In Conversation With: Henry Grover

Our latest short film 'Held by Nature, Shaped by Hands' was shot by the brilliant Henry Grover, who first approached us with a curiosity about Ponda and our supply chain. We had been searching for the best way to communicate what we do and who we are, without overcomplicating it, so this collaboration came at the perfect time.

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What struck me most, and what Henry instinctively understood, is the sheer breadth of skill behind Ponda: engineers, agriculture specialists, designers. The people who make Ponda what it is are just as vital as the materials and processes themselves.

When people ask what Ponda does, I often struggle to offer a neat elevator pitch. I find myself jumping between regenerative agriculture, wetlands, biomaterials… because so many hands, minds, and disciplines feed into BioPuff. That’s why I was so excited to work with Henry to create a visual journey, one that captures the intimate, human-centred supply chain behind BioPuff. Each stage is crafted locally, just a few miles apart, by people working with care, skill, and intention. The process isn’t simply mechanical; it’s deeply human, grounded in collaboration and a sense of place.

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In September, we took Henry to our team harvest at the RSPB Greylake site, and then back to our unit to see how Typha is transformed into BioPuff. Inspired by ASMR, the importance of every detail, and those deeply satisfying sounds, we are thrilled with the final result. I had envisioned a short, sharp film that could summarise what Ponda does, but Henry far exceeded that, capturing the essence of our work without needing a single word.

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What first interested you about Ponda and made you want to reach out?

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I have always been drawn to the intersection of innovation and tradition. I love the idea of new technology streamlining a process to be more sustainable without compromising on the quality of the end product. When I first discovered Ponda and BioPuff, it felt like a perfect case study for that balance. It’s rare to find a brand that is literally growing the future of textiles from the ground up. This excited me from a storytelling perspective; I didn't just want to show the product, but the 'how' and the 'who' - showcasing the intricate steps of the process and the passionate people driving the company forward.

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How important was sound in helping you tell the story of the supply chain?

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Sound is often the unsung hero of short-form film. In an era where so much content is consumed on mute via a phone screen, I wanted to create a soundcape that demands the viewer’s attention. I used sound as a transition to bridge the gap between the organic wetlands and the mechanical workshop. Without the layers of audio, you lose the tactile feel of the film. The audio makes it less of a highlights video and more of a film that immerses you in the process. 

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Was it challenging to capture each person’s role in just a matter of seconds?

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It’s a constant balancing act. When you’re condensing a complex, multi-stage production line into 60 seconds, every frame has to earn its place. The challenge lies in juggling establishing shots, which give the viewer a sense of scale, with detailed shots that highlight the craftsmanship of Ponda. I find that much of today’s content cuts too aggressively, losing the moments to breathe. My goal was to maintain a high energy without sacrificing the viewer's ability to actually see the hands and faces behind the work.

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From a technical perspective, what were the biggest challenges of shooting in such varied environments?

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Aside from falling over in waders within five minutes of arriving at the wetlands, the real technical hurdle was maintaining visual cohesion across very different locations and lighting environments. I achieved this by shooting 90% of the film handheld, staying close to the action and tracking movements to create an organic flow.

I chose to shoot this on vintage Canon lenses from the 1980s. While they are slower to operate than modern glass, they provide a unique internal glow and a softer, more human aesthetic. This helped bridge the gap between the raw, natural environment of the plants and the industrial machinery of the workshop, making the entire journey feel like one continuous story.

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How did you decide on the visual pacing, especially between organic and mechanical moments?

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Pace is everything. If the film is constant high-speed movement, the viewer gets fatigued. I wanted to build in moments of stillness where a static wide shot allows the eye to rest and take in the environment. Ramping up the speed as the film went on was a way to mirror Ponda’s process. Starting slow in the wetlands and ramping up the speed as the machinery gets larger was a way to help the film move forward as Ponda’s process gets more intricate. The final shot, which circles back to the origin of the process, is intended to serve as a full-circle moment of reflection on the regenerative nature of their work.

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What do you hope viewers take away from this film?

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I hope it encourages people to pause and consider the biography of their clothing. Fast fashion has disconnected us from the environmental cost of our wardrobes. By tracing the supply chain back to the source, we can make more informed, intentional choices about quality and longevity.

Furthermore, in an era of AI and automation where there’s a lot of pessimism about the fading crafts, I want this film to offer a sense of optimism. I want viewers to see that there are still people deeply invested in the craft of making things better, more sustainably, and with genuine passion.

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Henry’s website: https://www.henrygrover.uk/

Follow Henry: https://www.instagram.com/henrygroverfilm/

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