Finn Curry’s photography captures the quiet, introspective beauty of the natural world with a style that feels both tranquil and deeply emotive. Based in East Sussex, Finn has built a reputation for crafting landscapes that linger in the mind, delicate yet powerful, understated yet rich with meaning. While much of his work draws from the South East of England, he frequently ventures into the rugged Scottish wilderness, where his hiking and climbing adventures bring him face-to-face with the untamed drama of nature. As the winner of the Seascape Category in the World Landscape Photographer 2022 competition and highly commended in the Scottish Landscape Photographer of the Year, Finn’s images stand as testaments to his connection with the landscapes he explores.

A hallmark of Finn’s photography is its ability to convey solitude and mood. He gravitates towards the early hours of the day or stormy conditions, capturing moments when the world feels untouched and raw. His series Blue Hours perfectly encapsulates this ethos, ethereal, atmospheric seascapes taken during the soft, fleeting light of twilight. In contrast, his project Sea Snails zooms in on the intimate details of coastal life, celebrating its intricacies with vibrant, unexpected colours. Through both, Finn masterfully bridges the expansive grandeur of landscapes with the delicate beauty of the overlooked, demonstrating his remarkable versatility and artistic sensitivity.

Despite the accolades, Finn stays true to his personal vision, refusing to chase external validation or fleeting trends. For him, photography is as much about the process as it is about the final image, the act of walking, exploring, and immersing himself in the moment. He avoids well-worn photographic locations, preferring to seek out quieter, less obvious perspectives. His approach is instinctive and deliberate, defined by a love for muted tones, minimalist compositions, and a rejection of excessive post-processing, which ensures his work remains as authentic as the landscapes themselves.

Though balancing a career and family life means his time for photography is limited, Finn remains steadfast in his commitment to crafting meaningful work on his own terms. He shuns the noise of trends and endless social media content, opting instead to allow his creativity to evolve naturally and deliberately. Whether he’s standing atop a rugged Scottish peak or wandering the tranquil shores of the South East, Finn Curry’s photography is a reflection of his philosophy, a celebration of patience, solitude, and the art of seeing the world as it truly is.

Hope you wnjoy the interview:-

Can you share what first drew you to photography in the first place and then into landscape and how you discovered your passion for the great outdoors?

I’ve always enjoyed photography and had an instinct for it, but it started to become more of a passion when I got into mountaineering in my late 20s. I would always bring a camera along on trips Scotland and the Alps, and even though my shots were just simple snaps, my mountaineering friends would often tell me I had a good eye. They often didn’t bother taking photos on our walks and climbs, as they knew I would document the day! More recently (about six years ago), a friend sold me an old Fuji XT1 and a lens, and around the same time, I was gifted a subscription to Outdoor Photography Magazine. Through this, I discovered a lot more about Landscape Photography as a genre, as well as plenty of really good landscape photographers, in particular Rachel Talibart, who has been a big influence on my work.

Combining my love for the great outdoors with photography felt like a natural progression. Living in East Sussex, where access to the mountains I love is limited, photography became a fantastic reason to get outside, no matter the weather.

You aim to portray a sense of calm and soulful moodiness in your photography. Can you walk us through your process for capturing that unique mood?

Definitely. It helps that I genuinely enjoy being out in inclement weather, which often leads to more moody pictures. I’m also not overly concerned with capturing perfect light – partly because, due to my schedule, I often have to work with whatever conditions I’m given. These factors naturally lead my photography in a more subdued, moody direction.

I find it hard to put into words what makes any image (not just my own) “right” for me, but I’m drawn to calm, bleak images with a sense of loneliness. They have a quiet beauty that I deeply appreciate. It doesn’t mean I’m a particularly downbeat person – far from it – but most of the art I’m drawn to has a melancholic or sombre tone.

Technically, I usually limit my palette to just a couple of colours, which I find helps set the mood. I try to achieve this in-camera as much as possible, using cropping and Film Emulations (in Fuji) to guide the look. In post-processing, I lean into the same approach, enhancing without making it too obvious. I also shoot with negative exposure compensation. This not only helps avoid overexposing highlights but also gives my images a darker, moodier feel.

You mention wanting to present less obvious views. How do you go about discovering and capturing those unconventional perspectives?

I focus on exploring locations that aren’t typical photography hotspots. If a place hasn’t been captured by many/any other photographers, the shots I take will be more unique. While I do visit well-known locations occasionally – Cuckmere Haven is just a 15-minute drive from me – I prefer to be alone and to explore areas off the beaten path. I don’t really want to be crowded by other people and feel an odd sort of pressure if anyone else is around taking photos too! The act of walking and exploring on my own is just as therapeutic to me as the photography itself. I enjoy finding little pockets of woodland or coastal areas, getting a bit lost, and following my instincts.

