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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.

It's grim up North.   But thankfully, it's also weird. Deliciously, darkly, disturbingly weird!   This week we are celebrating the Northern Weird Project – six novellas published by Wild Hunt Books (including one by yours truly!). In this first roundtable, I've gathered two of the writers and the genius behind the project, Ariell Cacciola, to talk about Northern literary culture in the North, haunted landscapes, isolated oddness, and the North/South divide.   Gemma Fairclough brings The Retreat, her story of creepy wellness culture in the Lake District, and Katherine Clements has written a psycho-geographic haunting of the Yorkshire moors in Turbine 34. Yet whilst displaying the diversity of northern weirdness, these two novellas are twinned and entwined in fascinating ways.   Enjoy – there's more coming all week.   Other books mentioned: Bear Season (2024), by Gemma Fairclough The Coffin Path (2018), by Katherine Clements Every Day is Mother's Day (1985), by Hilary Mantel Beyond Black (2005), by Hilary Mantel A Place of Greater Safety (1992), by Hilary Mantel Dark Matter (2010), by Michelle Paver The Night Ocean (2017), by Paul LaFarge   Support Talking Scared on Patreon   Check out the Talking Scared Merch line – at VoidMerch   Come talk books on Bluesky @talkscaredpod.bsky.social on Instagram/Threads, or email direct to talkingscaredpod@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of The Neurodivergent Experience, Jordan, Simon, and Ashley explore the powerful relationship between nature, neurodivergence, chronic pain, and seasonal change. Recorded after a neurodivergent getaway in the Lake District, the trio reflect on the healing power of natural environments, the sensory overwhelm of urban life, and how embracing seasonal rhythms can support mental health and regulation for autistic and ADHD adults.Through candid storytelling and humour, they unpack the challenges of pain management, executive dysfunction, and winter transition, and share personal rituals, mindset shifts, and unexpected joys found in the natural world.Together, they explore:How nature acts as a powerful regulatory tool for neurodivergent brainsWhy modern urban environments can overwhelm autistic and ADHD sensory systemsThe role of barefoot grounding, light exposure, and circadian rhythms in daily wellbeingPractical strategies for navigating winter transitions, layering, and seasonal overwhelmPain, fatigue, and adapting outdoor experiences to fit different physical needsUsing photography, VR, and creative rituals to stay connected to nature indoors Embracing cosiness, Christmas lights, and simple joys during the winter monthsWhether you find winter draining, chronic pain exhausting, or city life overstimulating, this episode offers practical strategies and heartfelt conversation to remind you that neurodivergent people aren't broken—the environments we live in often are.Our Sponsors:

Exploring beautiful Ambleside in the Lake District, England is the perfect mix of outdoor adventure and rich history. Tucked at the northern edge of Lake Windermere, Ambleside is a charming village that offers some of the best walks in the Lake District along with fascinating stories from its past.In this episode, we set out on hikes like Todd Crag and Loughrigg Fell — both delivering sweeping views without an all-day climb. We'll also wander to Rydal Water and Grasmere — landscapes that inspired poets and still feel timeless today.But Ambleside isn't just about the trails. The village is full of history, from Roman ruins to centuries-old stone buildings that give it that unmistakable Lakeland character. Along the way, I'll share tips on where to eat, shop and relax, plus the best times to visit so you can soak up Ambleside's charm without the crowds.Whether you're here for the hiking, the history or simply the atmosphere of one of the Lake District's most beloved spots, Ambleside is a destination that deserves a place on your travel list.Tune in for:Scenic walks with unforgettable views (Todd Crag, Loughrigg Fell & more)A peek into Ambleside's Roman and cultural historyVillage highlights: cafés, shops & places to exploreTravel tips on when to go and how to get thereWhether you come for the trails or the tales, Ambleside, England is the kind of place you carry home with you.Want to chat more about this destination?Send me a message at Lynne@WanderYourWay.comIn this episode:1:11: Intro2:28: Placing it on the map6:09: Todd Crag and Loughrigg Fell11:56: Rydal Waters16:15: Grasmere19:59: Roman Ruins23:09: Lake Windermere24:51: The Village of Ambleside27:40: Food recommendations38:17: Shops43:20: Logistics49:16: Wrapping it upImportant links:Lake District National ParkAmblesideApple PieCopper PotFellinisLucy's on a PlateWander Your Way ResourcesEagle Creek Wander Your Way AdventuresWander Your WayLakeland Retreats ★ Support this podcast ★

