This research project explores the significance of affective encounters with history, and the value of using a large-format analogue photographic practice to instantiate those encounters – a form of creative historiography that does not give primacy to situating remnants of the past in a linear teleological narrative. It seeks to demonstrate how an analogue photographic practice – contextualised within an auto-ethnographic narrative – can draw attention to the ‘affective’ nature of the past, through its entanglement with the present. Consequently, it explores history as a relational dynamic phenomenon, which continues to shape and characterise how we experience and navigate the environments we inhabit. The research addresses two interrelated questions: How does the large-format analogue photographic medium and its various processes and techniques shape an embodied engagement with place? How can engaging with an embodied and situated experience of place create the possibility of historicising it through large-format analogue photography? This research joins with the creative historiographic practices of artists like the writer W.G.Sebald and filmmaker Patrick Keiller. What the practice shares in common with these artists is an examination of landscapes shaped by social history that are discovered or revealed by walking them. The personal histories that emerge from these embodied engagements with place are subsequently narrated through recollection alongside the use of lens-based imagery. I argue for the particular contribution that can be made to creative forms of historiography through the use of large-format analogue photography. Within this thesis three walks are narrated. Each walk departs from the same place, situated in a region of the Suffolk countryside featured repeatedly in the works of Thomas Gainsborough and John Constable. The first walk explores a region of the county previously unknown to me, via the Icknield Way path. The second is a circular walk, which retraces a region of the county that I knew well approximately thirty years ago. The third walk explores an area of the county I know only through depictions in historic works of landscape art. The research is presented through a body of large-format photographs and creative writing, which examine how the entanglements of my sensory experience, subjective framing of landscape and social history, and my memories – combined fleetingly while walking the Suffolk countryside – are shaped by the photographic practice and/or find expression through it.