Photo manipulation is a modern term for a wide variety of digital techniques that were completely unknown to film photographers, or required long periods in the dark room dealing with complex chemical and light manipulation operations. In this article I want to share a technique I've found that allows me to discover unique and valuable images in my photographs. Basically, what I call tonal abstraction is a combination of extracting or abstracting elements of the photograph using the tone curve.
The photos I'm going to discuss each have a dominating figure and a background The nude figure provides a clean simplicity of figure without the clutter that clothing introduces. In this first photo, Running Abstracted, she could be thought of as wearing a skin tight suit, perhaps a special space suit for nymphs from some other planet that happen to be visiting my forest.
In photography, the term "tone" refers to the shades of grey in a black and white print. Ansel Adams' zone system is based on the concept that a photograph should exhibit a well distributed range of grays from black to white. With color, we are also looking for a reasonably even distribution within each of the colors present.
The histogram is a diagram that graphically displays the actual range of tonal values present in an image. Most cameras and photo editing programs will show you this diagram and much has been written about how to read it. This article from Cambridge is one of the better ones.
The "ideal" exposure has an even distribution of tones present in the scene being photographed. The out of the camera version of this photo has a good distribution of tonal values, though most of pixels in this image are on the darker side, moving the hump to the left.
In this image we want the fairly high contrast between the light figure and the darker background. If we were to use camera settings or post processing to shift the hump to the middle, we'd end up with a washed out or "flat" looking image.
What I call tonal abstraction is done by adjusting the tone curve so that I am abstracting or extracting what I feel is the essence of the image. I do this primarily by changing the shape of the tone curve, although I may tweak other aspects also. The basic shape of the tone curve is a diagonal across from darkest on the left to lightest on the right. Pulling a point up lightens the values of the pixels in that part of the tonal range. But it's not always obvious what's going to happen until you try playing with the tone curve control that is present in most photo development software.
The tone control enables you to do what in film days was a maneuver involving complicated operations at various stages of the film development and printing process. There were many variations, using quite different techniques, that are now all in the modern tone curve.
The wikipedia article on Posterization deals with one kind of current digital technique, while the article on Solarisation discusses the film techniques. This site by Motoyuki Chino, a Japanese photographer, gives some great examples of film tonal work. I hadn't seen his work before, and I really glad to have found it. His work is stunning and inspirational!
For my digital manipulation from this original to a tonal abstraction, I wanted to emphasize the figure and the motion of the figure. I decided the darker background on the left of the tone curve needed to be close to "reality" and that I wanted the figure emphasized or abstracted from reality by modifying the lighter tones on the right.
I discovered two versions that I like quite a bit, very similar, but with different feels. The top one is more forceful, the bottom one more energetic.
The links from the captions will take you to a buy page where you can also see the image in a much larger form. To the right is a comparison of the face detail at full resolution (the size I uploaded these at is 705 pixels square.).
In this next one, I opted to extract the figure and abstract the background. The original image has serious overexposure problems in the entire upper background areas, and underexposure problems in the lower right area. In other words, the original image will not make a decent print if the aim is realism because the available lighting just doesn't work for that. But it does work quite well for this tonal adjustments are made and the aim is an image the extracts the essence of the pose.
There have been various movements in the history of photography. Early in the last century, there was spirited debate about whether a photograph should portray realistic reality, or if photography was just one more tool in the visual artist's palette. The realistic point of view dominated the photography as art scene during the its initial appearance in art galleries.
Marina Cashdan, Writer and editor at Huffinton, posed the question:
My artistic vision includes room for that possibility, and I am offering some of my photographs as candidates in this area of photography.
Some photographs work better when they are realistic, some work better when painterly, and some work fine either way.
This next pair of images both work, though they are quite different. The one on the left is better suited for digital display, while the one on the right works for both digital and print. I'm finding that low key images seem to work better on digital displays than they do on paper. A darker image on a digital display is lit from within, but in a frame on a wall, the print will only work if the lighting is just right. The photo on the left is pretty much as it came out of the camera, while the one of the right is a tonal abstraction of the entire image.