Get in touch with Ultrarunning Sam here ⬅️HOME TRAILS returns for another podcast in residence!This time we head to Keswick in the Lake District to bring you coverage of the Altra 13 Valleys Ultra.We talk to the runners as they prepare to race the 13,7,5 and 2 valley races.We speak to the male and female winners and find out what it takes to  complete the loops in the iconic landscape of the Lakes.We have in depth interviews with the runners at the front of the races and we find out what it takes to stay on the mic with the race MC's Matt Ward and Beth Pascall.If you were there and you were interviewed by Ultrarunning Sam, then dive in to the video because nobody was left out of the final cut!HT@ultrarunning_sam @hometrails_ http://www.youtube.com/@ultrarunningsam

This month, we start with the Regen Food Systems Prize and a chance to win £20k to support your business. Next, we hear about an artist-founded wool business in the Lake District and speak with landowners backing the Right to Roam across England. We end with a look at the growing British sustainable flower movement, plus a special call-out about a new project exploring the impact of our Cereal series, six years on. Regen Food Systems Prize Details https://www.regen-gathering.com/food-system-prize https://lakedistricttweed.com/pages/about https://thewoollibrary.uk/pages/about-us https://woodlandvalley.co.uk/beavers/ https://www.righttoroam.org.uk/ https://www.schoolofsustainablefloristry.co.uk https://www.flowersfromthefarm.co.uk https://farmerama.co/about/cereal/ We have just started researching for a long episode and report reflecting on the impact of the Cereal series and where the new grains movement is at 6 years on. We would love to hear from anyone who listened to the series and felt like it impacted their life in some way. We want to share your stories and celebrate all the work that is happening! Please do email us on farmeramaradio@gmail.com or look out for the announcement of our crowd-sourcing of short audio notes for our soundmap of the impact - we would love to have your voice shared on there!

4/4: This file covers CMB aftermath, Gamow's vindication, and Hoyle's controversial final years. CMB proved Big Bang theory, establishing cosmos temperature at 2.73 Kelvin and age at 13.8 billion years. Gamow (died 1968) wrote Princeton researchers, seeking recognition for his and Ralph Alpher's 1940s CMBcalculations. Hoyle's work with Margaret and Geoffrey Burbidge and William Fowler on heavy elements was genius, but only Fowler received the Nobel Prize. Hoyle never forgave Willie Fowler. Speculation includes the committee distancing from Hoyle's fringe theories or Hans Bethe misunderstanding Hoyle's role. Hoyle moved to Lake District, pursuing panspermia theory—life spreading via cosmic travelers. He rejected Darwinian evolution, claiming Earth too young, ironically gaining young-earth creationist support despite atheism. He proposed diseases like AIDS arrived via comets, viewed as eccentric. Both were "seat-of-the-pants thinkers," though Hoyle more stubbornly clung to strange concepts. Flashes of Creation: George Gamow, Fred Hoyle, and the Great Big Bang Debate, by Paul Halpern

In this episode, I investigate the worst guide book in the world. It's the Holy Grail of travel podcasts, and in a sense, the Gareth Bale of it as well - in that it underperformed internationally. I pursue a lead that unpicks the origins of the worst guide book in the world, "My Lovely Lake Disctrict" by Jemima Penk. This pursuite leads directly to snooker. Music and Sounds courtesty of Zapsplat.com

Coniston Water in England’s beautiful Lake District is a favorite vacation spot for families in the UK. The waters are perfect for boating, swimming, and other water sports. That beautiful setting, however, was also the site of great tragedy. In 1967, Donald Campbell was piloting his hydroplane Bluebird K7, seeking to break the world water speed record. He reached a top speed of 328 mph (528 km/h) but didn’t live to celebrate the achievement as Bluebird crashed, killing Campbell. Tragic moments can happen in beautiful places. In Genesis 2, the Creator “took the man and put him in the garden of Eden to work it and take care of it” (v. 15). The garden was a masterpiece, yet when placed in this paradise, the man and woman disobeyed God, bringing sin and death into His creation (3:6-7). Today, we continue to see the destructive effects of their tragic choice. But Jesus came to offer life to us—people who were dead in our sins. The apostle Paul, referring to that, wrote, “Just as through the disobedience of the one man [Adam] the many were made sinners, so also through the obedience of the one man [Jesus Christ] the many will be made righteous” (Romans 5:19). Because of Jesus, the most beautiful home of all awaits us. Out of beauty came tragedy. And by God’s grace, out of tragedy came eternal beauty.

