Or what about letting the strong curve on the top of the white stone dominate the composition? And using a little more of the underside of the stone, so there would be almost equal areas of dark texture at the top and bottom of the composition? Or how about not showing any of the underside of the stone?
Look at direction of the texture at the bottom of the stone: it’s going horizontally, which is in opposition to the direction of the bark. This would add a dynamic element to the painting.
And what happens to the composition if I turn the photo on its side? Turn your head to the left and to the right to consider for a moment how the composition would alter by this seemingly simple change.
I continue considering the options and potential in this way until I decide which appeals to me the most.
