January 2024

27th

This afternoon, rambling along the Southern Upland Way

Charlie appearing middle-aged, with light brown, slightly wavy hair that's slightly windblown. He's positioned slightly off-centre, toward the left, facing away from the viewer, towards a muddy path. He's wearing a dark olive-brown, slightly worn-looking, knee-length jacket, blue jeans, and sturdy, dark brown hiking boots. His posture is relaxed yet attentive, suggesting a thoughtful observation of his surroundings. He holds a simple, rustic-looking walking stick, made of light-coloured wood, in his right hand. The scene is a desolate yet beautiful moorland landscape, possibly in the British Isles, under a sky that shifts from a brooding, dark grey-blue in the upper left to a paler, slightly clearer blue towards the horizon. The light is diffused, suggesting either an overcast day or the soft light of dusk or dawn, casting few harsh shadows. The colors are predominantly muted earth tones. The foreground is composed of dry, brownish-gold grasses and bracken, interspersed with patches of darker, almost black heather. A small, still pool of reflective water, mirroring the sky, lies beside the path. In the mid-ground, a muddy, uneven track winds through the landscape. In the background, the low hills are covered with a mix of low-lying shrubs and a few scattered, wind-swept trees, hinting at the exposure of the location. Some taller, dark green evergreen trees are visible on the left and in the far background. The overall color palette is a blend of browns, muted greens, greys, and the subtly changing blues of the sky.

We visited the Three Brethren.

Three conical stone structures, crafted from grey and brown stones of varying sizes, seemingly mortared together. Moss and lichen cling to many stones, especially at the bases, adding texture and age. The structures are roughly the same height but vary slightly in width at their bases. These are clearly ancient, weather-beaten monuments. A simple, dark-brown wooden bench sits between the central and rightmost stone structure, partially obscured by a low, rustic wooden fence or railing. No people are present. The scene is set atop a windswept hill or moorland. The foreground is composed of sparsely vegetated, uneven ground with exposed patches of dark soil and small rocks scattered across the short, dry grass. The background showcases a hazy, expansive landscape under a dramatically overcast sky. The sky dominates the upper two-thirds of the image, a brooding blend of dark greys and whites, suggesting an impending storm or recently passed one. Distant, faint, rolling hills are visible under the clouds, giving a sense of depth.

Common riding, Charlie said riders eat bacon butties here; wondering if they feed the mouse.

Long, rectangular slab of weathered wood, seemingly embedded within a clear, protective acrylic or glass casing. This casing is slightly elevated from the ground, acting as a monument or memorial. The wood displays a rich tapestry of natural grain, heavily marked by time and the elements – a deep, smoky grey-brown hue with streaks of lighter, almost bleached wood. Embedded into the wood are numerous rectangular metal plaques, each bearing a name and sometimes a number (partially legible due to weathering and possibly frost). These plaques are uniformly spaced and aligned, creating a sense of ordered record-keeping despite the organic texture of the wood. A reddish stain or discoloration is prominently visible along a vertical section of the wood, adding a mysterious contrast to the otherwise subdued palette. Water droplets or condensation are visible along the edges of the protective casing, suggesting exposure to cold, damp conditions. A portion of a person's leg and foot, clad in jeans and brown boots, is visible in the bottom right corner, implying a viewer or passer by present at the site.
weathered, dark grey stone carving depicting a stylised mouse or rodent. The carving is deeply embedded within a curved, aged stone structure, which appears to be part of a larger architectural element, possibly a building's cornice or a decorative feature of a fountain or trough. The stone is heavily textured, exhibiting signs of significant age and exposure to the elements—lichen, moss, and general surface erosion are prominent. The rodent's body is elongated, its tail curving gracefully upwards, and its features are somewhat indistinct due to the wear of time, though a head and body are clearly defined. A section of aged, grey-brown wooden beam or post intersects with the stone element, suggesting a structural joint or supporting element. The wood shows deep weathering, cracking, and discoloration, consistent with prolonged outdoor exposure. In the bottom right corner, the top of a person's brown leather boot is visible, providing a sense of scale and hinting at the location's accessibility. A rusty metal wire or fencing element is also visible in the bottom of the frame.

These cairns date back to the sixteenth century.

Three prominent, conical stone structures, seemingly cairns or small towers, built from rough, grey and brown stones of varying sizes. They are positioned on a gently sloping, grassy hilltop. The largest cairn is positioned slightly left of center, and the other two are smaller and situated to its right, creating a somewhat triangular arrangement. Between the two smaller cairns sits a simple, rustic wooden bench, seemingly built into a low stone fence that partially encircles the three structures. No people are present. The scene unfolds on a windswept moorland or upland area. The foreground is a mix of short, dry grass, patches of bare earth, and scattered rocks, typical of a high-altitude landscape. The background features a panoramic view of rolling hills extending to the horizon, covered in a mixture of heather and dark green coniferous trees. The sky dominates the upper third of the image, filled with a dramatic, cloudy expanse. The clouds are mostly grey and white, with some darker, brooding areas, creating a sense of depth and movement. A hint of lighter blue sky peeks through in places, and a soft, diffused light suggests either early morning or late afternoon.

The walk took just over an hour, about two miles steady ascent along woodland path and road towards the summit.

