Charles March photographs - Telegraph Balla's Abstract Speed of 1913 and his Vortex of the following year were brilliant, vivid evocations of furious movement, while Boccioni's series, States of Mind: Those Who Leave, painted at the same time, could be - you barely need to squint - forest scenes by March. A racing car, thundered Filippo Marinetti in his Futurist Manifesto of 1909, is "more beautiful than the Winged Victory of Samothrace," and, said Marinetti again, in his New Ethical Religion of Speed, "great speed is prayer." The Futurists caught the perplexing, and intoxicating, sensation of experiencing speed and stillness simultaneously. This is exactly what March's digital photographs do. They recreate the effect experienced looking out from the windscreen of a car moving at speed on a narrow road, or racetrack: the view ahead seems motionless while, on the periphery, the landscape flashes past in an unalloyed frenzy. "Charles has inserted a little time into his photographs," says Lucie-Smith. The camera is normally like a blade that comes down - chop! As we look through his photographs together on an iPad, March says: "I hadn't quite made that connection between speed and nature. But it does make sense. Lucie-Smith describes March as a "tree-hugger and a petrol head" and the man himself reveals: "I've been trying to capture the idea that nature is changing all the time even in the moment - a tiny fraction of a second - when you press the shutter. I started to try to shake something physically out of the camera. Shake the camera, that is, as he pressed the shutter. It is this moving and shaking that has animated the trees in his pictures. "I never had any intention of showing these photos to anyone," he says. I see these trees nearly every day and have watched them change over half a century. I haven't had to hurry, and haven't had to convince anyone that what I've been doing - on the quiet - is worthwhile. But, Lucie-Smith adds, "There's no question that Charles has been like a proud father hovering over his great mother of a printing machine, hoping for beautiful offspring in the guise of radical, yet immaculately crafted images." Acreative fusion of new and veteran technologies - digital cameras, computers, handmade English paper and inkjet printing - Nature Translated represents March's mind's eye. A man who happens to love the sights and sounds of blood-red V12 Ferraris screaming their Futurist way around Goodwood, he is rarely happier than when taking a walk through the surrounding woods, where the loudest sound is the flutter of birds' wings, the rustle of moving leaves and the faintest click of a digital shutter. Nature Translated is at Bermondsey Project Space, London SE1 5SF, from May 25-June 17. Info: charlesmarch.com