It is as if in considering it, I allow more sunlight to seep into the image, and in one image, I find thousands of nuanced colors. I am intrigued by how light brings out these subtle variations. A relationship forms. I begin to mix colors on my palette, and the color options continue to grow over the course of the painting, as I notice more. This process reminds me of what’s referred to as “call and response” in music: a first phrase is played by one musician or instrument, followed by a second phrase from another source, which is a response to or a commentary on the first. The photograph plays its “call” of color, light and shape, and I respond. It shows me a color, and I respond by imitating this call (sketching forms, recognizing and playing variations of the colors on my canvas). I am not merely repeating the image, but rather adding my own perceived details. I might find more of one color, or be more attracted to one aspect of the image, and seek to highlight it. I might alter the color I see to be darker or lighter or to be an entirely other color as I see fit. While my reply, by nature of being a reply, is initiated by the call, it is not merely an echo, but a meditated response. Another study of the image, and more calls are “heard” to which I respond. This dialogue, rather like a jam session or a dancing couple, continues throughout the painting progress.