I'm a bit concerned that my style is staying too realistic, too tight. But a closer look at the above will indicate that I can let things get beautifully fuzzy and sideways at a moments notice. I am particularly gratified by the out-of-focus foreground (a favourite and often unconscious device of mine) and the way the top parts of the tree are chunky and unfinished. I also totally spaced on carrying that one branch through into the canopy. I am beginning to understand why Cezanne's pictures look the way they do; his focus was so complete, he often didn't see what he was missing.
I find that the 22 X 28" format is perfect for big trees. I have a few more up my sleeve, still.
Loving the colour-matching capabilities of my new MacBook. Every painter should have one. Yeah, that's a shameless plug for Steve and the gang at A-Company.