This was certainly not a PPW 3-minute exercise! However, I barely noticed the time ebbing away because it was such an exciting challenge. As a student of Late Antiquity, I am partial to marble, gilding, and carved, painted ornament. So working with the altar was most exciting for me and eliminating (or at least minimizing) the dreadful yellow cast.
However, the choir was the subject. As flesh-tones are rare in my work, I had to go running for the Canyon Conundrum to get my bearings with caucasian skin. I tried to do much in LAB but just could not fiddle those curves with Dan's finesse, getting the fleshtones into the zone and keeping the changes out of the background and gold. So I went back to my RGB efforts and tried a second time, experimenting so much with channel blends that I had to pull out a spreadsheet to keep track of the many options tried and untried. Sometimes I see the path ahead clearly with these blends & modes, where one channel is weak and can be helped by another. But this time I had to resort to dumb trial and error. Hopefully, proficiency will come with more practice... with channel blending AND with curving in LAB
The fun thing about experimenting is that even when a move does not do what you want it to, you never know when it can come in handy later. As I was laboring with the skin-tones, I remembered that one of my blends had a marked effect mostly in the faces. Since I was keeping notes, I could actually go back and find that move. That (and a Channel Operation) finally enabled me to isolate the flesh in LAB and bring it into true, by the numbers.
Some people remarked that they were trying to get more detail in the conductor’s black dress. I don’t understand why anyone would think this is important. This image is already very busy with things we *do* want people to look at.I for one did not want a big black featureless creature from the black lagoon looming in the foreground.
Looking forward to having my efforts raked across the coals and learning something tasty in the process.