While I waited for the sky to dry yet again, I made another pass over the midground landscape,
darkening the center both of the savanna and the clouds at the base of Kilimanjaro.
By the time the sky was dry enough for another pass, I had come to several conclusions about how to
proceed. I needed the Penumbra effect to extend all the way to the horizon in the center of the
sky, and be larger than it was. I needed the sky on either side to read as less bright than it was
compared to the penumbra. I also needed the sky to be light enough, even in the deepest areas of
the penumbra, for the mass of Kilimanjaro to be slightly silhouetted against the sky while still
being light enough to allow atmospheric perspective to push it into the background.
In truth, what I needed to do was to account for the fact that while witnessing an eclipse in
person, the human eye would be constantly adjusting to the wide range of light and dark as the
viewer moved their focus around the scene... something a single photograph could never do. In a
photo, either the foreground would be visible and the sky and corona completely overexposed, or the
sky and corona would be visible and the foreground would be very underexposed. I also made changes
to the clouds at the base of the mountain and throughout the landscape.