I start with the sky wash first and then drop down to lay in the basic washes in the water. First I wet the paper, then apply a small amount of yellow ochre along the horizon, then do a graded wash of Ultramarine blue from the top down.
I allow the pigment to mingle in the wet in wet wash, tipping my board vertically to allow it to run down. this helps give the appearance of vertical reflections of the cliffs and trees in the water. Now I let both washes dry completely.
My photo reference was taken with my pocket digital camera. In a high contrast lighting situation it is difficult for the camera to read the shadows and the highlights, so the shadows are way too dark with no detail. In my painting I overcome that by lightening the middle ground values.
On the distant warm cliffs I lay in the shadow shapes with Quinacridone coral and ultramarine blue allowing the pigments to mingle. Moving down to the foliage I apply simple shapes using both wet in wet and drybrush to create a sense of texture.
I use negative painting (backpainting) in several places to define lighter trunks and branches against the darker background. I also further define the shapes on the cliff with darker applications of paint, making the same adjustments in the water reflections.