With the sun low in the sky, the stained glass was glowing. I thought one more wide shot in low light would be great, so we turned out the lights.

Then I remembered there was a single row of lights along the baseboard behind the pulpit and wondered what kind of mood they would create in the dark. I asked Sherpa Fran to turn them on. As soon as he did, this church took on a glow. The pulpit separated from the facade of the choir loft, the blue tones of the stained glass windows provided contrast to the warmth of the exquisitely toned wood and the distortion of the 14mm lens provided a nice sense of drama.

It all came together.

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