Leonie viewed from behind, walking away from the viewer. She's wearing a navy blue hooded jacket, a polka-dotted dark-coloured skirt that falls just below her knees, and dark-coloured tights or leggings. A light beige or cream-colored bobble hat sits atop her head. Her footwear appears to be dark-coloured hiking boots or sturdy shoes. She carries no visible items. She's positioned slightly off-centre, heading towards a wooden gate. Three large, conical structures made of stacked grey and brown stones dominate the foreground. They appear to be ancient or historic markers, built with rough, uneven stones of varying sizes and shapes. A smaller, light-grey, almost white, square marker stands to the left of the central stone structure. A rustic, weathered wooden gate and fence partially surround these structures. The scene is set atop a hill or mountain, with a vast, rolling landscape visible in the background. The background shows a series of distant hills and valleys, covered with dark green vegetation, suggesting a moorland or mountainous region. The sky is a dramatic mix of dark, brooding clouds and lighter, somewhat bluish areas. The light seems to be soft and diffused, typical of an overcast day with no harsh shadows.
Rustic wooden signpost, weathered and deeply textured, standing proudly on a hilltop. Two arms extend from the post, each displaying hand-carved directional markers with distances inscribed: Peaslair 7½m/12km on the upper arm and Galashiels 6km/10km on the lower arm. The signpost is firmly planted in the earth, suggesting permanence and guidance. No people are present. A solitary, dark green pine tree stands prominently near the signpost, acting as a natural frame. The ground is covered in low-lying, dark heather and scrub, typical of upland moorland. The setting is a vast, undulating landscape of Scottish highlands. Rolling hills stretch to the horizon, clad in a patchwork of dark evergreen forests and lighter brown moorland, creating a soft texture of tones. The sky is a dramatic blend of cerulean blue punctuated by thick, textured clouds, mostly white and grey, conveying a sense of depth and vastness. The lighting suggests late afternoon or early evening; a soft, diffused light bathes the scene, with shadows lengthening across the heather, enhancing its deep purple-brown hues.

Southern Upland Way descent towards Selkirk.

Dirt trail, meandering from the foreground towards the mid-ground. It's a relatively narrow path, slightly uneven, with visible gravel and small stones. The trail is flanked on both sides by dense, low-lying vegetation, primarily composed of dried, brown grasses and scrub, giving a slightly wild and untamed feel. There are no people or animals visible in the image. The setting is a wide-open moorland or upland landscape under a dramatic sky. The foreground is dominated by the dry, brownish-gold grasses and shrubs. The mid-ground features a subtle rise in the land, with more of the same vegetation extending towards the horizon. In the background, low hills or mountains are visible under a sky filled with voluminous clouds. The clouds are a mix of dark gray and lighter, almost white, areas, creating a contrast that draws the eye across the panorama. Patches of blue sky peek through, particularly near the horizon, suggesting a day of fluctuating weather. The lighting appears to be natural, diffused daylight, with no harsh shadows, creating a soft, even illumination across the scene.

A wonderful view of the Elidons.

Landscape view dominated by a vast expanse of low-lying, heather-covered moorland. The heather is a muted, dark brownish-purple, appearing dry or dormant, with subtle variations in tone and texture suggesting uneven growth. A line of coniferous trees, primarily dark green with hints of brown, forms a relatively straight, low horizon line across the middle ground, separating the heather moor from the distant hills. In the immediate foreground, a dark green evergreen tree partially obscures the left side of the frame. No people or animals are visible. The scene is a wide, open moorland landscape under a brooding sky. The background displays rolling hills, rendered in various shades of muted greens and browns, under a sky filled with heavy, grey clouds. A faint bluish-white light breaks through the cloud cover, casting a subtle diffused light across the scene. The overall colour palette is subdued and somewhat melancholic, composed primarily of various shades of grey, brown, and dark green. The heather's colour is a key element, forming a richly textured carpet across the middle and foreground. The distant hills are subtly lighter, suggesting atmospheric perspective.

The weather was windy but dry.

Vast, undulating landscape dominated by low-lying heather moorland. The heather is predominantly dark brown and muted green, with patches of lighter, yellowish-brown suggesting sparse grasses or dried vegetation. No people or animals are visible. The land gently slopes down towards a valley, then rises again to form distant hills. A barely discernible, faint track or path is faintly visible on the side of one of the far hills. The scene is set in a seemingly remote, high-altitude area, characteristic of a moorland or upland region. The background is defined by rolling hills that recede into the distance, their shapes softened by atmospheric perspective. The sky dominates the upper two-thirds of the frame, filled with a dramatic, heavily clouded sky. The clouds are a mix of dark grey, with lighter, almost silvery grey areas where sunlight is breaking through, creating a chiaroscuro effect. The light appears diffused, casting few harsh shadows, indicative of either an overcast day or soft, late afternoon light.

We visited here last year, but only got as far as here.