Send us your Mediocre 5 Star ReviewThis week on the Casual Camping Podcast, it's not one of Tim's finest hours.With his mates bailing because the forecast promised buckets of rain and gale-force winds, Tim headed solo to the Lake District determined to prove them wrong. Spoiler alert: the weather won.From leaky tents to soggy kit and a string of small disasters that piled up like wet socks, Tim fought valiantly for 24 hours before finally admitting defeat, packing it all in, and driving home with his tail firmly between his legs.It's a tale of perseverance, poor prep, and the reminder that sometimes camping just laughs in your face. Join Ade and Tim as they relive the misadventure, share the lessons learned, and find the funny side of a very damp weekend.DISCLAIMER: Casual Camping Podcast accepts no liability and does not officially recommend any products or endorse any techniques discussed in an individual podcast episode or shown on Casual Camping Podcast social media accounts. Individuals should make their own informed decision and risk assessment of any products or advice prior to any purchase or useSupport the showCheck Out Our Socials:Facebook: https://www.facebook.com/groups/1333082837320305/?_rdrInstagram: https://www.instagram.com/casualcampingpodcast/YouTube: https://www.youtube.com/playlist?list=PLO9F70wD5P16dbKV20rTtwegIcBDtKY8QThreads: https://www.threads.net/@casualcampingpodcast?invite=0

Matthew rose to fame as the winner of the BBC's Survivor UK in 2023. Since then, he's built a loyal following on TikTok, garnering more than 4.3 million likes. Based in the Lake District, Matthew enjoys watersports, football and running. He's also passionate about raising awareness around mental health and homelessness. In this conversation, Matthew talks about the death of his grandma, Bernadette, keeping her memory alive, and the fear of death.You can also watch a subtitled version of the conversation on YouTube.On the Marie Curie Couch aims to open up conversations about death, break down the taboo and encourage people to share their end of life plans.This podcast is made by Marie Curie – the UK's leading end of life charity. For more information about the vital work we do, head to mariecurie.org.ukOn the Marie Curie Couch is produced and edited by Marie Curie, with support from Ultimate Content. The music featured is Time Lapse by PanOceanic. Hosted on Acast. See acast.com/privacy for more information.

Send us a textImagine this: William Wordsworth, in the early 1800s, walking the hills of England's Lake District. He stops to watch a field of daffodils swaying in the breeze, and suddenly, the moment becomes eternal. For Wordsworth, nature is not just scenery — it is a teacher, a healer, even a kind of companion. The world outside reflects the life within.  And it's reflective moments like these that remind us: literature is never written in isolation… it's a conversation that stretches across centuries. Wordsworth's vision would echo far beyond his own time.” For Wordsworth, nature is not just scenery — it is a teacher, a healer, even a companion. The world outside reflects the life within.Now, shift forward a century. Robert Frost, in rural New England, standing at a fork in a snowy path. His tone is different. Nature is still the stage, but here it is a testing ground. The woods are ‘lovely, dark and deep,' but they are also a reminder of choices, obligations, even mortality. But Frost's world carried a sharper edge. If Wordsworth saw nature as a gentle teacher, Frost often saw it as a mirror of human struggle — full of choices, boundaries, and unanswered questions. Where Wordsworth sought transcendence, Frost leaned into ambiguity. Yet both, in their own ways, turned the soil of everyday life into poetry that still speaks to us today.What ties these two poets together? Both reject lofty, artificial language. They wanted poetry in the voice of ordinary people — the farmer, the shepherd, the walker on a country road. Both believed that truth could be found in the quietest moments: a walk by a river, a stone wall between neighbors, a road not taken.But here's the tension. Wordsworth looks at nature and sees transcendence — a spiritual renewal. Frost looks at the same natural world and sees ambiguity, sometimes even danger. And yet, together, they teach us how a flower, or a snowfall, or even the silence of the woods can become a doorway to the deepest truths about human life.Support the showThank you for experiencing Celebrate Creativity.

