I saw this painting in terms of contrasts: light tones and dark tones, bright colours and dull colours, smooth texture and rough texture. From that point of view the grey, stained and dilapidated side of the harbour was just as important as the placid water reflecting evening light.
I was just thinking to myself that in years gone by, I had a tendency to overdo the darkest tones in a painting - basically, to make them all a flat, uniform black which never looked right. Now I know better, I suppose, and I make a point of getting some variety into the darks. At least I've learned something!
The scene, by the way, is the inner harbour at Dysart, on Scotland's East Coast. There's always a lot there to catch an artist's attention.