Photography, for Hoddinott, represents a connection to nature and a desire to leave a record of a moment in time.

In John Berger's book Why Look at Animals, he talks about his friend, the Russian photographer Pentti Sammallahti and his images of encounters with wild animals. The experience of what we "habitually see" is who we become, but suddenly an appearance which was not expected, like the animal you suddenly meet eyes with, "another visible order which intersects with ours and has nothing to do with it."

Working in an ad-hoc studio in a rainforest over the years, one gets to know who is looking and who might suddenly turn up but still, there are surprises, and there is the honour of witnessing the details that quiet time allows. Okwui Enwezor, in his paper entitled Archive Fever: Photography Between History and the Monument, repeatedly mentions the words "burning desire" to "transpose nature into a pictorial fact".

The description accurately reflects the drive behind the archive from which this work has drawn. He describes photography as "a gigantic machine of time-travel", particularly in the case of nature photography, “a wonder to be shared."