The landscape you photograph, assuming it is considered and not slapdash, will always have an inherent emotive element. It is contrived to want to introduce emotion or emotive pathos if they are not there i.e. through digital such a blur, soft focus, ripple etc., or more commonly photographing everyday pedestrian scenes at noon with no clear message or theme evident — evident to a nauseating degree by digital officionados shooting blithely at anything that blinks, moves or looks pretty. The visual appeal of the photograph afterward — and by association its emotion — is dependent on your skills and ability to transfer the emotive overlay to film. For me, there has to be a resonance with the scene before I can photograph it, very much like waiting until it has got hold of me. Prerequisites for my scenes are full colour saturation and atmosphere—the worse the weather, the better. This resonance is what draws me back repeatedly to the same scene to record not just one mood or emotion, but several, often over a long period of time, gradually telling a story of one place and its many 'faces'.