Léonie Cooper

River Forth, Sterling 7th May 2022

May 2022

18th

My last lift was from a man going a few miles up the road to Pitlochry, he dropped me off by a car park. He then pointed out the footpath to the woodland where he said they used to camp out as kids. After half a mile walk, I found a safe place to pitch my tent.

Green Vango Banshee 200 tent, pitched in a woodland setting. The tent is a single-wall design, with a distinctive, slightly curved peak. Its main body is a deep olive green, showing subtle creases and folds indicating its fabric texture. A bright orange inner tent is partially visible through the entrance. Attached to the tent is a lime-green footprint or awning extending outwards, supported by a dark grey pole. Orange guy lines, taut and slender, radiate from various points on the tent, anchoring it to the ground. The groundsheet is visible under the tent, dark grey in color. A small, dark object, possibly a backpack, is partially concealed beneath the tent near its base. The scene is set within a deciduous forest. Tall, slender trees with lush green canopies create a dappled light effect on the forest floor. The ground is covered with a thick layer of dried brown and reddish-brown leaves, creating a textured, earthy surface. The overall palette is muted and natural, featuring earthy browns, deep greens, and the contrasting bright orange and lime green of the tent.

Dense stand of mature deciduous trees, primarily oak-like in appearance, judging by their thick, deeply furrowed bark and spreading canopies. No people are visible. The trees vary slightly in height and girth, creating a natural, uneven distribution. Fallen leaves and twigs carpet the forest floor, partially obscuring mossy patches of ground cover. A few broken branches lie on the ground, adding to the natural, undisturbed feel. The trees' trunks dominate the mid-ground, while their crowns form a textured canopy overhead.

Watched the sunset through the trees before turning in, zipping the door of my tent I felt the cold air attempting to creep inside.

17th

Had an extremely disturbed night due to safety issues regarding my presence where I had pitched my tent in Longmarsh area of Totnes. The morning was verdant and airy, there was a huge Oak tree situated only yards from where I camped by the river Dart.

Majestic, mature oak tree, positioned slightly off-centre to the left. Its broad, sprawling branches reach out, creating a large, irregular canopy of deep green leaves. The trunk is thick, gnarled, and textured, showing the passage of time. The tree stands alone in a grassy field, near a calm body of water (likely a river or lake) reflecting the misty morning light. Smaller trees and shrubs surround the oak, particularly along the water's edge, forming a lush green backdrop. A few simple benches are visible near the waterline, suggesting a park-like setting. No people are present. The scene is set in a tranquil, park-like or natural area, likely near a body of water. The background shows a line of trees and foliage extending into the distance, obscured somewhat by a light fog or mist hanging low in the air. This atmospheric perspective adds depth to the scene. The lighting is soft and diffused, characteristic of early morning.

Made breakfast on a picnic bench before leaving the area, my favourite French Onion soup!

Camping stove setup on a dark brown wooden picnic table. A small, gray Eurohike camping pot sits atop the stove, which is fuelled by a bright red canister. A partially opened can of Heinz Baked Beans, showing its red and tartan-patterned label, rests on the table next to the stove. A metallic spoon-like utensil leans against the pot. The entire setup suggests the preparation of a simple outdoor meal. No people are present. The scene unfolds outdoors in a tranquil, natural setting. The background features a serene river partially visible behind a lush, green lawn. Behind the lawn is a line of trees varying in shades of green; a deciduous forest fills the distant horizon. A chestnut tree with creamy-white blossoms is prominently featured in the mid-ground to the right. The light suggests either early morning or late afternoon, with soft, diffused light casting few harsh shadows.

Took some pictures of the River Dart on my way back into Totnes.

Calm river reflecting a row of sailboats docked at a waterfront. Dozens of sailboats of varying sizes, mostly white with some blue and red accents, are neatly lined up at wooden docks. The docks are situated in front of several low-lying, grey-toned buildings, likely boat sheds or storage facilities. Beyond the immediate waterfront, a row of buildings of various sizes and architectural styles runs along the riverbank, suggesting a small town or village setting. There's a hint of a taller building near the right side of the mid-ground, possibly a multi-story structure. The land beyond the buildings is gently sloping, covered with lush green trees and foliage. There is no human presence in the image. The water itself shows a visible layer of brown organic matter (possibly silt or algae) near the bottom, contrasting with the cleaner-looking reflection near the surface.

