How I work

Environmental and landscape films need time. The subject rarely performs on cue. I work by spending time in the right places, filming carefully around the rhythms of the work and the seasons, and finding the human threads that help audiences understand why conservation and landscape matter without being told what to think.

I am interested in finding a balance between the practical conservation story, the importance and emotional pull of the subject, and the human network behind the work: volunteers, communities, project staff and the different landscapes involved. A film like this needs to work on several levels at once, and the edit is where those levels are brought together.

Landscape and environment films often involve working across seasons and locations, returning to the same places over time to build a genuine sense of how a place changes and why that change matters. That patience is part of the process. It also means the people involved — the conservationists, the volunteers, the land managers — have time to become themselves on camera rather than performing for it.

I have worked with wildlife trusts, coastal projects, heritage bodies, land managers and community groups across the North East and beyond, including projects in Northumberland, County Durham, the North Sea coast, the Scottish Borders and Derbyshire. Partners have included Northumberland Wildlife Trust, National Trust, Seascapes Co-Lab, Tyne Rivers Trust and Derbyshire Wildlife Trust.