Weathered, dark brown wooden signpost, deeply rooted into the earth. Two arms extend from the post, each displaying faded, slightly illegible text indicating trail directions. The signpost stands at a slight angle, leaning slightly to the left. Behind the signpost, a rustic wooden gate partially obstructs the path leading towards a distant, rolling hillside. A barbed-wire fence runs parallel to the gate and stretches across the foreground. Sparse, low-lying vegetation, dominated by muted greens and browns of heather and grasses, covers the land. A few small coniferous trees stand out against the backdrop. The ground is uneven, showing patches of dry grass, exposed earth, and a small, damp area near the gate suggesting a small stream or puddle. The scene unfolds in a vast, open moorland or upland landscape under a heavily clouded sky. The clouds are thick, dark gray, with hints of lighter gray and white breaking through in places, suggesting a somewhat overcast day, possibly approaching a storm or late afternoon. The colour palette is muted and cool. The sky dominates the upper two-thirds of the frame, while the lower third features the earth tones of the moorland, ranging from deep browns and muted greens of the vegetation to the pale yellows and browns of the dried grass. The lighting is diffuse and soft, lacking strong shadows, typical of an overcast day; the overall light is subdued and atmospheric.
Gently curving, well-worn dirt path that winds through a landscape. The path is composed of packed earth and small, irregularly shaped stones, ranging in colour from light brown to dark reddish-brown. No people or animals are present. The path is nestled within a landscape of low-lying, scrubby heather bushes, predominantly shades of muted grey-green and brownish-purple, suggesting late autumn or early winter. Taller, dark green evergreen trees—likely spruce or fir—form a dense backdrop, creating a natural frame on either side of the path, which leads towards a distant, faintly visible mountain range under a heavily clouded sky. The clouds are a dominant feature, a thick blanket of grey and white with subtle variations in tone, suggesting a somewhat overcast but not intensely dark day.
Single, dried fern frond. Its colour is a deep, rich brownish-black, with subtle gradations of lighter brown along the veins, suggesting a sheen or iridescence. The frond is positioned slightly diagonally, its base towards the upper left and its tip pointing towards the lower right. It appears to lay naturally amidst the surrounding vegetation, not artificially placed. The fern frond rests on a dense bed of various small plants and mosses. These include spiky, bright green moss-like plants, softer, clumped moss in shades of yellowish-green and reddish-brown, and delicate, fern-like greenery in varying shades of green. A few brownish-red, decaying plant fragments are scattered throughout. The background and foreground are uniformly filled with this diverse low-lying vegetation, creating a textured, almost carpet-like effect. The overall color palette is cool and muted, primarily shades of green, brown, and a touch of reddish-brown in the moss. The lighting appears soft and diffused, natural light, without harsh shadows, suggesting an overcast day or dappled shade.
Dense stand of slender, bare deciduous trees, likely beech, stretching from the foreground to the mid-ground. The trees are uniformly tall and relatively straight, their greyish-brown trunks stark against the muted background. Their branches reach upwards, creating a complex network of lines against a pale sky. A few trees in the foreground are slightly thicker and show more textural detail, including a noticeable burl or knot on one prominent trunk near the centre. The forest floor is a carpet of dried leaves, light brown and ochre in colour, interspersed with patches of vibrant, moss-green ground cover. There's a gentle slope to the land, leading the eye from the foreground into the distance. The scene is a woodland, possibly a managed forest, on a gently sloping hillside. The background reveals a low, hazy hill or mountain range, muted greens and browns indicating a landscape still in early spring or late autumn. The sky is overcast, a soft, diffused light pervades the scene without harsh shadows. The overall color palette is subdued, consisting of grayish-browns from the tree trunks, pale browns and ochres in the leaf litter, and muted greens from the ground cover, all under a pale, greyish-white sky. There is a soft, diffused quality to the light, indicating an overcast day.
Small, rocky waterfall cascading down a series of irregular stone steps. The water is dark and appears relatively still, with subtle ripples suggesting a gentle flow. The waterfall is nestled within a dense thicket of leafless, winter-bare deciduous trees and shrubs. These shrubs, primarily composed of tangled branches and twigs, are a greyish-brown with hints of muted green moss clinging to the ground cover. The trees surrounding the waterfall are slender and mostly straight, their branches reaching upward and interweaving to create a dense canopy overhead. Several prominent tree trunks are positioned close to the waterfall, framing it from both sides. There's a small, still body of water visible beyond the waterfall, seemingly a pond or slow-moving stream. The scene is set in a woodland environment, likely a forest or wooded wetland. The background features a stand of taller, darker evergreens further back, creating a contrasting backdrop to the lighter-toned deciduous trees in the foreground. The overall color palette is muted and cool. The predominant colors are various shades of grey-brown from the bare branches and the earth, punctuated by the dark grey-brown of the rocks in the waterfall and the darker greens of the evergreens in the background. There are subtle hints of mossy green amongst the undergrowth. The light is soft and diffused, suggesting an overcast sky or soft light at the beginning or end of the day. There are no harsh shadows.
Weathered, rectangular information panel dominates the image, standing upright against a natural backdrop. The panel is primarily teal and brown, with various sections clearly delineated by color blocks and borders. A map is prominently displayed, showing the location (You are here) within a larger area. Images of a woman at what seems to be a visitor centre counter and mountain bikers are included, along with a close-up photo of a stone structure. The panel is set against a natural outdoor environment. Partially visible are dark brown tree trunks and undergrowth, suggesting a woodland setting. The lighting indicates an outdoor setting, likely daytime, with soft, diffused light.

Charlie stopped the 4x4 at the side of the road whilst I hopped out and quickly photographed the vacated Bernat Klein Studio, the vibe around this modernist building was unearthly, as if something terrible had happened within this vicinity.

A stark, Brutalist-style building, seemingly abandoned or derelict. Its concrete structure is a dark grey, heavily textured with visible weathering and staining. The building is multi-level, with cantilevered sections creating a dramatic, angular silhouette. Large, mostly vacant window panes, many broken or missing, reveal the interior's emptiness. Yellow warning signs are visible at ground level, suggesting danger or restricted access. A small, weathered wooden plank acts as a makeshift bridge or walkway in the bottom right corner. The surrounding landscape includes overgrown vegetation, showing signs of neglect. A low retaining wall made of dark brick runs along the base of the building. A few steps are partially visible along the embankment leading up to the building. The building is nestled on a hillside, surrounded by leafless trees and scrubby undergrowth, characteristic of late autumn or early winter. The sky is a moody mix of light blue and gray, hinting at an overcast but not entirely dark day.

Stupidity placing a water pool by the house, wood adjacent, what about the midges?

Striking, Brutalist-style house, seemingly abandoned or in a state of disrepair. Its dark grey, concrete structure is multi-level, featuring a cantilevered upper floor with a glass railing. The lower levels are primarily composed of dark brick or concrete blocks. Large, dark-framed windows, many of them showing signs of age and potential damage, dominate the facade. Warning signs are visible on some of these lower windows. A smaller, attached structure, possibly a garage or utility room, made of dark wood and brick, is visible to the left and slightly lower than the main house. The house is situated on a gently sloping hillside, sparsely covered with dry, brownish-gold grass and patches of vibrant green moss. Bare, winter trees with branches reaching across the foreground frame the house. The background consists of a line of distant trees, mostly deciduous and leafless, indicative of a late autumn or winter setting. The sky is overcast, a pale greyish-blue, giving the scene a muted, somewhat melancholic light. The dominant colour palette is dark and cool – shades of grey, dark brown, black, and muted greens of the moss and grass.

Building appears subsided; reminds me of a car park, akin to a school boiler house.