Autumn in Europe is pure magic. Forests blaze in shades of red and gold, vineyards glow against rolling hills, and crisp air makes every walk feel like a storybook moment. If you've ever dreamed of experiencing the best of fall foliage in Europe, this episode is for you.I'll take you to places where autumn truly comes alive — from the golden vineyards of Umbria, Italy, to the misty woodlands of Scotland, where every turn feels like stepping into a painting. Along the way, I'll share why these landscapes are so breathtaking in autumn and give you tips for planning your own seasonal escape.Whether it's strolling through historic towns framed by fiery hillsides, hiking trails that crunch with fallen leaves, or settling into a cozy pub after a day outdoors, Europe in the fall has a rhythm all its own.So brew a cup of something warm, wrap yourself in a blanket, and hit play. Let's chase autumn together and discover some of the most spectacular places to see fall foliage in Europe.

Yes, we're back. And this week Joe interviews a surprise special guest on the podcast who tells us all about an article wot he wrote. Also we have BIG NEWS about the Mid-faith Crisis Church Away Weekend 2026! Join us in the Lake District for a weekend of conversation, relaxation and reflection. The Mid-faith Crisis Church Weekend Away 2026 - Book Now! Support the podcast Contact the podcast through your email machine Mid-faith Crisis Facebook Page Nick's Blog Mentioned in this episode: Inception Point — AI spam podcasts with no listeners – Pivot to AI The Mid-faith Crisis Church Weekend Away 2026 Bryn Haworth We've learned all we can from US megachurches. Let's be inspired by the Global Majority Church | Nick Page

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

In Touch visits the Lake District and tags along to Ellie Bennet's holiday. Ellie booked a sighted guide through a free guiding service called Cumbrain Visions. Cumbrian Visions provides visually impaired holiday makers with a guide to accompany them on their various activities. There is also a similar service happening in Cornwall and Devon, called The Cliffden Buddies, which came first. Julian Griffen, of The Cliffden Buddies and Lee Hodgson of Cumbrian Visions tell In Touch about their services and how it all got started.For more information: Cumbrian Visions Founder and Coordinator: Lee Hodgson Tel: 07976 669708 Email: hodgson@liverdogs.co.ukCliffden Buddies Founder and Coordinator: Jules Griffen Tel: 07500 206948 Email: cliffden.buddies@outlook.comPresenter: Peter White Producer: Beth Hemmings Production Coordinator: Kim Agostino Website image description: Peter White sits smiling in the centre of the image and he is wearing a dark green jumper. Above Peter's head is the BBC logo (three separate white squares house each of the three letters). Bottom centre and overlaying the image are the words "In Touch" and the Radio 4 logo (the word ‘radio' in a bold white font, with the number 4 inside of a white circle). The background is a bright mid-blue with two rectangles angled diagonally to the right. Both are behind Peter, one is a darker blue and the other is a lighter blue.

This podcast is one with a twist. Instead of the good stories of God speaking, we're sharing the bad! We all love a good God conversation story. God is still speaking as powerfully and creatively as he did in Bible days. But the nature of our flawed humanity is that we can get it wrong. We can make mistakes. We can use the claim to hearing God's voice to manipulate others. The result is real damage to people's lives. It's important that we don't overlook the bad stories or pretend they don't exist. Instead they become a learning opportunity when we see where things went wrong. That's why on the show in this episode, we talk with long time pastor Paul Hudson from the Elim group of churches in the UK. As a pastor of pastors, he's seen the worst (and the best!) of the prophetic world and has plenty of wisdom to share about how to avoid the pitfalls.  You'll hear about: Paul's story growing up in a Christian environment and how two simple words from the Holy Spirit completely changed his heart towards international mission. From there, God used him to establish a global network beyond his own nation. A tragic story of a young man and woman who believed God spoke to them about marriage. They married quickly without consultation from others and their marriage broke up within 6 months due to abuse. Here we learn how consultation in community - especially those who are willing to disagree - is crucial. Paul's own story of God speaking to warn him and how he twisted it around because he didn't like what he heard. Thankfully God gave him a further message that enabled him to redeem the situation. Reflections on the Apostle's Paul experience when the disciples mis-interpreted the prophetic word they heard about Paul's journey to Jerusalem (Acts 21). Throughout the stories, you'll hear some recurring themes! We share the bad stories so we don't have to repeat them. Let's be smart enough as well as humble enough to learn from the experiences of others! Subscribe to God Conversations with Tania Harris and never miss an episode!   Join the journey to hearing God's voice. Start your free 7-day God Conversations devotional today! Pray, promote and give. God Conversations is donor-funded and made possible through the generosity of people like you! Become a partner today. Equip your church to hear God's voice. Join our community of church leaders for monthly insights and a free preview of 50 Days of God Conversations resource.   About Paul Hudson After planting a church in the Lake District of the UK for 4 years, Paul pastored a church in West Yorkshire for 17 years. During that time, Paul also became the International Missions Director for the Elim denomination and established the Elim Global Network which is now in over 60 nations of the world and made up of thousands of churches. Five years later, he holds a regional role, leading 105 churches in the UK and acting as the pastors' pastor. He continues to serve as the General Secretary of the Elim Global Network.

