As we have done in previous chapters, let's summarize what we have managed to accomplish here.

Well, we have certainly been reminded once again that good observation and reference gathering can be the factor that determines whether or not we end up with simply a nice-looking render or a genuinely photographic one at the conclusion of a project. If we have observed and so come to understand how colors ought be working in our daytime lighting setups, then not only will we be able to tell when things are looking correct in our renders, but will also know how far, and under what conditions, we might be able to mix things up and push the boundaries a little.

In terms of working with V-Ray, we have seen how we can use color control options, such as Ozone and Turbidity, in the V-Ray Sun to mimic different atmospheric effects in a daylight setup, while at the same time showing how we can add variety and realism to the skylight portion of our renders by means of image-based lighting (IBL).

Having...