Léonie Cooper

Hartfell, Moffat Hills 9th May 2022

May 2022

12th

This morning I woke in Dumfries, tent pitched on some rough land adjacent to public playing fields.

Vibrant green, one-person backpacking tent, a Banshee 200, pitched on a lush, grassy field. It's slightly angled to the left, its entrance partially open, revealing a glimpse of an orange inner tent. Beside the tent, on the grass, lies a haphazard collection of camping gear: a partially visible backpack, a clear plastic bag containing what appears to be clothing or supplies, and other smaller items, possibly toiletries or cooking utensils, scattered around. The scene suggests a temporary campsite. There are no people present.

Look at this weird car, parked two hundred yards away from where I slept in the field.

Modified Volvo S40, parked on a residential street. The car is predominantly painted in vibrant, splatter-effect green and red, giving it a chaotic and artistic look. The paint appears deliberately uneven, with drips and splatters suggesting a deliberate, possibly customized, application. The car features a roof rack, a front lip spoiler, and aftermarket wheels. A sticker on the wind shield reads, YOUR APPROVAL IS NOT REQUIRED in a sans-serif font. The license plate reads R763 VUD. A small skull emblem is visible on the front grill. A person is partially visible through the windshield, but only their head and shoulders are seen; they appear to be wearing dark clothing. In the background, a blue van is parked further down the street. There are houses with brick facades and gardens visible. A reddish-brown wooden fence separates the street from the homes' yards.

Walked back into the city centre and visited the Moon and Stars café to enjoy a hot roll and a cup of tea for my breakfast. An old man came and sat directly opposite me, then an old woman came and sat in the same place, both also were wearing the same clothing, this happened all in the space of 15 minutes; too odd to be a coincidence.

Central figure is an older man with light skin and thinning light-grey hair, slightly receding. He's wearing a dark grey, zip jacket with a red inner lining, dark trousers, and appears to be wearing a light-colored face mask partially obscured under his jacket collar. He holds a white shopping bag with blue lettering (WHSmh) in his left hand and seems to be looking down at something on a nearby table. His posture suggests he's leaning slightly forward, attentive to the table. The table is a rustic, dark-brown wooden table with a somewhat worn appearance. On it are a few indistinct objects that appear to be small containers or condiments, and what looks like a piece of folded paper. A dark grey metal chair with a light grey cushion sits at the table, mostly obscured by the man's body. A grey plastic bucket sits under the chair. The scene is set in what appears to be a cafe or diner. The walls are a muted grey-blue, accented by a wall-mounted metal sculpture composed of numerous dark-red, brown, and bronze-colored leaf-like shapes. A radiator runs along the wall behind the man. The floor is a light-colored wood. A dark-grey door or large window frame dominates the right side of the image, with a green metal handle prominent. There's a hint of greenery and possibly plants visible through the glass panel of the door.

Central figure is an older woman with short, greying hair, seated at a small, square wooden table. Her expression is calm and slightly reserved, almost pensive. She's wearing a dark, possibly black, hooded jacket or coat. Her hands rest loosely on the table. She appears to be alone. A dark gray metal chair with a light gray cushion sits directly in front of her. A portion of another metal chair is visible in the bottom right, suggesting more seating. A white radiator is visible on the wall behind her. On the table, there's a small, partially visible stack of papers or napkins, a small container (possibly sugar or condiments), and a partially visible brown object that could be a small plant pot or bag. A striking wall-mounted piece of art hangs on the wall behind the woman. It consists of numerous small, curved metal pieces in a variety of reddish-brown, dark brown, and muted gold tones, arranged in a cascading pattern that resembles stylized leaves or fish.

I decided to have a walk by the river and then hitch-hike out of the town, I wanted to get to the Blair Estate for my birthday and had less than six hours of daylight to get there. I paused in the street thinking about going to the Victoria inn for a dram, but thought better of it.

Full shot of the Victoria Inn, a pub seemingly situated on a high street. The pub is a two-story building with a brick façade, a reddish-brown hue subtly variegated by the mortar. The brickwork is clean and shows little weathering. Above the pub’s storefront, the second floor shows two windows, suggesting residential space above the commercial area. The pub itself is characterised by a prominent, dark-coloured, ornate cornice and fascia above the store front. The building's sign, Victoria Inn, is crafted in elegant, gold-coloured lettering on a deep reddish-brown panel, which is framed within a black, decorative moulding. The photograph is taken from a slightly low angle, directed toward the center of the pub's façade. The composition is straightforward, focusing directly on the building with some sidewalk visible at the bottom. The symmetrical nature of the building is emphasised by this composition, which directs the viewer's attention to the pub's entryway and central design elements.

I hitched a lift from a man going to Sanquhar, he told me about the local history and dropped me near the town hall which had become a museum, I decided to go in and have a look around. From Sanquhar, a black Mercedes SUV drove by slowly and came back whilst I was thumbing for a lift, north of the village. A Yorkshire man opened the door after pushing his Dalmatian dogs back into the rear seat, and offered me a lift to Cumnock. He said he had worked in the glass industry and had toured India teaching Indians how to make glass. He took me on to Ayr, dropping me at the southern side, oddly he came in from the north, but explained that was the way he knew. I set about walking out of the city, the road north seemed as though it went on forever. At the A79/A77 roundabout I thumbed a lift of a bearded man driving a blue coupe Mercedes, he took me to the southern edge of Kilmarnock.

11th

I woke up at 6am in a spare room within the flat, all my belongings were there, so I guess the hospitality was genuine. I packed away my bag and knocked on the other bedroom door to thank and say goodbye to the couple. Had breakfast at a cafe and also at a takeaway. The takeaway seemed taken a back by my presence, but slowly warmed enough to say goodbye and wished me a "good day" as I walked out of the door. After a walk around town and down by the river. I found a friendly pub at the Victoria Inn. I approached the bar and ordered from a tattooed, bald headed man named "Bingo"; a dram of whiskey and a Tennants Larger then seated myself down.

I placed some money down on the pool table which seemed to make the men a bit anxious, a woman sitting at the bar gestured me to come away, but I ignored the warning. I played and lost the game, the man breathed a sigh of relief, but shook my hand and thanked me for the game, all was well. There was a twist to this place, just the other day, in Moffat I had purchased a green and purple dress from a greyhound charity shop, outside the back of this pub, in the beer garden there was a purple and green flag, in the exact same colours as my dress; uncanny I thought. The publicans were friendly and down to earth people, I enjoyed being in their pub, and played some songs on the duke box that they said they enjoyed. The duke box was confusing in that it was computerised, and hard to navigate to songs, after a couple of pounds (which equated to 20 songs) they put some money in and asked me to pick some songs, which I thought sweet. I stayed in this bar the entire afternoon, in the evening I made friends with a woman named Selena, the pub had emptied of men, so we took it upon ourselves to shoot a few games of pool. As 8pm approached, Selena mentioned that Bingo wanted to close the bar, we drank up our drinks and headed up the road to a pub named The Douglas. This pub was very hippy, the lady behind the bar knew Selena and also knew she was having trouble with a violent boyfriend who was buzzing her phone crazy. I was unsure about the pub, even though the publicans warmed to me; I have been surrounded by so many fake people for so long. After seven pints of Larger and five drams of Whiskey, I struggle to down my drink. Selena asked what I missed about being on the road the most, I replied a warm, safe home, and a family. She told of abuses that go on behind locked doors of the home, how they are prisons, where perpetrators get away with crimes, such as child abuse and rape. She said next time you look through a window, know that there is something horrible probably going on. I was sick outside, my stomach was moving as if I was throwing up some of bacteria. Feeling unwell and noticing the warmness of the Douglas chill I left the pub to find a safe place to pitch my tent. On my way out I met two drunken prison guards complaining about the lack of people turning up to their colleages funeral; one was warm towards me, the other cold. Both seemed offset by their empathy, polarised by others lack of emotive concern.

