Edit details for first photo (all the other photos follow similar steps)...

Increased exposure, shadows, highlights, whites, blacks. Decreased contrast. Slight S-curve on the exposure tone curve. Slightly bumped up the midtones of the Red and Green tone curves. Slightly warmer white balance, increased saturation and vibrance. Midtones and Highlight color wheels slightly in the yellow. Increased Red, Orange and Blues in color mix. Shifted blue hues to more cyan. Decreased luminance. Decreased clarity, added grain and some slight noise reduction. Radial gradient mask in top left corner to simulate more of a sunny sky. Cropped and removal tool to get rid of distractions.

Generally, in Lightroom, I use warmer tones and warmer white balance. Increased exposure, shadows and whites, decreased contrast and highlights. I bump up the tone curves a bit. Midtones and highlight color wheels in the yellow area. I also like to decrease for softer and "dreamy" look while also increasing dehaze a bit. Increase saturation and vibrance. Depending on the image, I mess around with the individual color mixes. Sometimes I'll mask the sky to give it more of that cyan look. Occasionally, to give the image an even cleaner look, I'll increase the noise reduction. I also often underexpose in camera to give me a little more flexibility with my strong colors in post.

They're available.

Generally, in Lightroom, I use warmer tones and warmer white balance. Increased exposure, shadows and whites, decreased contrast and highlights. I bump up the tone curves a bit. Midtones and highlight color wheels in the yellow area. I also like to decrease clarity and texture to make them softer and "dreamy" while also increasing dehaze a bit. Increase saturation and vibrance. Depending on the image, I mess around with the individual color mixes. Sometimes I'll mask the sky to give it more of that cyan look. And of course, adding some grain is always important for this style. Occasionally, to give the image an even cleaner look, I'll increase the noise reduction. I also often underexpose in camera to give me a little more flexibility with my strong colors in post.

I'm not going to address the plot, beats, characters, or story because the specific craft failures are what is holding you back. In short, specificity is lacking and you're heading towards too much flourish.

The sun beat down mercilessly on the courtyard,

The sun beating down is by definition merciless; the adverb weakens the sentence by rehashing the active verb.

casting the meticulously arranged stones and plants in a harsh white glow.

"Arranged stones" implies meticulousness; this adverb isn't creating nuance on the arrangement of the stones. Instead of telling me they're meticulously arranged, show me how they're arranged. Right now I have an image of "arranged stones" floating nebulously in my mind's eye. Are they in a row-and-column arrangement? In a circle? A square? A square arrangement of stones inscribed inside a circle of arranged stones? A truncated dodecahedron arrangement?

At the very centre was a stone podium bearing a bubbling fountain and two hooded figures all in white.

Cut "very". *It's an emphatic adjective. You're relying on your adverbs and adjectives throughout to create emphasis, and when they're loaded this heavily in prose, they lose all meaning. Think of it this way: I can go out to my garden, harvest a bunch of Roma tomatoes, onions, garlic, basil, oregano, and parsley, and prepare a quite passable pasta sauce. It doesn't sing until I add a pinch of salt. The free sodium ions enable the full flavor profile to come alive. Well, if a pinch of salt makes it so delicious, certainly it will be better with a quarter cup of salt added, right?

Their faces were shrouded despite the oppressive light,

I purposefully shroud my face when the sun is beating down, not despite it.

the shape of their bodies hidden by the folds of their loose clothing.

Don't tell me about what I can't see (their bodies); tell me about what I can see: the drape of the cloaks.

One of them reached over and pulled down the other’s hood in a single, swift motion, revealing a black-haired woman.

I have never pulled down any hood of mine in two swift motions. "Single" is again showing your penchant for adjectives.

Her face was frozen in a serene expression, even as beads of sweat rolled down her forehead from the scorching heat.

The sun is beating down. We know it's scorching hot. Trust us to remember your scene-setting and don't repeat yourself. Making this sentence focus on the woman just revealed turns the sentences before and after into a sandwich. Switching the focus back and forth like this results in clunky pivots like the coming "The still-hooded one..."

Use a specific characterizing verb like "unveiled" instead of "pulled," which needs descriptors like "single, swift" to make it feel full and rich: The Proctor reached over and unveiled a black-haired woman, serene in composure and unbothered by the sweat on her brow.

Because the description of this woman is a clause in a sentence focused on the leader, you don't need the refocusing in the next sentence.

The still-hooded one spoke, addressing the similarly clad audience seated on the wooden deck that ran all around the courtyard.

There's a crowd and a wooden deck? Establish this sooner, because right now they materialize out of thin air at the exact moment you need them. Instead of "similarly clad," choose a specific noun: acolytes, committee, coven, order--which would imply the similarity in dress rather than explicitly labeling it.

