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EP166 Interview With Mark & Simon From Elinchrom UK I sit down with Mark Cheatham and Simon Burfoot from Elinchrom UK to talk about the two words that matter most when you work with light: accuracy and consistency. We dig into flash vs. continuous, shaping light (not just adding it), why reliable gear shortens your workflow, and Elinchrom's new LED 100 C—including evenly filling big softboxes and that handy internal battery. We also wander into AI: threats, tools, and why authenticity still carries the highest value.   Links: Elinchrom UK store/info: https://elinchrom.co.uk/ LED 100 C product page: https://elinchrom.co.uk/elinchrom-led-100-c Rotalux Deep Octa / strips: https://elinchrom.co.uk/elinchrom-rotalux-deep-octabox-100cm-softbox/ My workshop dates: https://masteringportraitphotography.com/workshops-and-mentoring/ Transcript: Paul: as quite a lot of, you know, I've had a love affair with Elinchrom Lighting for the past 20 something years. In fact, I'm sitting with one of the original secondhand lights I bought from the Flash Center 21 years ago in London. And on top of that, you couldn't ask for a nicer set of guys in the UK to deal with. So I'm sitting here about to talk to Simon and Mark from Elinchrom uk. I'm Paul and this is the Mastering Portrait Photography podcast. Paul: So before we get any further, tell me a little bit about who you are, each of you and the team from Elinchrom UK Mark: After you, Simon. Simon: Thank you very much, mark. Mark: That's fine. Simon: I'm, Simon Burfoot. I have, been in the industry now for longer than I care to think. 35 years almost to the, to the day. Always been in the industry even before I left school because my father was a photographer and a lighting tutor, working for various manufacturers I was always into photography, and when he started the whole lighting journey. I got on it with him, and was learning from a very young age. Did my first wedding at 16 years old. Had a Saturday job which turned into a full-time job in a retail camera shop. By the time I was 18, I was managing my own camera shop, in a little town in the Cotswolds called Cirencester. My dad always told me that to be a photographic rep in the industry, you needed to see it from all angles, to get the experience. So I ended up, working in retail, moving over to a framing company. Finishing off in a prolab, hand printing, wedding photographers pictures, processing E6 and C41, hand correcting big prints for framing for, for customers, which was really interesting and I really enjoyed it. And then ended up working for a company called Leeds Photo Visual, I was a Southwest sales guy for them. Then I moved to KJP before it became, what we know now as Wex, and got all of the customers back that I'd stolen for them for Leeds. And then really sort of started my career progressing through, and then started to work with Elinchrom, on the lighting side. Used Elinchrom way before I started working with them. I like you a bit of a love affair. I'd used lots of different lights and, just loved the quality of the light that the Elinchrom system produced. And that's down to a number of factors that I could bore you with, but it's the quality of the gear, the consistency in terms of color, and exposure. Shooting film was very important to have that consistency because we didn't have Photoshop to help us out afterwards. It was a learning journey, but I, I hit my goal after being a wedding photographer and a portrait photographer in my spare time, working towards getting out on the road, meeting people and being involved in the industry, which I love. And I think it's something that I'm scared of leaving 'cause I dunno anything else. It's a wonderful industry. It has its quirks, its, downfalls at points, but actually it's a really good group of people and everyone kind of, gets on and we all love working with each other. So we're friends rather than colleagues. Paul: I hesitate to ask, given the length of that answer, to cut Simon: You did ask. Mark: I know. Paul: a short story Mark: was wondering if I was gonna get a go. Paul: I was waiting to get to end into the podcast and I was about to sign off. Mark: So, hi Mark Cheatham, sales director for Elinchrom uk this is where it gets a little bit scary because me and Simon have probably known each other for 10 years, yet our journeys in the industry are remarkably similar. I went to college, did photography, left college, went to work at commercial photographers and hand printers. I was a hand printer, mainly black and white, anything from six by four to eight foot by four foot panels, which are horrible when you're deving in a dish. But we did it. Paul: To the generation now, deving in a dish doesn't mean anything. Simon: No, it doesn't. Mark: And, and when you're doing a eight foot by four foot print and you've got it, you're wearing most of the chemistry. You went home stinking every night. I was working in retail. As a Saturday lad and then got promoted from the Saturday lad to the manager and went to run a camera shop in a little town in the Lake District called Kendall. I stayed there for nine years. I left there, went on the road working for a brand called Olympus, where I did 10 years, I moved to Pentax, which became Rico Pentax. I did 10 years there. I've been in the industry all my life. Like Simon, I love the industry. I did go out the industry for 18 months where I went into the wonderful world of high end commercial vr, selling to blue light military, that sort of thing. And then came back. One of the, original members of Elinchrom uk. I don't do as much photography as Simon I take photos every day, probably too many looking at my Apple storage. I do shoot and I like shooting now and again, but I'm not a constant shooter like you guys i'm not a professional shooter, but when you spent 30 odd years in the industry, and part of that, I basically run the, the medium format business for Pentax. So 645D, 645Z. Yeah, it was a great time. I love the industry and, everything about it. So, yeah, that's it Paul: Obviously both of you at some point put your heads together and decided Elinchrom UK was the future. What triggered that and why do you think gimme your sales pitch for Elinchrom for a moment and then we can discuss the various merits. Simon: The sales pitch for Elinchrom is fairly straightforward. It's a nice, affordable system that does exactly what most photographers would like. We sell a lot of our modifiers, so soft boxes and things like that to other users, of Prophoto, Broncolor. Anybody else? Because actually the quality of the light that comes out the front of our diffusion material and our specular surfaces on the soft boxes is, is a lot, lot more superior than, than most. A lot more superior. A lot more Mark: A lot more superior. Paul: more superior. Simon: I'm trying to Paul: Superior. Simon: It's superior. And I think Paul, you'll agree, Paul: it's a lot more, Simon: You've used different manufacturers over the years and, I think the quality of light speaks for itself. As a photographer I want consistency. Beautiful light and the effects that the Elinchrom system gives me, I've tried other soft boxes. If you want a big contrasty, not so kind light, then use a cheaper soft box. If I've got a big tattoo guy full of piercings you're gonna put some contrasty light to create some ambience. Maybe the system for that isn't good enough, but for your standard portrait photographer in a studio, I don't think you can beat the light. Mark: I think the two key words for Elinchrom products are accuracy and consistency. And that's what, as a portrait photographer, you should be striving for, you don't want your equipment to lengthen your workflow or make your job harder in post-production. If you're using Elinchrom lights with Elinchrom soft boxes or Elinchrom modifiers, you know that you're gonna get accuracy and consistency. Which generally makes your job easier. Paul: I think there's a bit that neither of you, I don't think you've quite covered, and it's the bit of the puzzle that makes you want to use whatever is the tool of your trade. I mean, I worked with musicians, I grew up around orchestras. Watching people who utterly adore the instrument that's in their hand. It makes 'em wanna play it. If you own the instrument that you love to play, whether it's a drum kit a trumpet a violin or a piano, you will play it and get the very best out of your talent with it. It's just a joy to pick it up and use it for all the little tiny things I think it's the bit you've missed in your descriptions of it is the utter passion that people that use it have for it. Mark: I think one of the things I learned from my time in retail, which was obviously going back, a long way, even before digital cameras One of the things I learned from retail, I was in retail long before digital cameras, retail was a busier time. People would come and genuinely ask for advice. So yes, someone would come in and what's the best camera for this? Or what's the best camera for that? Honestly there is still no answer to that. All the kit was good then all the kit is good now. You might get four or five different SLRs out. And the one they'd pick at the end was the one that they felt most comfortable with and had the best connection with. When you are using something every day, every other day, however it might be, it becomes part of you. I'm a F1 fan, if you love the world of F1, you know that an F1 car, the driver doesn't sit in an F1 car, they become part of the F1 car. When you are using the same equipment day in, day out, you don't have to think about what button to press, what dial to to turn. You do it. And that, I think that's the difference between using something you genuinely love and get on with and using something because that's what you've got. And maybe that's a difference you genuinely love and get on with Elinchrom lights. So yes, they're given amazing output and I know there's, little things that you'd love to see improved on them, but that's not the light output. Paul: But the thing is, I mean, I've never, I've never heard the F1 analogy, but it's not a bad one. When you talk about these drivers and their cars and you are right, they're sort of symbiotic, so let's talk a little bit about why we use flash. So from the photographers listening who are just setting out, and that's an awful lot of our audience. I think broadly speaking, there are two roads or three roads, if you include available light if you're a portrait photographer. So there's available light. There's continuous light, and then there's strobes flash or whatever you wanna call it. Of course, there's, hybrid modeling and all sorts of things, but those are broadly the three ways that you're gonna light your scene or your subject. Why flash? What is it about that instantaneous pulse of light from a xenon tube that so appealing to photographers? Simon: I think there's a few reasons. The available light is lovely if you can control it, and by that I mean knowing how to use your camera, and control the ambient light. My experience of using available light, if you do it wrong, it can be quite flat and uninteresting. If you've got a bright, hot, sunny day, it can be harder to control than if it's a nice overcast day. But then the overcast day will provide you with some nice soft, flat lighting. Continuous light is obviously got its uses and there's a lot of people out there using it because what they see is what they get. The way I look at continuous light is you are adding to the ambient light, adding more daylight to the daylight you've already got, which isn't a problem, but you need to control that light onto the subject to make the subject look more interesting. So a no shadow, a chin shadow to show that that subject is three dimensional. There are very big limitations with LED because generally it's very unshapable. By that I mean the light is a very linear light. Light travels in straight lines anyway, but with a flash, we can shape the light, and that's why there's different shapes and sizes of modifiers, but it's very difficult to shape correctly -an LED array, the flash for me, gives me creativity. So with my flash, I get a sharper image to start with. I can put the shadows and the light exactly where I want and use the edge of a massive soft box, rather than the center if I'm using a flash gun or a constant