Just a Bench (or a Sacrificial Altar?)

When I photographed this bench under a fresh layer of snow, I was struck by its dual identity. On the one hand, it is a piece of public furniture, sculpted concrete shaped into undulating curves to invite rest. On the other, in the starkness of winter light and the thin veneer of frost, it becomes something else—an object that could belong to a ritual, its surface reading like a stone altar abandoned to the elements. The faint streaks of rust along the side even suggest traces of something spilled, though of course it is only iron leaching into the weather.

From a technical standpoint, I chose to let the bench dominate the frame, pulling the viewer into its serpentine rhythm. The leading line it creates is strong and deliberate, carrying the eye from foreground to background with little distraction. The snow smooths out any imperfections, accentuating form over texture, while the muted colour palette reduces the scene to greys, whites, and a hint of red-brown. This restraint works in the photograph’s favour, giving it a minimalist clarity.

Exposure was challenging. Snow has a tendency to trick the meter into underexposure, but I compensated to keep the whites luminous without burning them out. The result is a delicate balance: enough detail remains in the shadows of the concrete to anchor the image, yet the snow holds its brightness. Depth of field is sufficient to keep the bench sharp from front to back, reinforcing its monumental presence.

The photograph succeeds most in its ambiguity. It documents an ordinary object in an unremarkable environment, but through composition and seasonal circumstance it invites other readings. Bench, sculpture, altar—interpretation is left open. That openness is where the image holds its weight.