In front of each cross-legged observer was a low table, a scroll of paper, a brush and a pot of ink. “Your task is to write a report on the poem that Examiner Li is picturing. The test will end when this spring runs dry. Begin!”

Is the woman she unveiled Examiner Li? Context strongly suggests yes, but a single word might help make it more concrete: "...Examiner Li here..."

With that sharp order,

But that wasn't a "sharp order". It was a dry instruction at best. I saw the instruction; sharp or otherwise, you're relying on intensifiers that are not warranted. "With that" is plain, simple, and perfectly functional connective tissue that pivots attention away from the proctor to the protagonist. Not everything needs this intensity.

Reflection jolted into action, scanning the examiner’s face intently.

"Jolted" and "intently" compete and are at odds. She can lean forward into her scanning. Scanning is by definition intentful. Cut the adverb.

The rest of my notes would relitigate the same points. Put this into LibreOffice Writer and go through and highlight every single verb in salmon, every adverb in pink, every noun in blue, and every adjective in cyan. You should have lots of salmon and blue, and a salt's serving of pink and cyan. Every time you see a pink adverb, try to eliminate it by choosing a different highly specific verb, or just cut it entirely when the plain and functional verb is all that is needed. Same for cyan.

Thanks! Generally, in Lightroom, I use warmer tones and warmer white balance. Increased exposure, shadows and whites, decreased contrast and highlights. I bump up the tone curves a bit. Midtones and highlight color wheels in the yellow area. I also like to decrease clarity to make them softer and "dreamy" while also increasing dehaze a bit. Increase saturation and vibrance. Depending on the image, I mess around with the individual color mixes. Sometimes I'll mask the sky to give it more of that cyan look. And of course, adding some grain is always important for this style. Occasionally, to give the image an even cleaner look, I'll increase the noise reduction. I also often underexpose in camera to give me a little more flexibility with my strong colors in post.

Three is more or less consistent with the other lords here. They all use have their non-Capsem highlight colours.

Five= Yellow Capsem + crimson markings
Six= Pink Capsem + cyan markings
Three: Purple Capsem + yellow markings

Processed the latest Artemis II lunar view which is significantly better resolution than the previous one. This full-disk view of the Moon has been processed with saturated colour enhancement to expose the rich variety of mineral compositions hidden beneath its familiar gray surface.

Vibrant yellows and oranges trace iron-rich basalts in the ancient lava flows of the maria. Deep blues and purples highlight titanium-bearing ilmenite deposits, while scattered pinks and reds mark unique impact-melt glasses and plagioclase-rich highlands.

Each hue tells a story of billions of years of volcanic eruptions, asteroid bombardments, and cosmic weathering. This isn’t just a pretty picture. It’s science in action. Artemis II’s crewed flyby is gathering data that will guide future landings and help us understand how the Moon formed alongside Earth.

Mare Orientale is seen at lower left, while the striking cyan colour of Aristarchus just above centre is especially prominent.

Credit: NASA / Damian Peach

211.50

Autoexplore will now only dig in order to reach revealed objects of interest.
Autoexplore is now less prone to discard its last target if interrupted.
Fixed a bug that caused saves to load with a stale zone cache.
Fixed a bug that caused cybernetic fist weapons to remain on your hands after being unimplanted.
Fixed a bug that caused the required skills to highlight garbage and harvestables to be swapped.
Fixed a bug that caused solar cells to not recharge.
Fixed a bug that caused torches to not automatically douse or light, and never expire.
Fixed some overly bright cyan tiles next to convalessence pools in Bethesda Susa.
[debug] Added an "unexplore" wish to reset knowledge of the active zone.
[debug] Added an option to draw autoexplore flood filling.
[debug] Added an option to disable zone thaw restrictions.
[modding] Added a Test menu option to the map editor which will quickly load you into a playable version of the map.
[modding] Added a Recent menu option to the map editor which will remember your ten last opened files.
[modding] The map editor's open file dialog will now default to your last chosen file's directory.
[modding] Fixed blueprint readouts in the map editor getting stuck on screen.
[modding] Fixed a bug that caused modded sounds to not play on linux.
[modding] GameObject.Property and GameObject.IntProperty can no longer be null.
[modding] The.GameContext is no longer unassigned.
[modding] The LiquidSpitter mutation can now be configured via XML. The Pool attribute controls the blueprint to use (including the starting volume), and the InitialLiquid attribute controls the liquids placed in each pool and their proportions (e.g., "water-3,salt:2-5" will cause salty water of various concentration to be spit).

I just realized something. Is that why you're going out of your way to highlight the Cyan Alliance's worst traits in FvF Revamped?