Your shot captures the atmosphere of the place. A bit more room in front of the bow might have helped.

The repairs aren't bad, and if you hadn't mentioned them I mightn't have noticed. I see some of the patches have come out a bit more contrasty than their surroundings. Maybe a touch of brush-applied de-contrast might help them blend in.

Maybe there is something about the names of the unrecognised sub-folders that LR doesn't like. Maybe it's seeing them as possible duplicates or some such, or perhaps there's something about the Apple directory tree that it doesn't like or recognise. It seems that Apple and LR don't always see eye to eye.

If the DNG file is slightly smaller than the RAW file, lossless compression has been used. If the DNG file is half the size of the RAW file or smaller, lossy compression has been used. As the name suggests, lossy compression loses data.

Another possibility is to leave the files in the camera's native RAW format, then in your photo editor convert to the required format when required. That's assuming that your editor can import the native RAW format.

It's been cleaned up nicely, and despite the fact that the lighting's more even, it isn't lacking contrast. While you're at it, why don't you clone out the shoulder on the right hand edge.

The guy on the left is more brightly lit than any of the others, and his face is lighter and paler.

You can get a shot of a pond with reeds and pine trees in lots of places. What makes this location special are the cliffs/hills in the background. Unfortunately the cliffs are hiding behind the pine trees. Try to find a viewpoint that gives a clearer view of the cliffs/hills. Ponds and trees are fine foreground elements provided the main subject in the mid or far distance is prominent enough to be recognisable as the main subject.

My initial reaction was that you'd almost lost the face, but it grew on me and now I like the anonymity. There is a presence, but it's a mysterious one. I can imagine it captivating viewers.

I think there are pros and cons to what you did. There's probably an optimum level of obscurity and softness that works best. The bit that I found most inappropriate is the bright area just above her head, caused no doubt by her fair hair. Maybe if you just darkened that lightened part, or perhaps slightly darkened the area immediately around her (but not the figure itself) to give her form a bit more emphasis. (That last suggestion might give the impression of an ethereal figure emerging from the darkness - it's hard to tell without actually trying ideas out).

The following suggestion is in no way a criticism of your efforts so far, which are excellent.

Have you tried a touch of split toning? I'm talking about just the subtlest suggestions of tints. If you added a red/orange tint to the highlights and a blue or blue/green tint to the darks it might give the image a depth that it wouldn't have otherwise.

I'm speculating because I haven't tried it on your post. Perhaps there are slightly different tints that'd work better. Split toning might sound a bit heavy handed, but the eye seems very accommodating when it comes to overall tints, and I've seen it give a bland image a whole new depth of colour. In your case the image isn't bland, but it might just give it a deeper and more natural look due to the gradations of tint.

The effect works well on everything except the main subject - the woman/girl. If there was some way of rendering her a bit less obscure....

Could you just clarify that the problem doesn't occur until after the files have been imported to LR. Can you import the files straight into a folder in the Pictures library folder? And if so, are they OK when they get there?

Something to try in the meantime - right-click on one of the files and select "Open with". If Lightroom isn't one of the options select "Choose default program" which should give you LR as an option.

To update LR you should be able to do it with HELP>Updates. That should trigger a search for relevant updates. If you want a full upgrade to LR6 you'll have to go to Adobe.

I don't think it's the placement that's causing discomfort - I think it's the closeness to the edge of the frame. Keep it within that top quadrant, just don't have it nearly touching the edges of the frame.

I gave it a vertical stretch using the Aspect slider and gave it a vertical tilt using the Vertical slider (to +41), then cropped. For the mountains I made a very rough selection (well-feathered brush) and dropped the highlights and brightness and gave it some Contrast and Clarity. There's a diffuse halo above the trees on the right (which isn't nearly so obvious viewing full screen) and if I was taking this further I'd do more to get rid of the halo. If I wanted to keep the foreground grass I'd probably use the clone tool, but there are probably more sophisticated ways...

You're welcome.

I think if B&W was my objective I'd do it after the conversion. Before conversion you could end up adjusting things that were best left alone, and also fail to adjust things that needed adjusting after conversion. My experience is that it's VERY difficult to look at the colour original and make an accurate prediction about how it'll look after conversion.