10th

This morning I awoke pitched on a playing field in Moffat, I had been here only a day before, and I know the strangers do shit things to associate me with their decimations, usually at where I previously slept.

Olive-green dome tent, pitched on a lush, short-cropped green field. It's a slightly damp-looking tent, suggesting recent rain or dew, with subtle texture visible in the fabric. Beside the tent, partially obscuring the base, lies a dark-colored backpack and a lighter-colored, possibly grey or off-white, smaller bag or pack. A thin, orange-toned tent guy line stretches diagonally from a tent peg towards the left of the frame. No people are visible.

Central focus is a bright green, dome-shaped one-person tent pitched on a lush green field. The tent's inner lining is visible through the open doorway, revealing a vibrant orange interior. It's slightly damp, showing subtle dark spots from recent rain. Orange guy lines extend from the tent, securing it to the ground with pegs. Beside the tent, a pile of camping gear rests on the grass; a black backpack, possibly a sleeping bag, and a crumpled, light blue and white plastic grocery bag are discernible. A few tent pegs and a hiking pole lie scattered near the gear. The scene is set in a pastoral landscape under a cloudy, overcast sky. The light is diffuse and soft, indicating an absence of harsh shadows. The predominant color is the vibrant green of the grassy field, which extends to the horizon. In the background, a row of modest houses with grey and brown roofs is visible, nestled amongst a cluster of mature deciduous trees exhibiting varying shades of green and a few touches of lighter yellow-green indicating new leaves.

Packed up my things and went into Moffat to enjoy some breakfast, later I entered Hugo's bar and enjoyed a bowl of Cullen Skink, but the Chowder was wrong, and this variant contained no smoked mackerel.

Inside a building, looking out through a rain-streaked window. The focus is on a wet, paved area outside with parked cars. The foreground is dominated by the out-of-focus image of patio furniture – a dark-colored wicker chair and metal table set. These appear wet from the rain, and the rain droplets distort their appearance. Part of a metal frame or stand also occupies the foreground. A small, grey A-frame sign stand is near the base of the window. A staircase is partly visible to the left of the furniture.

I figured out the bus times to Dumfries and got onboard the bus. Along the way, rain poured down, many people boarded as the bus neared the city.

Gently curving asphalt road, wet from recent rain, stretching from the foreground towards a distant horizon. The road is two-laned with clear white dashed lines marking the center and intermittent wider white markings suggesting pedestrian crossings. On the left side of the road, a wire fence runs parallel, separating the road from a lush, vibrant green field. A few solitary trees stand out against the field, particularly a darker, fuller tree mid-left, adding depth. In the distance, there is a hint of a vehicle, nearly indistinguishable due to distance and the atmospheric haze.

The bus was stuffy, at the last stop I went straight to the river to enjoy some fresh air, perched on a stone I looked down to find a face carved into the wall; it felt as if somebody knew I was going to be there.

Rushing river, its water a churning mix of dark brown and frothy beige, cascading over a low, stone weir that spans most of the image's width. The water's movement is dynamic, with frothy whitecaps and swirling currents visible throughout. A metal railing, dark grey with rounded finials, runs along the left edge of the image, paralleling a red-brown paved pathway. Sparse, low-lying vegetation clings to the riverbank near the railing. In the background, a line of brick buildings, a mix of residential houses and what appears to be an apartment complex, rises on a slightly elevated bank. Trees, primarily green and lush with hints of yellow-green, line the riverbank and fill the spaces between the buildings. A few birds are visible in the sky, small against the vastness of the clouds. There's a suggestion of a bridge in the far background spanning the calmer river section before the weir.

I first landed in the Imperial pub, I sat and study the map of Dumfries before deciding on going to Robert the Bruce pub. At the bar I noticed I did not have my phone, panicking I returned to the Imperial but found no phone there. I returned, but the bar man said no phone had been handed in or found. This Wetherspoon pub was busy, so I sat outside at the rear of the pub. Here I met an elderly couple who offered to put me up for the night. After a while a barman came and returned my phone to me, the couple bought me a drink then, via a closed shop, I walked with them to their flat. As I sat down in the lounge of the flat, her boyfriend joined me, he pulled out a big bag of heroin and proceeded to chase the running brown stain underneath some flame lit tin foil.

Older man with light, slightly unkempt blond hair. He's seated on a worn, multi-coloured couch, slightly angled to his right. He's wearing a light beige, short-sleeved t-shirt with a barely visible design, and faded blue jeans. His attire suggests casual comfort. He's wearing off-white Nike sneakers. His posture is slightly hunched, and his hands are engaged near his body, seemingly manipulating a small object— possibly a phone or a small device— held close to his chest. His expression is difficult to ascertain due to the angle, but it appears pensive or focused.

I knew this guy in Nottingham back in 1992 and from other parts of the United Kingdom; it is bizarre I should meet him again, decades away in 2022. This place would have seemed too dangerous if I had not known this guy was OK.

9th

The road east out of Moffat was friendly, almost everybody greeted me. My mind calmed as I left the town of Moffat and started my ascent to Hartfell.

Weathered, vertical wooden post, roughly hewn and showing signs of age and exposure to the elements. It stands firmly in a short, vibrant green pasture, slightly off-center to the right. Affixed to the post is a small, rectangular sign with a faded yellow graphic, possibly a symbol indicating a trail marker or directional guidance. There are no people or animals visible. The scene is a pastoral landscape under a heavily overcast sky. The sky dominates the upper portion of the frame, a monotone canvas of muted gray and white clouds, suggesting an impending rain or a recently passed shower. The lighting is diffuse and soft, lacking strong shadows. The foreground is a lush, carpet-like expanse of vibrant, deep green grass, subtly textured with variations in tone and slight undulations. The mid-ground and background comprise rolling hills, varying in shades of muted green and brown, suggesting pastureland. The hills recede gently into the misty distance, creating a sense of depth and vastness.

Pastoral scene dominated by a gently flowing stream that meanders through a verdant valley. The stream, light brown and relatively shallow, occupies a central position, slightly off-center towards the left. Its banks are lined with lush green grass and dotted with small shrubs and trees. The most prominent feature besides the stream is a large, mature deciduous tree standing near the right bank, its branches reaching upwards towards the overcast sky. Other smaller trees and shrubs are scattered along the stream and up the slopes of the valley. A low stone wall is visible in the lower right, snaking along the edge of the hill. In the foreground, there's a swathe of dry, brown, and tangled brush, possibly bracken or other scrub, contrasting with the vibrant green grass surrounding it. No people or animals are present.

Fuzzy, caterpillar-like larva nestled within tall blades of bright green grass. Its body is predominantly a deep, rich black with striking bands of reddish-orange along its sides. The fur or hairs covering its body are long and somewhat splayed, giving it a slightly unkempt, yet plush appearance. The caterpillar's head is partially obscured, but the visible segments showcase the color contrast. It seems to be resting or simply present in the grass, exhibiting no active movement in the still image. Two light brown, slender, slightly out-of-focus sticks or branches criss-cross in front of and behind the caterpillar, partially obscuring its body. The setting is an outdoor scene of lush, vibrant green grass, creating a vivid natural backdrop. The grass blades are long and slender, slightly wet with dew visible as tiny, glistening droplets on the leaves. The overall lighting appears soft and diffused, suggesting an overcast day or soft, ambient light. The color palette is primarily dominated by the contrasting greens of the grass and the orange and black hues of the caterpillar. The brown sticks introduce a warmer, earth tone element.

