Thanks, Michael.
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Dark!? I wasn't dark, it was a "Gloomy Art Tomb".
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Yes, since I forgot my Army surplus night vision Goggles at home, I only survived because of the magnifying glass and flashlight Beth taped to my easel when I wasn't looking (it's taped to my easel at home now Beth, thanks). I think Bill's eyeballs jumped out of his head and popped back in when he saw them taped on the easel.
I'm pleased no one pulled little Mummy cases out of any secret compartments in the gloom, for us to place our canvases in at the end of the day.
I'm also am sure I saw the wall of the east end slide back for a few seconds on Tuesday, to reveal Abbot and Costello scrambling away from a large figure bound up head to toe in moldy rags
(you young 'uns will probably have no idea who I'm talking about).
I'm kidding around, Bill. In actuality the light started to bring out hints of a wide variety of color temperature in the model, as I adapted more and more to the lower natural light.
At first the shadows just looked straight gray to me, then I began to see how I could push the subtle differences in them more, and use the color hints contained in them. Towards the end, I could tell that given additional time in the saddle with north light, I would continue to see how to better use it to advantage.
Bill is correctly very strong on the positive values of North Light on flesh tones, but it's a bit of a large change for people like me, used to plenty of electric illumination.