Brutalist-style building, seemingly abandoned or neglected. It's a multi-level structure of concrete, with a horizontal, block-like form punctuated by rectangular window units. The concrete is a muted, grayish-brown, showing signs of weathering and discolouration. A dark red door is visible near the centre of the building's ground floor, slightly recessed. The building has a ramped walkway leading to it, constructed of aged, dark gray concrete paving slabs bordered by low brick walls. These walls exhibit subtle variations in color, suggesting the effects of time and exposure to the elements. There are a couple of dark, cylindrical objects that appear to be trash receptacles placed along the walkway near the building. Large, bare deciduous trees frame the building, their branches stark against the sky. Some small, nondescript buildings are visible in the background, further emphasising the isolation of the main structure.

Returning through Selkirk, near the Hanning I thought of Charlie stopping the car, until we passed the garage above Selkirk; then the moment took leave from me.

26th

Serious headaches last night and this morning; I am wondering if the powerlines surrounding this farmhouse are the cause of this. Perhaps I should code this website in another room, or lead plate the wall to the right on me. We're at my flat in Hawick tonight as my headache is getting worse, tomorrow I'll be taking pictures; ABDL neighbour changed her Wifi message to "YouLearnedToBeAGoodNeighbourLOL"; I didn't know that WiFi ID's could be so long. I won't miss the awful smell rising up the stairwell from her flat, when alas I move away.

24th

Forced myself to go outside today, walked along the paddock, leaving the comfort of a warm open fire at the farmhouse.

Single blackbird, specifically a male Common Blackbird (Turdus merula), perched on a weathered, greyish-blue metal pipe. The bird is positioned slightly off-centre, its body oriented to the left of the frame, its head turned slightly towards the viewer. Its plumage appears entirely black, with a hint of a yellowish-orange beak visible. The bird seems at rest, calmly perched on the pipe. The pipe itself curves gently, suggesting a part of a larger structure, possibly a utility pole.

This camera only has a 32x optical lens, although I am purchasing a bridge camera with stronger optical magnification soon. The picture below is at full magnification, which appears to lose light significantly.

Solitary jackdaw, rendered almost entirely in silhouette against a pale, overcast sky. The bird is perched on a thin, metallic cable that stretches diagonally across the frame, its body oriented slightly to the left. It appears still and observant, its form sharply defined against the lighter background. The background is a muted, almost monochrome sky, grading from a slightly lighter tone at the top to a darker grey-blue towards the horizon. The lighting is soft and diffused, characteristic of an overcast day. The overall colour palette is limited to varying shades of grey and black, with the wooden utility pole and the bird standing out as the darkest elements. The lack of strong shadows emphasises the flat, calm lighting conditions. A portion of a dark rooftop is visible in the lower right corner, adding a touch of texture and depth to the otherwise minimalist scene.

A local farmer grazes his blackface sheep here.

Single sheep, positioned slightly off-centre, angled towards the viewer's right. Its body occupies most of the frame. The sheep boasts a thick, dense coat of predominantly off-white, light beige wool, with a texture that appears soft yet slightly unruly, almost cloud-like in its fluffiness. Its head is a striking contrast – a deep black cap extending down to encompass its face, broken only by a splash of greyish-white on the muzzle and lower cheeks. This black fades smoothly into the white of its body, with no distinct line of demarcation. Large, curving horns, a pale, almost ivory colour, sweep gracefully outward from the head, adding a majestic air. The sheep's expression is calm and almost pensive, with its dark eyes slightly downcast. A small, yellow ear tag is subtly visible in the right ear. The sheep is standing still, appearing relaxed and unconcerned. The background is a rustic dry stone wall, composed of irregularly shaped, grey and light beige stones. The wall extends across the entire background, creating a stark contrast to the sheep's soft fleece. Patches of moss, a dark green-brown, are visible at the base of the wall. The foreground is slightly out of focus, suggesting a short grassy area with similar muted greens and browns. The lighting is soft and diffused, likely natural daylight, lacking harsh shadows, suggesting an overcast day or soft, indirect sunlight.
Single sheep, predominantly white with a thick, fluffy coat. Its fleece is almost cloud-like in its texture. The sheep's head and lower legs are black or very dark brown. It has short, curved horns that are dark in color. The sheep is positioned slightly angled, its body facing away from the viewer, but its head is turned slightly toward the viewer. It appears to be grazing on moss-covered vegetation at the base of a stone wall. A small portion of another sheep, only its head and neck, is visible in the bottom right corner, suggesting the possibility of a flock. The background is a rugged dry-stone wall, constructed from irregularly shaped grey and light-grey stones. The stones are tightly packed, creating a textured surface with various shades of grey dominating. The sheep is positioned on a bank of short, slightly unkempt grass and a rich carpet of green moss, clinging to the base of the stone wall.

Visited a neighbour (pictured below), he's 74 years old! We chatted about this and that, he made me a filter coffee sweetened with condensed milk and honey. He'd like to return home to Middlesborough; it's not easy being displaced, few friends, almost alone.

Close-up portrait of an older man with exceptionally long, flowing white hair that partially obscures his face. His hair is unkempt, with strands falling across his forehead and down his chest. His skin is deeply lined and weathered, exhibiting a network of wrinkles across his forehead, around his eyes, and along his cheeks and jawline. The skin tone is pale, tinged with subtle reddish undertones on his cheeks and nose. His eyebrows are thick and somewhat bushy, adding to his rugged appearance. He has a strong, prominent nose, and his mouth is slightly ajar, suggesting he might be mid-speech or simply lost in thought. His eyes appear to be slightly downward-cast. He's wearing a gray zip-up jacket, partially visible, with a hint of a darker, patterned under shirt showing at the neckline. The background is blurred and out-of-focus, depicting an indistinct natural setting. It appears to be outdoors, possibly in a woodland or park area, with muted greens and browns suggesting foliage and earth tones. The lighting is soft and diffused, seemingly natural light rather than harsh direct sunlight. This soft lighting subtly softens the harshness of the wrinkles and shadows on his face, but the overall effect is realistic rather than idealised.

Reminance of a huge firecracker, thrown into our paddock.

