I recently went to Sevenoaks Nature Reserve on an exploratory trip with my 2 year old. Miraculously I actually managed to get some nice shots, as my attention was drawn from following his ever-running footsteps, to some of the striking aesthetics born of the natural oasis I was travelling through.

Being November, the three elements which were on my side with regards to getting some great images were colour, light and texture. Sounds obvious, but winter in Kent produces remarkable conditions in which to appreciate the beauty of the situation around us.

The colour of the leaves as the season takes hold is of course a wonderful sight. Living in Kent, the Garden of England as they say, I see this every year and have done for 33 years. It never gets dull. It’s never assumed. It is always, without fail, an open-mouthed moment of delicious shock, at how a tree so recently full and green, can so quickly become a riot of flame and opulence.

Winter light is by far my favourite of all the seasons. Low and hazy, it casts a glow over the scene. In contrast to summer shadows, which are often crisp and glaring, winter shadows are long and inventive; invoking a new aspect of reflection upon their subject.

And of course, texture. Mud. Water. Wet. Crisp. Crunch. Slop. Slide. Squelch. Burn. Bite. Smooth. Wash. Mix. The tangibility of this seasonal effect is almost as extreme as it’s tonal effect. Every aspect evokes a dramatic physical reaction. The modern instinct tells you to avoid the slop, the squelch, the burn. But once engaged, the elements draw you in deeply, in a way saccharine summer cannot.

Rarely is such a thing more beautifully satisfying than a winter walk in the Kent country.

SHOWING NOW and for sale as part of a Dartford Arts Network exhibition at the Mick Jagger Centre in Dartford until 4th January

Images taken on a Nikon D5100 with 50mm lens

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Nature’s Sculpture

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Thy beams so reverend, and strong
Why shouldst thou think ?
I could eclipse and cloud them with a wink

John Donne – The Sun Rising**


Last week we embarked upon yet another trip to those strange and barren lands which make up Dungeness and the remote surrounding area. Hoping for some late summer warmth and to avoid the lashing rain typical of this time of year, I knew instinctively it would be tantalisingly free from holidaymakers. The near-deserted desert flanked by a fairly balmy English channel, not by any means tame but thankfully not a roaring fury either, which struck me as appropriately British.

We had brought the bicycles with us, intending to cycle everywhere possible, but forgot to bring the ordinance survey map. As a result, we spent the trip cycling up and down the thankfully expansive stretch of beach at low tide, intermittently halted by treacherous patches of less compact sand and psychotic wasps (are there any other kind?).

The changeable weather, as is often the case, eventually worked in our favour in terms of photographic opportunity. Looking at times apocalyptic, the variety and drama of the cloud formation and tone melded into a perfect storm, with bursts of sun spattering sparkles onto the mudflats as if the gods were hurling around lightning bolts upstairs, in some reckless game unfolding on the Elysium Fields.

I managed to capture an element of this, the extreme contrast between light and dark resulting in existing colour looking naturally over-saturated, its spectrum of pigment creating a beautiful adjacency with the frowning eyebrows of the stormy black clouds. Some images benefited from removing the hue; as we sat on the beach we remarked upon how, no matter how good a camera is, it will never exactly represent what you see through your own eyes, the view undulating microscopically as each millisecond passes, the camera having a limited technical capability and not a patch on nature’s own genius of invention. Transferring the images to black and white instantly recaptured the sense of overbearing impressed upon us by this weather, the immensity of the clouds and fluctuation of density were heightened and brought closer to reality by a slight shift in levels of tone in post-processing.

We initially hoped for clear blue skies. Thankfully we were given much more.

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Taken on a Nikon D60 with Nikon 18-55mm VR lens. Minor post-production in Adobe Photoshop.

**The entire poem is carved in wood and attached to the cladding of Derek Jarmans’ former house, Prospect Cottage, located in Dungeness.


Not often does a council estate in Kent seem a veritable paradise, but when a lucky combination of refracted early morning light, piercing blue sky and air so cold, crisp and sharp that it seems born of diamond dust, come together in a brief, exulting celebration of the British Autumn it is surely a moment of opportunity; to smile, to walk, to soak it up and to photograph.