This next one reduces the image to very bare essentials. We have something that looks more like an original painting than a photograph. In fact, the original photo, on the right, looks pretty surreal due to the way it was set up and shot. So tonal abstraction can be done using the camera and special lighting arrangements, which makes sense because lighting determines the tonal range and tonal values.

The photos I'm going to discuss each have a dominating figure and a background The nude figure provides a clean simplicity of figure without the clutter that clothing introduces. In this first photo, Running Abstracted, she could be thought of as wearing a skin tight suit, perhaps a special space suit for nymphs from some other planet that happen to be visiting my forest.
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| Running Abstracted 1 |
Tones and histograms
The histogram is a diagram that graphically displays the actual range of tonal values present in an image. Most cameras and photo editing programs will show you this diagram and much has been written about how to read it. This article from Cambridge is one of the better ones.
![]() |
| Original exposure values |
In this image we want the fairly high contrast between the light figure and the darker background. If we were to use camera settings or post processing to shift the hump to the middle, we'd end up with a washed out or "flat" looking image.
What I call tonal abstraction is done by adjusting the tone curve so that I am abstracting or extracting what I feel is the essence of the image. I do this primarily by changing the shape of the tone curve, although I may tweak other aspects also. The basic shape of the tone curve is a diagonal across from darkest on the left to lightest on the right. Pulling a point up lightens the values of the pixels in that part of the tonal range. But it's not always obvious what's going to happen until you try playing with the tone curve control that is present in most photo development software.
![]() |
| Tone curve adjustment |
| More complex curve adjustment |
For my digital manipulation from this original to a tonal abstraction, I wanted to emphasize the figure and the motion of the figure. I decided the darker background on the left of the tone curve needed to be close to "reality" and that I wanted the figure emphasized or abstracted from reality by modifying the lighter tones on the right.
I discovered two versions that I like quite a bit, very similar, but with different feels. The top one is more forceful, the bottom one more energetic.
The links from the captions will take you to a buy page where you can also see the image in a much larger form. To the right is a comparison of the face detail at full resolution (the size I uploaded these at is 705 pixels square.).
Tonal Extraction, or Background abstraction
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| Morning sun coming through the trees |
In this next one, I opted to extract the figure and abstract the background. The original image has serious overexposure problems in the entire upper background areas, and underexposure problems in the lower right area. In other words, the original image will not make a decent print if the aim is realism because the available lighting just doesn't work for that. But it does work quite well for this tonal adjustments are made and the aim is an image the extracts the essence of the pose.
There have been various movements in the history of photography. Early in the last century, there was spirited debate about whether a photograph should portray realistic reality, or if photography was just one more tool in the visual artist's palette. The realistic point of view dominated the photography as art scene during the its initial appearance in art galleries.
Marina Cashdan, Writer and editor at Huffinton, posed the question:
When photographs look painterly, does that offer a unique quality?
My artistic vision includes room for that possibility, and I am offering some of my photographs as candidates in this area of photography.
Some photographs work better when they are realistic, some work better when painterly, and some work fine either way.
This next pair of images both work, though they are quite different. The one on the left is better suited for digital display, while the one on the right works for both digital and print. I'm finding that low key images seem to work better on digital displays than they do on paper. A darker image on a digital display is lit from within, but in a frame on a wall, the print will only work if the lighting is just right. The photo on the left is pretty much as it came out of the camera, while the one of the right is a tonal abstraction of the entire image.
![]() |
| Buy link to the one of the left; buy link to the one on the right. |
This next one reduces the image to very bare essentials. We have something that looks more like an original painting than a photograph. In fact, the original photo, on the right, looks pretty surreal due to the way it was set up and shot. So tonal abstraction can be done using the camera and special lighting arrangements, which makes sense because lighting determines the tonal range and tonal values.

There is much less of an erotic feel in the original for this next abstraction. The fabric became more translucent as a result of the tone adjustments.
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| Resting |
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