After resting my eyes from this painting for a few days I returned to it and can now call it finished. Edges have been softened and colours adjusted (especially in the two back reeds). My aim at the start was to paint the soft, golden light which I think I have achieved. The lightest areas still photograph as very white but have been glazed with raw sienna and so are more golden in the actual painting.
One of the things that attracts me to the reeds is the range of colours that they contain. In the painting there are many small passages of colour ranging from blue to green as well as magenta but with unifying glazes of siennas the overall impression is of the soft sandy ochre which is what you first see. Had I not used so many colours in painting this area I think it would look a lot flatter and lifeless. My palette is usually much more restricted and it has been an interesting process to use more colours whilst still trying to keep a harmony between them. (I think I have achieved this, I hope that you agree.) Nine colours were used overall; naples yellow, cadmium yellow, raw sienna, burnt sienna, quinacridone magenta, burnt umber, azure, indanthrene and zinc white.