Everyone's talking about the CCD look and the film look — but what are they, do they actually exist, and can you tell them apart? Three images, three different technologies, one style. See if you can guess which is which.

Ashridge contains more ancient and veteran trees than any other National Trust property in the country. Bisham Woods may have inspired the Wild Wood in Wind in the Willows. Two extraordinary woodlands at opposite ends of the Chilterns, and between them enough subject matter to keep a photographer busy for years.

A deep dive into the language of black and white photography — tones, contrast, texture, light, layers and depth. Not about converting colour images, not about post processing. About learning to see in black and white before you ever press the shutter.

Black and white photographers whose work I admire and return to — Edwin Smith, James Ravilious, Fay Godwin, Don McCullin, Frank Meadow Sutcliffe, Adrian Vila and Christine Wilson — and why I make a point of not looking at them too closely before picking up my own camera.

A UK black and white landscape photographer's perspective on why the Chiltern Hills — quiet, understated, and full of human intervention — make for more honest and rewarding photography than any mountain summit ever could.

The Sony A700 is a camera that was built to be used — and that's exactly why it still earns its place in my kit today. A second body that keeps me in the same Sony A-mount system, fits in the hip pack, and delivers smoother black and white JPEGs than anything I'd spend ten times the price on. Sometimes old is still good enough, even today.

More Than a Pretty Picture didn't start as a book. It started as a series of blog posts about why I photograph, what the practice gives me, and how it fits into everyday life. A couple were published, the rest were withheld, and somewhere along the way the decision was made to turn it all into something more permanent. This is how a collection of reflections became a first book.

What separates a pretty picture from a photograph that truly matters? This piece explores intention, emotion, memory, and why the images we live with often say far more than the ones we simply scroll past.

Why do we pick up a camera? Photography isn’t just about images — it’s about noticing, creating, connecting, and remembering. This is a look at what draws us to the craft and why it matters, even if no one else sees our work.

Can you really do photography on a budget and still get good images? I put that idea to the test with a £110 Sony A-350 from 2008 — proof that you don’t need the latest gear to capture something worth keeping.

A slower space for black and white photography, countryside walks, and quiet moments from everyday England — where the focus is on the picture, not the platform.

Why I choose to shoot black-and-white JPEGs straight out of camera — minimal editing, a simple approach focused on how each scene feels and unfolds.