Composition
The frame holds both birds, but the weight lands hard right. The white peacock draws every bit of attention while the darker one nearly disappears into shadow on the left third, creating an imbalance that fights the yin yang idea rather than supporting it. The ground you mentioned liking, that mottled light, actually does some work here. It's the only thing binding the two halves together, but the composition still reads as "one subject plus something else" rather than a pair in conversation. Shot off the hip explains the tilt and the way the fence cuts through at an awkward diagonal in the upper third. That diagonal competes with the birds rather than framing them.
Color & value
The value range is the real problem. The white peacock sits in the upper register, beautifully bright, while the black one drops into near silhouette with almost no middle tones bridging them. That ground you like, the mottled patches of light on the leaves and dirt, does give you some midtone structure, but it's not enough to connect the two birds visually. In my own work, when I shoot something with this much range, I'll often bring the shadows up and the highlights down in post just enough to let the eye travel between them without falling into a hole. Color is minimal here, mostly neutral browns and grays, which keeps the focus on form and light but also means there's no color relationship to reinforce the yin yang idea. The palette is doing nothing to help the concept.
Technique
The white peacock is sharp where it matters, those individual feathers catching light, but the black one suffers in the exposure. You exposed for the bright bird and lost detail in the dark one. In dappled shade like this, I've learned to meter between the two extremes and accept some recovery work later, but with a scramble shot that choice often gets made for you by the camera. The depth of field holds both birds in acceptable focus given the circumstances, which is the win here. The motion blur on some of the white feathers, just barely visible, suggests you were at the edge of your shutter speed. Not a fault for a moment grabbed quickly, just the cost of the grab.
Concept
The title promises balance, two forces in equilibrium, but the image delivers hierarchy. Yin yang implies equal weight, mutual dependence, but what's here is a spotlight on one bird with the other in a supporting role. The concept would be stronger if the birds were either more equal in visual weight or if the framing acknowledged the imbalance and leaned into it fully, white as subject and black as anchor. The scramble to get both in frame makes sense, but the idea you're naming needs either a different crop or a different title. When I shoot something fast and find the concept in editing, I let what actually happened shape what I call it rather than the other way around.
Marketability
Peacock images sell, but usually as decoration rather than statement pieces. This one sits uncomfortably between those two markets. It's not quite the clean, vibrant peacock portrait that goes over sofas, and it's not quite the conceptual piece that art buyers looking for metaphor would invest in. The Australia angle is worth something, especially to travelers or people nostalgic for the place, but you would need to decide whether this is a nature moment or a concept and frame the listing copy accordingly. As it stands, the title sets an expectation the image does not quite meet, which will cost you conversions when someone clicks expecting the balance the title promised.
Pricing
At 6x4, you're in postcard or small matted print territory. Seasoned work from Australia with a clean execution could reasonably sit at $40 for an unmatted print, maybe $65 matted, but the conceptual gap I mentioned above caps the ceiling here. Buyers paying for concept want the image to deliver on the promise, and this one leaves that idea half formed. Price it as a nature moment, a lucky catch of two display birds in decent light, and you'll land closer to honest value. If you pushed the concept further through cropping or retitling to match what's actually in the frame, you could ask more, but right now the title writes a check the composition does not cash.
What's working
You got both birds in display, which is the entire game with peacocks. That's not luck, that's reading the moment. The white one is genuinely beautiful, the feathers rendered with enough detail that the individual barbs catch light, and the posture is full and confident. The ground, which you were uncertain about keeping, actually matters. Those irregular patches of shade and sun keep the frame from being just two birds on dirt, they give the eye somewhere to rest between the bright and dark masses. The scramble paid off in that you have a usable file at all, something with both subjects sharp enough to print. I've shot off the hip plenty and had nothing to show for it, so getting this much is worth something.
What to push
The biggest opportunity here is deciding what this image actually is and then cropping to match. Right now it's trying to be a conceptual piece about balance, but the frame you have is about contrast and spectacle. One path: crop tighter to just the white peacock, let it own the frame completely, and title it something direct about display or light. Sell the moment you actually captured instead of the idea you wished for. Other path: if you have any latitude in the file, try a square crop that puts each bird in its own half of the frame with more equal weight, bring up the shadows on the black bird until it has some presence, and see if the yin yang concept starts to hold. But honestly, the first path is cleaner. The white bird is your subject. Let it be.
One next step
Open the file and try two crops side by side. First, a tight vertical on just the white peacock, eliminating the black one entirely and most of the ground. Second, a square crop with each bird occupying one half and the ground running between them as a center line. Look at which one feels finished and which one feels like you're forcing it. My guess is the vertical will feel like relief, like you finally let the image be what it wanted to be all along. If that's the case, retitle it, reprice it as a single subject nature shot, and move on. Chasing a concept the frame does not support costs more time than shooting something new.
Composition
If you are going to the yin yang comparison as the theme of the shot, putting the two birds centered like this is ideal. Thumbs up for composition.
Color & value
This is a tough love answer. I look at a photo before reading the title and description so first I checked out the image then read the info. For me, there are two issues in the category . The darks are too dark making the subjects blend a little too much into the surroundings. Because of this, at first glance, I missed the dark bird. The second is the breakup of the white bird by the slash of light. My first look saw the left portion of the white bird only. After reading the title, I looked again and saw the second bird and the yin/yang intention. The light values are working against your intention in this image which is not uncommon when shooting from the hip!
Technique
Good eye for finding a cool subject. Technical needs fall into the light issues -either through manipulating the camera or in post editing. Shooting quickly catches cool moments but often prevents setting the camera properly. If I had a dime for every time this happened to me, .... 😊
Concept
I like the concept ... Opposites provide great interest.
Marketability
I just have to say this and I apologize in advance - this is just my opinion. It would have been more successful if you had been able to capture the birds from the front. I can't get past that this is essentially a photo of the birds bottoms. Again, this is just me!
Pricing
All I can say about pricing is to give advice that was once given to me. Pick a price point per sq inch and stick to it as your rate rather than making price decisions every time. Have one for framed and one for unframed. So, for example, you pick $2 sq in unframed and $4 sq in framed. (Just easy numbers for my math sake!) You would charge $160 for an unframed 8x10 and $320 for a framed 8x10. The same image at 11x14 would be $308 and $616. This helps me stay consistent and not undervalue my work by making subjective decisions. Now, what your $ per sq inch should be..... ?
What's working
Keeping your eye peeled for opportunity, taking shots when you see them, composition, there is a lot going for you here. The lighting was just not your friend.
What to push
I would suggest presetting the camera to the area or practicing fast manual settings changes. Getting fast at changing settings will help impromptu photos.
One next step
I recommend trying to work with this more in post processing to see if you can pull out the birds more from the background by playing the the light. Keep up the good work and always try for the spontaneous shots!
Merci, c'était une belle réponse, comme c'était improvisé, c'était tout ce que j'avais. Après cela, les oiseaux se sont battus puis ont été séparés.
Je suis d'accord avec tout ce que Ruth a dit. J'aimerais voir une version rééditée où tu as masqué les oiseaux et éclairci un peu l'arrière-plan. Je ne suis pas sûr que tu puisses aussi uniformiser un peu la lumière sur le paon blanc.