light. It allows me to choose how much or how little contrast I put through that light, to create different dynamics in the image. It allows me to be more creative. I can kill the ambient light with flash rather than adding to it. I can change how much ambient I bring into my flash exposure. I've got a lot more control, and I'm not talking about TTL, I'm talking about full manual control of using the modifier, the flash, and me telling the camera what I want it to do, rather than the camera telling me what it thinks is right. Which generally 99% of the time is wrong. It's given me a beautiful, average exposure, but if I wanted to kill the sun behind the subject, well it's not gonna do that. It's gonna give me an average of everything. Whereas Flash will just give me that extra opportunity to be a lot more creative and have a lot more control over my picture. I've got quite a big saying in my workshops. I think a decent flash image is an image where it looks like flash wasn't used. As a flash photographer, Paul, I expect you probably agree with me, anyone can take a flash image. The control of light is important because anybody can light an image, but to light the subject within the image and control the environmental constraints, is the key to it and the most technical part of it. Mark: You've got to take your camera off P for professional to do that. You've got to turn it off p for professional and get it in manual mode. And that gives you the control Paul: Well, you say that, We have to at some point. Address the fact that AI is not just coming, it's sitting here in our studios all the time, and we are only a heartbeat away from P for professional, meaning AI analyzed and creating magic. I don't doubt for a minute. I mean, right now you're right, but not Mark: Well, at some point it will be integrated into the camera Paul: Of course it will. Mark: If you use an iPhone or any other phone, you know, we are using AI as phone photographers, your snapshots. You take your kids, your dogs, whatever they are highly modified images. Paul: Yeah. But in a lot of the modern cameras, there's AI behind the scenes, for instance, on the focusing Mark: Yeah. Paul: While we've, we are on that, we were on that thread. Let's put us back on that thread for a second. What's coming down the line with, all lighting and camera craft with ai. What are you guys seeing that maybe we're not Simon: in terms of flash technology or light technology? Paul: Alright. I mean, so I mean there's, I guess there's two angles, isn't there? What are the lights gonna do that use ai? What are the controllers gonna do, that uses ai, but more importantly, how will it hold its own in a world where I can hit a button and say, I want rebrand lighting on that face. I can do that today. Mark: Yeah. Simon: I'm not sure the lighting industry is anywhere near producing anything that is gonna give what a piece of software can give, because there's a lot more factors involved. There's what size light it is, what position that light is in, how high that light is, how low that light is. And I think the software we've all heard and played with Evoto we were talking about earlier, I was very skeptical and dubious about it to start with as everybody would be. I'm a Photoshop Lightroom user, have been for, many years. And I did some editing, in EEvoto with my five free credits to start with, three edits in, I bought some credits because I thought, actually this is very, very good. I'll never use it for lighting i'd like to think I can get that right myself. However, if somebody gives you a, a very flat image of a family outside and say, well, could you make this better for me? Well, guess what? I can do whatever you like to it. Is it gonna attack the photographer that's trying to earn a living? I think there's always a need for people to take real photographs and family photographs. I think as photographers, we need to embrace it as an aid to speed up our workflow. I don't think it will fully take over the art of photography because it's a different thing. It's not your work. It's a computer generated AI piece of work in my head. Therefore, who's responsible for that image? Who owns the copyright to that image? We deal with photographers all the time who literally point a camera, take a picture and spend three hours editing it and tell everyone that, look at this. The software's really good and it's made you look good. I think AI is capable of doing that to an extent. In five years time, we'll look back at Evoto today and what it's producing and we'll think cracky. That was awful. It's like when you watch a high definition movie from the late 1990s, you look at it and it was amazing at the time, but you look at it now and you think, crikey, look at the quality of it. I dunno if we're that far ahead where we won't get to that point. The quality is there. I mean, how much better can you go than 4K, eight K minus, all that kind of stuff. I'm unsure, but I don't think the AI side of it. Is applicable to flash at this moment in time? I don't know. Mark: I think you're right. To look at the whole, photography in general. If you are a social photographer, family photographer, whatever it might be, you are genuinely capturing that moment in time that can't be replaced. If you are a product photographer, that's a different matter. I think there's more of a threat. I think I might be right in saying. I was looking, I think I saw it on, LinkedIn. There is a fashion brand in the UK at the moment that their entire catalog of clothing has been shot without models. When you look at it on the website, there's models in it. They shoot the clothing on mannequins and then everything else is AI generated they've been developing their own AI platform now for a number of years. Does the person care Who's buying a dress for 30 quid? Probably not, but if you are photographing somebody's wedding, graduation, some, you know, a genuine moment in someone's life, I think it'd be really wrong to use any sort of AI other than a little bit of post-production, which we know is now quite standard for many people in the industry. Paul: Yeah, the curiosity for me is I suspect as an industry, Guess just released a full AI model advert in, Vogue. Declared as AI generated an ai agency created it. Everything about it is ai. There's no real photography involved except in the learning side of it. And that's a logical extension of the fact we've been Photoshopping to such a degree that the end product no longer related to the input. And we've been doing that 25 years. I started on Photoshop version one, whatever that was, 30 years More than 33. So we've kind of worked our way into a corner where the only way out of it is to continue. There's no backtracking now. Mark: Yeah. Paul: I think the damage to the industry though, or the worry for the industry, I think you're both right. I think if you can feel it, touch it, be there, there will always be that importance. In fact, the provenance of authenticity. Is the high value ticket item now, Simon: Mm-hmm. Paul: because you, everything else is synthetic, you can trust nothing. We are literally probably months away from 90% of social media being generated by ai. AI is both the consumer and the generator of almost everything online Mark: Absolutely. Paul: Goodness knows where we go. You certainly can't trust anything you read. You can't trust anything you see, so authenticity, face-to-face will become, I think a high value item. Yeah. Mark: Yeah. Paul: I think one problem for us as an industry in terms of what the damage might be is that all those people that photograph nameless products or create books, you know, use photography and then compositing for, let's say a novel that's gone, stock libraries that's gone because they're faceless. Simon: Mm-hmm. Paul: there doesn't have to be authentic. A designer can type in half a dozen keywords. Into an AI engine and get what he needs. If he doesn't get what he needs, he does it again. All of those photographers who currently own Kit are gonna look around with what do we do now? And so for those of us who specialize in weddings and portraits and family events, our market stands every chance of being diluted, which has the knock on effect of all of us having to keep an eye on AI to stay ahead of all competitors, which has the next knock on effect, that we're all gonna lean into ai, which begs the question, what happens after Because that's what happened in the Photoshop world. You know, I'm kind of, I mean, genuinely cur, and this will be a running theme on the podcast forever, is kind of prodding it and taking barometer readings as to where are we going? Mark: Yeah. I mean, who's more at threat at the moment from this technology? Is it the photographer or is it the retouch? You know, we do forget that there are retouchers That is their, they're not photographers. Paul: I don't forget. They email me 3, 4, 5 times a day. Mark: a Simon: day, Mark: You know, a highly skilled retouch isn't cheap. They've honed their craft for many years using whatever software product they prefer to use. I think they're the ones at risk now more so than the photographer. And I think we sort of lose sight of that. Looking at it from a photographer's point of view, there is a whole industry behind photography that actually is being affected more so than you guys at the moment. Simon: Mm-hmm. Paul: Yeah, I think there's truth in that, but. It's not really important. Of course, it's really important to all of those people, but this is the digital revolution that we went through as film photographers, and probably what the Daguerreotype generators went through when Fox Tolbert invented the first transfer. Negative. You know, they are, there are always these epochs in our industry and it wipes out entire skillset. You know, I mean, when we went to digital before then, like you, I could dev in a tank. Yeah. You know, and really liked it. I like I see, I suspect I just like the solitude, Mark: the dark, Paul: red light in the dark Mark: yeah. Paul: Nobody will come in. Not now. Go away. Yeah. All that kind of stuff. But of course those skills have gone, has as, have access to the equipment. I think we're there again, this feels like to me a huge transition in the industry and for those who want to keep up, AI is the keeping up whether you like it or not. Mark: Yeah. And if you don't like it, we've seen it, we're in the middle of a massive resurgence in film photography, which is great for the industry, great for the retail industry, great for the film manufacturers, chemical manufacturers, everything. You know, simon, myself, you, you, we, we, our earliest photography, whether we were shooting with flash, natural light, we were film shooters and that planes back. And what digital did, from a camera point of view, is make it easier and more accessible for less skilled people. But it's true. You know, if you shot with a digital camera now that's got a dynamic range of 15 stops, you actually don't even need to have your exposure, that accurate Go and shoot with a slide film that's got dynamic range of less than one stop and see how good you are. It has made it easier. The technology, it will always make it. Easier, but it opens up new doors, it opens up new avenues to skilled people as well as unskilled people. If you want, I'm using the word unskilled again, I'm not being, a blanket phrase, but it's true. You can pick up a digital camera now and get results that same person shooting with a slide film 20 years ago would not get add software to that post-production, everything else. It's an industry that we've seen so many changes in over the 30 odd years that we've been in it, Simon: been Mark: continue Simon: at times. It exciting Mark: The dawn of digital photography to the masses. was amazing. I was working for Olympus at the time when digital really took off and for Olympus it was amazing. They made some amazing products. We did quite well out of it and people started enjoying photography that maybe hadn't enjoyed photography before. You know, people might laugh at, you know, you, you, you're at a wedding, you're shooting a really nice wedding pool and there's always a couple of guests there which have got equipment as good as yours. Better, better than yours. Yeah. Got Simon: jobs and they can afford it. Mark: They've got proper jobs. Their pitches aren't going to be as good as yours. They're the ones