Because of this approach, many of my photos lack the epic drama of famous locations in great light, but that’s fine by me. To discover new places, I use the OS Maps feature in Bing Maps, which is fantastic for exploring, and I mark interesting spots on Google Maps. I’ve built up clusters of locations I want to visit one day, often based on places I spot while traveling around Scotland, or during train journeys to work in London.

How has feedback from awards and competitions, like being highly commended in the Scottish Landscape Photographer of the Year 2022, shaped your evolution as an artist?

Being placed in a competition is always a nice boost. I’ve had a few small successes, and they feel rewarding. But I try to take both successes and perceived failures with the same mindset. Honestly, my favourite “competition success” was being Runner Up in the Scottish Landscape Photographer of the Year 2023. The images I submitted felt like a true representation of who I am as a photographer. They were of places I love, taken entirely on my own terms, without prior knowledge of the locations. For that reason, it confirmed to me that doing my own thing, and not feeling any pressure to create images that would fit a certain mould, was the best way to go.

When you receive a commission, how do you balance your personal artistic vision with the client’s expectations?

To be honest, I’ve never actually received a commission. I’d love to, but for now, I am my own commissioner! I set goals for myself to get out and indulge in photography because I know it’s good for my well-being. While I’ve sold prints to friends and through my website, I mainly do this for the personal satisfaction and creative fulfilment it gives me.

How do you see your work evolving over the next few years, both in technique and in the subjects, you explore?

At the moment, I’m in a bit of a lull with my photography. I’m not getting out as much, and I’m also becoming less interested in social media (probably having children has influenced this) so I don’t publish my work as often as I used to. A lot of this has to do with life circumstances; photography isn’t my full-time job, I have a busy career, and two young children to look after. My main goal is simply to keep getting out there and let my work evolve organically. I actually feel that a period where I don’t look at social media, or ready any magazines, might help me evolve in my own way. It is really difficult to operate clearly sometimes with so much imagery about. Perhaps that speaks more of my own inability to think clearly, but I will see how it goes.

In terms of subjects, I imagine I’ll continue focusing on quiet, often overlooked corners of the world. I’d like to capture these places in even more compelling ways, refining my ability to convey what I’m seeing. The key question for me is, “How can I show this place more convincingly than I have before?” If I look at the images I’ve created and feel that I’ve succeeded in answering that, then I’ll feel I’ve made progress.

Can you walk us through some of your key editing techniques—such as adjustments to exposure, white balance, and contrast—that help you achieve your signature look?

I tend towards a subtle, downbeat style, and my editing reflects that. Most of my adjustments are fairly standard, especially in Lightroom. I make basic exposure corrections, adjust contrast to suit the mood I’m aiming for, and tweak white balance for the right tone. From there, I make small, gentle enhancements, but I avoid over-processing. My goal is to ensure the image feels natural and authentic, whilst also reflecting the mood I experienced while capturing it.

Do you experiment with different post-processing styles or techniques, and how do these experiments influence or evolve your overall approach to landscape photography?

I don’t experiment too much with post-processing. Most of my edits are focused on correcting and subtly enhancing my images so that they convey exactly what I want to express. When I do experiment, it’s generally about finding new ways to enhance the mood of an image, but I keep the adjustments minimal and subtle.

What key advice would you give to emerging photographers who are looking to develop a distinctive voice in their work?

This is a tough one because I’m not sure I’ve found a “distinctive” style myself! But if I were to offer advice, I’d suggest finding a way to “cleanse” your mind before you go out to photograph. There is so much imagery out there, and plenty of magazines telling us where to go, how to compose, etc. etc… that the mind can get quite muddy and confused by all of this information. The best thing is to clear your thoughts and focus on what you’re experiencing in the moment, what the location is saying to you, rather than second guessing what others may do.

 Ultimately, what does photography mean to you on a personal level, and how do you keep that passion alive through the challenges of outdoor work?

Photography provides me with a sense of achievement and creativity, which is a necessary outlet. For many people my age, work, family, and other responsibilities are constant, and I wouldn’t change that. But photography allows me to create something of my own, to push myself beyond the ordinary. Whether it’s waking up early for a sunrise before work or braving a storm, it gives me a sense of accomplishment. Life is short and we’ll all be a long time dead!! So, if you don’t challenge yourself now, when will you? As with the mountaineering, I find that it really satisfies me when I’ve managed to get out and achieve something – whether it be a climb, or to make a nice image.

Check him out at the places below:-

• Website – https://www.finncurry.co.uk/
• Instagram – https://www.instagram.com/finncurry/

Regards

Alex