How did you become interested in pursuing photography professionally?
My father had always enjoyed photography and helped me set up a darkroom in my bedroom, but despite my fascination with the apparent magic of it, I did not envisage photography as being a career for me. In the late 60s I joined the Salisbury Repertory Theatre and while working there, I became intrigued by the way in which the lighting director can bring a play to life. I continued on in the theatre for a further 12 years and throughout this time, I was photographing fellow actors for their publicity. Finally I took a studio in Battersea in London and began assisting work for studio commercial photographers. I still have great respect and admiration for commercial photographers.
Why were you attracted to landscape over other genres of photography?
I had always enjoyed photographing actors but it was not until I accompanied my wife when she was filming the BBC series The Onedin Line that I had time to roam around Devon where much of the filming was taking place. It was then that I began to respond, with my Nikon F and a 105mm portrait lens, to the landscape around me. I grew fond of sheds, long snaking hedgerows and noble trees. Within a year I had been given a commission to do all the landscape photography for a book called the National Trust Book of Long Walks with a superb writer called Adam Nicolson. We then went on to do three more books together.
Do you ever tire of landscape photography?
No, I never do. It seems to me to be a constant pursuit to get better and learn more and be able to ...