Cluster of delicate wildflowers, predominantly white with varying shades of pink in their centres, blooming densely together. They appear to be a species of daisy or similar composite flower, with thin, slightly hairy stems. These flowers sprout from a mass of dark-green, slightly brown vegetation nestled into a crevice in a weathered, grey-brown stone or concrete structure. The flowers are positioned at various heights, creating a natural, uneven arrangement. Some flowers lean towards the water, some are upright, giving a sense of organic growth rather than imposed order. No people or animals are present.

Calm, dark-green river reflecting a mostly cloudy sky. Several boats of varying sizes, mostly white or light-coloured, are moored at a dock on the right side of the frame. A small yellow crane is visible near the docked boats. On the left bank of the river, there’s a stretch of grassy land, some lush green trees, and a few indistinct figures that appear to be people, too small to distinguish detail. The scene unfolds in a serene, natural environment. A dense forest of dark green conifers and deciduous trees forms a backdrop that fills the upper right two-thirds of the image. The lighting suggests it’s likely morning or late afternoon; the light is soft and diffuse, with the clouds predominantly reflecting in the water.

Totnes was a circus of antics, but what most stuck out was a woman with a shaved head, walking up to the top of the hill towards the Black Bull inn. She seemed way out of her mind as she sorted the attention of passers-by. For an uneventful town, Totnes certainly appeared eventful with entertainment.

Dark green, slightly weathered notice board overflowing with a chaotic tapestry of flyers and posters. These advertisements are densely packed, overlapping and vying for attention. The flyers advertise a diverse range of events and services: yoga classes, comedy shows, musical performances (including a Radiohead tribute), book sales, workshops (meditation, mindfulness, dance), community events, and even a plant sale. The posters are varied in size, color, and design style, ranging from minimalist and text-heavy to illustrative and image-rich. Some are neatly affixed, while others appear more haphazardly stuck, with corners peeling and edges creased. There are no people directly visible on the board; instead, the posters feature photographs or illustrations of performers, instructors, or product imagery.

Back down the hill and over the river Dart, at around midday I hitched a lift to Newton Abbot from a woman driving a taxi. In the van was an Irish punk rocker, a drummer who had taken a stroke and had mobility issues; there was another guy, both of them were going for hydrotherapy I believe the woman driver said. All three were very positive and friendly, I enjoyed the short journey which dropped me off on the North side of Newton Abbot.I walked about three miles north before I thumbed another lift taking me to the A377/A30 Exeter roundabout, here I was quickly picked up by a female youth worker who dropped me off at Moto Exeter M5 services. I turned down two lifts, the first a creepy guy wearing a black panther tee shirt, he was going to Yeovil. The second was a woman who wanted me to wear a mask with her whilst in her car, she was only going a few miles up the motorway. The third car that stopped took me to Tiverton junction of the M5; from here I got a lift from an ecologist who dropped me off at Gordano Service station. The next lift took me a few miles to Filton Junction. The last lift was from a psychotic who was going to Cheltenham, he dropped me off at Junction 13, my faery friend arrived twenty minutes later, I washed and had a meal before ending my day at her house.

16th

Pitched my tent near Coronation Park in Helston, after a night of rain I got woken early by dog walkers.

Vibrant green, single-person tent, pitched on a lush, slightly damp-looking lawn. The tent is a dome shape with orange interior peeking from the open doorway, suggesting it's partially packed or ready for occupancy. Orange guy lines are subtly visible, extending from the tent stakes to anchor it. Inside the tent, a hint of orange and yellow suggests sleeping bag or other gear. The tent sits slightly angled, not perfectly parallel to the viewer's perspective.

Small, green, dome-shaped tent pitched on a short-cropped, vibrant green lawn. The tent is positioned slightly off-centre, leaning towards the left. It displays a hint of reddish-orange interior at its entrance. A small, white, possibly plastic, object is discernible near the base of the tent, possibly a bag or piece of equipment. No people are present. The scene is set in a lush, verdant woodland. Behind the tent, a thick hedge or wall of dense, leafy bushes acts as a backdrop, slightly taller than the tent itself. Beyond this green barrier, taller trees form a backdrop, with a large, prominent maple-like tree dominating the mid-ground, to the left. The trees are full of foliage, suggesting springtime or summer. The sky is a uniformly light, overcast gray, devoid of strong light and shadow.

