I began with the sky again, defining the shape of the cloud and adding sky holes to shape the trees. I fondly remember an instructor one time saying that the trees should allow the birds to fly through. I refined the very distant trees, that are not really that vibrant blue. I'm using my regular Nikon but still that blue is disturbing. I use a mixture of permanent madder deep (alizarin crimson), phthalo green, and white to make the color. Perhaps its the phthalo green pigment that is throwing off the camera.
Then I made the sun come out on the background trees differentiating each tree allowing a nice contrast with the trees on the left. I lightened the grass at the very back o really pop the light value.
On the left, I worked into the trees to suggest where one ended and the next one began. The entire focus of this painting is to convert a July scene into an autumn scene with the gorgeous colors of that season.