Partially burned cylindrical object, lying on its side in the grass. It appears to be made of a material that's charred black on one side, revealing a lighter, possibly off-white or beige, under layer. The charred portion has irregular, jagged edges, suggesting intense heat. The cylinder is approximately half its original length, the top portion seemingly missing. There is no visible texturing to the unburned portion, but the form suggests it might be cardboard or a similar material. It rests at a slight angle, almost leaning. The scene is set outdoors in a field of short, somewhat sparse grass. The grass is a mixture of muted greens and browns, indicative of a late autumn or early spring setting. Patches of darker green, possibly moss, punctuate the grass. Scattered dried leaves of various browns and muted yellows are visible throughout the grass.

Sheep are strange, in that I always learn something new about them, when I am observing them.

Sheep, occupying most of the frame. Its fleece is a predominantly light grey, speckled with darker grey patches, giving it a mottled appearance. The fleece appears thick and somewhat unkempt, with strands of straw visibly embedded within it. The sheep's face is the most prominent feature, exhibiting a gentle, almost melancholic expression. Its nose is a dark grey, almost black, and its eyes are a dark brown, showing a hint of inquisitiveness. Its ears are a brownish-orange, slightly darker on the inside, and one ear displays a small, rectangular yellow tag. The sheep is positioned almost directly facing the viewer, its head slightly tilted forward. It seems calm and at rest. The setting is a dimly lit barn or stable. The background is primarily composed of muted browns and greys from the straw bedding surrounding the sheep. The straw is visible as long, thin stalks scattered throughout the sheep's fleece and around its body. The lighting is subdued and natural, with no harsh shadows, suggesting indirect light or twilight conditions.

Mother ewes in this flock, located in the polytunnel are easy to photograph, they have known me for fourteen months.

Young, light-cream coloured lamb, partially nestled amongst several other sheep. Its head and upper neck are prominently displayed, while its body is mostly obscured by the surrounding wool. The lamb's face is soft and rounded, with a delicate, slightly upturned nose. Its eye, visible in the image, is a warm, light brown. The lamb's ears are small and neatly folded. The fur on the lamb's face is short and smooth, contrasting with the longer, coarser, and gray-brown wool of the sheep surrounding it. These sheep have dense, tightly curled fleeces, which appear almost as a textured, dark brown blanket. The sheep are seemingly resting or sleeping together, huddled closely, implying warmth and security.The setting appears to be a dark barn or stable. Hay or straw is visible throughout the background, interspersed amongst the sheep's wool. The background is dimly lit, casting shadows and creating a sense of depth. The overall palette is muted and earthy, dominated by browns, grays, and creams. The cream of the lamb’s face contrasts strikingly with the darker tones around it. The light is soft and diffused, suggesting indirect natural light or soft artificial lighting, avoiding harsh shadows on the lamb's face.

This flock is mixed breed, although there are pedigree Teeswaters, Zwartble, Herdwick sheep within this herd. The tup was a pedigree Teeswater.

Close-up portrait of a sheep's head and shoulders. The sheep is predominantly white, but its face and neck are heavily mottled with dark grey and black patches, creating a striking, almost dappled effect. These markings are irregular and organic in shape, not uniform. The fleece is thick and appears soft, slightly rumpled. Its ears are upright, one with a small, light blue plastic ear tag. The sheep's eye is visible, large and dark brown, reflecting a hint of light. The sheep's expression is calm and somewhat neutral, neither particularly fearful nor friendly. It appears to be resting or standing still. The sheep is positioned in a dimly lit barn or stable. The background is blurred but shows a muted brownish-beige color, suggestive of hay or straw. The lighting is soft and diffused, likely natural light filtered through the barn's structure, avoiding harsh shadows and creating a gentle, almost melancholic mood.

The sheep pictured below is chewing cud, they are being fed hay, tonight they are eating haylage.

Close-up portrait of a sheep. The sheep is predominantly white with a light greyish hue across its face and a scattering of small, dark specks on its ears. Its wool is a mix of textures; the face and head area are relatively smooth and short, while the fleece around the neck and shoulders is considerably longer, thicker, and more matted, exhibiting a shaggy, almost unkempt appearance. Some strands of hay or straw are visibly embedded in the wool. The sheep's expression is serene and somewhat melancholic, its mouth slightly downturned in a gentle, almost wistful smile. Its ears are large and slightly floppy, angled outward. It appears to be standing still, possibly resting.

Time to hang up my camera, and use my mobile phone. Snowdrops are out!

Black Olympus digital camera, hanging upside down from a black neck strap. The camera is compact, with a prominent lens cap that bears the Olympus logo. The lens barrel displays the specifications: OLYMPUS OE OPTICAL ZOOM ED 4.3-154.8mm 1:2.9-5.7. The camera's mode dial is partially visible, showing markings for ON/OFF and W (likely wide-angle mode), indicating a switch or dial for the operating modes. The strap is made of sturdy, woven black material with a clip securing it to the camera. background is a gently sloping landscape, seemingly rural or pastoral. Rolling green hills, dotted with sparse trees and shrubs, stretch into the distance under a cloudy sky. The sky is a blend of light gray, white clouds, and hints of blue, indicating a day with soft natural light, possibly overcast. The green of the fields is vibrant but not intensely saturated, suggesting a soft, possibly cool-toned natural light.
Dense cluster of snowdrops (Galanthus nivalis) in various stages of bloom. The main subject is a sharply focused snowdrop in the mid-ground, its three pure white petals delicately drooping, showcasing the subtle green markings at the base of the inner petals. Surrounding this central snowdrop are numerous others, some fully bloomed, others still in bud, their long, slender, lanceolate, deep green leaves creating a textured, vertical rhythm. The flowers are positioned at different heights, creating depth and a sense of natural, unplanned growth. There is a slight movement implied by some slightly blurred leaves and stems, suggesting a gentle breeze. The snowdrops are nestled in a bed of rich, dark brown earth strewn with decaying leaves and organic matter; the browns provide a grounding contrast to the vibrant green and white of the flowers. The background is softly blurred, showcasing an out-of-focus expanse of verdant grass, suggesting a natural, outdoor setting—perhaps a garden or woodland edge. The lighting is soft and diffused, likely indicating an overcast day or soft, indirect sunlight. The dominant colours are the crisp white of the snowdrop petals, the varying shades of deep green in the foliage, and the muted browns and greens of the ground cover.