laughing at everyone shooting on their phone because they've spent six grand on their new. Camera. But if shooting on a phone gets people into photography and then next year they buy a camera and two years later they upgrade their camera and it gets them into the hobby of photography? That's great for everyone. Hobbyists are as essential, as professional photographers to the industry. In fact, to keep the manufacturers going, probably more so Simon: the hobbyists are a massive part. Even if they go out and spend six or seven or 8,000 pounds on a camera because they think it's gonna make them a better photographer. Who knows in two years time with the AI side, maybe it will. That old saying, Hey Mr, that's a nice camera. I bet it takes great pictures, may become true. We have people on the lighting courses, the workshops we run, the people I train and they're asking me, okay, what sessions are we gonna use? And I'm saying, okay, well we're gonna be a hundred ISO at 125th, F 5.6. Okay, well if I point my camera at the subject, it's telling me, yeah, but you need to put it onto manual. And you see the color drain out their faces. You've got a 6,000 pound camera and you've never taken it off 'P'. Mark: True story. Simon: And we see this all the time. It's like the whole TTL strobe manual flash system. The camera's telling you what it wants to show you, but that maybe is not what you want. There are people out there that will spend a fortune on equipment but actually you could take just as good a picture with a much smaller, cheaper device with an nice bit of glass on the front if you know what you're doing. And that goes back to what Mark was saying about shooting film and slide film and digital today. Paul: I, mean, you know, I don't want this to be an echo chamber, and so what I am really interested in though, is the way that AI will change what flash photography does. I'm curious as to where we are headed in that, specific vertical. How is AI going to help and influence our ability to create great lip photography using flash? Mark: I think, Paul: I love the fact the two guys side and looked at each other. Mark: I, Simon: it's a difficult question to answer. Mark: physical light, Simon: is a difficult question to answer because if you're Mark: talking about the physical delivery of light. Simon: Not gonna change. Mark: Now, The only thing I can even compare it to, if you think about how the light is delivered, is what's the nearest thing? What's gotta change? Modern headlamps on cars, going back to cars again, you know, a modern car are using these LED arrays and they will switch on and switch off different LEDs depending on the conditions in front of them. Anti dazzle, all this sort of stuff. You know, the modern expensive headlamp is an amazing technical piece of kit. It's not just one ball, but it's hundreds in some cases of little arrays. Will that come into flash? I don't know. Will you just be able to put a soft box in front of someone and it will shape the light in the future using a massive array. Right? I dunno it, Simon: there's been many companies tested these arrays, in terms of LED Flash, And I think to be honest, that's probably the nearest it's gonna get to an AI point of view is this LED Flash. Now there's an argument to say, what is flash if I walk into a living room and flick the light on, on off really quickly, is that a flash? Mark: No, that's a folock in Paul: me Mark: turn, big lights off. Paul: Yeah. Mark: So Simon: it, you, you might be able to get these arrays to flush on and off. But LED technology, in terms of how it works, it's quite slow. It's a diode, it takes a while for it to get to its correct brightness and it takes a while for it to turn off. To try and get an LED. To work as a flash. It, it's not an explosion in a gas field tube. It's a a, a lighter emitting diode that is, is coming on and turning off again. Will AI help that? Due to the nature of its design, I don't think it can. Mark: Me and s aren't invented an AI flash anytime soon by the looks of, we're Simon: it's very secret. Mark: We're just putting everyone off Paul, Simon: It's alright. Mark: just so they don't think Simon: Yeah, Mark: Oh, it's gonna be too much hard work and we'll sort it. Paul: It's definitely coming. I don't doubt for a minute that this is all coming because there's no one not looking at anything Simon: that makes perfect sense. Paul: Right now there's an explosion of invention because everybody's trying to find an angle on everything. Simon: Mm-hmm. Paul: The guys I feel the most for are the guys who spent millions, , on these big LED film backdrop walls. Simon: Yep. Mark: So you can Paul: a car onto a flight sim, rack, and then film the whole lot in front of an LED wall. Well, it was great. And there was a market for people filming those backdrops, and now of course that's all AI generated in the LED, but that's only today's technology. Tomorrow's is, you don't need the LED wall. That's here today. VEO3 and Flow already, I mean, I had to play with one the other day for one of our lighting diagrams and it animated the whole thing. Absolute genius. Simon: Mm-hmm. Paul: I still generated the original diagram. Mark: Yeah, Paul: Yeah, that's useful. There's some skill in there still for now, but, you gotta face the music that anything that isn't, I can touch it and prod it. AI's gonna do it. Mark: Absolutely. If you've ever seen the series Mandalorian go and watch the making of the Mandalorian and they are using those big LED walls, that is their backdrop. Yeah. And it's amazing how fast they shift from, you know, they can, they don't need to build a set. Yeah. They shift from scene to scene. Paul: Well, aI is now building the scenes. But tomorrow they won't need the LED wall. 'cause AI will put it in behind the actors. Mark: Yeah. Say after Paul: that you won't need the actors because they're being forced to sign away the rights so that AI can be used. And even those that are standing their ground and saying no, well, the actors saying Yes. Are the ones being hired. You know, in the end, AI is gonna touch all of it. And so I mean, it's things like, imagine walking into a studio. Let's ignore the LED thing for a minute, by the way, that's a temporary argument, Simon: I know you're talking about. Paul: about today's, Simon: You're about the. Mark: days Paul: LEDs, Simon: we're in, We're in very, very interesting times and. I'm excited for the future. I'm excited for the new generation of photographers that are coming in to see how they work with what happens. We've gone from fully analog to me selling IMACON drum scanners that were digitizing negatives and all the five four sheet almost a shoot of properties for an estate agent were all digitized on an hassle blood scanner. And then the digital camera comes out and you start using it. It was a Kodak camera, I think the first SLRI used, Paul: Yeah. Simon: and you get the results back and you think, oh my God, it looks like it's come out of a practica MTL five B. Mark: But Simon: then suddenly the technology just changes and changes and changes and suddenly it's running away with itself and where we are today. I mean, I, I didn't like digital to start with. It was too. It was too digital. It was too sharp. It didn't have the feel of film, but do you know what? We get used to it and the files that my digital mirrorless camera provide now and my Fuji GFX medium format are absolutely stunning. But the first thing I do is turn the sharpness down because they are generally over sharp. For a lovely, beautifully lit portrait or whatever that anybody takes, it just needs knocking back a bit. We were speaking about this earlier, I did some comparison edits from what I'd done manually in Photoshop to the Evoto. Do you know what the pre-selected edits are? Great. If you not the slider back from 10 to about six, you're there or thereabouts? More is not always good. Mark: I think when it comes to imagery in our daily lives, the one thing that drives what we expect to see is TV and most people's TVs, everything's turned up to a hundred. The color, the contrast, that was a bit of a shock originally from the film to digital, crossover. Everything went from being relatively natural to way over the top Just getting back to AI and how it's gonna affect people like you and people that we work with day to day. I don't think we should be worried about that. We should be worried about the images we see on the news, not what we're seeing, hanging on people's walls and how they're gonna be affected by ai. That generally does affect everyone's daily life. Paul: Yeah, Mark: Yeah. But what Paul: people now ask me, for instance, I've photographed a couple head shots yesterday, and the one person had not ironed her blouse. And her first question was, can we sort that out in post? So this is the knock on effect people are becoming aware of what's possible. What's that? Nothing. Know, and the, the smooth clothing button in Evoto will get me quite a long way down that road and saves somebody picking up an eye and randomly, it's not me, it's now actually more work for me 'cause I shouldn't have to do it. But, you know, this is my point about the knock on effect. Our worlds are different. So I didn't really intend this to be just a great sort of circular conversation about AI cars and, future technology. It was more, I dunno, we ended up down there anyway. Simon: We went down a rabbit hole. Mark: A Paul: rabbit hole. Yeah Mark: was quite an interesting one. Simon: And I'm sorry if you've wasted your entire journey to work and we Paul: Yeah. Simon: Alright. It wasn't intended to be like that. Paul: I think it's a debate that we need to be having and there needs to be more discussion about it. Certainly for anybody that has a voice in the industry and people are listening to it because right now it might be a toddler of a technology, but it's growing faster than people realize. There is now a point in the written word online where AI is generating more than real people are generating, and AI is learning that. So AI is reading its own output. That's now beginning to happen in imagery and film and music. Simon: Well, even in Google results, you type in anything to a Google search bar. When it comes back to the results, the first section at the top is the AI generated version. And you know what, it's generally Paul: Yep. Simon: good and Paul: turn off all the rest of it now. So it's only ai. Simon: Not quite brave enough for that yet. No, not me. Mark: In terms Paul: of SEO for instance, you now need to tune it for large language models. You need to be giving. Google the LLM information you want it to learn so that you become part of that section on a website. And it, you know, this is where we are and it's happening at such a speed, every day I am learning something new about something else that's arriving. And I think TV and film is probably slightly ahead of the photography industry Mark: Yeah. Paul: The pressures on the costs are so big, Simon: Yes. Paul: Whereas the cost differential, I'm predicting our costs will actually go up, not down. Whereas in TV and film, the cost will come down dramatically. Mark: Absolutely. Simon: They are a horrifically high level anyway. That's Paul: I'm not disputing that, but I watched a demo of some new stuff online recently and they had a talking head and they literally typed in relight that with a kiss light here, hairlight there, Rembrandt variation on the front. And they did it off a flat picture and they can move the lights around as if you are moving lights. Yes. And that's there today. So that's coming our way too. And I still think the people who understand how to see light will have an advantage because you'll know when you've typed these words in that you've got it about right. It doesn't change the fact that it's going to be increasingly synthetic. The moment in the middle of it is real. We may well be asked to relight things, re clothe things that's already happening. Simon: Yeah. Paul: We get, can you just fill in my hairline? That's a fairly common one. Just removing a mole. Or removing two inches round a waist. This, we've been doing that forever. Simon: Mm-hmm. Paul: And so now it'll be done with keyword generation rather than, photoshop necessarily. Simon: I think you'll always have the people that embrace this, we can't ignore it as you rightly say. It's not going away. It's gonna get bigger, it's