Andrew, you asked me to post some of my pictures (whether for you to pounce on or to admire, I don't know).
Reminiscing about the old days, it's too bad you had to struggle with crude tools to make pictures for Microsoft. During the early 90s, I used Silicon Graphics machines and Maya (FKA Alias) software along with a bevy of custom applications while having unlimited access to a studio equipped with a high end video camera rigged for motion control (X,Y,Z,R, pitch, yaw), Mole Richardson lights/modifiers, and any kind of grip equipment imaginable. I often combined CGI with digital video captured on the motion-control rig. I worked on projects for WGBH (Boston), ESPN, The Cartoon Network, The Sci-Fi Channel, Ocean Spray, Heidelberg, Polaroid, CVS, and more.
In the 1980s, I produced, designed, and photographed motion graphics and FX sequences onto 35mm cine film. Shooting with a pin registered camera, much like a 1920s Mitchell but rigged for motion control, was technically challenging.
Prior to retirement, I was the sole proprietor of a studio specializing in restoration, retouching, and reproduction of fine art and antique documents for NGO archives, museums, academic institutions, foundations, and a few Fortune 500 companies.
I studied dogs for years, learned how to photograph them, and earned a reputation as a dog portrait photographer known for clean minimalist portraits that captured the true character of pet dogs. I enjoyed that work the most. I guess you like dogs too as your moniker suggests.
You asked me to post something other than a "lamp post." Here are a few. The picture of the grassy field was taken last week with a Pen F and a cheap $59 reconditioned kit lens. The "Field" required hardly any work in post. I printed it on premium luster paper, relative intent (I observed no difference when toggling BPC on and off). The shot is more or less straight out of the camera. ... "Haircut" was taken with a Pen F and the miraculous 12-100 f/4 Olympus pro lens. "Phillips 66" was taken, handheld, with a FF mirrorless camera. Can you tell how much time, if any, was spent tweaking the nighttime photos? Does it matter? The prints sparkle (both printed onto premium luster paper, rendering intent set to absolute).
Incidentally, I always shoot in RAW aRGB. The prints are more nuanced than what you are able to view on the screen. I made double sure the files were tagged for sRGB. If they are not tagged, I don't know where to attribute the fault.