Gently sloping grassy hill, foregrounded by a newly planted copse of young, light green deciduous trees. These trees form a somewhat irregular line, thicker in the center and thinning towards the edges, creating a natural, unkempt appearance. A faint, barely visible dirt path meanders through the foreground grass, leading towards the copse and beyond. In the mid-ground, a wire fence is subtly visible separating the copse from a more established field. The background reveals rolling hills, mostly green pastureland dotted with clumps of darker, possibly coniferous, trees. A few sheep can be discerned as small white specks on the distant hillside. The scene is bathed in a soft, diffused light, suggesting an overcast day. The sky is a uniform, light grey, devoid of harsh shadows or strong sunlight.

Landscape devoid of people or animals. The primary focus is a gently sloping hillside in the foreground, covered in a mixture of short, dry, light brown grasses and scattered patches of dark green vegetation. The texture is rough, with many thin, dry stems lying on the surface. The scene is a rural valley, likely in a mountainous region. The foreground hillside descends towards a valley bottom, where a small stream or gully is visible. The valley is bounded by rolling hills and mountains, which fade into a misty, overcast sky. The background hills are a muted green-brown, showing varying degrees of vegetation and patches of bare earth. Stone walls, likely used for agricultural purposes, are visible on the upper slopes. The lighting is soft and diffused, indicative of an overcast day; there are no harsh shadows. The overall colour palette is subdued, consisting primarily of various shades of brown, green, and gray, contributing to a calm and somewhat melancholic mood.

I love the vibrancy of ascetic of the countryside, nurturing nature is the all healer and ultimate mind calmer, both settler and rationalised motivator of a wandering soul.

Selfie portrait of a fair-skinned woman with windblown, shoulder-length blonde hair. She is positioned slightly off-center, looking directly at the camera. Her expression is a soft, almost subtle smile, conveying a sense of calm contentment. She is wearing a snug-fitting, dark blue ribbed jacket over a vibrant pink heather-toned hoodie. A chunky, hand-knitted scarf, predominantly dark navy blue with splashes of deep red, pink, and blue, is loosely draped around her neck. A matching knitted beanie cap is pulled down to her eyebrows, enhancing her features and offering a contrast to her blonde hair. Small, silver dangling earrings are visible in her ears. A portion of a dark blue backpack strap is visible on her left shoulder.

Sweeping vista of a verdant valley nestled between rolling hills. A small, meandering stream snakes its way down the valley floor, its path marked by darker, more saturated greens and occasional low stone walls or embankments. Patches of lighter, more golden-brown grasses punctuate the landscape, suggesting variations in elevation and sunlight exposure. In the mid-ground, a small stand of dark-green, possibly coniferous, trees clusters in a small area. The foreground is composed of a sloping hillside, covered in a vibrant, slightly taller and lusher grass, suggesting a pathway or natural incline. No people or animals are visible.

Gently sloping hillside in the foreground, covered in a sea of long, wind-blown grasses, predominantly a muted beige-brown with touches of green. The grasses are not uniformly tall; patches of shorter, greener vegetation are interspersed, suggesting varied terrain and possibly different species. A barely discernible, faint path or track meanders down the slope towards the bottom of the frame. In the mid-ground and background, the valley unfolds, revealing a series of gently contoured slopes and ridges rising to a prominent, imposing hillside that dominates the upper half of the image. These slopes are predominantly a mix of light brown and various shades of muted green, suggesting sparse vegetation typical of high-altitude grasslands. Faint, barely visible lines traverse some of the slopes, possibly hinting at old, low stone walls or contour lines in the landscape. No people or animals are visibly present.

no people or animals that are readily apparent, though there are what appear to be small, light-colored specks in the middle distance on the far hillside, possibly sheep. The main objects are rolling hills and grassy slopes. The foreground is dominated by tall, dry grasses, some leaning to the right and showing movement from the wind. A low, barely visible stone wall is partially seen in the lower right, winding up the hillside. The scene is a vast, mountainous landscape under a heavy, overcast sky. The overall color palette is muted and earthy. The sky is a uniform, light gray, with no strong light sources, resulting in soft, diffused lighting. The hills are covered in various shades of green, transitioning from a vibrant, brighter green in the foreground to a darker, duller green in the middle and background distances. Some areas show patches of brown, indicating drier, less verdant patches of grass. The grasses in the foreground have a beige-gold tint, suggesting dryness and possibly a late season.

Have chosen to find my own route up Hartfell, ascending a steep incline from the West with the assistance of my walking polls.

Large, moss-covered boulder, positioned slightly off-centre, leaning towards the viewer. The boulder is roughly triangular in shape, with its base nestled into the grassy hillside. Its surface is a tapestry of muted greens and browns, the moss unevenly distributed, creating textural variations. The rock displays patches of gray and lighter brown, suggesting weathering and mineral variations within the stone itself. There's no visible human presence or action. The scene is a vast, undulating landscape of rolling hills under a muted, overcast sky. The hills are draped in a blanket of short, predominantly yellowish-green grass, showing subtle variations in hue and tone, indicative of differences in elevation and exposure. The distant hills are hazy and recede into a soft, pale grey sky. There is a gentle, diffuse lighting; no harsh shadows are present, suggesting an overcast day. The overall colour palette is subdued, consisting primarily of muted greens, browns, and greys, with the sky providing a cool, almost bluish-grey backdrop.

Pair of dark-grey trekking poles, standing upright in the foreground. They are planted in the sparse, brownish-green grass, their tips slightly embedded in the earth. The poles are almost identical, featuring a dark grey shaft with a small, teal-coloured accent near the handle. They stand relatively close together, suggesting a resting point during a hike. No people are present. The setting is a vast, rolling mountain valley. The landscape is dominated by muted greens and browns – the color palette suggestive of a moorland or upland environment. The grass is short, predominantly dry and brown-tinged, with patches of greener growth. The valley slopes gently up on both sides, creating a V-shaped formation. A stream or small river is faintly visible winding its way through the lower part of the valley in the distance, barely distinguishable from the muted colors of the surrounding land. The mountains in the background are soft and rounded, merging into a hazy, overcast sky. The lighting is diffuse and soft; an overcast day with little strong shadowing, resulting in a slightly muted and subdued overall tonality.

The wind and rain were ripping across the summit, but doubling up my fleece kept me from reaches of exposure.

Gently sloping hillside covered in sparse, brownish-green grass. This hillside occupies the majority of the foreground and extends to the mid-ground, where it merges into rolling hills shrouded in fog. The scene is a high-altitude landscape, likely a mountain range, dominated by a thick, pervasive fog or low-lying clouds. The sky is a uniform, light gray, indistinguishable from the fog. The fog obscures the details of the distant hills, leaving them as soft, hazy shapes. The overall colour palette is muted and subdued, consisting primarily of various shades of gray and brownish-green. The grass on the hillside is a mix of dull greens and browns, suggesting either late autumn or early spring. The lighting is diffuse and soft, lacking strong shadows due to the overcast conditions.

high-altitude landscape, likely a mountain range or moorland. The foreground is a gently sloping hill covered in short, light brown-green grass, suggesting a relatively sparse, possibly windswept, vegetation. The mid-ground and background are dominated by a series of rolling hills and valleys extending into the distance. A valley cuts through the middle of the image, receding into the mist. The overall colour palette is muted, dominated by various shades of light brown, green, and grey. The lighting is diffuse and soft, characteristic of an overcast day. The fog or mist hangs low, obscuring the far distance and giving a hazy, indistinct quality to the scene. The light is not harsh or dramatic; rather, it's a muted and even light that minimises shadows. The composition is panoramic, taking in a wide expanse of the landscape. The perspective is from a high vantage point, looking down and across the valleys and hills. The viewpoint seems to be located on a slightly elevated position within the foreground hills, providing a fairly broad sweep of the terrain. The leading lines of the hills draw the viewer’s eye towards the valley and the receding distance.

Partial visibility came and went, teasing from sight an awesome view of the Moffat hills.