gonna feature more in our lives. I think there's gonna be three sets of people. It's gonna be the people like us generally on a daily basis. We're photographers or we're artists. We enjoy what we do. I enjoy correctly lighting somebody with the correct modifier properties to match light quality to get the best look and feel and the ambience of that image. And I enjoy the process of putting that together and then seeing the end result afterwards. I suppose that makes me an artist in, in, in loose terms. I think, you know, as, as, as a photographer, we are artists. You've then got another generation that are finding shortcuts. They're doing some of the job with their camera. They're making their image from an AI point of view. Does that make up an artist? I suppose it still does because they're creating their own art, but they have no interest 'cause they have no enjoyment in making that picture as good as it can be before you even hit the shutter. And then I think you've got other people, and us to an extent where you do what you need to do, you enjoy the process, you look at the images, and then you just finely tune it with a bit of AI or Photoshop retouching so I think there are different sets of people that will use AI to their advantage or completely ignore it. Mark: Yeah. I think you're right. And I think it comes down, I'm going to use another analogy here, you, you know, let's say you enjoy cooking. If you enjoy cooking, you're creating something. What's the alternative? You get a microwave meal. Well, Paul Simon: and Sarah do. Mark: No. Paul: Sarah does. Simon: We can't afford waitress. Mark: You might spend months creating your perfect risotto. You've got it right. You love it. Everyone else loves it. You share it around all your friends. Brilliant. Or you go to Waitrose, you buy one, put it three minutes in the microwave and it's done. That's yer AI I Imagery, isn't it? It's a microwave meal. Paul: There's a lot of microwave meals out there. And not that many people cook their own stuff and certainly not as many as used to. And there's a lesson. Simon: Is, Mark: but also, Simon: things have become easier Mark: there Simon: you go. Mark: I think what we also forget in the photographic industry and take the industry as a whole, and this is something I've experienced in the, in the working for manufacturers in that photography itself is, is a, is a huge hobby. There's lots of hobbyist photographers, but there's actually more people that do photography as part of another hobby, birdwatching, aviation, all that sort of thing. Anything, you know, the photography isn't the hobby, it's the birds that are the hobby, but they take photographs of, it's the planes that are the hobby, but they take photographs. They're the ones that actually keep the industry going and then they expand into other industries. They come on one of our workshops. You know, that's something that we're still and Simon still Absolutely. And yourself, educating photographers to do it right, to practice using the gear the right way, but the theory of it and getting it right. If anything that brings more people into wanting to learn to cook better, Paul: you Mark: have more chefs rather than people using microwave meals. Education's just so important. And when it comes to lighting, I wasn't competent in using flash. I'm still not, but having sat through Simon's course and other people's courses now for hundreds of times, I can light a scene sometimes, people are still gonna be hungry for education. I think some wills, some won't. If you wanna go and get that microwave risotto go and microwave u risotto. But there's always gonna be people that wanna learn how to do it properly, wanna learn from scratch, wanna learn the art of it. Creators and in a creative industry, we've got to embrace those people and bring more people into it and ensure there's more people on that journey of learning and upskilling and trying to do it properly. Um, and yes, if they use whatever technology at whatever stage in their journey, if they're getting enjoyment from it, what's it matter? Paul: Excellent. Mark: What a fine Paul: concluding statement. If they got enjoyment outta it. Yeah. Whatever. Excellent. Thank you, Mark, for your summing up. Simon: In conclusion, Paul: did that just come out your nose? What on earth. Mark: What Paul: what you can't see, dear Listener is the fact that Mark just spat his water everywhere, laughing at Si. It's been an interesting podcast. Anyway, I'm gonna drag this back onto topic for fear of it dissolving into three blokes having a pint. Mark: I think we should go for one. Simon: I think, Paul: I think we should know as well. Having said that with this conversation, maybe not. I was gonna ask you a little bit about, 'cause we've talked about strobes and the beauty of strobes, but of course Elinchrom still is more than that, and you've just launched a new LED light, so I know you like Strobe Simon. Now talk about the continuous light that also Elinchrom is producing. Simon: We have launched the Elinchrom LED 100 C. Those familiar with our Elinchrom One and Three OCF camera Flash system. It's basically a smaller unit, but still uses the OCF adapter. Elinchrom have put a lot of time into this. They've been looking at LED technology for many years, and I've been to the factory in Switzerland and seen different LED arrays being tested. The problem we had with LEDs is every single LED was different and put out a different color temperature. We're now manufacturing LEDs in batches, where they can all be matched. They all come from the same serial number batch. And the different colors of LED as well, 15 years ago, blue LEDs weren't even possible. You couldn't make a blue LED every other color, but not blue for some unknown reason. They've got the colors right now, they've got full RGB spectrum, which is perfectly accurate a 95 or 97 CRI index light. It's a true hundred watts, of light as well. From tosin through to past daylight and fully controllable like the CRO flash system in very accurate nth degrees. The LED array in the front of the, the LEDA hundred is one of the first shapeable, fully shapeable, LED arrays that I've come across and I've looked at lots. By shapeable, I mean you put it into a soft box, of any size and it's not gonna give you a hotspot in the middle, or it's not gonna light the first 12 inches of the middle of the soft box and leave the rest dark. I remember when we got the first LD and Mark got it before me And he said, I've put it onto a 70 centimeter soft box. And he said, I've taken a picture to the front. Look at this. And it was perfectly even from edge to edge. When I got it, I stuck it onto a 1 3 5 centimeter soft box and did the same and was absolutely blown away by how even it was from edge to edge. When I got my light meter out, if you remember what one of those is, uh, it, uh, it gave me a third of a stop different from the center to the outside edge. Now for an LED, that's brilliant. I mean, that's decent for a flash, but for an LED it's generally unheard of. So you can make the LED as big as you like. It's got all the special effects that some of the cheaper Chinese ones have got because people use that kind of thing. Apparently I have no idea what for. But it sits on its own in a market where there are very cheap and cheerful LEDs, that kind of do a job. And very expensive high-end LEDs that do a completely different job for the photographer that's gone hybrid and does a bit of shooting, but does a bit of video work. So, going into a solicitor's or an accountant's office where they want head shots, but also want a bit of talking head video for the MD or the CEO explaining about his company on the website. It's perfect. You can up the ISO and use the modeling lamp in generally the threes, the fives, the ones that we've got, the LEDs are brilliant. But actually the LED 100 will give you all your modifier that you've taken with you, you can use those. It's very small and light, with its own built-in battery and it will give you a very nice low iso. Talking head interview with a lovely big light source. And I've proved the point of how well it works and how nice it is at the price point it sits in. But it is our first journey into it. There will be others come in and there'll be an app control for it. And I think from an LED point of view, you're gonna say, I would say this, but actually it's one of the nicer ones I've used. And when you get yours, you can tell people exactly the same. Paul: Trust me, I will. Simon: Yes. Mark: I think Paul: very excited about it. Mark: I think the beauty of it as well is it's got an inbuilt battery. It'll give you up to 45 minutes on a full charge. You can plug it in and run it off the mains directly through the USB socket as well. But it means it's a truly portable light source. 45 minutes at a hundred watt and it's rated at a hundred watt actual light output. It's seems far in excess of that. When you actually, Simon: we had a photographer the other day who used it and he's used to using sort of 3, 2 50, 300 watt LEDs and he said put them side by side at full power. They were virtually comparable. Paul: That is certainly true, or in my case by lots. Simon: I seem to be surrounded Paul: by Elinchrom kit, Which is all good. So for anybody who's interested in buying one of these things, where'd you get them? How much are they? Simon: The LED itself, the singlehead unit is 499 inc VAT. If you want one with a charger, which sounds ridiculous, but there's always people who say, well, I don't want the charger. You can have one with a charger for 50 quid extra. So 549. The twin kit is just less than a thousand quid with chargers. And it comes in a very nice portable carry bag to, to carry them around in. Um, and, uh, yeah, available from all good photographic retailers, and, Ellen crom.co uk. Paul: Very good. So just to remind you beautiful people listening to this podcast, we only ever feature people and products, at least like this one where I've said, put a sales pitch in because I use it. It's only ever been about what we use here at the studio. I hate the idea of just being a renta-voice. You it. Mark: bought it. Paul: Yeah. That's true. You guys sold it to me. Mark: Yeah, Simon: if I gave you anything you'd tell everyone it was great. So if you buy it, no, I've bought Paul: Yeah. And then became an ambassador for you. As with everything here, I put my money where my mouth is, we will use it. We do use it. I'm really interested in the little LED light because I could have done with that the other night. It would've been perfect for a very particular need. So yes, I can highly recommend Elinchrom Fives and Threes if you're on a different system. The Rotalux, system of modifier is the best on the planet. Quick to set up, quick to take down. More importantly, the light that comes off them is just beautiful, whether it's a Godox, whether it's on a ProPhoto, which it was for me, or whether if you've really got your common sense about you on the front of an Elinchrom. And on that happy note and back to where we started, which is about lighting, I'm gonna say thanks to the guys. They came to the studio to fix a problem but it's always lovely to have them as guests here. Thank you, mark. Thank you Simon. Most importantly, you Elinchrom for creating Kit is just an absolute joy to use. If you've enjoyed the podcast, please head over to all your other episodes. Please subscribe and whatever is your podcast, play of choice, whether it's iTunes, Spotify, YouTube, or a other. After you head, if you head across to masteringportraitphotography.com the spiritual home of this, particular, podcast, I will put in the show notes all the little bits of detail and where to get these things. I'll get some links off the guys as to where to look for the kit. Thank you both. I dunno when I'll be seeing you again. I suspect it will be the Convention in January if I know the way these things go. Simon: We're not gonna get invited back, are we? Mark: Probably not. Enough. Paul: And I'm gonna get a mop and clean up that water. You've just sprayed all over the floor. What is going on? Simon: wish we'd video. That was a funny sun Mark: I just didn't expect it and never usually that sort of funny and quick, Simon: It's the funniest thing I've ever seen. Paul: On that happy note, whatever else is going on in your lives, be kind to yourself. Take care.

