During editing, my primary focus was on refining the atmosphere of the images rather than heavily manipulating them. I reduced the overall vibrancy to create a more muted colour palette, without turning the images completely black and white. This was intentional as I feel the subtle presence of colour, suggets that something still exists within the scene, while the lack of full vibrancy implies that it is diminished, distant, or already past. To me, this restrained use of colour reinforces the concept of absence, not as complete emptiness, but as something partially removed or faded.

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I avoided heavy contrast or dramatic tones as I wanted the fog to remain soft and dominant within the images. Maintaining gentle highlights helped preserve the white negative space created by the fog, preventing it from becoming overly harsh. This ensured that the fog continued to function as both an atmospheric element and a conceptual device, rather than simply a visual effect.

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Very little cropping was required during post production as I was extra mindful of composition at the time of shooting. Paying close attention to framing, balance, and negative space on location meant that the images largely translated as intended straight out of camera.

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Overall, the editing process was used subtly to enhance the mood and conceptual intentions of the images rather than dominate them.