Large, fallen log, split in two, lying horizontally in a grassy clearing. It appears weathered and grey-brown, its texture rough and possibly decaying. The log rests centrally in the foreground middle ground. Surrounding the log are various trees and undergrowth. The trees are the dominant feature, tall and verdant, with a mix of trunks — some thick, some thinner, all varying in shades of brown and grey, speckled with lichen in places. No people or animals are present.

Early morning walk through Coronation Park.

Calm, dark-coloured lake or pond, its surface slightly rippled, reflecting the overcast sky and surrounding trees. A small, weathered, green metal footbridge with steps leads from the left bank onto a small, partially submerged island densely covered with dark reddish-purple foliage trees. No people or animals are visible. On the far right bank, a small, simple, light-red building is partially obscured by trees. In the foreground, a wet, dark gray paved area extends from the water's edge, leading to a section of gray stone paving.

And around Helston town.

Street scene in what appears to be a small, historic town. The main focus is a street, wet from recent rain, lined with two-story stone and brick buildings. Several cars are parked along the sides of the street and a few are driving down the road. One light grey Ford Puma is parked prominently on the left, near the foreground, with traffic cones beside it, suggesting roadworks. A dark brown SUV is visible further down the street, parked on the right. Other vehicles are scattered throughout the scene but are less distinct. There are no people visible in the image.

The first lift took me to the outskirts of Helston, the driver was going to Screwfix. Next came a lift from a female driver to Falmouth, then another lift took me to the A30. On the A30, I was picked up by a late 50s man who had the same character and demeanour as Mike from 80s hit TV comedy “The Young Ones”.

During the lift, he told about loosing his wife and bankruptcy, then described a homeless prostitute addicted to crack cocaine who he had been dating and supporting (ekk!). He dropped me at the A377/A30 roundabout at Exeter. Next lift came from a traveller in an old Range Rover, he took me south then east up to the summit of a hill; which I later discovered was on the way to Dawlish. He gave me a £5 note and said “get some fish and chips, I bet you like them don't you”.

Dense, verdant canopy of trees and foliage, acting as a natural frame for a distant landscape. A substantial tree trunk, dark brown and textured, dominates the right side, its branches arching across the frame, creating a natural archway that reveals the view beyond. Other tree branches and leaves partially obscure the view, adding depth and layering to the foreground. No people or animals are visible. The foreground is a tapestry of deep greens and shadows, where leaves interweave, creating a sense of depth and mystery. The background presents a panoramic vista of rolling hills and valleys, extending to a hazy, light-grey horizon under a diffusely lit sky. The distant landscape exhibits muted greens and browns, suggesting fields and possibly woodlands.

Walked around the woodland for a while and thought about pitching my tent there, until I realised that the area was full of weirdos. Some places in the countryside are used for “dogging” so you must be really careful where you camp sometimes. I decided not to camp in the woodland, and not to head towards Dawlish either, instead I walked west to get back onto the A38. A woman passing by in a car noticed how stressed I looked and stopped to ask if I was OK, if I needed a lift. She took me down to the A38 services, then went out her way to drop me off in Totnes. I had an optimistic feeling about this town which evaporated during the evening; most notably after I talked to a smoking man outside the King William IV pub. A head popped over a wall walking past St Mary's Church, he seemed friendly, so I walked around to take a closer looked. Here there were four men drinking and talking, they offered me a beer, and so I sat with them for an hour or two. One of the men was dressed as the fool, he appeared oriental / Asian in origin but spoke with an America accent. He had a seashell hat with two wings from a bird he found dead by a roadside in Ireland. He was well liked in the town and invited me along with the group. A man with a Bluetooth speaker joined the group a while later; said he had come from Hackney, whilst playing annoying reggae music; he was a very confused person. I parted company with them an hour or so later, walked down to the river to find a place to pitch my tent. I noticed two people by the river stood watching me erect my tent. My torch revealed two mutilators whose darkness was revealled because they were angry when light was shined at them. When I asked for what reason they were stood watching me, they made an escape the way they had come from. I slept with one eye open.

15th

A sound of a lorry air horn woken me at 4:45am, last night I had pitched behind a petrol station at Bothwell services. Walking into Costa I was followed by creepy men.