My iPhone is only a 12 megapixel camera, yet better than the 14 megapixels on this ole Olympus bridge camera.

Panoramic view of a rural landscape, dominated by a gently sloping green field. Two long, low dry-stone walls run parallel to each other from the foreground towards the mid-ground, creating a sense of enclosure. These walls are made of grey and brown stones, irregularly shaped and stacked, with wire fencing running along their tops. A rustic, wooden gate, slightly weathered, is prominently positioned in the lower right-hand corner, acting as a focal point and leading the viewer's eye into the field. It's a five-barred gate, constructed from rough-hewn timber. A small, white farmhouse, almost square in shape, sits nestled in the mid-ground, amongst some trees and shrubs. It's quite distant and appears small in scale compared to the vastness of the landscape.

The storm "Isha" blew off a gate and tore down a rose bush that I had saved from rose rust last year.

Dilapidated, moss-covered wooden gate, lying broken and at a sharp angle on the ground. Its dark brown wood is heavily weathered, showing streaks of faded gray and a thick growth of green moss, particularly in the crevices. The gate's lattice pattern is visible, its individual slats showing signs of age and decay. A rusty, old-fashioned metal latch is still affixed to one of the lower horizontal planks. The gate appears to have been broken away from its hinges and is strewn haphazardly. Adjacent to the fallen gate stands a section of a sturdy wooden fence, forming a trellis-like structure. This fence is a lighter brown, also showing some weathering but less moss than the fallen gate. Two upright posts of a separate, smaller fence are also seen partially obscuring the view of the house. A weathered terracotta flower pot is visible near the base of the house.
Large pile of pruned, bare, brown branches strewn across a patch of short, mossy green grass. The branches are haphazardly arranged, suggesting recent pruning or removal. Leaning against a whitewashed building is a weathered, wooden pallet, seemingly repurposed as a leaning support or makeshift structure. A small, light-grey metal bucket sits partially hidden amongst the greenery near the base of the wall. A slightly larger, light-coloured planter, possibly ceramic, holds a small, sparsely leafy shrub at the base of the wall, nestled amidst more pruned branches. A dark green down spout is visible on the house's exterior, and a dark green trim separates the whitewashed wall's two sections. The scene is set outdoors, at the base of a whitewashed building's corner. The wall shows signs of age, with patches of discolouration and some texture variation. The overall lighting suggests an overcast day, with soft, diffused light.
European rabbit (Oryctolagus cuniculus), positioned slightly off-centre, facing forward. Its fur is a mottled grey-brown, exhibiting a subtle variation in shade. Its ears are long and erect, its eyes dark and alert. The rabbit appears calm but watchful, seemingly perched on a slight incline of earth. Partially visible in the upper right corner is the rear and side of a second rabbit, also grey-brown in colour, partially obscured by vegetation. Both rabbits are exhibiting stillness, suggesting a moment of observation rather than active movement. The scene is set in a natural, wild environment. The rabbits are nestled within dense, slightly overgrown vegetation. The ground is a mixture of dark, damp soil and patches of vibrant green grass. The overall texture of the background is rough, with clumps of moss, tufts of grass, and uneven ground forming a subtly patterned backdrop. A hint of rocks is visible in the lower-left corner, hinting at a stony or rocky terrain.

At dusk rabbits surfaced onto the paddock from their warrens as the moon risen from the north-eastern sky.

23rd

The storm has returned, and the field below woodburn is flooding again, the wind almost blew the 4x4 door off when I climbed out to take a photograph.

Flat, flooded field. Shallow, rippling water covers much of the field, reflecting the overcast sky. Patches of dry, brown-yellow grass and weeds emerge from the water, indicating a recent or ongoing flood. The water appears relatively still, with gentle ripples indicating a lack of strong wind. A faint, pale yellowish object, possibly a marker or piece of debris, floats near the bottom left corner. A barbed wire fence is partially visible in the bottom left corner.
Flooded, narrow waterway or ditch running parallel to a rural road. The water is a murky brown-grey, churned slightly by an unseen current, creating subtle ripples and small, frothy white caps along the edges where it laps against the banks. Along the water's edge, patches of melting snow cling to the grass. The road, visible on the left, is dark grey and appears to be relatively intact. A wooden fence runs alongside the road, acting as a boundary between the roadway and the field. Power lines stretch across the scene, disappearing into the grey distance. The banks of the waterway show various shades of brown and green vegetation, with dry, golden-brown grasses prominent along the right bank.

Charlie chased the wind blown car duster to some length down the lane.

21st

Journeyed to Bamborough to experience a stormy North Sea wind by the beach as everything has seemingly become, a wary numb lately. On the way we stopped at Spital beach, just south of Berwick on Tweed, Charlie played penny slot games, how long I thought, would they still be here, legacy of our people, here where they rested, and had fun, all but a bygone memory, as an apparition of ghosts, sidestepped, broken departed. Dismayed at a machine, my two pence had jammed, failing to land onto the moving shelf.

Charlie leaning over a brightly coloured arcade game, his upper body dominating the frame. He's wearing a dark olive-green, possibly corduroy, jacket. His right hand rests near the game's playing area, suggesting interaction with the game. His face is partially visible, angled downwards; only his forehead, eyes (partially obscured), and side of his nose are clearly seen, with focus on the back of his head and his jacket. The game itself is a Wheel-a-Winner style coin pusher, boasting a vibrant colour scheme of bright reds, yellows, blues, and blacks. The game's graphics are cartoonish with lively, rounded figures in a retro style. The design features a large wheel with many slots to drop coins in. The setting is a dimly lit arcade or game room. Behind the main subject are other arcade games partially visible, contributing a sense of depth. The background features a muted wall with industrial-looking metal components, and a portion of what looks like a wall-mounted shelf or cabinet with some objects on it.

