Here I fixed all my perspective issues. It may be hard to tell from the previous step, but this step was quite tedious but very necessary for me as it assured me no headaches later on in the process. I made sure all the tops of crates, buildings, etc were correctly aligned so that the lighting pass I was going to make later would be good (Fig.07).
This was my first lighting pass, establishing a middle value, along with matching the same intensity throughout the painting. I did this with paint, levels, curves, and color adjustments. I also decided to make a crane that went across the piece to show more depth (Fig.08).
Now this is where the fun started, by adding shadows and painting in the lights. I usually paint in the lights by using a light neutral color, with an overlay layer mode. Step 8 made Step 9 possible, since I went with a neutral value. Adding shadows and a light multiply layer achieves what I was looking for (Fig.09).
I started refining everything, being a render freak that I am. I started making all the decisions here as everything began to come together. To give the areas contrast and help sell the realism, I added lighting to everything, from reflections in the water, to highlights on the rooftop of buildings. Overlapping structures also sell the depth if tied correctly with the right values. I used every trick in the book pretty much to achieve this step. This step to me is called, "the icing on the cake" (Fig.10).
After looking at this painting, I realized my eye kept leaving the frame on the right side. Here I made a compositional call and added a crane on the right side to keep the eye from doing this (Fig.11).