the stones on the upper pond stream influence the lower ones, actually setting up the lower ones as a response to the upper.
So I would say again that they are in the middle of the stream, which is unusual as they don't 'do' anything except set up equidistant shorelines. That would be difficult to find in nature. The second part to this is that they need to add distance, and so should be perpendicular to their current position and to the primary waterfall.
This horizontal bar then sets up the scale for the stone currently being worked on, the vertical, which needs to be made more massive.
let me put it this way.
That is a wonderfully placid scene. Thats nice. But has no ummph.
(so what makes a design work?)
the karesansui is a vehicle that displays the character of the gardener, from which he can not hide. And here, especially in the foreground the sense of equi-poise needs to be emphasized, which you display in your character (online). ie: when will a tree or a stone be safe or unsafe, when it is tipped to one side? When is it tipped to be deemed dangerously tipped? when is it the comparative message to the main point of the composition?
The vertical passive posture it is currently in, says nothing except 'here'. The back stone setting says the same thing except the stones are reversed ''feeling'.
Therefore, when the stone is tipped - which can not be done & -in another way of seeing should not be tipped, then the only option is to bring it forward by raising it, as it also needs to remain in that location.
This 'movement' the "in your faceness" causes the mind to seek the placid falls behind in the distance.
this is what makes such a composition work.
Here you have two falls doing the same thing. This means they are in the same place. They are however, not in the same place, - they are miles of distance away. Therefore the wilder mountain, deeper forest, further away stone has a more wild appeal, which it does not. Then the only other option left is that the foreground must to be in equi-position (poise), or wilder, more notable positioning, not by location, but by detail. The only detail available is in volume of up (greater/larger/ more massive) or down that will diminish it.. - not too many options left (?) without adding things that could be resolved a simpler way.
the molars, #2.
should be set back as it pushes force (kisei) against the other bank. If it is set back, and then a rising 'whale back' stone is placed rising out of the water to direct the water down the falls, this could be softened.
Again, this depends on the relationship you are or maay not be building with the background, and which is the 'non-balancing' stone that provides the difference to - the ability to see the placidity/serenity of the distant 'want to be there' location.
The other one is the vertical with the edge point fallen off that creates a vertical face in the 'seated' view.
I would keep that one open for further consideration for moving, rotating.. needs more thought, not an easy stone to work with - just not 'best' in both views.
the molars have another option, but I need to think on the overall effect, then how to adjust, if it is feasible.
Photography wise.. why photograph from that vantage?
nothing special - is there? unless the message is 'sameness'.. edzard
ps.. don't flow toward the viewer unless it is very very wide.. the message is like a pointy object being thrust in your direction, here the volume, as volume of water should be felt, the pressure, will distract people from you and your garden... water volume may be imminent and then pass harmlessly by,.. but never to land at your feet - every animal needs a way out, humans included.. would you build your house in the middle of a flood plain?