I don't know Mustafa. I don't think that "street" can be any better than "studio" or any other genre of photography. Each genre tells part of the story.

The idea you attribute to Eisenstein is part of what I'm getting at, using color to tell a story, create a mood.

IMO though, its not about luck, the tools to control color are available. We can use flash guns, reflectors (natural or not, colored or not), and timing the placement of our subjects in the scene to control our lighting and composition. We pick the time of day (where the light comes from and what color it brings), we pick our films (which each have a different response), we can filter, cross process... and that's just at the camera, when we get to the darkroom we can skew or "correct" color over a wide range.

Part of what I got out of the article and what I've been trying to learn for years is to use color as part of the composition. A simple example of this is the classic "golden hour", at sunset or sunrise, that so many people enjoy shooting color in. The nice warm color and contrasts it brings are very satisfying to many.

So on the street for example do you prefer your subject to get into the warm glow of the sun, or under the skewed color of a street light, or into the blues of the shade? Which tells the story you want to tell?