Vast, open expanse of upland moorland stretching from the foreground to the middle ground. The foreground is dominated by a field of low-lying, dry, brownish-green vegetation, appearing somewhat sparse and windswept. Patches of darker brown indicate areas of more compacted earth or perhaps subtly different plant life. There are no people or animals visible. The background consists of rolling hills and mountains under a heavy, overcast sky. The mountains are muted in colour, shades of grey-green and brown blending seamlessly into the pale grey of the sky. The sky occupies a significant portion of the upper two-thirds of the image, forming a massive, diffuse light source, casting a soft, even light across the landscape. There's no harsh shadowing; the lighting is flat and diffused, creating a mood of muted tranquillity, perhaps hinting at an impending rain or recent precipitation.

Modest cairn, a small, meticulously stacked pile of grey and brown rocks, situated on a gently sloping hilltop. The rocks vary in size and shape, with some larger, angular stones forming the base and smaller, flatter stones creating a slightly peaked apex. There is no human presence. The scene is a vast, undulating landscape of rolling hills and valleys under a heavy, overcast sky. The hills are a muted palette of greens and browns, the grass showing hints of yellowish-brown in places, suggesting either dry conditions or early spring growth. The valleys are darker, creating a strong contrast with the lighter slopes. The sky dominates the upper two-thirds of the image, a thick, uniform layer of grey cloud with minimal variation in tone, suggesting a moody, possibly slightly threatening weather. The light is diffuse and soft, lacking strong shadows, characteristic of an overcast day.

I walked back into Moffat, and entered a bar named the Coachman Bar. There were obnoxious men playing pool and a lanky blonde white woman, known to them, kept entering and leaving the bar.

Dimly lit pub interior, focusing on a group of patrons seated at the bar.

The two barmaids were butch and appeared to be Lesbians, one said she was South African, I did not ask her any more questions. Various people entered the bar through the evening, including two cyclists who were riding from Land's End to John O' Groats. After some degenerates entered the bar from the camp site, I realised this pub was a hapless dead end, quite literally. One minute before 10pm I made my escape, walked to the playing field and pitched my tent in the rain.

8th

I woke pitched on a hillside, in a park near Cumbernauld.

Green, single-person tent pitched in a grassy clearing. It's a dome-style tent, slightly angled, with its entrance facing slightly to the right of the frame. A slender, orange-toned guyline stretches from the tent's corner to the right, suggesting a slightly taut pitch. A partially visible dark-coloured backpack lies to the left, near the base of a large tree, implying camping activities are underway. No people are present. The scene is bathed in soft, natural daylight, suggesting either early morning or late afternoon. The lighting is diffuse, with no harsh shadows, indicating an overcast sky or dappled sunlight filtering through the foliage. The dominant colours are the rich green of the grass, the bright, almost lime green of the tent, and the varied browns and greens of the extensive tree canopy overhead. The trees in the background show lush, spring/early summer foliage, ranging in shades from light to deep green. The environment is a serene woodland setting. A large, gnarled tree with thick, mossy branches dominates the upper half of the frame, creating a natural canopy over the tent. The tree's branches reach far out, almost engulfing the scene, creating a protective yet open feel. The background consists of a low-lying area of trees and undergrowth, creating a depth of field that leads the eye from the foreground to the middle ground. The grassy area where the tent is pitched is relatively flat and unblemished, except for the tent and backpack.

Olive-green, one-person backpacking tent, pitched on a grassy field. It's a lightweight, dome-style tent with a slightly streamlined shape, showing subtle curves and folds in its fabric. The tent's fabric appears taut, suggesting a recent pitching. Bright orange guy lines are subtly stretched from the tent's corners to stakes unseen in the grass, suggesting stability. The tent is not fully zipped up, showing a glimpse of the interior's darkness. A small, partially visible label is seen on the tent's side. The tent is nestled under the sprawling branches of a large, mature deciduous tree, which dominates the upper two-thirds of the frame. The tree's leaves are a vibrant, fresh green, suggesting springtime or early summer. The tree's trunk is thick and textured, its bark a mottled grey-brown. The background features a gentle, rolling meadow, showing various shades of green, ranging from the deeper, richer tones under the shadows of trees to the lighter, sun-drenched areas. Other trees and bushes are visible in the background, creating a soft, natural boundary. The sky is largely overcast, providing a soft, diffused light that avoids harsh shadows. The overall color palette is a peaceful blend of greens and muted browns, with the olive green of the tent complementing the natural surroundings.

Well, I was quite safe here and was not aware of being bothered during the night (whilst I was inside my tent).

Verdant woodland path, splitting gently into two diverging trails. Tall, slender deciduous trees with pale gray-brown bark and a lush canopy of fresh, light green leaves fill the scene's background and middle ground. Their trunks are mostly straight but show some irregular branching, particularly a prominent Y-shaped trunk near the left edge. The trees are densely packed, forming a natural, somewhat uneven canopy. No leaves are fully mature; the image suggests springtime.

Weathered, rectangular information board, dark brown-framed, situated outdoors on a short, grassy post. The board is predominantly off-white or beige, heavily speckled with dark brown stains and patches of what appears to be lichen or mold, especially at the edges. The text is printed in dark brown, a serif font, and includes historical information about Cumbernauld House Park, along with small historical maps and illustrations. The illustrations are simple line drawings, somewhat faded and showing age. There's some evidence of graffiti or vandalism – light splotches of white, possibly paint, mar the surface. No people are present.

The park was pretty and had a manor house which appeared to be now converted into residential flats.

Large, stately, stone mansion, light brownish-grey in colour, situated in the mid-ground. It's a multi-story building with multiple visible windows and a complex roofline, suggesting a classical or possibly Georgian architectural style. The mansion is nestled amongst lush greenery, appearing relatively secluded. In the foreground, a sweeping expanse of vibrant green grass dominates the scene. A large, mature deciduous tree with spreading branches and bright, fresh green leaves occupies a significant portion of the left foreground, partially obscuring the view of the mansion. Smaller, similarly leafy trees and shrubs are scattered throughout the scene, contributing to the verdant landscape. The environment is a tranquil, park-like setting, possibly a large estate or country garden. The background consists of a rolling landscape of verdant hills and a variety of trees, suggesting a natural, unspoiled environment. The sky is overcast, a light grey-white, diffusing the light evenly across the scene without harsh shadows. The dominant colours are various shades of green in the grass and foliage, punctuated by the muted grey-brown tones of the mansion.

I walked into Cumbernauld village, then into Cumbernauld town and found nothing but a town that resembled at street on Milton Keynes. After returning to the motorway junction, a Polish woman stopped in a “red and black” car, she said she worked as a waitress for a restaurant. The woman dropped me literally outside the door of Glasgow's COVID-19 testing unit, contrary to me not being sick.

Close-up portrait of a fair-skinned woman, possibly middle-aged, with blonde hair partially visible beneath a deep purple knitted beanie. The beanie is slightly askew, revealing her forehead and temples. Her expression is subtly melancholic; her mouth is slightly downturned, and her eyes, although clear and directly engaging the camera, hold a pensive quality. She's wearing a red dress with a small, white floral pattern, and a delicate silver chain necklace featuring a round moonstone pendant. The pendant is smooth and reflects a soft, ethereal light. She is seated, her upper body angled slightly towards the camera, and her gaze is directed slightly to the right. Her hands are not visible. A grey cardigan or jacket is draped over her shoulders. The background is blurred, suggesting a shallow depth of field, indicative of a photograph taken through a vehicle window. The focus is strongly on the woman's face and upper body. The out-of-focus background features a verdant landscape with rolling hills and a low building in the distance. The lighting appears natural, likely daylight, casting a soft glow on the woman's face, slightly highlighting the textures of her skin and the beanie's yarn. The color palette is relatively muted: deep purple in the beanie, muted reds and whites in the floral dress, soft grey in the cardigan, and the contrasting green hues of the blurred background. The moonstone pendant adds a cool, silvery tone.

