Mark Metternich
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Details for the more techie minded:
This general area has been a favorite of mine for a long time, I just have never found the time to develop an image until today as I have finally had a rest day after finishing peak of fall in Glacier National Park (and got snowed out). Tomorrow I head to the great Pacific Northwest, then back to GA (Cypress Trees) and then Florida (home). For those who may know, I very recently bought a brand new 2018 Toyota 4Runner, I'll have over 15,000 miles on it soon.  Maybe with what I put vehicles through, I should have gotten all those warranties!
Processing:
This is pretty straightforward processing here, with the exception, that after I finished it in Adobe Lightroom, I clicked through all those really cool New Raw Profiles and found one that I really liked, and introduced a small percentage of it into the look of the image.
For those who do not know about the New Raw Profiles (Adobe Camera Raw added them recently), they are lossless adjustments that are made to the Raw file BEFORE they come into Lightroom or Camera Raw. Basically, Adobe uses software to create the Creative Profiles and after you are done with an image (how I like to do it) you can click through them and see if they are doing anything to your image that you may like but might not have thought of in terms of rendering possibilities. I find them very useful in a handful of images and believe Adobe really upped their Raw game with them (ESPECIALLY the new Black and White Profiles). I won't talk about it much here but in passing, I'll say that just about everyone knows that making black and whites in Raw, up until recently, has not been a very inspiring place to do so! This is no longer the case!
As I teach post-processing and especially get into the totally lossless 32-bit Raw Smart Objects workflow now possible in Photoshop (yes, Raw files in Photoshop!) we often play with different ways to create more depth in images, and especially some techniques of reducing shadow saturation using the Layer Style / Blend If sliders (like a Luminosity Mask but with more real-time flexibility built in). It has worked so well in helping others create a more mysterious feel to certain images that I decided to use a twist on the technique here.
Also maybe worth mentioning, FM member, Robert Park of Nevada Art Printers (arguably the best and most knowledgeable fine art printer in the world) has come up with some brand new ways of sharpening images for enlargement that are extremely exciting and totally cutting edge (BTW, maybe watch out for Nick Pages podcast coming out about this). I would never have believed the results a handful of years ago.
Well, a small twist on those techniques were applied to this image, but for the web (display viewing vs. print). Unfortunately, if you are on a high pixel density monitor (4k or worse 5k...) you will not be able to see the results here. But the idea is pretty cool IMO.
Here is just a bit about it:
What gives away the first indications of oversharpening?
Answer: the lighter side of the sharpening halo.
Generally speaking, sharpening is an artificial way of detecting micro edges and then adding contrast (a lighter halo and a darker halo) to all those micro/mini edges but at such a micro level, it makes our brains think the image has more detail. Well, it is the lighter side of those halos that the brain first begins to detect artifacts (indications of oversharpening). If you can control the lighter side the halos, there is usually room for more sharpness within an image. That and some other things are literally revolutionizing image sharpening today, especially for fine art print enlargement! For those who follow my work, some new stuff is coming out about all this soon.
All the best to everyone and I hope you are getting out through the peak of Autumn/Fall for all those great images before winter kicks in full force.
Have fun and see you out there!
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