Where are the Cotswolds? Well, Mr Whitehall has a pretty good idea of where ISN'T the Cotswolds... More on that later. Plus, the Cybertruck, more initialisms and the trouble with football commentators. JOIN THE WITTERING WHITEHALLS FOR THEIR BARELY (A)LIVE TOUR: https://thewitteringwhitehalls.co.uk/You can email your questions, thoughts or problems to TheWitteringWhitehalls@gmail.comOr, perhaps you'd like to send a WhatsApp message or Voice note? Why not?! Send them in to +447712147236This episode contains explicit language and adult themes that may not be suitable for all listeners.

Hi Friends, I made this and because I'm impatient I immediately went on Instagram and made a reel saying the same thing but in 60 seconds (contrary to what I say at the end of this vid!) However, this longer version is more detailed and useful.

HEADLINE: Ben Habib and the Platform of the New Advance UK Party GUEST NAME: Simon ConstableSUMMARY: John Batchelor speaks with Simon Constable about his interview with Ben Habib, leader of Advance UK, endorsed by Elon Musk. Habib, formerly with Reform UK, is described as charming, educated, and successful. His party seeks to stop illegal immigration, limit benefits to non-workers, and base UK law on Christianity. COTSWOLDS

Mike Pekovich and Phil Huber join Ben to debrief their week-long woodworking tour of England—part museum crawl, part shop class, all inspiration. From London's Building Crafts College (trade-focused millwork and stonemasonry) to the Snowdon School of Furniture (studio furniture, domestic woods, and a “rip-only” tablesaw philosophy), they compare shop practices and rethink joinery workflows (tenoners, Domino, band-sawn cheeks, using the miter saw's depth stop). The trip winds through the Westonbirt Arboretum and an unforgettable boxwood deep-dive with a Baroque oboe maker, then into the V&A's technique-curated furniture gallery. In the Cotswolds, Rodmarton Manor (Barnsley/Gimson) and the Gordon Russell Museum spark lessons in design “grammar,” chamfers, and English drawer slips you'll want to steal. There's even a pub-hall turning demo with Paul Hannaby—pints included. Plus: a quick preview of next week's Woodworking in America in Des Moines and what Ben, Phil, and friends will be teaching and doing on site. For more information about our eLearning courses - http://www.finewoodworking.com/elearning For more information about our Woodworking Fundamentals journey - http://www.finewoodworking.com/fundamentals Join us on our new Discord server! - https://discord.gg/8hyuwqu4JH Links from this episode can be found here - http://www.shoptalklive.com Sign up for the Fine Woodworking weekly eLetter - https://www.finewoodworking.com/newsletter Sign up for a Fine Woodworking Unlimited membership - https://www.finewoodworking.com/unlimited Every two weeks, a team of Fine Woodworking staffers answers questions from readers on Shop Talk Live, Fine Woodworking‘s biweekly podcast. Send your woodworking questions to shoptalk@finewoodworking.com for consideration in the regular broadcast! Our continued existence relies upon listener support. So if you enjoy the show, be sure to leave us a five-star rating and maybe even a nice comment on our iTunes page. Join us on our Discord server here.

Today we head to the UK to do a delightful long distance walk through some of England's most picturesque landscapes in Part I of our Cotswold Way walking holiday. You'll learn what you'll see and learn about what it's like to take a long walking holiday.  There are long distance walks and paths throughout Europe and the Cotswold Way is considered one of the prettiest!  The entire walk takes about two weeks, but you can customize it to be longer or shorter, or just do part of it. A company can plan your logistics, booking charming inns for you and best of all, arranged for your main luggage to be moved to your next lodging each day so all you ahve to do is carry your daypack!  I recommend my affiliate, One Foot Abroad.  Email me for the current Promo Code!  They offer amazing walking vacations across Europe both guided and self-guided. On this self-guided tour, you are provided with a map, an app and 24/7 phone support. COMPLETE SHOW NOTES  See important links for planning your adventure, photos, videos and more cool info about today's show. Get FREE Travel Planners, Checklists and Packing Lists for ATA adventures (and each month you will get an email from Kit with links to all future Travel Planners (no spam promise!).  Get the monthly newsletter here. CONTACT KIT Resources  RECOMMENDED TOUR COMPANIES ******* EMAIL ME FOR PROMO DISCOUNT CODES***** Saily Affordable eSIM Overseas Mobile Phone Plans - No need to insert a physical SIM card when you travel.  Buy just the data you need to avoid expensive roaming charges.  Use Promo Code SPECIAL5 to save 5% Travel Insurance:  Quickly and easily compare rates and policies from different companies - no need to give any identifying information unless you decide to buy!  The best way to find the right policy for your adventures.  Train For Your Adventure  Ask Becki at Trailblazer Wellness to customize an at home, online personal training program for your upcoming adventure using whatever equipment you already have!  You'll get phone consultations, instruction videos and a plan to give you the best chance of success.  Becki offers a FREE initial phone consultation to see if you are a good fit.  AND she offers ATA listeners a 10% discount! Buy Me a Beer Want to support the program?  You can always buy me a coffee or beer - thanks! Amazon Kit's Picks   Please use my Amazon link to access your Amazon account.  Even if you don't purchase any of my recommendations, I get credit for anything you DO purchase - at no additional cost to you, you'll be helping to support the show and keeping it AD FREE:) SUBSCRIBE to Active Travel Adventures (fantastic adventure destinations) Join the Active Travel Adventures Facebook Group Follow ATA on Instagram Follow ATA on Pinterest (C) Active Travel Adventures, LLC - All Rights Reserved  

Episode 84 What a treat this episode was to record! A conversation with my friend Jaime Fennwick about our recent women's walking retreat in the Cotswolds! What are the Cotswolds, you ask? Well we explain everything in this episode. We talk about where we went (England!) and what we did (lots more than walk!) what we ate (the food was sooooo good!) where we slept (the nicest inns and hotels!) the incredible nature we saw (God is the master artist) and how He met us through the week in the beauty we saw and in the friendships that we formed. He even met us in the middle of a thunder and lightning storm! Ultimately what we found was this trip was so much more than a sightseeing tour. It was soul care.  Jaime and I are so excited to share a glimpse of this trip with all of you. But even more we'd love you to consider joining us on our next trip! We don't have the exact dates yet, but you can be the first to know by signing up for alerts and newsletters from Jaime and I. You'll find all the links below as well as on our Instagram pages. This was honestly one of the most wonderful trips I have ever been on. I hope you'll be inspired to walk through the Cotswolds too! Or at least your own neighborhood.  Where to find Jaime and info about our next retreat: Get updates about the next walking retreat here Read Jaime's blog here Find Jaime on Instagram here Find Greta's blog here Find Greta on Instagram here  The Greta Eskridge Podcast is a part of the Christian Parenting Podcast Network. For more information visit www.ChristianParenting.org

Message from Steven Chitty on September 28, 2025

In this haunting Monday Mailtime episode of Paranormal Activity, Producer Dom unpacks two spine-tingling listener stories that take us deep into the heart of the English countryside, and even deeper into the unexplained.First, Georgia recounts her quiet moment inside a medieval church in the Cotswolds… until the silence was broken by a ghostly organ note and a chill that settled in the empty pew beside her. Was it the 19th-century choirmaster said to haunt the chapel? Or something older still, buried in the stone?Then, Luke shares an unsettling experience on a lonely train platform in the north of England. What started as the sound of a crying child turned into a chilling encounter with a wartime tragedy that echoes into the present. The worst part? He wasn't the first to hear it.Grab your headphones, turn down the lights, and prepare for two stories that prove some presences never truly leave.A Create Podcast Hosted on Acast. See acast.com/privacy for more information.

Una suave lluvia cae en un bosque tranquilo de los Cotswolds, en el corazón de Inglaterra, en plena noche. Tras semanas de calor récord en verano, la lluvia fresca aporta alivio y calma. El paisaje sonoro es amplio y sereno, equilibrando la lluvia suave con la quietud del campo inglés. Perfecto para dormir, concentrarse o relajarse.

