Selecting the sky

Step 10

The buildings are very bright, and the sky is quite dark, so let’s ease that difference a bit. Create a New Smart Object via copy from the original one and use these adjustments in Camera Raw:

Camera Raw settings for new layer

Rename the layer to “Sky surroundings” and Ctrl-Click on the mask of the Sky layer. Go to Select > Modify > Expand and use a value of 100px. Choose the Sky Surroundings layer and then click on Layer > Layer Mask > Reveal Selection. Now it’s time to feather the mask a little bit using Select > Refine Edge. A Feather value about 70px is OK, but experimenting is key.

Comparison, with and without Sky Surrounding Layer

Step 11

To end up, make a loose selection of the sky and make a new Levels Adjustment Layer to tweak it a bit. Optionally you can add a global levels layer. Now go to Layer > New Adjustment Layer > Curves, name it “General Curves”, and choose Linear Contrast from the dropdown menu on the Adjustments Panel. It will increase the general contrast a little.

General curves adjustment

Finally, let’s add a black border: Go to Image > Canvas Size, disable Relative, and use 50px as width and height. Click OK, create a new background layer and fill it with black. We’re done!


Conclusion

Although the process is pretty simple, the results are quite impressive. Here you can compare the original image and the final one.

Comparison of before and after

And the final result:

Final result

Thanks for reading, and let us know whether you feel this effect is useful for any of your own images!

Tags: Videos
  • http://www.ricardofilipe.com Ricardo

    I can’t help but to feel like I’ve been stabbed directly in the heart everytime I see a photography tutorial which relies so much on hard and zone manipulation. As a photo piece, the final result means very little to me, and I liked the visual result before I knew what was going on here. It’s the process itself that killed it for me and removed all of its photographic value.

    Sorry I just had to let it out. Your tutorial is very good at a manipulation level, with some good tips on dealing with RAW. Indeed useful. But the whole thing makes me a bit sad watching what photography has become; zone manipulation and clone tool.

    • http://www.flickr.com/photos/jcwighton/ Jacob

      Hey Ricardo. I don’t really agree with what you’re saying, though I see what you mean. Although I myself try to avoid zone manipulation and cloning, I would say that photography is an art-form. A photo is just the basis upon which you can express your vision (like a painting or sculpture) so the means, although it sometimes seems like cheating, isn’t really important.

      If you take photos more for like, documenting a memory or photojournalism or something, it’s a different story though.

      • http://patareco.carbonmade.com/ Patareco

        You just expressed my thoughts on the subject! Thanks!

      • http://www.stevendavisphoto.com Steven Davis

        +1 to this

    • Joaquin

      You are quite right.

  • http://mikelegrayphotography.posterous.com Mike

    Excellent tutorial, thank you very much indeed!

    @Ricardo; Photography has always used this method. Dodging and burning would be used in the darkroom to achieve the desired effects. Ansel Adams, generally considered to be one of the greatest photographers the world has ever seen, was a master at working with zones.

    The only difference is, now it’s done digitally. Are you saying that any manipulation to a photograph is wrong? If so, how can you say that the final result means nothing to you?

    The ‘Before’ photo is a RAW file. Therefore it hasn’t had any of the kinds of influence added to it that would have been present, had it been shot on film, or as a JPG.

    In the past, a photographer would have to choose what he wanted the ‘final result’ to look like and based on that, would decide what film to use and what areas to dodge and burn when processing it.

    Now we can take a shot and make those decisions once we get them on to the computer.

    If you think that the photos of old that make your jaw drop through the magnificent range of exposure weren’t manipulated in the darkroom, then you need to do some reading, my friend.

    • 7

      Adam’s zone system has nothing to do with this technique at all. Not even a little bit. The Zone System you refer to deals with properly exposing a photograph in the first place. This tutorial is about altering an image via artistic expression.

