Most of my countryside work is made close to home, in and around the South Downs. I’m not out here hunting the biggest view — I’m looking for the moments that change a familiar place: the way light breaks across a ridge, low mist sitting in a valley, or a patch of shadow rolling through as the weather turns.
Shooting the same locations through the year is what makes it click for me. You start to learn what works in different conditions — when the landscape feels open and clean, when it feels moody and layered, and when it’s worth waiting because the light is about to do something.
The Downs aren’t just wide hills either — they’re full of pockets of woodland that completely change the feel of a scene, and you’re never far from the coast when you want something more dramatic. And when the skies are clear and the moon is out of the way, these rural spots can turn into proper dark locations for the Milky Way.
