Absence in Three Acts

Empty chairs always speak louder than full ones. These three, bolted to the floor, stare back with a kind of institutional blankness that neither welcomes nor dismisses. They simply are—efficient, expressionless, durable. I wanted to see if the geometry could carry the whole frame, and it does. The repetition, interrupted only by the slight angle of the shot and the unavoidable play of light, creates rhythm without sentiment.

Shot in black and white to emphasise the chrome’s edge and the mesh’s subtle gradients, the photograph hinges on texture and symmetry. The lighting is flat, but deliberately so: no shadows, no contrast drama—just presence. These are not chairs meant for rest; they are for waiting. And waiting is rarely comfortable.

Technically, it’s a straightforward composition. Centre-weighted exposure, moderate contrast boost in post to help the mesh lift from the background, and careful framing to keep the lines disciplined. The marble floor introduces visual noise, but I let it stay. It adds the only trace of imperfection.