Two men in what appears to be a casual dining establishment. First man has short, dark brown hair, a slightly stubbled beard, and is wearing a dark navy blue crew neck sweatshirt with the word Casa in a reddish-orange script across the chest. His expression is somewhat neutral, perhaps slightly pensive or bored, and his gaze is directed slightly to the right, away from the viewer. His body is positioned relatively straight, his hands are likely resting in his lap (obscured by the booth). Second man is larger and has short, dark hair cut very close to his scalp. He has a fuller, well-groomed beard and mustache, darker than his hair. He's wearing a gray Under Armour branded t-shirt. His posture is relaxed but upright, his arms at his sides. His expression is serious and possibly slightly stern. He appears to be looking directly forward. Behind the men, a partially visible menu board featuring drink options, primarily in shades of beige and brown, is prominent. A clear plastic partition or screen stands between the men and a partially visible counter area. Some light brown paper bags are visible on the counter. The overall background is a muted blend of off-white walls and various shades of light gray and beige.

A friendly Albanian man with his British girlfriend stopped in a white van and gave me a lift to Birmingham. I sat in the back of the van on a leather sofa by a plaster fire place the Albanian man was delivering to his girlfriends mother.

14th

Woke up with my tent pitched on a golf course two miles south of Saltcoats.

Predominantly a view from inside a green tent, specifically from between two slightly ajar sections of the tent's fabric. The tent's material is a vibrant, slightly crumpled, lime-green nylon-like fabric with darker grey zipper seams running vertically. A small, light grey plastic piece is visible near the upper-left side of the grey seam. An orange-brown cord is partially visible, extending from inside the tent towards the outside. The main focus is on the view through the tent opening, which reveals a stone ruin in the mid-ground. The ruin is a substantial, grey stone structure with visible holes that suggest windows or former openings. It's in a state of disrepair, with portions visibly missing and showing its age. The background beyond the ruin consists of a field of tall, lush, vibrant green grass. No people are visible in the image.

I was near a lake for the reflection, but a footpath was less than a hundred yards away.

Vibrant green, single-person tent pitched on a grassy bank. It's slightly angled, its entrance facing away from the viewer toward a calm body of water. Near the tent, a pile of camping gear is visible, including a dark-colored backpack and a purplish-pink item that appears to be clothing. Some crumpled white trash or tissue is scattered near the gear. There is no human figure directly visible, but a pile of clothing near the tent suggests a person has recently been there. The scene unfolds at the edge of a tranquil lake or pond. The water is relatively still, reflecting a muted sky. The far bank of the water is low and mostly flat, with a line of trees and shrubs creating a soft, horizon line. The sky above is overcast, with soft, diffused light that lacks harsh shadows.

Vibrant, olive-green, single-person backpacking tent pitched in a lush, verdant field. The tent is positioned slightly off-centre, angled to the left, with its entrance partially obscured. Its fabric appears taut and wrinkle-free, suggesting a recent setup. Thin orange guy lines are subtly visible, extending from the tent's corners into the grass. In the background, a significant portion of a crumbling stone ruin, possibly an old castle or tower, stands prominently against the horizon. The ruin is predominantly gray-brown, with patches of missing stone revealing the sky. Its form is irregular and aged, showing clear signs of deterioration.

This is my death of my birthday grave, the final hour of my 47th died here.

A solitary white swan positioned centrally in the mid-ground, near the still water's edge. It appears tranquil, seemingly at rest. Its white plumage contrasts sharply with the darker background. Occupies a significant portion of the right side of the foreground and middle ground. Its branches are dark and intricately interwoven, creating a sense of density and shadow. The leaves are a muted green, suggesting either early spring or late autumn. The tree's trunk is thick and robust, anchored firmly in the earth. A still lake or pond occupies the middle ground, reflecting the soft light of the sky. The water is a relatively dark, yet reflective, grey-blue, subtly shimmering with light. The foreground is completely dominated by a lush, slightly unkempt field of grass. The grass appears soft and slightly uneven, with subtle variations in hue and length.

People do shit things around me when I am collapsed exhausted, usually in the day / evening when my head is rolling over my shoulders with tiredness.

Sark, rocky coastline scene. There are no people present. The main focus is on a dark, fractured rock formation extending from the foreground diagonally toward the middle ground. This rock is primarily dark brown and black, showing signs of weathering and erosion with visible fissures and crevices. Patches of lighter brown and orange are visible within the darker rock, possibly due to mineral deposits or differing rock strata. A small, still pool of dark, greenish water sits nestled within a deeper crevice in the foreground rocks. In the background, a low, grey concrete structure, possibly a seawall or remnants of a building, runs horizontally across the image. Beyond this, further out to sea, there are other low-lying structures, appearing somewhat distant and indistinct, possibly buildings or other coastal installations. Scattered boulders of various sizes are visible both in the foreground, along the shoreline, and further out in the shallow water. The sea itself is relatively calm, a dark greyish-blue, reflecting the muted light of the sky.

