When I think of color in my architecture photography, I consider it a condiment. Color enhances form, composition, structure as does salt add to the flavor of food. For me. I prefer to concentrate on appearance of the architecture without distraction; therefore, I use black and white and sepia to present my architectural art photography. Monochromatics give me a chance to focus solely on the subject's lines and form. However, I do love color. For many years I worked in oils , pastels and watercolor media. From time to time I still go back to these. In those instances my palette is a full color spectrum. I have even been known to add some fairly unusual colors to flesh tones and landscape, such as Indigo, Madder Violet, Van Dyck Violet and Gamboge among others. Payne's Grey is a great favorite, too. But with photography my colors run to shades of black and white and sepia: there are an infinite number of these.
Once in a while I see a subject that will only do in color. There is a wondrous quality about how the forms, shapes, lines and composition RELY on color. For me the image would be diminished considerably without the key element of color. This photograph was taken in Dresden, Germany a few weeks ago. In a light, chilly rain I was walking quickly back to my hotel across one of Dresden's many bridges, hoping for warmth and a relaxing drink as it was about 5:30 PM: magic hour. My eye caught the sight of a lighted feris wheel way down the darkening river. The whole scene was in violets, indigos, phthelo greens, burnt umber, sparkling with brilliant cadmium yellows. I unpacked my gear and shot till dark in the rain to capture the color and mood.
Dresden, Germany: 2013
