The eye is very attracted to the brightest and most contrasty elements of the frame, and also by the so-called “rule of thirds.”
As things stand, my eye goes “up, up and away!” out of the upper-left corner of the frame. (More so in the first frame than the second.)
But the shots are generally pleasing, sharp and clear and neutral. Although the “hot” area is perhaps ill-placed (and maybe not… it’s a matter of opinion), it’s by no means overexposed. The tonal range is satisfactory.
The fact that the foreground water in the second image has a sense of current and flow is good. The strong diagonal line leading in the same direction, as formed by the island, is good, as is the fact that the island stops just short of the edge of the frame with a very small bit of “nose room.”
In the second frame, both the island and the rock, and to some extent the wooded hill, all point to a single spot where the airplane has been placed. Good. But the airplane does not hold your eye forever. Good. The action will undoubtedly take place in the foreground along this line. The painted-desert texture of the distant mountains is pleasing.
The composition of the painting is very important in terms of whatever action might be taking place within it, and exactly where (and of what nature) that action is to be. If the painting sweeps the viewer’s eyes away from where the knight in shining armor is saving the damsel in distress, the scene is greatly weakened. And yet, the whole idea is that the effect must be unnoticeable.
“Look at the light.”