Weathered, blue bollard, prominently positioned in the foreground, on a paved dock. This bollard appears to be made of metal and shows significant wear and tear, with peeling blue paint revealing a grey under layer. It stands as a visual anchor amidst a dense array of moored sailboats. These sailboats, various sizes and designs, fill the middle and background of the scene. They are primarily white and pale blue hues, with some displaying splashes of red and other darker colours. Their masts form a dense forest of vertical lines converging toward the horizon. Chains connect many boats to the dock, indicating their secure mooring. No people are visible.

Heading north returning through Saltcoats I took some pictures of the eerie harbour and deserted beach before I arrived in Ardrossan.

Deceased crab, lying on its back in sandy soil. Its carapace is broken open, revealing its pale yellow interior. The crab's legs are splayed out, and its claws are closed. Tiny, dark insects, possibly ants or small flies, are densely clustered on and around the crab's body, indicating decomposition. The crab's colouration is a mottled greenish-yellow, with darker markings on its legs. The setting is a beach or sandy shoreline. The sand is light beige, interspersed with small, dark particles, possibly bits of charcoal or organic matter. The lighting is natural, likely daylight, with a relatively even distribution of light across the scene.

Decaying remains of a bird, seemingly a seabird judging by its wing structure. Its position is slightly off-centre, lying on its side amidst short, grassy vegetation. The bird's skeleton is partially exposed, with visible skull and rib cage structures, while remnants of its feathers are still clinging to the bones, creating a mottled effect of off-white bone and dark-grey/brown feathers. One wing lies mostly intact near the body while the other wing is splayed outwards, detached from the main body but still connected at the joint. The overall state suggests advanced decomposition.

I walked through to the quay, then the rest of the way to West Kilbride. Whilst in the town I saw a reaper car.

Light blue Mazda 2 hatchback parked on a residential street. The car is angled slightly to the left, showcasing its driver's side. Inside, what appear to be two skull-shaped objects are visible on the dashboard. The driver and any potential passengers are not clearly visible, though their presence is implied. In the background, a white van is parked further down the street, and another smaller vehicle is barely visible behind the Mazda. The scene is set on a typical residential street, with a mix of red brick and stone buildings in the background. The street is relatively quiet with some greenery and trees visible along the sides. The day is overcast, the lighting is soft and diffused, creating even illumination without harsh shadows.

My next lift came two miles north from a South African man, he took me into Largs. This place was amazing, I could feel my Viking ancestors everywhere here.

Tranquil coastal scene, dominated by a rocky shoreline gently sloping into a calm, dark-blue sea. The immediate foreground is a chaotic yet aesthetically pleasing arrangement of large, irregularly shaped rocks. These rocks vary in color from dark grays and browns to patches of ochre and lichen-covered surfaces, suggesting age and exposure to the elements. The rocks are damp, with hints of subtle water flow visible in crevices. No people are present in the foreground. Beyond the breakwater, a small, charming town nestles against a gently sloping hill, its buildings a mix of muted colors—mostly browns, greys, and whites. A tall, slender church steeple, a reddish-brown hue, is a prominent vertical element in the right background. The hill itself is covered with a blanket of verdant green vegetation, hinting at a temperate climate.

Foreground of lush, vibrant green vegetation, primarily low-lying plants with broad, slightly serrated leaves, possibly a type of groundcover or weed. These plants occupy the lower two-thirds of the frame, growing densely and unevenly across a rocky shoreline. A few taller, slightly more spindly plants with small yellow-green flowers punctuate the foreground vegetation near the center. Scattered amongst the vegetation are smooth, dark-grey and brown rounded stones, forming a pebble beach that extends to the mid ground. There are no people or animals visible. A piece of driftwood is partially visible in the bottom left corner near the rocks. The scene is a tranquil coastal landscape. The midground reveals a stony beach stretching to a calm body of water, a sea or loch. The background displays a low-lying, gently rolling landmass, a far shore or island, of a muted green-grey hue. The sky is a light, hazy blue with fluffy white cumulus clouds scattered across it, creating a soft, diffused light.

