Skrinkle Haven — a secret cove tucked into Pembrokeshire’s jagged coastline, reached only through a small hole in the rock. Visits are measured by the tide: a narrow window of access, the sense of urgency and limitation sharpening every decision. There is, in theory, another exit — a precarious scramble over fractured paths made unsafe by past landslides — but it remains a route taken only at one’s own risk.
I have returned here over several years. My first images were made on 35mm, through a trusty Nikon FTN paired with a 50mm f/1.2. Those early frames hold the immediacy of being present: the grain, the contrast, the intimacy of a singular viewpoint. Subsequent visits invited a change of scale. I moved to larger formats — 5x4 sheets that compel a different kind of looking, slower and more deliberate — with the intention of working eventually in 8x10. Each format alters how the place reveals itself: 35mm for memory and mood, large format for the geological patience and minute textures.
What keeps drawing me back is the interplay of opposites. The cove is peaceful in its enclosure yet wild in its exposure; delicate filigree of rock and moss cling to much larger, brutal forms; sunlight threads through tangles of greenery and chisels shadow into the stone. Over multiple visits these details become familiar but never exhausted. Small shards of rock, lichen, and the way the tide scours a groove one season and leaves a new patina the next — these are the particulars that repay patient attention.
The work is still evolving. I have not yet exhibited these images, though I intend to bring the series to a wider audience. The hope is to present Skrinkle Haven not as a postcard view but as a study of scale, vulnerability and time: an intimate landscape shaped by forces that are both immediate and geological. The technical choices — from a fast 50mm for quiet observation to the deliberate, high-resolution world of 5x4 (and, in future, 8x10) — mirror that intention: to hold stillness long enough to see what the place keeps changing.