I try not to make conscious decisions about what I am looking for. I don't make elaborate preparations before I go to a location. Essentially I walk, explore, discover and photograph.

It's possible to think of photography as an act of editing, a matter of where you put your rectangle pull it out or take it away. Sometimes people ask me about films, cameras and development times in order to find out how to do landscape photography. The first thing I do in landscape photography is go out there and talk to the land - form a relationship, ask permission, it's not about going out there like some paparazzi with a Leica and snapping a few pictures, before running off to print them.

Getting photographs is not the most important thing. For me it's the act of photographing. It's enlightening, therapeutic and satisfying, because the very process forces me to connect with the world. When you make four-hour exposures in the middle of the night, you inevitably slow down and begin to observe and appreciate more what's going on around you. In our fast-paced, modern world, it's a luxury to be able to watch the stars move across the sky.

There can be no doubt that probability increases with practice. Fortune favours the brave, fortune favours the prepared mind, and fortune favours those who work the hardest.

Easier is not necessarily better.

Parks and gardens are the quintessential intimate landscapes. People use them all the time, leaving their energy and memories behind. It's what's left behind that I like to photograph.

There are many aspects about what and why we photograph: visual pleasure, personal empathy, intellectual stimulation, technical excellence, etc. Serious photographers and artists will try to create works that are original. Over a career period they may develop a singular identity in their images.