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It is a very peaceful escape! The water is beautiful. I love the smudge of green in it, just this side of the bend of the river. The whole river system in general is really nice. The mountains are lovely too. Forgive me if I concentrate on spots to improve for the rest!One thing that stood out for me is the perspective. You appear to be going for a three-point perspective, with a vertical vanishing point - I get this impression from the wide field of view, the fact that the center of the frame is well above the horizon, and the inward-leaning angle of both trees. (The vertical vanishing point seems to be about 600 pixels above the top of the image.)Nevertheless, the man is standing straight up, as if he were done in a two-point perspective (no vertical vanishing point; 'vertical' lines are parallel), which seems jarring to me.There's something of a mix of representational styles. The nearby foliage is quite convincing, as are the mountains, but the tree has almost a cartoon quality to it, with its smooth, vector-like appearance.The grass around the tree is slightly distracting - it looks a bit too much like a 'grass-blade' brush was used. The grass nearest the tree is very thick, and looks almost like a cluster of aloe.You might experiment with a slightly ore painterly style - instead of laying down a lot of blades, think about how your brush might be used to lay down the appearance of grass, rather than grass blades.Take a look at this image and squint a little, especially at the grass in the mid-ground. What stands out are the hummocks, the variations in hue and shade of how the light falls on the field, not the individual grass blades.The near rocks in the river aren't totally convincing; the shape looks somewhat too artificial. I'd expect to see some variation in hue (e.g. from algae at the waterline, or just wetness from river splashes, lichen blotches).There's something not right about the value. What you've done is used a light gray for all raised ridges, but I think you need to think more in terms of planes (e.g. upward facing surfaces, leftward facing surfaces, viewer-facing surfaces) and the light they would be picking up.Lightening the ridges makes them look unintentionally like wax: wax transmits and scatters light through its volume, so thin areas (e.g. corners, ridges) will transmit light from all directions. You can see this in this image:The wax droplets, which have a thickness of only a few mm, pick up and transmit the light much more readily than the thick cylinders of the candle bodies.For your rocks, consider that the upper planes will be picking up a lot more sky light. Check this image:The effect will be less pronounced in your image because the light is more muted, but nevertheless. Perhaps the leftward facing planes will be picking up some tinge of yellow from the sun?The point on the right seems somewhat flat compared to the rest of the picture, particularly the grass. The grass seems to flatten into a shadowy mass; I don't get the sense that I'm looking across much ground-distance. Variations in light and dark, in narrow, horizontal forms, can be really useful for creating a sense of depth. Here are two examples - the variations in value of the grass, here, and the shadows caused by the pillars.My last comment is on balance. The focal point of the image, for me, is in the left, where near trunk, the dark foliage, and mountains converge.1. It's the point of greatest value contrast (the dark foliage against the pale mountains).2. It's the point of greatest textural contrast; the smooth bark and sky vs. the textured mountain rock and folilage. In particular there's a few blotches of eye-catching silhouetted foliage against the mountains.3. It is at the convergence of three strong lines - the downward sweep of the near tree, the upward sweep of the dark foliage, and the mountain range.For me, this pulls the balance of the picture too far to the left. Somehow it makes the image look like it has two subjects, that just happen to be nearby - the tree and the interesting convergence I mentioned above.I only have vague ideas about how to offset this, but:a) perhaps if some light was falling on part of the right riverbank (it's mostly in shadow now), that would add some interesting contrastb) crop off the top 150 pixels, so the tree is more powerful by becoming a framing elementc) narrow the picture slightly (PS CS 5+ has a content-aware resize that you could toy with just to chop out 250 pixels out of the middle, just to get a rough sense)d) have the figure facing the sun. Right now, he's contributing to the separateness by looking straight away from us (and perhaps even slightly to the right). If he were looking at the sun, he'd be connecting the left and right halves with his gaze.