Now, let me work on the environment around the cliff. So I'm selecting actually the objects and not the background, which means the temple and everything. I'm inverting the selection by Control Shift I, I'm going to expand the selection by five pixels. Click "Okay". Now on this new layer, I just created above our color fill layer. I will begin painting the background. So what I want to do here is actually I'm trying to create the opposite color to add some drama to our scene. So I'm going to select an orangeish color, warmer color, on our spectrum here. Let's create a gradation. Let's do it a little bit more towards these areas. This is where I told you that we're probably going to have to adjust some of the cracks on the bridge, because we use the purple from the background color and now we have an orange as our backdrop color. So most likely, we're going to have to adjust some of those areas but it's not a problem, I mean, it's pretty expected. So let's try to add some of this gradation now over the cliff we created. What I want to convey here is actually the idea that there's something down there. It could be a village with the torches and the light coming from this village, or it could be lava from a volcano. We don't know. It's someplace we cannot see actually, because it's so deep but there's this orange warm light emanating from it. Of course, this also creates a good color contrast for our image. So now what I'm doing is, I'm using the air brush and I'm brushing on top of those lines I created on the cliff. So I can have a better integration between the cliff and the background behind it. So now at our cloud pass layer, I'm selecting the cliff again. So let's go back to our painting layers. On my newly created layer, I'm actually trying to get rid of this lines on the side of the cliff but now, I'm being very careful with the pressure of my brush, because I wanted to create the structure here. I don't want to completely obliterates the idea that there is some sort of solid structure here. I don't want to give the impression that the cliff is floating in space. So, let's try to now paint over these areas and I have the clip selected, so let me deselect the cliff, and let me select again this portion of the beauty. What I want to do now is, I want to reinforce the cracks on this beauty, and now with more definitive colors. So that's pretty much the same procedure we did before, but now I'm trying to create this with the color which we're not going to have to replace afterwards. This is actually is going to make everything much more feasible, because of the contrast not only of color but also of tone. So I'm trying to work with close neighboring colors. So we have the perfect integration between the passage and the background. Let's work a little bit more here. Since this is actually not the main focus, the main focus is to bridge, I'm not going to overboard with these details here. So I'm just trying to fill this areas with surrounding colors. I'm trying to get rid of the lines now by painting on the mask. Always be aware that you can hide and show any portion of your scene by working with masks. It's one of the best ways that exist to work in a manner that we call non-destructively. So you can always go back and forth if it work with masks. Now let's go and edit the bridge. So again, by using close related colors, I'm trying to get rid of the imperfections I created with the background color before. This is going to make our seen much more convincing. So take your time and correct all the areas you think you should go over. Now there are some imperfections which are outside the selection of the bridge, so I'm de-selecting the bridge and I'm paying over these areas. So you can have the perfect illusion that the bridges there out in the air and it's eroded. I'm just trying to get rid of this imperfections of this lines. This is the moment where you should pay attention to the entire image. You should be always on the lookout for details and errors, because they do happen. I mean, we're not perfect, we're not painting machines and sometimes we make mistakes. So look around trying to find these details, because in the end this is the difference between a carefully crafted image and the slop you want. So look for them. Now I selected my ground portion of the image. So to speak, so all the objects of the image except the background. I'm trying here to create a more interesting background. I inverted my selection Control Shift I, and I'm trying to create here a more convincing atmosphere around our objects in the foreground. I want to create the sensation that there's some vapor or some sort of particles in the air that the orange light bounces on the surface as well, so it doesn't become too isolated. Now I'm going to crop the image, I'm trying to find the better composition than we already have. So I'm trying to get rid of unnecessary areas and details, and this is also something common when you are working on your image for far too long. So try to see your image objectively. I think now the bridge is much more the center of attention.