      • oldred

        But Adams did selectively burn and dodge sections of his photographs to achieve the look he wanted, similar to what this tutorial has shown. Read the third book in his photography series, The Print. It talks about how he would create and manipulate the print to create his photos.

  • http://binaryd.com Stephen

    Nice tutorial on how to use some of the tools inside of Photoshop to edit levels – though you can achieve the same selective adjustments to tone exclusively within ACR.

    I’m not sure I particularly like where you took the image though. The edges of each area are harsh and obviously unnatural. The human eye knows how things are supposed to look and will quickly catch transitions from natural to manipulated. Particularly around the satellite dish and edges of the buildings with the sky – they’ve practically gone black.

    I don’t agree with editing the girl out. I think that you should either have waited for her to pass and take the picture again – or better wait for her to make it further into frame and use her as a compositional element. She would help add a feeling of life to the image which I think would have made for nice juxtaposition with the pretty drab and dead scenery.

  • TJ

    The ability to manipulate an image on Photoshop is in essence no different that the manipulation by the photographer when he/she composes the image in the camera. The photographer/artist is at that instant capturing a portion of world/environment that they wish to capture for themselves or to convey to others in the form of a photograph. They are manipulating the environment through the technology of the camera (film or digital) and capturing a mere sliver of the world around them and presenting only that sliver to the viewer. This manipulation with evoke thoughts and feelings, some of which the photographer intended and some that were not intended. Some viewers will focus on the simple beauty of the image, some will focus on the lines, some will focus on the architecture, some will focus on the colours, some will focus on the textures and some will focus on the sky or the weather. Following the logic of some of the comments a true purist would take a camera, set it on automatic, take a 360 degree sphere panorama and then let the viewer choose which portion of the image they wish to look at. If one chooses to take photographs then one is choosing to manipulate the environment because the exposure latitude of the camera sensor will never equal the exposure latitude of the human eye and can therefore never capture the true essence of that moment in time and space which will include the sounds, smells and weather conditions of that moment. As with most art if you don’t like it then don’t look at and/or go out and take the image yourself and post it.

  • byrn

    digital photography. There must be a reason on the word “digital” there…

    Just my personal opinion. “RAW images contain more info than the jpegs”, these infos are meant to be used in processing the pictures. Previewing it would not make a difference comparing to a jpeg. If one don’t fancy digital manipulations, I would suggest using a film camera instead.

  • http://photo.tutsplus.com/tutorials/post-processing/bring-a-photograph-to-life-using-levels-with-zones/ Daniel

    My version of an image by playing with zones and levels from this tutorial

    http://www.flickr.com/photos/denisart/4685095122/

  • http://www.stevendavisphoto.com Steven Davis

    Great tutorial. Would be much harder on a landscape shot with less hard lines, but nice principals :)

  • Bobo

    The whole “purity of straight through the camera” argument always gives me a chuckle.

    When you use a zoom lens…. do you have eyes like superman…. or are you altering reality?
    When you take a 30 second exposure…. do you have eyes like a cat…. can you see in the dark?
    When you crop….can the human eye give you such selectivity?
    When you use the Image stabilization on your lens… do you normally have the hands of a surgeon?
    When you use your flash… are you not creating an artificial light source?

    The camera is a tool to capture light… and not as effective as the human eye. It has been manipulating reality almost since it’s creation.

    I normally would avoid this topic like the plague……because it brings up passions…. positive and negative.

    Tell me Ricardo….. do you think the realist painters were saddened by what Monet turned painting into? Do you think Monet was saddened by photography? I mean you aren’t creating anything…. you’re just capturing what’s there…right?

    I apologize if I seem overly sarcastic. No offense intended.
    I doubt I will change your opinion….. and I doubt you will change mine.

    De gustibus non est disputandum

  • Kris Hunt

    Why not just bracket your shots and do a real, tasteful HDR? Seems like it would be more authentic and a lot less work.

  • juan

    this post is old