Circles of Light and Stone

Some buildings stop being places of worship and become places of wonder. The Eusebius Church in Arnhem — now the Stichting Eusebius Arnhem, a museum celebrating the city’s history — is one of them.

When I stepped inside, the calm air carried a sense of timeless geometry. My eyes were immediately drawn upward to the large golden light rings suspended from the high arched ceiling. Perfectly stacked, they seemed to hover between heaven and history — a bridge between sacred architecture and modern design.

I stood directly beneath them, camera in hand — the Canon 5DsR paired with the Sigma 24–70mm Art — and aligned the frame so that every circle, every rib of the arch, fell into balance. Light as a subject. Symmetry as a teacher.

Photography, after all, is a study of how light defines form — and sometimes, in places like this, both feel eternal.

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Concrete Perspective

From up high, perspective changes everything. Standing atop the Spoorpark tower, I looked down and noticed how geometry and life align in the most unexpected ways. The pavement below—made up of large 4x6 meter concrete slabs—formed clean intersecting lines that seemed to guide movement through the frame. Then, almost perfectly on cue, a woman entered the scene from the lower right corner, her attention fixed on her phone.

Through the Canon 5D Mark IV paired with the Sigma 100–400, I framed the shot so that one diagonal ran straight toward her, while another crossed it, forming an “X” that almost marked her path. It’s fascinating how urban design, when viewed from above, becomes a study of pattern and rhythm—how our daily movements trace invisible geometries that we rarely notice from the ground.

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Tilburg Central Station seen from the Spoorpark Tower

From high above in the Spoorpark tower, I aimed my Canon 5D Mark IV with the Sigma 100–400 toward Tilburg’s central station. Through the lens, the city stretched quietly beneath me — vast, layered, and still. It’s moments like these that make you realize how small you really are in the grand architecture of the world. The air was hazy that morning, softening the distance and muting the colors until the scene almost looked monochrome already. So I leaned into it — converting it fully to black and white.
Sometimes, when color falls flat, contrast becomes your best storyteller. And if that still isn’t enough, black and white will always be your last saviour.

Photography, after all, is just another way of studying light and life.

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