Nicely done. However the blotch of white on the top pulls me up there, where I really don't want to go. Since the sky is heavily blown out I doubt it can be burned in much so I'd be very tempted to crop down to somewhere on the wooden brace on the door removing a lot of the white.
Blansky: I appreciate and respect your commentary, some of the most thoughtful I've seen on this site. Indeed, the composition is an unfortunate compromise due to constraints of the location. Cropping some or most of the sky could work, but would go against the whole 'framing' idea that drew me to the image in the first place. I can't find a crop that pleases my eye, and will live with the consequences
To my eyes this photo falls into the classic American tradition of photography and is as such quite splendid. The print must be lovely to look at and I would not be concerned with the white area of sky. I'm sure there must be some detail visible or at least it cannot be as white as the border. Early photographers were not concerned with detail in the sky and they were considered the masters of photography.
As a rule, the eye is ALWAYS drawn to the lightest value in the scene. That's what painters learn, and photographers ought to. I cropped the white sky to just below the stick thing in the space above the 'window' on the right which lessened the pull a bit. It's a wonderful subject that is, as Vincent said, in the classic American tradition. Thank you for allowing some critique even though you posted in the 'standard' gallery.
Thanks so much for all the great feedback, I printed on some old Forte polytwarmtone I've been hoarding, a little less dmax, but the warmth and slightly matt surface fit the subject well.
Diffucult to hold the light everywhere, but you have done a great job. Lovely tones in the old boards,and I have looked at it without the sky and I feel that it compromises the composition too much.