Inside the Palaces of Power – Bruxelles

The first thing that strikes me about this image is its deliberate sense of distance—not just physical, but psychological. We see a woman from behind, walking away toward a set of glass doors, her stride steady, her posture contained. There’s no attempt to catch her expression; her anonymity allows her to stand in for anyone navigating the quiet, often opaque corridors of authority.

The architecture plays as much of a role here as the human subject. Vertical wooden slats flank either side, creating a symmetrical frame that channels our gaze straight toward the central doors and the clock above them. The space is clean, polished, almost acoustically still. The high-gloss wooden floor reflects just enough light to add depth without distracting glare. The symmetry is not perfect—note the small figure leaning against the right-hand wall, barely in frame, breaking the visual order. That presence injects a faint element of intrigue, even surveillance.

Technically, the exposure is well-judged given the mixed lighting: the warm tones of the floor and wall panels balance against the cooler hues of the distant screens. The depth of field keeps both the subject and background acceptably sharp, enhancing the documentary feel. Compositionally, centring the woman is a clear choice, reinforcing the idea of her moving toward something formal, inevitable.

It’s a photograph that thrives on understatement. There’s no drama in the gesture, no theatrical lighting—only the quiet authority of institutional space, and a single figure making her way through it. Sometimes, that’s all you need to suggest the weight of the place and the roles played within it.