This isn't just London—it's England, and there's so much more beyond the royal stereotypes. On this episode of Unpacked—part of Afar's ongoing Off the Tourist Trail series—join host Aislyn Greene as she explores hidden England with travel journalist Lottie Gross. From rebellious Bristol to underground cave networks, discover the layers of England that even locals often miss. Lottie shares her insider knowledge on experiencing authentic English culture, avoiding tourist traps, and finding magic in shoulder seasons. In this episode, you'll learn Why Bristol is the rebellious alternative to London you need to visit Underground adventures in the Peak District's historic Blue John mines The best neighborhoods in London (the ones that locals love) When to visit England for fewer crowds and better prices Essential etiquette tips for respecting English communities Don't miss these moments [08:45] The Cotswolds photography problem that's driving locals crazy [16:30] Why Bristol tore down Edward Colston's statue—and what it means [24:15] Taking a boat through underground caves to a "bottomless pit" [31:20] The purple heather moors and heritage railways of North Yorkshire [42:35] Winter seal pups and life-changing venison curry in Norfolk Meet this week's guest Lottie Gross, travel journalist and England expert who explores her home country's hidden gems Resources —For more tips from Lottie about where to go, where to say, and what to eat, read her England Off the Beaten Path story on afar.com —Follow Lottie's ongoing UK adventures on Instagram —Read about South Oxfordshire in Afar's 2025 Where to Go list —Dog lovers, be sure to check out Lottie's books, Dog-Friendly Weekends and Dog Days Out —Check out our Iceland Off the Tourist Trail episode —Read the transcript of the episode. Where to StaySoho Farmhouse (Oxfordshire) The Grand hotel (North Yorkshire) What to do Bristol's Banksy street art tours with Where the WallSS Great Britain ship museum (Bristol) North York Moors heritage railway (Pickering to Whitby) Speedwell Cavern boat tours (Peak District) Borough Market and Maltby Street Market (London) Holkham Beach for winter seal watching (Norfolk) Whitby's annual Goth weekend Stay Connected Sign up for our podcast newsletter, ⁠⁠⁠⁠⁠⁠⁠⁠Behind the Mic⁠⁠⁠, where we share upcoming news and behind-the-scenes details of each episode.  Explore our other podcasts, View From Afar, about the people and companies shaping the future of travel, and ⁠Travel Tales⁠⁠⁠, which celebrates first-person narratives about the way travel changes us. Unpacked by Afar is part of ⁠⁠⁠Airwave Media⁠⁠⁠'s podcast network. Please contact ⁠⁠⁠advertising@airwavemedia.com⁠⁠⁠ if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Prince Harry Would 'Love' to Spend More Time In U.K. But Not on 'Royal Estates' as Wife Meghan Markle Would Only Consider 'Celeb-Heavy' CotswoldsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This week on the UK Travel Planning Podcast, host Tracy Collins is joined by Amy Carpenter from Texas, who shares her unforgettable two-week adventure exploring England with her husband, Mark.Amy takes us through the highlights of their carefully planned itinerary, from the bustling streets of London to the charm of the Cotswolds, iconic castles, and literary landmarks. Highlights included Westminster Abbey, the Tower of London, afternoon tea at Fortnum & Mason, and quiet moments at St Dunstan in the East.In the Cotswolds, they based themselves in Bourton-on-the-Water, explored honey-coloured villages, and visited Sudeley Castle at dusk. A lifelong Jane Austen fan, Amy fulfilled a dream by visiting Bath, Winchester, and Chawton. Staying overnight at Hever Castle was a standout, giving them the rare chance to explore the grounds after closing time.Along the way, Amy discovered a love of steak and ale pie, picked up 21 tea towels as keepsakes, and gathered plenty of tips for fellow travellers — from using trusted transfer services to the importance of planning ahead.Whether you are a history buff, a Jane Austen devotee, or simply dreaming of your own UK escape, Amy's trip report is filled with practical advice and plenty of inspiration for your next journey across the pond.

Message from Andrew King on September 21, 2025

In the old towns and villages of Britain, before the police, before the tabloids, before social media shame-storms, there were other ways to deal with those who stepped outside the rules. Noisy ways. Cruel ways. Dangerous ways - the 'Rough Music' rituals — part punishment, part performance, part pagan magic — at the dark edge where community, cruelty and celebration collide. Liz Williams, the Glastonbury-based author, folklorist and pagan, came to the Bureau to talk about them.  Her latest book Rough Music: Folk Tradition, Transgression and Alternative Britain, explores often violent, forgotten traditions of noise, mockery, and ritual humiliation — and how they ripple forward into today's counterculture, protest movements, and online doxing.   And we hear about some other, less cruel, but deeply strange British rituals that cling on: the annual Cheese-Rolling at Cooper's Hill, The Burryman's Parade in Scotland and the yearly Shin Kicking competition in the Cotswolds..      #folklore #tradition #albion #cruelty #shaming #doxing #skimmington #roughmusic #counterculture  

Message from Sid Druen on September 14, 2025

Swings and roundabouts as Giles and Esther return from their summer break. Giles has had an awkward week, but Esther is ready for the release of her debut novel.In the news; why are Beyonce and Jay-Z moving to the Cotswolds, do they want to go shooting and pay ten pounds for a sausage roll? Sticking with Z, Gen Z are embracing the crowded tea rooms of the National Trust with membership for the 18-25's on the rise. What could possibly be the reason for the increase?After the break Giles enlists the help of AI and Greg Wallace to interview Esther about her new book – “Well, This Is Awkward”.And as always please do get in touch with any comments or questions: noidea@thetimes.com Hosted on Acast. See acast.com/privacy for more information.

In this episode of the Anglotopia podcast, Jonathan Thomas explores the beauty and cultural significance of Cumbria and the Lake District. He shares his personal experiences, literary connections, and the planning process for his trip, including a writer's retreat. The conversation delves into the stunning landscapes, historical sites, and the unique charm of the region, emphasizing its importance in British culture and literature. Links Derwent Pencil Museum Wordsworth House visit Brougham Castle article Ullswater steamer boat experience Hardknott Roman Fort Muncaster Castle podcast interview episode "The Shepherd's Life" by James Rebanks "English Pastoral" by James Rebanks "The Place of Tides" by James Rebanks "The Natural World of Winnie the Pooh" by Kathryn Aalto Writing Wild: Women Poets, Ramblers, and Mavericks Who Shape How We See the Natural World by Kathryn Aalto "Adventures in Anglotopia" by Jonathan Thomas Takeaways Cumbria and the Lake District are remote yet culturally rich destinations. The region is deeply connected to British literature, especially with figures like Wordsworth. Planning a trip to Cumbria requires careful consideration of travel logistics. Exploring the Lake District offers breathtaking views and unique experiences. The writer's retreat provided invaluable insights into writing about landscapes. Driving the Hardknott Pass is a thrilling adventure for travelers. Cumbria is a popular holiday destination for British tourists. The local cuisine, including Cumbria sausage and Kendall mint cake, is worth trying. The landscape of Cumbria is characterized by its mountains and lakes. Future visits to Cumbria should include more literary and historical sites. Sound Bites "Many would argue that the soul of British culture and literature kind of lives in the Lake District, mostly because of its connections with William Wordsworth and his poetry." "It was the furthest point that the Romans went when they had conquered Britain. They actually built a fort at Hardknot that had a view of the Irish Sea." "The Hardknott Pass is Britain's most steepest and dangerous road... it has a 15% grade. The regulations on US highways are like that the grade can't be more than 3 or 4%. So this is 15%." "After she became famous, rich and famous from the Beatrix Potter books, she dedicated herself to preserving the landscape of the Lake District... The reason so much of the Lake District landscape is protected is because of Beatrix Potter." "It's a place British people travel for holiday... if you really want to get a sense of Britishness and how they vacation and how they holiday then Cumbria and the Lake District is the place to go for that." "Every turn of the road is like the most beautiful place you've ever seen... I had just had no idea how incredibly beautiful England and Britain's mountain landscapes can be." "The sun doesn't set to like 11 p.m. in the summer... we had these author events that would go to like 11 o'clock and there was still like this twilight at 11 p.m." "Getting to Cumbria and the Lake District is the hard part... it's very remote. It's as far away from London as you can get going into Scotland." "It's really been a place where people kind of scrap in existence... There was never a lot of wealth generated there like in other places like say the Cotswolds." "You really the best way to get around is by car because the Lake District is very poorly served by trains and buses because it's so remote." Chapters 00:00 Introduction to Cumbria and the Lake District 05:11 Literary Connections and Personal Journey 10:37 Planning the Trip to Cumbria 17:05 Exploring the Lake District 23:42 The Writer's Retreat Experience 25:21 Cumberland Lake District: A Legacy of Farming and Writing 26:33 Transformative Writing Retreat Experiences 28:19 The Journey of Self-Publishing and Creative Growth 29:56 Exploring the Hard Knot Pass: A Thrilling Adventure 32:49 Historical Insights: The Hard Knot Roman Fort 34:09 Serendipitous Discoveries: Riding the Steam Railway 35:09 Moncaster Castle: A Historical Exploration 38:03 Reflections on the Cumbria Experience 39:58 Cultural and Historical Significance of the Lake District 43:29 Travel Tips and Recommendations for the Lake District 49:09 anglotopia-podcast-outro.mp4 Video Version

Michael Gove and Madeline Grant launch ‘Quite right!', the new podcast from The Spectator that promises sanity and common sense in a world that too often lacks both.Listeners can enjoy an exclusive taste of their debut episode in which they take stock of a political summer dominated by Nigel Farage, a Labour government already facing mutiny, and the curious spectacle of Tory MPs moonlighting as gonzo reporters. From J.D. Vance's Cotswold sojourn and Tom Skinner's bish bash bosh patriotism, to Sydney Sweeney's jeans advert causing a culture war, Michael and Madeleine discuss what really drives our politics: policies, or memes and vibes?To hear the full episode, search Quite right! wherever you get your podcasts, or find the full episode – in vision – on our YouTube channel SpectatorTV.Become a Spectator subscriber today to access this podcast without adverts. Go to spectator.co.uk/adfree to find out more.For more Spectator podcasts, go to spectator.co.uk/podcasts. Contact us: podcast@spectator.co.uk Hosted on Acast. See acast.com/privacy for more information.

PREVIEW.  Guest Name: Joseph Sternberg Summary: Joseph Sternberg analyzes Nigel Farage's Reform UK party, highlighting the internal tension between Farage's free-market views and the traditional center-left economic stance of many of its working-class supporters. 1917 COTSWOLDS

Message from Steven Chitty on September 7, 2025

Michael Gove and Madeline Grant launch ‘Quite right!', the new podcast from The Spectator that promises sanity and common sense in a world that too often lacks both.Coffee House Shots listeners can enjoy an exclusive taste of their debut episode in which they take stock of a political summer dominated by Nigel Farage, a Labour government already facing mutiny, and the curious spectacle of Tory MPs moonlighting as gonzo reporters. From J.D. Vance's Cotswold sojourn and Tom Skinner's bish bash bosh patriotism, to Sydney Sweeney's jeans advert causing a culture war, Michael and Madeleine discuss what really drives our politics: policies, or memes and vibes?To hear the full episode, search Quite right! wherever you get your podcasts, or find the full episode – in vision – on our YouTube channel SpectatorTV.Become a Spectator subscriber today to access this podcast without adverts. Go to spectator.co.uk/adfree to find out more.For more Spectator podcasts, go to spectator.co.uk/podcasts. Contact us: podcast@spectator.co.uk Hosted on Acast. See acast.com/privacy for more information.

