OnLandscape Interview
04/03/2026
From Picture Desks to the Beara Peninsula: A Conversation with On Landscape
Recently, I had the pleasure of sitting down (virtually) with Tim Parkin and Mark Littlejohn for the On Landscape ‘ Any Questions’ podcast. It was a rare opportunity to step back from the daily rhythm of the gallery in Kenmare and reflect on the thirty-year journey that led me here.
Reflecting on three decades of light and landscape in Kenmare.
We covered a lot of ground—from the “apathy” of shooting sports for national newspapers to the “squeaky bum time” of ordering 3,000 copies of my new book, ‘HEADLANDS’ . For those who missed the episode, here are the key takeaways from our chat.
The Myth of the “Big Break”
We talked a bit about my early career in Dublin. I remember a moment after a World Cup qualifier where I’d captured a front-page penalty shot. My boss expected me to be jumping for joy, but I felt a strange sense of apathy. I knew then that the fast-paced, arbitrary world of press photography wasn’t where my heart was. I didn’t want to capture the “moment” for a news cycle; I wanted to capture the “mood” of a landscape that stays with you.
The “Soft Landing” and the Wedding Years
One thing that surprised Tim and Mark was the “groundwork” I laid before opening the gallery 10 years ago. I didn’t just jump; I built a commercial business shooting everything from PR to interiors—and yes, even weddings.
At one point, I was shooting 40 weddings a year. I even tried to price myself out of the market to get some time back, but people kept saying yes! It was a vital part of the journey, though. It taught me the value of photography and gave me the financial “soft landing” required to eventually say no to everything except the landscape.
“I can count on one hand the number of people I know who just sell prints and own a gallery without relying on workshops or YouTube. It’s a dream setup, but it’s one I’ve been very careful to protect.”
Why the Book is the “Oxygen” of the Business
We spent a lot of time discussing my trilogy of books—BEARA, KINGDOM and HEADLANDS. For me, a book isn’t just a product; it’s a narrative anchor.
Running a gallery can be a commercial trap if you aren’t careful. You could spend your life “chasing castles and sheep” because you know they sell. The books keep me on the straight and narrow. They allow me to be authentic and personal. If a book has 100 images, maybe only 10 will ever become “best-sellers” on the gallery wall, but the other 90 provide the context and the soul that makes the work meaningful.
Reassuringly Expensive?
The conversation took an interesting turn into the “business head” of art. We talked about pricing—why being too cheap is actually a disservice to the work and the buyer. I’ve had instances where wealthy clients walked away because there weren’t enough zeros at the end of the quote!
However, my philosophy remains: I want to be fair. I love seeing a young couple buy their first-ever piece of art for their new home. There is a sweet spot between valuing your work and staying accessible to those who truly love the landscape.
What’s Next?
With three pallets of the new book already sold and shipped, my “one-man Amazon depot” phase is in full swing. It’s a scary leap to print 3,000 copies, but as I told Tim, as long as the gallery doors in Kenmare stay open, I’ve just bought my stock for the next few years.
Listen to the full interview over at OnLandscape.co.uk to hear more about the technical side of the books, my thoughts on the “honeypot” locations of Ireland, and why I’ll never go back to shooting weddings.
