Summertime has come to Paris well ahead of time, albeit I suppose just temporarily. The light has suddenly changed, almost Mediterranean in its harshness. It's difficult to adapt so fast to the new deep shadows and to the suddenly bright color palette that the city has dressed herself with.
The visual shock brings a renewed jolt of creative juices, calling me again to the tempting world of color photography.
It's a Copernican revolution, and it will take some time to decide whether this different language is one I can express my trues self in.
On the one hand, straying from BW makes me think I'm polluting my visual signature, and makes be abandon the sound principles of never-ending quest for improvement of a core technique that is behind much of the work philosophy I admire in countless Japanese craftsmen.
On the other, great masters of the history of photography at some point in their careers have moved from BW to color (rarely the opposite I guess) as a way to reawaken their vision, to find new creative avenues. Learn this from them, too...
The debate could never end, but what's the point of debating with myself. Just follow the gut, and the gut lately has been asking for this challenge.
So here's a fresh series, on a theme I've endlessly loved: a window pane, and what lies behind it, sometimes forgotten. Take a peek...