In this week episode of Style DNA I go on a style journey with the British luxury footwear designer, the wonderful Penelope Chilvers.Penelope grew up in Britain but as a child she spent every school holiday in the province of Girona and her love affair with Spain and local craftsmanship began.For a few years, Penelope lived in the city of Barcelona, working as a painter and designer where she collaborated with artists and artisans. While living in Barcelona, she enjoyed riding in her lunch break in the national park of Collserola in the hills above the city wearing traditional Spanish riding boots. She pursued the idea of bringing the Spanish riding boot to England and commissioned a small number of traditional artisans in the hills of Spain to make the perfect equestrian boot to her own specifications.  The Long Tassel boot remains a firm favourite in the collection, most famously worn back in 2004 by Prince William's then girlfriend, Kate Middleton and the photo of her wearing these boots went viral the day they announced their engagement. HRH Catherine, Princess of Wales continues to wear her boots to this day.We chat about her memories of being allowed to tidy her mother's silk scarf drawer as a young girl and how that ignited her passion for colour, pattern and luxury.She has a dedication to timeless style, designing boots and shoes that will stand the test of time…she really believes in the power of longevity.  She tells me that she loves the process of taking care of her shoes and boots… how footwear can get better with age and wear…  and her desire to teach her customers how to care for their shoes…lovely. I ask her about how she feels about being the face of her brand and her response is charming and endearingly humble …she says she feels lucky that she is still relevant. She has clearly enjoyed creating and building her brand…saying it's like a work of art to her. Both of her daughters are now involved, one working with her on design and the other in marketing and as the company stylist. It is a true family business and Penelope clearly enjoys the cross generational aspect. I question whether she feels that her style changes when she spends time working in Spain, and she admits that it does actually… she admires the fact that Spanish women have a confidence and a femininity and that it's probably a little more formal.   The Penelope Chilvers brand has gone from strength to strength and has recently added a store in Stow on the Wold in the Cotswolds to its collection.In full disclosure I own several pairs of Penelope Chilvers shoes and boots…sublime embroidered velvet slippers, Spanish leather boots and beautiful suede cowboy boots … all timeless classics …I hope you enjoy this episode. Thank you ⁠@penelopecheilvers⁠ for being such a lovely guest. xx---A message from our season sponsor: Join the millions of people hitting their weight loss goals with Simple. To start your personalized plan complete the quiz at simple.life/amanda and use code AMANDA for 70% off.

On this episode of The Nikki & Brie Show, the twins reflect on their time in England, Paris, and beyond—soaking up the magic, the memories, and the meaningful moments that made this the perfect ending to an incredible Summer. From Brie's slow mornings in the City of Love to Nikki's empowering in-ring return in front of a rowdy Paris crowd, this episode is all about romanticizing your life, wherever you are and whatever chapter you're in.Brie opens up about getting lost in art, wine, and wanderlust, while Nikki shares her love for the English countryside, her recovery spa obsession, and what it meant to have a title match in her 40s—doing it solo, strong, and so ready. They talk about memories, twin reflections, the energy of doing things just for you, and why even the little things (like an Airbnb coffee maker or a little red light therapy) can feel like magic when you're aligned with your purpose.This was more than just a trip, it was a reminder to own your story, show up fully, and say yes to the things that make your heart smile, now THAT'S romance! Call Nikki & Brie at 833-GARCIA2 and leave a voicemail! Follow Nikki & Brie on Instagram, follow the show on Instagram and TikTok and send Nikki & Brie a message on Threads! Follow Bonita Bonita on Instagram Book a reservation at the Bonita Bonita Speakeasy To watch exclusive videos of this week's episode, follow The Nikki & Brie Show on YouTube, Facebook, and TikTok! You can also catch The Nikki & Brie Show on SiriusXM Stars 109!

Inspired by Annie's recent driving epiphanies, Nick details how CMAT made a journey to Manchester a spiritual experience. In other news, Beyoncé and Jay Z might be moving to the Cotswolds, Cardi B continues to be the funniest person in the world, and Sabrina Carpenter's interview with Gayle King gave us more questions than answers. And after an overwhelming response to a Sidetracked social clip about invisible DJs, Annie and Nick present the most compelling arguments for and against. Get in touch with Annie and Nick! If you're over 16, WhatsApp on 07970082700 or email sidetracked@bbc.co.ukSONGS CMAT - Lord, Let That Tesla Crash CMAT - Ready CMAT – Iceberg CMAT – Coronation St. CMAT – Sports Car (Radio 1 Live Lounge) Wolf Alice – The Sofa Wolf Alice – Just Two Girls Oliver Sim – Obsession Blood Orange feat. Caroline Polachek, Lorde, & Mustafa – Mind Loaded Mazzy Star – Fade Into You Sabrina Carpenter – Tears TSHA - Revolution ALBUMS CMAT – Euro-Country Wolf Alice – The Clearing Blood Orange – Essex Honey Sabrina Carpenter – Man's Best Friend

Michael Gove and Madeline Grant launch ‘Quite right!', the new podcast from The Spectator that promises sanity and common sense in a world that too often lacks both.Coffee House Shots listeners can enjoy an exclusive taste of their debut episode in which they take stock of a political summer dominated by Nigel Farage, a Labour government already facing mutiny, and the curious spectacle of Tory MPs moonlighting as gonzo reporters. From J.D. Vance's Cotswold sojourn and Tom Skinner's bish bash bosh patriotism, to Sydney Sweeney's jeans advert causing a culture war, Michael and Madeleine discuss what really drives our politics: policies, or memes and vibes?To hear the full episode, search Quite right! wherever you get your podcasts, or find the full episode – in vision – on our YouTube channel SpectatorTV.Become a Spectator subscriber today to access this podcast without adverts. Go to spectator.co.uk/adfree to find out more.For more Spectator podcasts, go to spectator.co.uk/podcasts.Contact us: podcast@spectator.co.uk Hosted on Acast. See acast.com/privacy for more information.

Lauren Downie points out Dan Morrison's likeness to a Biggest Loser contestant before they discuss Carole Radziwill arm-in-arm with Harry Styles at a gay wedding in Paris. Loz and Dan celebrate the release of jailed housewife, Karen Huger, as well as unpack the lewks of the Venice International Film Festival red carpet. Dan and Lauren also recap the latest Katie Ginella hate train in the form of Real Housewives of Orange County, and take a girls trip to the Cotswolds on Real Housewives of London before jumping out of Stephanie's plane on The Real Housewives of Miami. This episode is brought to you by Crest Whitestrips.Follow Gasbagging on⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ &⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Michael Gove and Madeline Grant launch ‘Quite right!', the new podcast from The Spectator that promises sanity and common sense in a world that too often lacks both.In their first episode, they take stock of a political summer dominated by Nigel Farage, a Labour government already facing mutiny, and the curious spectacle of Tory MPs moonlighting as gonzo reporters.From J.D. Vance's Cotswold sojourn and Tom Skinner's bish bash bosh patriotism, to Sydney Sweeney's jeans advert causing a culture war, Michael and Madeline discuss what really drives our politics: policies, or memes and vibes?Plus: Keir Starmer's ‘phase two' reshuffle – does it amount to more than technocratic jargon? And why has cosy crime conquered our screens, even as Richard Osman's The Thursday Murder Club stumbles upon its Netflix release?Produced by Oscar Edmondson, Oscar Bicket and Matt Miszczak. Hosted on Acast. See acast.com/privacy for more information.

Message from Steven Chitty on August 31, 2025

Message from Steven Chitty on August 24, 2025

Stassi is deep in the English countryside, living out her Jane Austen dreams—but with a side of Taco Bell delivery. Joined by Auntie Al and C-O-Lo, she's juggling parenting, sightseeing, and a few very unexpected roommates (think bats, spiders, and sheep). From winding Cotswold roads and magical villages to pig-in-a-blanket surprises and Amazon packages arriving faster than in L.A., this trip has been anything but ordinary. Along the way, Stassi shares their favorite Cotswold towns, explains why graveyards are secretly joyful, and keeps it real about how social media makes the countryside look picture-perfect—when in reality, it's crowded, messy, and still completely magical.Thanks for supporting our sponsors:Progressive: Visit Progressive.com to see if you could save on car insurance.Thrive Causemetics: Go to thrivecausemetics.com/STASSI for an exclusive offer of 20% offyour first order.Hiya: Receive 50% off your first order. To claim this deal go to hiyahealth.com/STASSI.Audible: Your first great love story is free when you sign up for a free 30-day trial at Audible.com/Stassi Ro: Go to RO.CO/STASSI for your free insurance check.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Everyone deserves time away in a cozy cottage by the sea. This week's sleep story, narrated by a soothing female voice, takes you to the charming village of St. Ives, England. If you enjoyed 'Stormy Night in the Cotswolds,' you'll find comfort in this sleepy tale set in historic Cornwall. Spend the afternoon exploring the harbor and quaint shops before a winding path leads you to an old cottage on the craggy cliffs. As a storm takes hold, you'll nestle by the fire and drift off to the sound of the ocean, soothing rain, and distant thunder. It's time to dream away.

