Untitled (for now), © Brenda Clews, 2016, Windsor and Newton professional watercolours, some Daniel Smith Extra Fine watercolours, a little mixed media, all permanent pigments, 5'5" x 2', on Canson archival 140lb watercolour paper.
While still untitled, this painting is finished. It took about 2 weeks. I photographed the painting in direct sunlight to get the colour as accurate as possible. I prefer a photo taken in full spectrum light, of course, even if a watercolour painting should not ever be in direct sunlight. Out of direct light or in artificial light, the colours are deeper. This painting has 5 layers of various archival varnishes that are recommended by Golden to protect the pigment and which also help provide some UV protection for the painting.
Here is the original, untouched photo - I shoot in raw. The colours captured by my Canon 60D are surprisingly good, except the blue, which, while it is ultramarine, should be more towards the cyan range because it's watered down and other colours were mixed into it in parts. All the cameras I've used have problems with blues, I've found.
I tweaked some areas in PSE for the final version: the blues I shifted towards the cyan range, toned down the yellows and pushed them towards a orange-cadmium yellow a touch and slightly darkened the overall painting as it would be in a room - in fact, I always colour correct with the painting beside me to calibrate the colours as closely as I can. Still, in direct light, what you see is very accurate (though one would never keep watercolour paintings in sunlight - rather, on a north-facing wall or where sunlight doesn't reach). Taking the final photo was the one and only time this painting will ever be in sunlight.