p.3 #1 · Is this as good as it can get or I am missing something?
Malka_1 wrote:
The OP is satisfied with the revised imaged she posted a couple of days ago!
The only change I made since then was to reduce the blue tint in beak and feet, want to get around to the eye too. It was an overcast day, so blue shouldn't have come from the sky but rather from camera AWB.
Re. wing and other colors - I pulled out my trusty "Field Guide to Birds of North America" from National Geographic and they took an easy way out - the wing color is dark grey. Now, if I were submitting a photograph for the next revision, I'd have to make sure it's factually accurate but as it is it works for me.
It probably goes without saying, but my main goal wasn't to perfect that specific image, but to learn the techniques that would make my photography better. Something wasn't right and I was trying to understand what and why.
I appreciate everyone's input - it's been a great exposure to different schools of thought. It was all worth learning, for this case or a different one in the future....Show more →
Cool ... there is another point for consideration ... if using AWB ... sometimes when you have a siginficant amount of green in a photo, particularly bright greens or under heavy canopy, etc., the amoung of magenta being applied can be a kiss of overcompensation. That's not to say it was / wasn't ... just a point of experience that it can happen, too. Part of what makes it a "judicious" study, rather than a simple one-click approach, to understand the lighting of the scene.
Tony's point abou AI/AR vor the blue sky can / will induce such blue catchlights ... yup. It is an individual decision whether to keep it blue, or neutralize it, or if it is an indication of a need for global correction / adjustment. Many times, the spherical shape of the eye will be a reflection of NOT the KEY light, so global correction is not indicated by the blue catch light, rather a preference to if you want the shadow areas to reveal the blue fill of the sky.
Imo, it often is like having a neutral or warm key light in the studio, and then a gianormous Softbox / umbrella fill on low power with a blue gel. The main key light overpowers the blue light, with only the areas receiving little key light, then being color cast by the blue fill lighting. The open sky is like a gianormous softbox, particularly when directed away from the direct, warm sun rays (i.e. specular warm vs. diffuse cool), as it passes through the atmosphere.
