Interview: Ian Teh I an Teh is a multi-award-winning photographer whose images of post-industrial landscapes in China, 'Traces', appeared in issue 111 of the magazine, Going Back , and who now features in the art showcase of the current issue, Britain , with the 'Woman Walking' (above). He spoke to online editor Ted Hodgkinson about how landscape can act as a 'mirror', his project to circumnavigate the coast of Britain, encountering racial tensions, embedding yourself in a scene and why he always takes his camera to the pub. TH: The perspective of your image in Britain seems very mobile, even anonymous, as though the subject doesn't even see there's a camera there. You've taken a highly methodical approach to perspective in the past -- your work in China for example, with the high vintages of Traces and the first-person immersive experience of Dark Clouds. Did you make a resolution to embed yourself almost invisibly in the darker side of British life? IT: This is actually from an early body of work called East End. At that time I was still very much searching for a way to define my visual expression. I've always felt that photography is very precise at describing a moment but it struggles to communicate ideas, its strength lies in its ability to suggest thus delivering an emotion or mood. This in turn encourages the viewer to take a line of thought I lived next to Brick Lane many years back and at that time, around 2000,