Processing for this one was rather subtle, but still somewhat time consuming. I started working with the RAW file which included about 1/5 more on the left side intitially. I'd previsulized a crop that best fit the scene, as I usually do.
In RAW, I increased tint a bit to bring out the magentas, and then worked the blues to get a more of a cooler feeling to the image which was intitially a little more saturated in the reds (if you can believe that!). There was little adjustment to overall saturation levels. The mist areas ended up picking up too much magenta cast though, so I just sponged them off in CS3 at a later point, down to a more neutral grey. I processed the RAW once for everything but the rocks, and then again for the rocks at about +1 stop compared to the rest of the scene. The black rock was tough to control in a single exposure next to the highlights. I recall I made a slight curves adjustment to get the contrasts and tonalities balanced in the background areas too.
I took this out of RAW and did what I always do - subtle dodge/burns at low opacities to pull every bit of depth out of the scene - the most important step IMO, but nearly impossible to describe - just experiement here! We want to transcribe a three dimensional scene onto a two dimensional medium, so it usually requires a bit more than the camera itself will record. I tried to separate foreground and background as much as possible while retaining natural appearance. Someone with more PS skills than I would probably figure a different and perhaps more efficient way to do this, but this works for me and it looks flawless at 100% throughout (very important!).
The last thing I did was bring out some warm color and brightness to the side of the rock at left selectively, again to increase the three-dimensional quality. Subtleties like this are often overlooked in processing but can add a lot to the 'realism' factor IMO. Very painterly in a way I suppose. Painters not knowing the limitations of cameras of course, and being able to interpret the scene however they feel best conveys the experience of the place. I often look to the works of paiters for artistic inspiration. Look at how tonal values, luminosity and subleties in color are used to convey a scene in paintings, adding depth, inviting the viewer in and elevating the emotional qualities.
All and all this looks pretty close to the in-camera capture, as I captured it as well as I could in the field. It's really the subtleties that I accentuated in processing. Subtleties that add depth and highlight the emotional qualities for me.