I had come to realise that I was creating the same image everywhere I went. Working exclusively with Velvia 50 for the last 12 years had been a fantastic experience, but I had dug myself into a creative rut without knowing it. In my opinion, Velvia sings in soft, low contrast light, and that had been the only light I worked with for over a decade.
In an attempt to open a more synergistic dialogue with the landscape, I started carrying 2 additional films in my bag. Fuji Pro 400H and Ilford FP4. If the landscape was dark, monochromatic, and moody, I would meet the scene halfway with Ilford B&W film. Soft light and pastel colours? Velvia 50. If the light was bright and breathy, out came the Pro-400, as you see here.
An amazing thing has happened since I adopted this approach; I have absolutely no expectations when I go out and shoot. I simply show up with an open mind, see what the landscape is showing me, and try and meet her halfway. And let me tell you, the conversations have been incredibly illuminating, captivating and enlightening.
All images shot with a Mamiya 7ii and Fuji Pro-400H