We intentionally avoided a tourist visit to Bamborough castle, instead opting to walk along part of the beach, named the Tumblers, a mile futher south along the link road. We desired a strong wind without rain, and that's what we found here, but abrassiveness from sand blowing harshness upon my face was, as a discomfort, unsettling upon my eyes.

Through the sand dunes an opening revealled a choppy sea, beyond the shoreline, a outcrop of rocks, failing to grasp reach a lighthouse. I took some photographs, so did Charlie.

Dark, seaweed-covered rocky outcrop that extends from the lower foreground into the mid-ground. The rocks are a deep, almost black, gray, slick with moisture, and heavily textured with crevices and grooves. Patches of light beige sand are visible within these grooves. Dark brown to black seaweed clings densely to the rocks. The ocean, a grayish-blue and relatively calm but with small waves breaking gently along the shore, occupies the mid-ground and background. In the far background, a sandy beach stretches horizontally, backed by low, windswept dunes and a sliver of land under a pale, cloudy sky. The scene is a coastal landscape, likely on a somewhat overcast day. The lighting is diffuse and soft; there are no harsh shadows, indicative of an even light distribution from a mostly clouded sky. The color palette is muted and cool. The ocean is a subdued blue-gray, the sand a pale beige, the dunes a light brownish-tan, and the rocks and seaweed are various shades of dark gray, black, and brown.
Broad expanse of sandy beach, textured with dark, seaweed-laden rocks stretching from the foreground almost to the mid ground. The seaweed is a deep, almost black-brown, appearing wet and glistening, with patches of sand visible between the clumps. The sand itself is a light beige, subtly textured with tiny pebbles and shell fragments. In the distance, a low, sandy dune line curves gently across the scene, topped with sparse, windswept vegetation in muted greens and browns. Atop the dune, a small, grey stone castle-like structure stands silhouetted against the cloudy sky. Tiny, almost imperceptible figures of people can be discerned as barely visible specks walking along the shoreline in the far distance.
Dark grey, almost black, smooth, water-worn rock. It's roughly oblong, slightly curved, and possesses a striking feature: a reddish-brown, almost maroon, line that resembles a roughly drawn rectangle or square on its surface. This line is not uniform in width or intensity, suggesting natural weathering or staining rather than deliberate marking. The rock is positioned slightly off-centre, leaning towards the left of the frame. Surrounding this main rock are numerous other smaller stones and pebbles of various shapes, sizes, and colours. These include lighter beige and tan stones, deep reddish-brown ones, dark grey and black pebbles similar to the main rock but smaller, and some that appear rusty or oxidised. A few small seashells are also visible nestled amongst the rocks.
Collection of wet, smooth rocks nestled in a shallow pool of water. The rocks vary dramatically in size, shape, and colour. The most striking element is a vibrant, almost scarlet-red, kidney-shaped rock positioned slightly off-center. It's nestled amongst a variety of darker-toned stones, creating a bold contrast. The other rocks are predominantly dark gray, black, and various shades of brown, exhibiting a range of textures – some smooth and polished, others showing more rugged surfaces. A few lighter-colored, tan or beige stones are scattered throughout. There's a suggestion of fine sand and small shells mixed within the water and amongst the stones. A thin strand of dark green seaweed or algae is visible clinging to one of the larger, dark rocks.
Wide, shallow channel of pale, sandy-beige water cutting through a dark, seaweed-covered intertidal zone. This channel meanders from the lower-left to the mid-ground, eventually reaching the ocean. The seaweed is a deep, almost black-brown, with a textured, slightly tangled appearance. It clings to dark, wet rocks, which are mostly submerged or barely protruding from the water and seaweed. In the far distance, a lone, small figure (human, likely a person) is visible, walking along the shoreline near the far left. This figure is incredibly small, emphasising the vastness of the landscape. The distant shoreline is a low, sandy dune-like area, with a suggestion of land masses in the distance, under a cloudy sky. The scene is a coastal seascape, likely at low tide, revealing the extensive intertidal zone. The ocean is a muted greyish-blue, with small waves breaking gently on the shore. The sky dominates the upper portion of the image, filled with a blend of greyish-white clouds, providing a diffuse, overcast light. The overall color palette is subdued and cool, dominated by muted greys, browns, and blues.

Returning North we deviated from the A1, choosing to go through Wooler and towards Yetholm. Hungry Charlie pulled over the 4x4 alongside the river Till and from the boot of the car, camp stove reheated a pan of Cullen Skink I'd previously cooked yesterday evening. By this time events around us were becoming strange, begining with a slow drive by black car passing us atleast six times. I couldn't help but wounder if this was due to some cranks esoteric interest in the cone pillar, stone bridge we had just driven over.

