One reason Move in Close is so powerful is that it helps unify an image by focusing on the subject and eliminating distractions. We know your subject, the Friends. You've made them better by moving in close—even in statues the eyes are the first thing we look at, and by moving in close you invite us to explore their forms. And you've removed distractions by carefully selecting a clean background and positioning your models well. Well done.

An additional unifying element you've used here is color. The frogs and the background are the same golden-ivory hue, tying them together, while the overlapping light and dark values separate the important elements so they don't merge, creating instead much-wanted depth. See how the front frog's eye is light compared to the shadowed dark of the back friend's head. In the same way, the frogs stand out from the darker yet similar-hued background. Your simple yet interesting background sets them off well.

Where you've cropped works well for balance. The carved line on the front frog's leg keeps us inside the frame so the left knee doesn't look amputated.

There's one fingertip that's nipped, however. To improve this composition, raise that one fingertip off the edge of the frame. You only need as much as the gap the finger on the other hand has now. In the process we'll begin to see the foot. Take a close look at that foot when you reframe so that you don't amputate a toe in the process. Since you're reframing, bring that cropped knee into the frame, it will look better whole. #1380664