Throughout the 1980s specific areas of land within a small radius of where I lived in Kent, Southern England, were to be sites that became the locus for a 'retreat', or places to be quiet in. My concerns were not photographic landscapes in the traditional sense of that term, nor were they photographic documents of the place but would function as photographic 'equivalents'. The concept of equivalency in photography has a long history, a process whereby the activity and the photograph made as a result, act as a metaphor and mirror the 'self'. Although later in this decade the 'landscapes' would show a sense of place, the notion of the equivalent would remain.