It was a thirty-minute walk to Buchanan bus station, here I waited an hour to board the Dumfries bus to Moffat. An Asian man attempted to push in front of me as I got onto the bus, behind me seated the noisy elderly ladies who had travelled to see pop band Deacon Blue play in the city. Exiting the bus, I walked down to the river path, and attempted to rest the evening there.

Camping scene, specifically the preparation of hot drinks. A red, cylindrical propane canister (likely for a portable stove) is prominently placed on a dark blue wooden table. It's covered in small print detailing safety warnings and product information. Atop the canister sits a small, folded, silver-coloured portable camping stove. Two grey metallic camping pots, nested slightly, sit lower in the frame. Both pots contain a light beige, foamy liquid, likely a hot beverage. The pots are connected by a black cord with a simple handle. Next to the pots, there's a small scattering of a light-coloured powder, possibly powdered milk or another ingredient for the drink. A red, heart-shaped, compact power bank is also present on the table. Other items strewn around include: a partially visible transparent plastic bag with white powder inside (possibly powdered milk or sugar), a dark blue sweatshirt and a pink fleece partially rolled up, a white charging cable connected to a black power bank (likely for a phone), a partially visible pink marker, and a crumpled green plastic bag. A black backpack is visible in the bottom right corner.

Shortly after a local police man appeared asking to know who I was; he said I'd been rung in as abusive by two people. He radioed my name through then left the area, I then turned around to pitch my tent on a public playing field.

7th

Woke up early but not disturbed at 5am, but lazed about till 9am. Thankfully, no dog walkers to disturb me on this side of the River, Forth.

Interior view from within a brightly coloured camping tent. The tent's fabric is predominantly a vibrant burnt orange, with a contrasting lime-green section forming a diagonal across the upper portion of the visible interior. A black seam runs parallel to the orange and green sections. Orange guy lines, or ropes, are visible, stretched from the tent’s structure into the field outside. A small, white, peg or marker is partially visible in the grass. There are no people present. The background is a verdant expanse of tall, lush grass, stretching from the immediate foreground to the horizon. Beyond the grass, a line of trees forms a natural boundary. The trees are a mixture of deciduous species, exhibiting various shades of green. The sky is overcast, a soft, muted gray, lacking harsh shadows. The overall lighting is diffuse and soft, suggesting an overcast day.

There was a 4G mast only 200 yards (0.18 km) away from me, I was slightly concerned about them microwaving me during the night, so pitched my tent slightly underneath the brow of the horizon; not that I really thought this would help.

Vibrant green, two-person backpacking tent pitched in a lush green field. The tent is a single-wall design, with orange accents visible along the seams and guy lines. Its vestibule is partially visible, and the interior appears to be partially set up with sleeping bags or other camping gear. The interior is mostly dark, making details indistinct. A small, dark-colored object (possibly a camping mug or other small item) lies on the grass near the tent's base. The tent's poles are visible, showing it to be a lightweight and easily assembled design. No people are present. The grass is short, uniformly colored, and appears soft and slightly damp. In the background, a slightly darker green line indicates the horizon, barely separating the field from the sky. The sky is a pale, overcast gray-white, devoid of strong sunlight. The overall lighting is soft and diffuse, suggesting either early morning or late afternoon light. The dominant colours are the bright green of the field and the olive-green of the tent, contrasted by the subtle orange of the tent's details.

Vibrant green, single-person backpacking tent, pitched in a sprawling field. It's a dome-style tent with a slightly asymmetrical shape, its flysheet taut but not fully extended, suggesting it's either recently pitched or being packed up. The tent's fabric appears subtly textured, with hints of sheen reflecting the muted light. Orange guy lines radiate from the tent's corners and stakes, barely visible in the grass. There are no people present. The tent sits in a vast, flat field of lush, bright green grass, which stretches to the horizon. The grass is unbroken, save for a few small, scattered wildflowers. In the distance, a low-lying, gently undulating landscape is visible. It's a mixture of muted greens and browns from distant trees and possibly hills, suggesting a rural or pastoral setting. A calm body of water, possibly a river or canal, is faintly visible on the horizon, providing a horizontal line that accentuates the flatness of the field. The sky is an overcast, pale grey-white, casting a diffuse, soft light across the scene; there are no harsh shadows.

A pasty is called a "Foggy" in Bonnie Scotland.

Today I am finding it hard to motivate myself.

First-person perspective shot from inside a tent. The viewer's legs, clad in maroon tights and a red, floral-patterned dress or skirt, are prominently displayed, extending from the bottom of the frame towards the top. The person is comfortably reclined with their feet propped up. The feet are shod in dark brown hiking boots. One boot sits angled slightly higher than the other. Outside the tent, in the foreground, lies crumpled orange and plastic bags. A dark backpack and other pieces of luggage rest further away, slightly to the right. The scene is set in a lush green field, under a muted, overcast sky. The grass is vibrant green, slightly long, appearing slightly damp. The lighting is soft and diffused, characteristic of a cloudy day. The sky is a consistent light gray-white, devoid of intense brightness or shadows. Behind the field, a line of deciduous trees runs horizontally across the image, forming a natural border between the field and a more distant, indistinct landscape. The trees are a muted green and brown, lacking any vibrant summer hues.

But I packed up within the coming half hour, but only after enjoying a hot drink. I walked down and across the river, discovering a children's fleece hanging off one of the branches, I walked around a path by some houses and then along another footpath by a meat processing plant.

Lush bank of vibrant green grasses and reeds, punctuated by a scattering of bright yellow marsh marigolds (Caltha palustris). These flowers are blooming profusely, their petals a sunny contrast to the deep green foliage. The bank slopes gently down to a calm river. Dead, grey-brown fallen trees, bleached by the elements, lie partially submerged and strewn along the riverbank, some extending into the water. They are weathered and gnarled, showing signs of age and decay, creating a natural, organic framework for the scene. The trees are not actively doing anything; they are simply part of the landscape.

There was a long incline to the roundabout where the M9 becomes the A9; I thought this would be a good place to hitchhike. I was right, after only a few minutes a couple picked me up, they gave me fizzy drinks and offered cigarettes. The couple dropped me off at the east edge of Pitlochry. Immediately I found myself staring hard at an abandoned house, as if the dereliction was trying to relay a message toward me, but I could not focus my cognition enough to read into it.

Crumbling, stone structure, possibly a ruin of a small building or outbuilding. Its walls are made of weathered, light-brown and tan stones, unevenly stacked, showing significant signs of age and decay. Some sections of the walls are missing entirely, revealing the interior. One visible wall features a recessed window, now lacking glass, and a boarded-up doorway. The structure has a slightly angled, almost asymmetrical, shape, emphasising its decay. A low stone wall runs horizontally across the foreground, partially obscuring the base of the ruin. This wall is also made of similar stone but appears in better condition than the main building. The scene is set in a natural environment, possibly a hillside. Behind the ruin stands a dense stand of deciduous trees, their leaves light green and partially obscuring a hillside, indicating springtime. The trees’ branches create a backdrop of intricate lines and shadows. The hillside behind the trees appears grassy and gently sloping. The overall lighting is soft and diffuse, suggesting an overcast day or soft sunlight filtering through the trees.

Vertically stacked, rectangular road signs standing proudly in a vibrant meadow. A bright white sign with bold blue lettering proclaiming Welcome to PITLOCHRY in a sans-serif font. A stylised illustration of a salmon leaping from water occupies the top portion. The style is slightly cartoonish, yet detailed enough to show scales and fins. The salmon is a muted green and red. A smaller white sign beneath the main one, displays Ceud Mile Failte in a smaller, similar font. This is Gaelic for A Hundred Thousand Welcomes. The smallest sign, this one features Twinned with CONFOLENS FRANCE in crisp, clear lettering. Small French and Scottish flags flank the town's name. The overall design is simple and clean.