Message from Steven Chitty on August 17, 2025

Maga arrived in Chipping Norton this week, heralding an intense round of British diplomacy ahead of the Trump-Putin summit in Alaska on Friday. Ukraine is top of the agenda and both Prime Minister Keir Starmer and foreign secretary David Lammy have been doing their bit liaising between US vice-president JD Vance and President Donald Trump, Ukrainian President Volodymyr Zelenskyy and several European leaders. In this week's episode, host George Parker is joined by Europe editor Ben Hall and Whitehall editor David Sheppard to discuss how the UK is playing its hand on the global stage and the role of soft power in its negotiations. The FT Weekend Festival returns for our 10th edition on Saturday September 6 at Kenwood House Gardens in London. Get details and tickets hereFollow George on Bluesky or X: @georgewparker.bsky.social, @GeorgeWParker; Ben Hall @hallbenjamin and David Sheppard @OilSheppardWant to get in touch? Email politicalfix@ft.com Want more? Free links: Putin hails Trump's ‘energetic and sincere' efforts to end Ukraine warZelenskyy faces his ‘moment of maximum pressure'JD Vance to meet Reform's Nigel Farage after talks with Tory MP Robert JenrickGeorge Osborne arranged Cotswolds holiday for JD VanceHow the Bayeux Tapestry became a tool of soft powerSign up here for 30 days free of Stephen Bush's Inside Politics newsletter. CLIPS: Manchester Evening NewsPresented by George Parker, and produced by Clare Williamson. The executive producer is Manuela Saragosa. Original music and mix by Breen Turner. Hosted on Acast. See acast.com/privacy for more information.

In episode 1914, Miles and guest co-host Pallavi Gunalan are joined by comedian, Shanna Christmas, to discuss… SHUT UP ABOUT EPSTEIN! Trump Now Thinking of Reclassifying Weed…, JD Vance’s Vacation Is The Worst Thing To Happen To The U.K. Since Ellen, There’s A TRIANGLE OF DEATH On Your Face? And more! MAGA Freaks Out Over Trump’s Plot to Reclassify Weed Trump Nemesis Is Bringing Epstein Victims to Capitol to Push for Files Release JD Vance’s English Countryside Vacation: Rolling Hills, Armored SUVs and Cranky Locals JD Vance's motorcade travelling through Chipping Norton. Video by Ed Nix Chaos in the Cotswolds as protests erupt against JD Vance’s holiday in quaint village Anti-JD Vance van drives around Cotswolds as US Vice President holidays in village Ellen DeGeneres clashes with Cotswolds neighbours over extension ‘breach’ at £15m home | The Standard After Being ‘Pushed Out’ of Hollywood, Here’s How Ellen DeGeneres is Starting Over in England (Exclusive) LISTEN: Kneel by Nilüfer YanyaSee omnystudio.com/listener for privacy information.

UK: Vance in the Cotswolds 1917 COTSWOLDS

The US vice-president JD Vance is holidaying with his family in the Cotswold village of Dean. But on the side, he's meeting a phalanx of British politicians. Who's on the roll-call? And what does this tell us about where Trump's possible successor sees the future of British politics?This podcast was brought to you thanks to the support of readers of The Times and The Sunday Times. Subscribe today: http://thetimes.com/thestoryGuest: Josh Glancy, Associate Editor, The Sunday Times.Host: Luke Jones.Producer: Olivia Case.Read more: JD Vance holds court with top Tories in Cotswolds thanks to George OsborneClips: The Guardian, CNBC, The Jaipur Dialogues, TikTok / iamtomskinner, Sky.Photo: Getty Images.Get in touch: thestory@thetimes.com Hosted on Acast. See acast.com/privacy for more information.

Will facial recognition technology change law enforcement forever? JD Vance has been wooing his British political allies in the Cotswolds, but will a new think-tank deepen US influence in right wing politics? Is the government at risk of losing public support after the Palestine Action arrests? Giles Whittell is joined by the Observer's Whitehall Editor Cat Neilan, News Reporter Jon Ungoed Thomas and Consulting Editor for Comment, Erica Wagner. Links to the team's Must Reads and recommendations here: BlackberryViolent, lawless, broken Britain? The facts tell a different story**We want to hear what you think! Email us at: newsmeeting@observer.co.uk Follow us on Social Media: @ObserverUK on X @theobserveruk on Instagram and TikTok@theobserveruk.bsky.social‬ on bluesky Host: Giles Whittell, Deputy Editor-In-Chief Producers: Amalie Sortland and Poppy BullardTo find out more about The Observer:Subscribe to TheObserver+ on Apple Podcasts for early access and ad-free contentHead to our website observer.co.uk Download the Tortoise app – for a listening experience curated by our journalists Hosted on Acast. See acast.com/privacy for more information.

Henry Riley, LBC reporter

  #LondonCalling: The Cotswolds with the Vances. @JosephSternberg @WSJOpinion

JD Vance has been in the Cotswolds this week on his Britain fantasy tour. This has been billed as a ‘holiday' but he did take the time out of his busy schedule to meet with some of Britain's right-wing politicians. Robert Jenrick, Chris Philp and Nigel Farage were all granted an audience with the vice-president, and even Danny Kruger and pillow salesman/Apprentice star Thomas Skinner got the call-up. The notable exclusion is, of course, Kemi Badenoch, who despite claiming to be firm friends with Vance was NFI'd. CCHQ claim this is due to scheduling, but clearly it's an embarrassing snub. So who is MAGA's favourite UK politician? And do the American right even care about what's going on in Britain?James Heale speaks to Tim Shipman and Freddy Gray.Produced by Oscar Edmondson.Become a Spectator subscriber today to access this podcast without adverts. Go to spectator.co.uk/adfree to find out more.For more Spectator podcasts, go to spectator.co.uk/podcasts.Contact us: podcast@spectator.co.uk

Morse code transcription: vvv vvv Zelensky rules out ceding Donbas region as Russians make fresh advance Starbucks tells customers in South Korea not to bring printers or PCs Wildfires rage across southern Europe as temperatures pass 40C JD Vance meets Robert Jenrick in Cotswolds England enters fourth heatwave as temperatures reach 33C Twin Lamborghinis seized in central London supercar crackdown Real Housewives of London Producers told us to tone down the drama Police given new guidance on releasing suspects nationalities and ethnicities White House to host UFC fight night on 4 July The UK car industry is at a crunch point can it be saved

On Nick Ferrari at Breakfast:The Metropolitan Police deny using 'excessive force' when arresting 522 protestors showing support for Palestine Action this weekend. Nick speaks with Victims Minister Alex Davies-JonesUS Vice President JD Vance holidays on the Cotswolds and meets with Foreign Secretary, David Lammy. All this and more on Nick Ferrari: The Whole Show Podcast.

Message from Steven Chitty on August 10, 2025

Scottish gamekeepers may refuse to help tackle wildfires in a dispute over licences for muirburn. Muirburn is the controlled burning of heather and other vegetation to encourage new growth, mostly to raise game birds for shooting. It takes place from autumn to spring, but from January next year it will be licensed and it will be an offence to carry out any burning without a licence. Gamekeepers say controlled burning reduces the amount of dead vegetation which fuels wildfires and if they can't do it, they say tackling future wildfires will become too dangerous.All week we've been following the harvest. It started early for many and one of the country's largest cherry growers in Herefordshire says warmer winters and summers are shortening the growing season. Britain's newest and largest Green Bridge is under construction in the Cotswolds as part of a half billion-pound road building scheme. When it's completed at the end of the year, the bridge won't be tarmacked - instead it'll be planted with grasses, wildflowers and shrubs designed to create a crossing for wildlife, and walkers over a new eight lane highway near Cheltenham.Presenter = Charlotte Smith Producer = Rebecca Rooney

Nigel Farage hosted a press conference today as part of Reform's summer crime campaign 'Britain is lawless'. He unveiled the latest Tory defector: Leicestershire's Police & Crime Commissioner Rupert Matthews. Amidst all the noise of whether crime in the UK is falling or not, plus the impact of migration on crime, is Reform's messaging cutting through? Would US Vice President agree with Farage's message that Britain is lawless? Vance is in the UK, staying in the Cotswolds, as part of his summer holiday. Tim Shipman and Lucy Dunn are joined by James Orr, associate professor at Cambridge University, and a friend of Vance's to talk us through the dynamics between Trump, Vance, Starmer, Lammy and Farage. Does Farage have Vance's ear? Plus: James explains the rationale behind the new Reform-linked think tank that he is leading, saying that the Centre for a Better Britain is about seeking to build a 'politics of national preference'. Produced by Patrick Gibbons and Megan McElroy.Become a Spectator subscriber today to access this podcast without adverts. Go to spectator.co.uk/adfree to find out more.For more Spectator podcasts, go to spectator.co.uk/podcasts.Contact us: podcast@spectator.co.uk

Message from Steven Chitty on July 27, 2025

Producer Dom opens the Monday Mailbag to bring you two spine-tingling listener encounters that blur the line between the living and the lost.First, Sarah recounts a chilling hike up Mount Snowdon where she and a friend encountered a mysterious man dressed in old-fashioned climbing gear, only to later find a memorial plaque bearing his image.Was it a ghost, a time slip, or something else entirely?Dom dives into the eerie possibility of residual hauntings and time distortions on ancient paths.Then, Jake shares a lantern-lit encounter from the Cotswolds that left him and his sister deeply unsettled. A silent figure with an old lantern walks beside them through the dusk, only to vanish without a trace.When a local casually references “the old shepherd,” the mystery deepens.Is this a ghost still searching the hills for his lost flock?Dom unpacks the emotional weight of these encounters, exploring theories of residual energy, spirits tied to place, and the lingering echoes of past tragedies.Hauntings, legends, and landscapes rich with memory, this episode of Monday Mailtime will leave you looking over your shoulder on your next evening walk.A Create Podcast Hosted on Acast. See acast.com/privacy for more information.

#gardening #organicgardening #urbangardening #gardeninglife #thehappygardeninglife #indoorgardening #gardeningisfun #gardeningtips #lovegardening #homegardening #ilovegardening #backyardgardening #gardeninglove #gardeningideas #gardening101 #gardeningmakesmehappy #gardeningfun #happygardening #gardeninggoals #gardeningismytherapy #gardeningislife #gardeningtools #mobilebotanicalgarden #conservation #environment #horticulture #radio #podcast #broadcast #radioshow #thankyouforyoursupport

Today's guest returned from a 1979 trip visiting English gardens inspired to do some garden-making of his own. His canvas was a northwestern Connecticut hillside and not the Cotswolds, and the home he'd just purchased wasn't a grand manor house... Read More ›