The blue cast is likely eucalyptus oil creating a haze in the atmosphere and causing a bluish cast. One thing about atmospheric hazes is that they tend to increase in intensity as the depth of the image from the camera increases - that is, the intensity gets stronger for objects way in the distance compared to those in the foreground. You're looking through more haze, so this makes sense, right? Assuming this to be the case, you can isolate the "color" of the haze by sampling it from the distant objects that have the same color as foreground objects - the difference is the haze color. Then you can get rid of this color and reveal the unaffected color on those distance objects.
In your image, there are three kinds of basic blues: the cyan sky, the blue of the jumper's jumpsuit and the bluish haze. Lucky for you, they are all slightly different in blue. This means you can target just the haze blue and shift it away from blue toward yellow to cancel it out. Doing this in Lab takes a few seconds and you;re done. No masking, no gradients to fade the effect.
Here is a screenshot that shows the adjustment I made, converting the image to Lab and using the "b" channel of a curves adjustment layer - the "b" curve represents the blue-yellow content of the image. Use the whatever-the-hell it is called tool on the curves panel above the white-gray-dark droppers, the tool that permits you to click and drag on a pixel location in your image to shift that point on the curve - it looks like a hand with its pointer finger extended and a vertical double-ended arrow. Using this tool, hover over the sky and click on it to set a point on the "b" curve. Do the same for the jumper's suit (the blue part) and the distant hills with the strongest blue haze. The middle of the three points should represent the blue haze, with the more blue point representing the jumper's suit and the less blue point representing the sky.
In the attached screenshot below, I have noted the following points:
1) the jumper's suit
2) the haze
3) the sky
The asterisks represent "anchor" points I placed on the curve so that when I made the highly localized shift in point 2, the rest of the curve did not get out of whack and cause other shifts.
To move point 2, the haze, away from blue (make it less blue) you need to move the point upward so that the output becomes less blue (more toward yellow in Lab). So, shift point 2 upward until you have a nice, less blue color to your hills in the distance. Notice that the foreground hill does not change all that much - likely because it does not have as much of the atmospheric haze acting to discolor it. So, you get a targeted adjustment that negates the haze, without shifting all of the image blue and having to mask the adjustment. If you want, you can also apply a shifts to the L channel curve, to boost contrast that often gets killed by haze. Again, use the whatever-the-hell it's called tool to hover over flat areas (like the distant hills) and click to drop a point on the curve. Then make little "S" curves around that point to boost contrast. Be subtle. I did not do that here in this example, but you can experiment and give it a go.
Like most things in PS, this is not the only way, but one of may ways.
Have fun! Neat shot, BTW.
Kirk
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