I didn't hang around Pitlochry, the tourists are as insulting as the £7 sandwiches served up by the local cafés. There is not much I like about this town other than the road out, the river and loch are quite nice though.

Fair-skinned person with shoulder-length blonde hair partially obscured by a deep purple and blue knitted beanie. They are wearing a red dress adorned with a small white floral print, and a light grey, long-sleeved cardigan. A silver necklace with a dark grey or black pendant hangs around their neck. Their arm is outstretched towards the viewer's left, as if hitch-hiking or gesturing for a vehicle to stop. Their expression is neutral, perhaps slightly pensive. Their hand is slightly blurred, suggesting motion. In the background, a black SUV with roof racks is visible, stopped or slowing down on a highway. A smaller, light-colored car is also faintly visible further back. The setting is a brightly lit highway, bisected by a double white line, under a mostly clear blue sky. Fluffy white clouds are scattered across the upper portion of the frame. In the far background, a soft green landscape of rolling hills dotted with sparse trees is visible. The lighting suggests daytime, with the sun casting even illumination on the scene. The color palette is naturalistic, with the cool blues of the sky contrasting against the warm reds and greens of the clothing and landscape. The highway itself is dark grey asphalt.

From here I found another lift North to Aviemore then, after a panic attack reversed direction, a white van stopped and picked me up from a not so busy A9 lay by. The ride South was given by a Kashmiri man returning to Glasgow, having dropped off groceries in Inverness. He planned to drop me at Buchanan bus station in central Glasgow, but not wanting to be at the centre of Glasgow so late, requested he dropped me at Stirling Services. The next lift was from a Pentecostal grocery man who had just finished his shift at Waitrose. He took me to a park on the outskirts of Cumbernauld, I walked through the park, paranoid about the neighbouring council estate but really too tired to be hesitant about pitching somewhere within the park. My body sunk into the ground immediately as I lay down, whilst my mind raced, and raced into unconsciousness.

6th

Really not happy to have pitched my tent here in this small copse that stunk of cigarette ash, so close to a busy main road as well.

The setting is a brightly lit highway, bisected by a double white line, under a mostly clear blue sky. Fluffy white clouds are scattered across the upper portion of the frame. In the far background, a soft green landscape of rolling hills dotted with sparse trees is visible. The lighting suggests daytime, with the sun casting even illumination on the scene. The colour palette is naturalistic, with the cool blues of the sky contrasting against the warm reds and greens of the clothing and landscape. The highway itself is dark grey asphalt. The scene is set in a deciduous forest, where the dominant colors are various shades of green. The trees are leafy and dense, indicating it might be springtime or early summer. The largest tree, a towering deciduous tree with a thick, gnarled trunk and spreading branches, stands prominently behind the tent, creating a natural backdrop. Smaller trees and undergrowth fill the scene's periphery, creating a sense of depth and enclosure. The lighting is soft and diffused, suggesting an overcast sky or gentle shade.

Walking back along a footpath from where I had pitched my tent, shortly before I came to the main road, I found numerous bags scattered filled with what I assumed to be dog excrement.

Woodland path littered with numerous discarded, dark gray-blue plastic bags. The main objects are the scattered plastic bags. They are mostly bunched or crumpled, suggesting they once contained something, possibly dog waste judging by their appearance and context. They are irregularly dispersed across the path and the adjacent forest floor, with no clear pattern or organisation.

I walked towards Junction 23 of the M6 to hitch-hike a ride back into Scotland. By the time I reached the roundabout I was too anxious to hitch-hike so instead walked North East by the side of Haydock Park Racecourse.

Dirt path, light grey-brown in colour, speckled with pine needles and small gravel, winding from the foreground towards a distant building. The path is flanked by lush vegetation. On the left, a stand of young trees and low-lying greenery, predominantly green with hints of white wildflowers, creates a soft, natural border. To the right, a denser, darker line of mature pine trees forms a more imposing, shadowed wall. The trees vary in height and thickness, their trunks mostly dark brown and grey, with some showing textured bark. In the far background, a low, light-coloured building, possibly a racecourse grandstand, with a reddish-brown roof section is visible.

Verdant, meticulously maintained grass race track, stretching from the foreground to the middle ground. The grass is a vibrant, even green, showing subtle striations from grooming, suggesting a recently manicured surface. A low, white railing with teal-coloured posts runs parallel to the viewer's perspective along the left side of the track, creating a clear boundary. A similar railing runs along the right side, but is partially obscured in the distance. No people or animals are visible. The setting appears to be a horse racing track on an overcast day. The sky is a muted, light gray, with a thick blanket of clouds dominating the upper half of the frame, creating a soft, diffused light. The overall color palette is subdued, with the vibrant green of the grass contrasting with the gray sky and muted greens and browns of the trees. The background shows a line of trees bordering the track, leading to distant buildings hinting at racecourse facilities—all muted in tone and detail due to the distance and atmospheric conditions.

I managed to circumnavigate Ashton-in-Makerfield, passing anti-clock wise over the north of the small town. Along the way I asked a farmer for some water, he invited me into his house to fill up my flask at his kitchen sink.

Passing a friendly lady looking after her horses, I stopped at the edge of Wigan Flashes Local Nature Reserve to enjoy a hot drink now I had some water. I had no money and had not eaten during the morning, so thought wise to top up my sugar levels.

Small, handcrafted birdhouse-like structure affixed to the trunk of a large tree. It's painted in a vibrant, graffiti-style; a pinkish-red base overlaid with darker shades creating a mottled effect, accented by a stark black crescent moon symbol incorporating a silhouetted fairy figure swinging on a swing. Atop the house sits a small, handcrafted fairy figurine with delicate wings, seemingly poised in a protective stance. The fairy is light-coloured with a subtle, rustic look, almost ethereal against the bold colours of the house.

Large, weathered tree trunk, leaning slightly to the right. Carved into its bark is a stylised key, relatively large and clearly visible, positioned about a third of the way up the trunk. Lower down, partially concealed by moss, is a miniature, reddish-brown wooden door, suggesting a fairy house or similar whimsical element. The tree trunk shows signs of age and decay, with varied textures of bark and exposed wood grain. The wood is predominantly shades of brown and grey. The miniature door is simple, rectangular, and has vertical panel lines. No people are present.

Along the way, I passed by a faery village, and what appeared to be some sort of creepy anorak cult doing some unknown thing in the woodland. As I approached the flashes (lakes) I began to enjoy the nature reserve after I spotted a magnificent Kingfisher.

Paved towpath, light brown-grey in colour, composed of slightly irregular, rectangular paving stones. Scattered across the path are numerous small, light-coloured debris, possibly dried flower petals or small twigs. Two figures are visible in the mid-ground, walking away from the viewer towards a canal lock. One appears to be wearing darker clothing, the other lighter. A small, dark-coloured dog is walking between them. Further in the background, a narrowboat (a long, narrow boat used on canals) is moored on the canal.

Three bronze-toned, sculpted heads, each encased within a white, roughly hewn, rectangular frame that's recessed into the brick facade of a building. The frames appear slightly distressed, adding texture. The heads are positioned vertically, one above the other.

I walked north through an industrial estate, stopping to fill my water flask at a workout place located in one of the industrial units. I passed by a takeaway café and smelled the food, which made me feel more hungry. Pressing onward with the journey, I walked across fields, and I wondered what sort of farmer places plastic on their fields?

Gently sloping agricultural field, meticulously prepared and covered with a vast expanse of translucent white plastic sheeting. The sheeting is laid in parallel rows, creating a striking geometric pattern across the field. The furrows of prepared earth between the plastic are clearly visible, a dark brown contrasting with the bright white.

