I think a lot of the plastic skin issues revolve around settings
as well as pixel densities. In all honesty, I haven't really
seen the plastic skin with most 20D photos, whereas the 10D
really jumped out at you. However, get the ISO cranked up high
and let the camera do noise-reduction and watch out. My biggest
issue with Canon skin isn't the plastic look, but the actuall
skintones themselves. I realize they are on-screen JPEGs, but
Chuck's orchestra pictures illustrate this. The shadow tones in
the skin just don't look right to me.
Actually, there is a parallel here. Fuji NPS/NPH films tended
to have a slight colorcast in the shadows. Kodak films tended to
remain neutral. I shot archetechural stuff on both films and the
differences were night and day. The midtones and highlights
remained pretty much the same, but there was no denying the
difference in the shadows. What I see with the Canon DSLRs is a
mimicking of the Fuji films whereas Olympus is definitely more
Kodak like. Whitebalance correction isn't the answer because
the colorcast is non-linear.
As to the subject of correcting skin blemishes, I have
conversations with the "powers that be" and discuss this.
Teenagers will be Zit-City and I almost always whack them out.
During the photo-selection process, I take one picture they are
interested in (or that I know they'll really prefer over the
long haul) and will open it up on the screen and illustrate the
healing brush. For comic relief and to put everybody at ease, I
use the clone tool and place an eyeball in the middle of the
forehead. If I know there might be a cultural or religious
problem with placing a third eyeball in the middle of the
forehead I'll grow an ear down on the chin or give them a second
mouth. For the real stuff though, I use the healing brush on
the most aggregious temporary skin flaws and then duplicate the
base layer, apply a gaussian blur to the duplicated layer and
lightly blend that back in. This softens the picture without
turning everything plastic or blury.
AG
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