Holdsworth gained notice with photographic series such as A Machine For Living (1999) and Megalith (2002), where familiar scenes of service stations, car parks, billboards, or broadcast towers loom as godforsaken outposts, antecedent inklings of a new apocalyptic frontier.
In the mid-2000s, Holdsworth began to source his otherworldly scenes from the truly exotic: science fiction possibilities evoked at the ends of the earth, from Europe to North and South America.