Columns

In Brussels, this curved colonnade sits like an architectural punctuation mark in the middle of a park — a statement without a sentence. I positioned the frame to face it directly, giving symmetry the upper hand. The central alignment was intentional: it allows the gentle arc of the structure to pull the eye from one end to the other without distraction.

The light was flat, filtered by a heavy overcast, which meant no harsh contrasts or deep shadows. This helped preserve the fine details in the stone — the weathering, the subtle variations in tone — while keeping the surrounding foliage rich but not overpowering. The grey of the columns sits well against the greens, and the neutral light ensures neither element dominates.

From a technical perspective, depth of field was key. I wanted the background to be legible but secondary, so the aperture was stopped down enough to render the leaves in context while keeping the columns crisp. Exposure leaned slightly to the right to retain texture in the shadows of the stonework benches.

It’s a photograph that benefits from its restraint — no dramatic skies, no human presence, just the quiet interplay between form, proportion, and the inevitability of time slowly wearing away the edges.