I rested an hour or two in Largs, then walked north again, stopping to revive an exhausted bee with a drink of sugar water.

Large bumblebee, seemingly deceased, lying in the centre of a dark grey, metallic-looking bowl. Its body is predominantly black, with bands of vibrant, golden-orange fur. The legs are splayed out, suggesting a relaxed or lifeless posture. The wings are slightly folded, not fully extended. The bowl contains a small amount of clear liquid, possibly water, with small, translucent bubbles dispersed across its surface, giving a slightly oily or soapy appearance. The bowl rests on a bed of vibrant green grass, which provides a lush, natural backdrop. The grass blades are long and slender, with a mixture of light and dark greens. Patches of dried, light tan grass are visible between the green blades, suggesting a sunny, possibly slightly arid, environment. The lighting is natural and bright, likely from direct sunlight, as evidenced by sharp shadows cast by the grass blades and onto the inside of the bowl, creating a high-contrast scene.

I thumbed myself a lift from a lay by opposite Knock Castle, a couple picked me up and took me to Ardgowan roundabout on the A78.

The image is devoid of human presence. The main objects are: a lush, verdant field in the foreground, dominated by tall grasses of varying shades of green and yellow-brown, interspersed with patches of low-lying shrubs and vegetation. Beyond this field is a dense, hilly woodland rising to a noticeable crest. Partially visible atop this hill is a stone structure, appearing like a castle or large building, light beige or tan in color. Its details are obscured by distance. The foreground field displays a natural, slightly wild appearance, not perfectly manicured. The woodland is a rich tapestry of green, showing variation in foliage density and shades of green, implying different tree species. The sky is a clear, light blue with a single, fluffy white cumulus cloud near the woodland's crest, providing soft, diffuse light across the scene. The light suggests it's likely midday, with shadows relatively soft. The overall colour palette is natural and calming – greens, browns, and blues dominate, with the slight tan of the distant building.

The next lift came from a female nurse returning from dropping her kids off at a party, she took me to a railway station in the town of Greenock.

Calm harbour scene, viewed from a low perspective near a weathered, grey-brown wooden bollard. This bollard is firmly set into a concrete pier, its rough-hewn texture prominent in the foreground. Beyond, a small harbour bustles with activity. Several vessels are docked: a larger, predominantly navy-blue passenger ferry or workboat dominates the mid-ground, flanked by smaller fishing boats or workboats, exhibiting a variety of muted tones—greys, whites, and faded blues. The boats appear relatively still, suggesting a peaceful moment in the harbour’s activity. In the far background, to the right, is a section of what seems to be an industrial area or dockyard, with a large orange structure possibly associated with life-saving equipment, hinting at practical harbour functions.

After another lift I found myself south of Glasgow, I thumbed a guy over who took me to a junction of the M73. From here I walked four miles to Bothwell Service station.

13th

Woke up with my tent pitched on the Blair Estate, over my head an electricity pylon was buzzing, the six-hour-long EMF exposure had given me a rather sharp headache.

Central focus is a vibrant green and orange one-person backpacking tent, pitched haphazardly in a grassy area. It's slightly ajar, revealing an orange interior. A pair of trekking poles leans against the tent's side, their teal and black colours contrasting with the tent's brighter hues. Inside the tent, glimpses of a small, reddish-orange sleeping bag or liner are visible. Near the tent's entrance, a small red canister, possibly a gas canister, and a dark cooking pot rest on the grass. At the bottom right, a portion of a pink or red item, potentially a piece of clothing, is partially visible. The overall condition of the tent suggests it has been used. The scene is set in a verdant woodland. Lush green grass, speckled with wildflowers and interspersed with low-lying shrubs and trees, forms the immediate foreground and background. The trees are a mix of deciduous species, with their leaves fully developed, suggesting spring or summer. The lighting suggests an overcast day; the light is soft and diffused, with no harsh shadows.

Dirt path winding through a lush, verdant forest. The path is centrally positioned, drawing the viewer's eye deep into the woods. It's a relatively narrow trail, barely wider than a person's stride, with loose dirt and small twigs visible on its surface. There are no people or animals present. The image is taken from a slightly low perspective, close to ground level, looking down the path. This creates a sense of depth and invites the viewer to imagine walking along the trail. The path leads the eye directly into the heart of the forest, creating a strong sense of visual flow. The composition is naturally framed by the overarching branches of trees in the foreground, creating a natural border around the central path. The symmetry of the trees and the central positioning of the path creates a balanced and visually pleasing composition.

