The change in proportions of the major elements helped to balance the overall composition I feel. In that sense, this works more for me, colour seems more natural also.
Last of this view, for now. I like to shoot a trio of shots for the different stages where the day transits into the night when it comes to cityscapes: (i) twilight, or what some term the blue hour; (ii) semi-twilight, where the sky lighting is dying out; and (iii) night time proper. So that's #355, #356 and #357 respectively.
Comparing the three, I feel the reduction in proportion of some of the elements in 356 does make it appear more balanced and comfortable to view. Would prefer the verticals of the bottom right building in #357 to be parallel to the side.
There's something about #359 that simply resonates with me.
That realisation occurred only after the first few embarrassing moments where I told myself:
a) Must be light painting on the stairs
b) It's illegal to drive without a visible license plate
c) There's a man, a painter, perched atop the crane at the end of the street