Oh yes, this one works very nicely indeed. Leaving aside the obvious charms, I like the greyscale skin tones that shadow into black on occasion but never quite hit full white in the highlights, which I think is important to keep the image easy on the eye. (Even the sky doesn't push into extreme highlights; it looks to me like the tones stop somewhere up around 240 or 245, which keeps it nice and soft.) What I also like is the way the direction that the car is pointing, and the direction that her eyes are looking out, form a V which leads to the gap in the treeline. It's excellent usage of a vanishing point.