Nearing the top of the hill I could see the Heinz 57 soup factory behind me, a dog appeared and jumped all over me, soiling my dress with its filthy paws. I complained to the dog owner, who proceeded to abuse me with the words “evil cunt” and “fucking bitch” before walking away, with his dog still running about off the lead.

Dark gray, rectangular metal plaque, deeply weathered and showing signs of rust and age. The plaque is embedded in the earth, partially surrounded by lush green vegetation. The plaque's surface bears an inscription in white, slightly faded lettering, detailing the history of a hermitage. The text is in a serif font, characteristic of old-fashioned signage. There are minor irregularities in the lettering, possibly due to age and weathering. The plaque's position is slightly angled, not perfectly flat against the ground. The plaque is nestled within a dense bed of various green plants. These include small, rounded leaves reminiscent of ground cover, taller, slender stems with small, pointed leaves possibly of a weed variety, and some larger, more textured leaves suggesting stinging nettles. The ground itself is not directly visible, being completely covered by the vegetation.

Another hour of walking, I got to the M6 junction, where I hitched a lift to Lancaster from a guy who had just come from a hospital appointment to get his legs fixed. He told of being a carpenter, and that all his family had been in the same trade, going back many generations. From this junction I hitched a lift over the Scottish border from a female lorry driver, she bought me dinner at a service station before taking me over the border and dropping me off at Gretna Green service station. The next ride came from a French couple, they also purchased me some food before dropping me off outside Stirling.

Calm, wide river reflecting the pastel hues of the twilight sky. The river occupies the majority of the frame, its surface a mirror reflecting the clouds and the opposite bank. The far bank is lined with a low, dark silhouette of trees and vegetation, creating a gentle, undulating horizontal line against the sky. Closer to the viewer, in the lower left foreground, are a few dark, decaying tree stumps and branches partially submerged in the shallows. These act as points of interest, grounding the viewer in the scene. The foreground also contains the branch of a tree extending from the left, framing the scene.

Tranquil river scene. The river, calm and reflective, dominates the foreground and middle ground, its dark, still water mirroring the sky and surrounding landscape. A stone building, appearing to be a large house or possibly a converted barn, sits on the right bank of the river in the mid-ground. It's a low, long structure with a dark roof and light-colored stone walls, showing evenly spaced windows. No people or animals are visible. The left bank of the river features a line of lush, dark-green vegetation that grows down to the water's edge. Slightly further back, on the left side, there is what appears to be a low-lying weir or dam structure where the river's current seems to slightly break.

I waited over an hour to thumb another lift without result. Tiring of the day I looked at my surroundings and decided to pitch by the River Forth for the night; whilst they were midges about, lucky for me there was a strong breeze to keep them down. Making my way over a foot bridge, I walked to a field then put up my tent.

5th

I woke pitched along the Cotswold Way, just a mile North of Alderly.

Interior of a brightly coloured, orange and green dome tent. The tent fabric is slightly wrinkled and shows the texture of nylon or a similar material. A section of the tent's zip is visible, suggesting the tent is partially opened. No people or other objects are inside the tent. The background seen through the opened section of the tent is a picturesque pastoral scene. A field of vibrant, spring-green grass stretches from the bottom edge of the frame to a line of low-lying hills in the distance. On these hills, we see a cluster of quaint buildings — possibly a small village or farmstead — with a scattering of trees, creating a naturalistic, bucolic landscape. The sky is a soft, pale blue, lightly clouded, with hints of white and grey, suggesting a calm, possibly early morning or late afternoon light.

Vibrant green, single-person tent pitched in a lush, verdant field. The tent is slightly nestled into the grass, its orange guy lines subtly visible, extending towards the edges of the frame. It's positioned slightly off-centre, leading the viewer's eye towards the gently rolling hills in the background. No people are present. The scene unfolds in a tranquil, pastoral setting. The foreground is dominated by a field of long, unkempt grass, speckled with delicate white dandelion-like flowers. The grass transitions from a brighter green in the foreground to a slightly more muted tone further out. The midground reveals a gently rolling landscape of verdant hills, dotted with clusters of deciduous trees. The trees vary in shades of green, some appearing darker and fuller, others lighter and sparser. A few buildings are barely visible in the far distance in the middle of the background, suggesting a small settlement nestled within the countryside. The sky is a soft, overcast pale gray-blue, indicative of either early morning or late afternoon light. The light is diffused, casting no harsh shadows and giving the scene a calm, peaceful mood. The overall color palette is predominantly green, punctuated by the muted blues of the sky and small touches of white and yellow from the wildflowers.

Single-person tent pitched low in a vibrant green field. The tent is partially unzipped, hinting at someone possibly inside, although no person is visible. The tent fabric appears lightweight and slightly shiny. Orange interior lining is just barely visible through the opening. Thin, orange guy lines extend from the tent, subtly anchoring it to the ground. A mowed path, a bright, almost emerald green, cuts diagonally across the foreground, leading towards a line of trees in the middle distance. The setting is a pastoral English countryside scene. The foreground is dominated by the lush, slightly tall grass of the field, speckled with small white dandelion-like flowers. The background features a hedge running horizontally across the middle distance, separating the field from a line of deciduous trees, ranging in shades of green. The sky is a soft, light blue with a scattering of fluffy white clouds, indicating a partly sunny day. The overall color palette is tranquil and natural, consisting primarily of various shades of green, punctuated by the small white flowers and the lime-green of the tent, along with the pale blue of the sky.

I've never seen Dandilions so thick with flying seed as I have at this location.

Mature dandelion seed head, a perfect sphere of fluffy, white pappus. Each individual seed is barely visible, yet collectively they create a cloud-like texture. The seed head is densely packed, appearing almost perfectly round. Minute droplets of dew cling to the delicate hairs, giving it a glistening, ethereal quality. The stem supporting the seed head is slender and pale green, almost translucent, slightly blurred in the foreground, suggesting a shallow depth of field. A blurred, out-of-focus second dandelion stem and seed head is partially visible in the background to the right, highlighting the central dandelion's prominence.

Ascending a hill along the Cotswold Way I noticed some pretty awesome trees.

Sprawling network of tree roots, exposed and clinging to a steep embankment of earth. These roots are thick, gnarled, and dark brown, extending in a chaotic yet visually compelling pattern across the lower two-thirds of the frame. They are the main focus, creating a sense of both strength and vulnerability. Above the roots, nestled in the exposed soil, are a few delicate sprays of light purple bluebells, adding a touch of vibrant colour and delicate life to the scene.

Large, mature tree, its thick, gnarled roots dramatically exposed and gripping a steep, mossy embankment. The tree trunk is light grey-brown, vertically oriented, and noticeably textured with ridges and crevices. A large, irregular cavity is visible near the base of the trunk, partly hidden within the dense root system. The roots themselves are thick, intertwined, and spread out widely across the bank, some extending horizontally, others curving downwards, creating a visually captivating network. Another tree, similar in species, stands further up the bank to the left, its roots also partially visible in the mossy soil. Both trees appear ancient, exhibiting the marks of time and environmental pressure.

And plenty of Wild Garlic.

Dirt path, the central focus, meanders through the scene. It's composed of packed earth, small stones, and scattered twigs and branches, suggesting a natural, unpaved track, worn smooth by foot traffic. Abundant patches of wild garlic with their characteristic white, star-shaped blossoms carpet the path's edges, particularly densely on the left, creating a vibrant contrast against the muted browns and greens of the path and surrounding foliage. The garlic is in full bloom.

Arriving at the top of the hill, I stopped to take a quick look at Blackquarries Hill Long Barrow.

