I describe myself as a research-led practitioner who works within the landscape, exploring the relation between land, photography and text. Sceptical of ocularcentrism, I practice photography as writing, engaging with the landscape as a kind of living archive. I explore the space between practice-as-writing, nature writing and archaeology to articulate place as event encounter. Recent work has focused on the development of a methodological approach with I describe as archaeospectrography which engages specifically with the hauntology of the archaeologies of the present and the practice of photography within the quantum entanglements of space and time. The archaeospectrographer practices place as through the shards of the broken mirror, engaged in momentary relations with beings and things in the haunted space of the thick now. This methodology seeks to develop a photographic praxis in the broadest sense: to research locations and conduct fieldwork; and to interact with these places through a diffractive photographic practice of temporal re-cutting which is both realist and constructivist; to develop a matter-realist writing. In this current time of crisis, it is as if the present itself is in an ongoing mode of ruination. In unstable times such as these, modes of creative production which question the hegemonic ideology of the artist as individualistic, intentioned creative practitioner are pertinent. Working in this way, I aim to disrupt anthropocentric paradigms of human-world relations, challenging the privileging of the ocular and visionary to bring to light a space in which practice-as-writing resists individual vision to inscribe the image as diffracted, distributed, polytemporal array assembled through the intra-action of lively materials. Making reference to examples of research-led photographic practice that I am currently engaged in, this paper asks, what future for the pedagogy of photography in a post-human world? Furthermore, how might we teach the image intra-actively?