In an old house by the Glebeshire coast, silence lingers more heavily than the sound of the sea. Its walls hold an atmosphere of watchfulness, as though the house itself remembers lives once lived within it. To a grieving visitor, it offers not terror but something stranger, something that cannot easily be explained. “The Little Ghost” by Hugh Walpole was first published in When Churchyards Yawn (1931), edited by Cynthia Asquith, and later collected in Walpole's own volume All Souls' Night (1931). Hugh Walpole (1884–1941) was a bestselling English novelist and short story writer. He is remembered for his Lake District saga The Herries Chronicle and for a handful of haunting tales that combine psychological insight with Gothic atmosphere. Here is my ebook and audiobook store payhip.com/TheClassicGhostStoriesPodcast For 33% discount - use coupon 33OFFGHOSTPOD Learn more about your ad choices. Visit megaphone.fm/adchoices

The Cliffords ruled northern England for 500 years through loyalty, lawsuits, and superior castle-building skills. From the legendary "Shepherd Lord" who hid in the Lake District for 24 years to Lady Anne Clifford, who fought a 40-year legal battle to inherit four castles and rebuilt them all to prove her point. When neighbors joined rebellions, the Cliffords chose the crown, and it paid off spectacularly.Tudorcon from Home reservations: https://www.englandcast.com/TudorconFromHomeUse code EARLYBIRD to join the Privy Council Hosted on Acast. See acast.com/privacy for more information.

Today we're talking to Jake Atkinson, a rider who's made a meteoric rise in the sport, despite growing up far from the perfect training grounds for what he's now doing. From the trails of the Lake District to competing on the world stage, Jake's story is one of trusting the process, leaning into the challenge, and making huge strides in a short space of time. We dig into how he's done it, the lessons learned along the way, and where he's heading next. So sit back, hit play, and enjoy this conversation with Jake Atkinson. You can also watch this episode on YouTube here. You can follow Jake on Instagram @jakeatkinson and find his latest edit here. Podcast Stuff Listener Offers Downtime listeners can now get 10% off of Stashed Space Rails. Stashed is the ultimate way to sort your bike storage. Their clever design means you can get way more bikes into the same space and easily access whichever one you want to ride that day. If you have 2 or more bikes in your garage, they are definitely worth checking out. Just head to stashedproducts.com/downtime and use the code DOWNTIME at the checkout for 10% off your entire order. And just so you know, we get 10% of the sale too, so it's a win win. Patreon I would love it if you were able to support the podcast via a regular Patreon donation. Donations start from as little as £3 per month. That's less than £1 per episode and less than the price of a take away coffee. Every little counts and these donations will really help me keep the podcast going and hopefully take it to the next level. To help out, head here. Merch If you want to support the podcast and represent, then my webstore is the place to head. All products are 100% organic, shipped without plastics, and made with a supply chain that's using renewable energy. We now also have local manufacture for most products in the US as well as the UK. So check it out now over at downtimepodcast.com/shop. Newsletter If you want a bit more Downtime in your life, then you can join my newsletter where I'll provide you with a bit of behind the scenes info on the podcast, interesting bits and pieces from around the mountain bike world, some mini-reviews of products that I've been using and like, partner offers and more. You can do that over at downtimepodcast.com/newsletter. Follow Us Give us a follow on Instagram @downtimepodcast or Facebook @downtimepodcast to keep up to date and chat in the comments. For everything video, including riding videos, bike checks and more, subscribe over at youtube.com/downtimemountainbikepodcast. Are you enjoying the podcast? If so, then don't forget to follow it. Episodes will get delivered to your device as soon as it's available and it's totally free. You'll find all the links you need at downtimepodcast.com/follow. You can find us on Apple Podcast, Spotify, Google and most of the podcast apps out there. Our back catalogue of amazing episodes is available at downtimepodcast.com/episodes Photo - Guy Fatal

