Once you know how to identify clones, there are several tricks you can employ to offset them and improve the harmony of your paintings.
This avoids the singled-out aspect. The viewer will see this as a mass, which makes it easier to process the visual information.
Constant repetition of color is also cloning. The brown-orange tree is only stated once.
Some rocks on the left are too close in size. This becomes a common problem when they appear in groups. By combing three smaller rocks into one, there is better diversity. While you are painting, think of the analogy of Goldilocks: Father, Mother and Baby Bear, with each representing a variation in size.
When depicting trees in winter settings, offset any possible cloning by painting each tree so that it leans differently and all diameters are unequal.
The furthest mountain peaks are too similar. If copied at face value, they would be considered clones. What makes matters worse is that the negative white space between the peaks is too triangular.
Quite a bit of artistic license was taken with the detail of this painting, which was based on the reference photo above. I modified the peaks by resizing them. The symmetrical triangular space in the blue sky is much less obvious. The last mountain peak is now blocked by an overpassing cloud to avoid creating a clone.
The erosion of water running over the wall of this mountain has formed some natural crevices. Painting these would section the areas into similar puzzle-piece sizes and make them appear too identical. They are so similar that they look like teeth.
In this close up section of a painting inspired by the photo above, just a few crevices are indicated. Each section is quite different from the next, and the divisions are simplified. All the puzzle pieces are different and abstract.