Gently undulating grassy field, dominating the foreground and middle ground. Scattered throughout the field are numerous small, delicate white and yellow wildflowers, primarily dandelions, creating a tapestry of colour against the vibrant green. In the mid-ground, a slightly elevated, rounded area or small hill is visible, sparsely dotted with a few small, dark green trees. The horizon line is relatively low in the frame, showing a continuation of the field with a line of taller trees in the far distance. No people or animals are present.

The Cotswold Way led down into Wooton under Edge, I pass by many alternative type people on my way in, some were very ignorant. However I managed to purchase some food and drink from local shops in the town before leaving.

Cheerful, rosy-cheeked woman with shoulder-length auburn hair styled in soft waves. She's positioned slightly off-centre, facing the viewer but angled slightly to her left. She wears a light teal, almost turquoise, dress and a vibrant red polka-dotted scarf loosely draped around her neck and shoulders. Her expression is welcoming and friendly, with a gentle smile. She's not actively doing anything; her pose suggests a relaxed, inviting presence. The background features a charming depiction of a quaint village street, Wotton-under-Edge, nestled amongst rolling green hills. Buildings are rendered in various shades of warm yellows, creams, and muted browns, suggesting aged stone and timber construction. Small details, like window boxes overflowing with flowers and shop signs, add to the village’s lived-in quality.

Walking through a field, a whole herd of heifers followed me, until their attentions became distracted by another person walking in the opposite direction.

Selfie taken by a woman with shoulder-length, slightly windblown blonde hair. She's wearing a vibrant crimson, floral-print dress with a modest neckline and a close-fitting, chunky knitted hat in shades of deep purple, lavender, and dark teal. The hat sits snugly on her head. Around her neck, she wears a simple silver chain necklace with a circular pendant that appears to be a pocket watch or similar. She carries a large grey and black backpack, partially visible behind her. Her expression is gentle and slightly amused, conveying a peaceful demeanour. Her skin is fair with some visible freckles and slight redness, possibly from sun exposure. She is positioned slightly off-centre, facing directly at the camera. In the background, a small herd of five black and white Holstein Friesian cows is calmly grazing in a field. They are positioned slightly out of focus, creating depth of field. They are walking or standing, and appear relaxed and unconcerned with the woman's presence.

Gaining some distance from the harrassment contained within Wotton-under-Edge I began to relax a little, enough to enjoy the surrounding countryside. Keeping horses is a big part of life in this area of England, and the inhabitants of the countryside around here are friendly, and respectful, especially if you know how to behave around horses.

Dirt path, meandering gently through a lush woodland. The path is unpaved, light brown and slightly uneven, showing some wear and possibly damp patches. It is lined on both sides by dense, vibrant vegetation. The vegetation is primarily composed of two types of flowering plants: a carpet of Ramsons (wild garlic) with its characteristic star-shaped white blossoms creates a soft, unbroken line along the sides of the path, while patches of bluebells (visible mostly on the left) add splashes of vivid blue to the scene. No people or animals are present in the image.

Profusion of small, delicate white flowers, identified as likely Stellaria graminea (grass stitchwort), nestled amongst vibrant green grasses and other low-lying vegetation. The flowers are in various stages of bloom, with some fully open, revealing their five-petaled structure and prominent yellow centers, while others are still partially closed or budding. They are scattered across the frame, not uniformly distributed, creating a natural, irregular pattern. The flowers are the undeniable focal point, their white petals contrasting beautifully with the deep greens of their surroundings.

After walking through some woodland, I found the M6 motorway. Now it is just a walk up a hill, through a farm, past a dead cow and onto a busy road, where I would hitch a lift north after only a few minutes wait.

Gently sloping, verdant pasture that occupies the majority of the foreground and middle ground. The grass is a rich, deep green, subtly variegated with slightly darker and lighter patches, suggesting variations in density and perhaps even the presence of scattered wildflowers, barely discernible as tiny yellow dots. A faint, barely visible path or track meanders through the grass, slightly offset from the centre, leading the eye towards the background. In the mid-ground, a low stone or concrete bridge is partially visible across a narrow valley, separating the foreground pasture from a stretch of flat, cultivated land appearing in a lighter, yellowish-green hue. A thin line of cars and trucks can be seen in the distance on what appears to be a highway beyond the bridge.

The first lift came from a guy who said he fixed lorries, he hid some sort of stash (wrapped into a plastic bag) into his door panel as he pulled up to picked me up. He dropped me off at a junction at Gloucester. The next lift from was a trade plater, he was Portuguese and took me up to a service station near Manchester.

Lone worker in a bright neon-yellow high-visibility jacket and helmet, standing calmly near a row of traffic cones. They appear to be observing or directing traffic. Their body posture suggests attentiveness and a state of readiness. The worker is positioned slightly off-center, creating a dynamic rather than symmetrical composition. Several traffic cones, varying in heights and shades of orange and red, extend from the worker's position towards the right edge of the frame, forming a gently curving line. Two large circular signs reading 50 indicating speed limits are prominently featured; one is to the left, in the foreground, another, farther back, just before the road closure signs. Several additional smaller road signs are present, displaying information regarding directions, local areas, and average speed checks, suggesting a road junction. These signs are mounted on metal posts, varying in height and positioned on either side of the road.

Third and final lift was from a man heading towards Liverpool from Oxford, he had been working in the university city fitting an air conditioning system. He dropped me off at Junction 23 of the M6, I waited two hours in vain before the road became closed off by a road maintenance worker.

4th

Began another journey this morning, my friend drove me a few miles out of town, so I had a little head start South from nearby Ruskin Mill Farm Shop. I followed a footpath East, the flowers in the hedgerow were stunning.

2nd

Yesterday I waxed my tent with silicone spray named Nikwax (there are other brands). This helps to both preserve the life span of the tent from UV light eroding the material and also waterproofs. Tents keep out water, but the material still absorbs it, causing mould to grow as well as making the tent heavy to carry. So there is every reason to silicone your tent.

Leonie's hand, partially visible in the bottom left corner, holding a white spray bottle with a purple nozzle. This bottle is pointed towards a green tent's surface. The tent fabric is visibly damp, speckled with small, white droplets—likely from a cleaning solution recently sprayed. A vibrant blue microfiber towel, loosely folded and slightly rumpled, rests atop the tent's fabric near the top centre. The towel shows a slightly damp appearance, suggesting it's been used in the cleaning process. The tent itself is olive-green, with darker gray poles and bright orange cords visible. The tent fabric shows minor creases and wrinkles. The tent's structure includes seams and a distinct pole structure visible.

Close-up, slightly high-angle view of a section of olive-green fabric, possibly a tent or awning material. The main focus is the fabric itself, which exhibits a slightly textured, matte surface. Scattered across the fabric are numerous small, irregular white droplets or specks, resembling soap suds or condensation. These droplets are not uniformly distributed, clustering more densely in some areas and sparsely in others. There's a subtle seam or stitching line running diagonally across the frame, creating a subtle division in the surface. No objects or people are present.

The park was quiet when I arrived, nobody about whatsoever. About ten to twenty minutes later the park was full of dog walkers and kids hanging out by a woodland that overlooked where I had pitched my tent, why does this always happen to me; my friend here says she gets the same thing happen to her also.

Great Tit (Parus major), a small passerine bird. Its plumage is a striking contrast of bright yellow underparts, olive-green back, and a bold black cap and bib that extends down to its breast. The bird is perched on a weathered, gray-brown branch of a woody plant. Its posture is slightly hunched, suggesting it might be preening or resting. The bird's wings are neatly folded against its body, and its tail is visible, resting along the branch. Its head is tilted slightly downward.

Lots of updating to do on my blog today, plus I am going to create a WordPress blog solely about my travels, after coded / updated into this blog when I have computer access; until I can purchase or find a laptop / tablet to enable me to code this website regularly. I also require a phone with a better camera.