Slices in Light

Roski has been experimenting with what he calls "charro-scurro."    He  wants to capture the transluscent effect of light in the dark and shady forest. 

"But," he says with a certain swagger-of-lingo, "when I bump up the shadows, even just a tad, the picture becomes all tutti-frutti and looses it shimmery."

 "The same, happens, if I tone down the near blow outs in the whites," he ads. 

1st slice

2nd slice

3rd (final) slice

What seems to happen, I suggest, is that by making objects in the  shadows more visible you detract from the contrast between charro and scurro that the eye notices when it first sees the picture.   There are also subtle but sensible changes caused by even a tad more light reflecting around the picture as a whole. 

"But aren't blow outs and burn outs bad to have?"  Roski asks.

Do you see unseeable darks in real life?

"Well, yes, I guess." 

Then do what you like.