Majestic, ancient-looking tree, possibly a beech, dominating the foreground. Its trunk is thick, deeply furrowed, and textured with moss, exhibiting a powerful, gnarled character. The tree's branches spread wide, creating a dense canopy that partially obscures the sky. The branches are thick and reach out in various directions, some curving dramatically downwards towards the ground. The tree stands slightly off-centre, leaning towards the right of the frame. Surrounding it are other trees, thinner and taller, forming a woodland background. No people are present.

I travelled long and hard to get here yesterday, and this morning I feel beside myself because of it, but time to pull myself together and commence a walk through the woods.

Central focus is an ornate, wrought-iron gate, positioned slightly off-centre, dominating the foreground. The gate is dark gray-green, appearing aged and possibly weathered, with a slightly rustic finish. It features a central, arched top section, embellished with a decorative quatrefoil (four-leaf clover) motif. The gate’s lower portion displays a grid-like structure, interspersed with stylised, three-dimensional flower designs sculpted into the metal. The number 2000 is prominently displayed near the base. The gate is closed.

And to the house, Scotland's oldest occupied house for over 900 years until 2012.

Gravel driveway winding through a lush, verdant landscape. The driveway curves gently to the right, leading the viewer's eye towards a stately, light-grey stone mansion nestled amongst trees. The mansion is a multi-story structure with a gabled roof, appearing somewhat gothic in style, with multiple visible windows. Dominating the foreground are several imposing dark, almost-silhouetted tree trunks, suggesting great age and size. These trees frame the driveway and partially obscure the view of the mansion, creating a sense of mystery and depth. The scene is devoid of people or animals.

Central focus is a large, imposing stone mansion, typical of a Scottish country house or castle. It's a multi-story structure with multiple gables, numerous windows, and a grey-brown stone exterior. Several cars are parked in a line in front of the building, suggesting a driveway or parking area. A small, dark grey car is prominently positioned slightly off-center, just in front of the mansion. Other cars are less distinct. In the foreground, a lush, vibrant green lawn stretches across the entire lower half of the image. A simple, black metal garden structure, possibly a small trellis or plant stand, stands alone on the left side of the lawn, mid-ground. A lone, relatively small deciduous tree stands near the garden structure, creating contrast in scale and texture with the tall conifer in the upper left.

Gently meandering stream, its water appearing cool and clear, flowing from the upper left to the lower right of the frame. Along its banks, lush green vegetation thrives, primarily low-lying plants and shrubs. A stand of large, gunmetal-green Gunnera plants, characteristic of their broad, flat leaves (some showing brown seed stalks), is prominently positioned in the mid-ground, creating a textural contrast against the softer grasses. A solitary, dark green, globe-shaped yew or similar evergreen bush sits slightly higher in elevation and to the right of the Gunnera patch, acting as a visual anchor.

Gently meandering stream that snakes through a lush, verdant landscape. The stream is relatively shallow and clear, with visible small stones and ripples on the surface. Its banks are lined with vibrant green vegetation, including low-lying bushes, ferns, and patches of grass. Several Gunnera plants (also known as giant rhubarb) with large, broad leaves and tall, brown seed heads are prominently featured in the foreground, flanking the stream. A small, dark-colored bird is visible near the stream's center. There are no people present.

Gently curving, dark gray asphalt driveway or path that winds through a lush, verdant forest. The path starts from the bottom centre and gracefully leads towards the middle distance, disappearing between the trees. Flanking the path are rows of tall, slender deciduous trees, predominantly exhibiting a vibrant light green, spring foliage. Their trunks are textured, many showing patches of moss, adding to their organic character. A large, moss-covered log lies partially visible at the lower right, near the path's edge, seemingly felled or resting naturally. No people or animals are present.

Today is my birthday, I am forty-eight years old today. I have no money in my pocket and only a cheap 60p tin of lentil soup to eat stored somewhere in my heavy rucksack. In the morning, I had enjoyed a muffin as my birthday cake.

Partially eaten blueberry muffin, resting in a clear plastic container. The muffin is light brown with visible flecks of blueberries throughout. A significant portion of the muffin is missing, showing a broken, crumbly texture where the bite has been taken. Crumbs are scattered around the muffin and on the container. The muffin itself appears soft and possibly slightly moist. The plastic container is slightly translucent, with visible water droplets or condensation clinging to its inner surface. The container is designed to hold multiple muffins, suggesting it is a part of a larger package.

