"Within one second of arriving at this place I knew that I had to have a go at making a photograph of it but I had no instant hint nor understanding of how to. It is a troubling situation to recognise something that in your heart and mind you want to own through your photography but be unable to work out how to seize that ownership. One can only hope, as demonstrated in other pages of Behind the Photograph, that there will be at least a visual pathway to travel along until, after a few moments, the way will then become clear, and a vantage point, along with a clear objective, is generally settled upon. However, none of these confirmations materialised in this place.

Over recent months, I have tried hard to extend my visual antenna, and hope that I may have become more visually agile and receptive to photographic opportunities which hitherto may well have passed me by. This image and a few others within these pages are something of a departure for me, yet there is a quiet voice, becoming slowly more audible, that encourages me to continue in this vein. I feel I am not alone with this experience.

The first sighting presented me with what appeared to be a ten-metre-high huge glassless window. Of course, I had never seen anything like this before, so the approach I should take was not immediately clear. My first port of call is usually to look for relationships and hooks, and although the obvious clues were triangles and points, I became concerned that the entire image might look rather severe. I knew that symmetry can often be a satisfactory, if perhaps over-engineered, solution, so I decided to sit down and live with the setting before going ahead. Finally, after an hour or so, I decided that the two modest triangles were just of sufficient size to echo and support the large surface area of the blue window. The slender dart of the floor played its role too. I was unsure about the smudge of blue light reflected on the central floor area but, after all, it was there to my eye.

I have repeatedly looked at this photograph in print form, and each time I do so, I feel growing affirmation that to have made it was the right thing to have done."  Charlie Waite