Long, narrow asphalt road leading directly towards the viewer, vanishing into the distance. Flanking the road is a low, grey stone wall, weathered and textured, punctuated at either end by tall, conical stone pillars. These pillars, reminiscent of miniature towers, are of similar aged stone to the wall, showing signs of lichen and erosion. A small, round, red-bordered traffic sign is visible on the right side of the road, midway down the wall, indicating a likely restriction or warning. The road is slightly damp, reflecting a muted light, suggesting recent rain or high humidity. Sparse, dry, winter vegetation borders the road and the wall. A wooden fence is partially visible near the base of the left-hand pillar. The scene is set in a rural, likely highland, landscape. In the background, a gentle hill rises, covered with a patchwork of muted browns, reddish-browns, and greens—a mix of heather, low shrubs, and possibly distant trees. A dark line of evergreen trees forms a horizontal band across the middle of the background, separating the hill from a pale, nearly cloudless sky. The overall lighting is soft and diffuse, indicating either early morning, late afternoon, or an overcast day.
Slender, meandering river, its water a muted greyish-blue, reflecting the overcast sky. The river flows from the background towards the viewer, subtly curving to the right. Bare, winter trees line both banks of the river, their branches stark against the muted colors of the landscape. The trees are predominantly dark brown and gray, with a few wisps of lighter brown suggesting dried-out twigs and leaves. The banks are composed of a mix of dried grasses, patches of pale green, and some reddish-brown earth showing through, particularly on the elevated hill in the background. No people or animals are visible. The scene is a rural landscape, possibly a valley, under a cloudy, overcast sky. The sky is a pale, muted blue, almost devoid of vibrant color, creating a sense of subdued light. The background features a gently sloping hill, its surface a mottled mix of dried grasses, predominantly light green and brown, with patches of deeper reddish-brown earth exposed. This hill rises softly from the riverbank.
Meandering stream, a muted greyish-blue, flowing from the middle ground towards the lower third of the image. Its banks are lined with sparse, winter-brown vegetation, some low shrubs and bare branches, creating a textured edge. A low fence runs parallel to the stream on its right bank, separating it from a pasture where a small flock of white sheep are peacefully grazing. The sheep are scattered, not huddled, suggesting a calm, unhurried scene. Power lines run diagonally across the image, from the upper right to the lower left, subtly weaving through the landscape.
Long, straight asphalt road, dark gray and wet, reflecting a muted light. The road stretches from the foreground to the mid-ground, vanishing towards a low hill in the distance. Flanking the road are low, weathered stone walls, their surfaces a blend of gray and light beige, showing signs of age and lichen growth. The stones are roughly hewn and laid in a seemingly haphazard yet stable pattern. Beyond the walls, the landscape consists of sparse, dry, brown-gold grass, suggesting late autumn or early winter. Scattered deciduous trees, mostly bare or with a few remaining dry leaves, stand in the background, their dark silhouettes against the pale sky.

This soup had added Salmon, but no smoked haddock, does this still count as Cullen skink? maybe not but tasted delicious anyhow.

Bowl of creamy, white soup, seemingly potato or chowder, generously filled and speckled with light-coloured chunks, possibly potatoes or vegetables. The soup is in a shallow, round bowl with a vibrant blue and white pattern reminiscent of classic blue-and-white china. A silver spoon rests in the soup, partially submerged. A person’s hand, fair-skinned with visible veins and creases, gently holds the bowl from below, showcasing the bowl prominently. The hand is partially visible, and only the fingers and palm are in the frame. The person's clothing, a dark fabric with a white polka dot pattern, is partially visible at the bottom edge.

Wasn't expecting a hot cup of coffee also.

Close-up view of a hand gently cradling a white coffee mug. The mug is slightly angled to the left, revealing a creamy, light-brown liquid inside—presumably coffee or tea—with a subtle foamy texture on its surface. A hint of steam rises from the beverage. The hand holding the mug belongs to a fair-skinned person, only a portion of the hand and fingers are visible. The fingers exhibit a gentle grip, suggesting a comfortable and relaxed state. The mug features a barely visible, slightly blurred design or pattern near its base, hinting at a simple, possibly cartoonish, motif.

Leaving the area we noticed we had stopped to rest along Saint Cuthberts way. Called into Yetholm at the Plough Inn, Charlie enjoyed bitter, myself Guinness with Dalmore chaser.

Big storm blowing throughout the Scottish Borders, wind and rain is rushing about walls, tearing across field, the Borthwick water below has burst banks. About eight inch deep for 1/6 of a mile, but thankfully could not lift our 4x4 from the direction. I posted a short reel on Facebook, readers were shocked, I don't know anywhere else that experiences this; although throughout the valley there are houses along the haugh, beside winding bends that could be in danger, if flooding as a release had not happened here.

18th

As I mentioned a month ago; I suspected my smelly ass flat neighbour to be an adult baby, this morning I found an admission from her broadcast over Wi-Fi ID. She hates my fella, makes jibes at his "heavy feet" [he's six foot four] despite a death wrenching smell seeping into the stairwell every time she opens her door. She has a man in a black Jaguar bring her nappies and shopping, two months ago he took out fifty plus bin liners overspilling with soiled nappies from her smelly flat. The pungent odour was that bad I purchased air fresheners.

Close-up view of a computer or mobile device screen displaying a Wi-Fi network selection menu. The dominant element is a list of available Wi-Fi networks, each represented by a small icon of a wireless signal followed by the network name. The networks are: Leonie WiFi (selected), Ihatetheguyaboveme, 4G-UFI-C3A, SKYA6534 ~ 5G, BT-JHF8QN, EE WiFi (highlighted), and SKYXNZZ3. A lock icon indicates password-protected networks. At the bottom, All Networks is visible. A small cursor or pointer is visible hovering over EE WiFi, suggesting interaction. The top of the screen shows the Wi-Fi label with a power icon next to it.
Close-up shot of a digital device screen, specifically showing a Wi-Fi network selection interface. The screen is dark gray/charcoal, providing a stark contrast to the lighter-coloured text and icons. At the top, a stylised Wi-Fi symbol (blue circle with white signal bars) sits to the left of the word Wi-Fi in a sans-serif, slightly bolder typeface. Below this, a list of available Wi-Fi networks is presented, each preceded by a Wi-Fi symbol and a small lock icon indicating password-protected networks. The network names vary in length and character combinations: AdultBaBy@63C, ABDLandproudofit, 4G-UFI-C3A, SKYXNZZ3, BT-JHF8QN, and SKYA6534~5G. At the bottom, an All Networks option is displayed. Further down, two buttons are partially visible: a blue Power Mode button (with a Performance sub-label) featuring a power icon and a right-facing arrow, and a partially visible Night Light button with a sun icon.

He tells me she suffers from OCD, then apologises for her washing my door until there was water inside the security looking glass. She has scabs all over her shaved head, I don't believe she washes, ever. It makes me feel ill to think, for the last year I lived above thousands of soiled nappies. I used to believe she was ill, but now I know she's an appalling degenerate, a scheiß hausmeister. Officially homeless [Charlie lives at the farmhouse] I've been waiting to be rehoused fourteen months in this emergency accommodation.