Grey camping pot perched atop a red Primus camping stove. The pot is about two-thirds full of a pale, creamy-orange substance, possibly some sort of cooked fruit or pudding, that appears thick and chunky. The pot has a slightly metallic sheen and a simple design. The stove is cylindrical, red with white text and safety warnings. A black metal stand supports the pot over the stove. To the left, an empty, slightly crumpled tin can with some residual pale orange contents rests on its side. The label is partially visible, indicating it may contain food. A small, red plastic cap lies nearby, likely from the can.

In Dalry I could not help noticing the town had a Freemasonic establish named Blair Lodge (located at 14 New Street), and named after the first grand master of the lodge, over two hundred years ago.

Single-story, rectangular building of reddish-brown brick. Its gable roof is steeply pitched, and the building's facade is austere. A simple, rectangular sign reading DALRY BLAIR LODGE is affixed to the building's upper centre. The entrance is a dark, closed metal roll-up door. Flanking the building on both sides are aged, light-grey and dark grey textured walls forming a narrow alleyway. The walls show signs of weathering and age, with patches of moss and discoloration. A faded NO PARKING sign is visible on the right-hand wall. Trees with full, green foliage provide a backdrop to the scene.

At 2pm, I visited Dalry library to access information about the Blair Estate from within their reference library. Two elderly ladies attending a crochet group shared their tea and biscuits with me, the archive had very little information; but worth a look over nonetheless.

Light brown wooden table cluttered with genealogical research materials. Dominating the scene are stacks of papers, some neatly organised in folders, others haphazardly piled. A large, pale blue, lidded box sits slightly to the upper right, possibly containing more documents. A thick, blue book titled BLAIRLIN III with BLAIRTREES lies prominently on the left, its spine clearly visible. Other printed material includes what appears to be a smaller booklet or pamphlet with a crest on it, and several loose sheets of paper, some handwritten, some typed. A metallic object, possibly a small paperweight or letter opener, rests near the center. In the upper left corner, a portion of a chair and a cane are visible, hinting at a domestic or care setting. A thermal flask sits partially visible behind the papers towards the top of the image.

Earlier I had seated myself on a bench and boiled some water for coffee, outside the Turf Inn a group of men had gathered to smoke tobacco. They asked what I was doing, I explained I'd come from the estate, and they shouted “shithole, shithole, shithole” at me, I asked them why? But never received an answer from the degenerates. At around 3pm I hitched a lift out of Dalry to Saltcoats; bizarrely it was also the birthday of the man who picked me up; he was on his way to the same pub I was heading, to meet his daughter. He dropped me off at the seafront. Front here I walked around, my friend wired me £10 enabling me to purchase something warm to eat with a hot drink.

Bronze statue of a dynamic male figure, seemingly a footballer, captured mid-stride with his right arm raised in a triumphant gesture. The statue is realistically rendered, showing detailed musculature and the texture of clothing. He is wearing what appears to be a short-sleeved, striped athletic shirt and shorts, and calf-high socks with boots. His facial expression is one of exhilaration, his mouth slightly open, and his gaze directed forward and slightly upward. The statue stands on a circular dark-grey granite or stone pedestal, upon which a small, barely visible plaque is affixed. Around the statue, the background includes pedestrians (mostly blurred) moving casually on a paved town square, their clothes exhibiting a range of muted earth tones and blacks. There are buildings lining the street.

I entered a bar named Bobby's bar and sat down opposite two elderly ladies. One of them took a dislike and repeatedly verbally threatened whilst clacking her false teeth at me. A man trying to unsuccessfully attempting to chat me up bought me a drink, ten minutes later I left, to go to a Wetherspoon's pub. A Twitter friend had offered to purchase me a birthday drink and a hot meal with their phone app.

Bustling pub interior, viewed from a slightly low perspective, as if seated amongst the patrons. The focal point is a group of people seated at tables, engaged in conversation or eating.

The man who said he was having a birthday drink with his daughter in The Salt Cot did not show his face; and with him having a Filipino girlfriend, I could easily guess why not. Outside began getting dark enough to go find a place to pitch up my tent. I feel so drained of life, both emotionally and psychically. I'm hoping I don't have far to walk to find somewhere safe to sleep, tonight has unnerved me.