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Color cast: Cyan's dominanance clashes against the warm orange sky. Tempted by a wide angle L-series lens, the scene is brimmed with clustered details yet lack impact. Foreground interest is not compelling/interesting and blends bleakly with the same tonal range as the middle foliage at a distance that forces the viewer to hunt for a leading lines and a detailed point to rest the eyes like a lens switched to AF mode, constantly searching for focus. The source of light is hard to determine at first glance due to the same tonal values across scene. Everything in nature, indoor and outdoor, (as the eye is capable to see within the norm lighting of EV-Exposure Value from the darkest blacks to the whitest white that translates to 1000.0000:1 contrast ratio), has three tonal range (values): Direct light>Diffused Light>And Shadows. Black has no value. It's zero. If one of those values is missing, the scene will look flat, lacking in contrast vibrancy (e.g. the hills on the foreground). Even on an overcast day; on the objects in your living room; everywhere but in pitch black space, those values are present. The old Masters have exploited those values in painting, drawing and many other mediums, to create a depth of field and, unlike the Artists before the Renaissance whose works lacked linear perspective and tonal values in paintings, three dimensional effects...






Suggestion: A tighter crop from the lower skirts of the hills and a little from the right would do the composition and viewer a great favor. Needless to mention dodging and burning with curves> or layers >and blending modes in Ps. Ultra-wide angle lenses sometimes can be quite tempting to include more than needed in a composition, unless you have a very compelling/interesting foreground and background.