On today's Season 15 finale, we are joined by the brilliant Stephen Mangan - actor, presenter, writer, and someone with a truly adventurous travel spirit. You'll know him from a vast array of TV , film and stage hits - The Split, Green Wing, Episodes, Portrait Artist of the Year - and most recently, as the host of ITV's Caribbean-set hit game show The Fortune Hotel, which is back for its second season.Stephen is a natural storyteller, and in this conversation we really get to go on a journey. From long, cassette-filled car trips back to his family's roots in wild, windswept County Mayo - where he has 53 first cousins! - to body surfing in the Atlantic with his kids, sleeping under the redwoods in California, living on £4 a day while interrailing across Europe, and living in an ultra luxury hotel in Grenada for a month - Stephen has truly embraced travel in all its forms.Destination Recap:County Mayo, Ireland Sonoma County, California, USABeltane Ranch, Sonoma, USADerwent Water, Lake District, UKFalkirk Wheel, Scotland GrenadaIndiaBhutan MoroccoJapanThe Fortune Hotel S2 continues Wednesday 13th and Thursday 14th August on ITV1 and ITVX. You can also catch up on the first two episodes of the series on ITVX now.Thanks so much for listening today. If you want to be the first to find out who is joining me next time, come and follow me on Instagram I'm @hollyrubenstein, and you'll also find me on TikTok - I'd love to hear from you. And if you can't wait until then, remember there's the first 14 seasons to catch up on, that's over 155 episodes to keep you busy.I'm now on maternity leave for a few months but keep an eye out for some special episodes dropping into your feed from time to time. Hosted on Acast. See acast.com/privacy for more information.

In this episode, I walk with woodland and street photographer Mali Davies through the winding paths of Savernake Forest, a place steeped in centuries of history. Beneath the canopy of ancient oaks and beeches, we talk about the role forests have played in Britain's story, and why their protection has never been more important. Mali shares the practical kit he relies on for photographing in woodland, his thoughts on composition, and the small details that bring these vast, living spaces to life in an image. It's a conversation about history, craft, and the quiet beauty of trees that have stood watch for hundreds of years. We also talk about the importance of family, a special pilgrimage to the top of a mountain fell in the Lake District and how street photography is becoming an important outlet to him too. Links to all guests and features will be on the show page, my sincere thanks to Arthelper, who sponsor this show, plus our Extra Milers, without whom we wouldn't be walking each week. WHY: A Sketchbook of Life is available here.

In a world that often feels dominated by technology and constant change, it's easy to forget that some people are still living by the rhythms of ancient traditions. James Rebanks, an author and shepherd, is one of them, and in today's episode, he shares what following a way of life that has endured for thousands of years can teach us about modern life and the things that matter.James offers a glimpse at the often ignored and misunderstood world of pastoral life in England's Lake District, which isn't just about working with sheep and cattle but maintaining a deep connection to past generations, a commitment to community, and a sense of purpose. He takes us through the life of a fell shepherd, where the timeless values of hard work, seasonality, stewardship, and stillness still get lived out day to day.Resources Related to the PodcastJames' booksGrazing SchoolThe Poetics of Manhood by Michael HerzfeldBraiding Sweetgrass by Robin Wall KimmererDying Breed article: 5 Things Farmers Have Taught Me About Work, Life, and LegacyWendell Berry's booksRegeneratist Allen WilliamsRegeneratist Greg JudyConnect With James RebanksJames on XJames on IGSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

    review With the Angels Part 1 by John Dorney (two parts) When the Doctor's latest attempt to return Harry and Naomi home goes awry, they find themselves recruited by UNIT for a special mission. A mission involving a new and terrifying breed of Weeping Angel. Amid betrayal and manipulation, the Doctor and friends are trapped by a destiny they cannot escape. The future is calling... and so is the past. Catastrophix by Lizzie Hopley (two parts) Harry Sullivan and Naomi Cross are on Earth at two different points in a timeline that has gone badly wrong. Back in his own time with UNIT, Harry is in the Lake District, unaware of the horrors to come. Four decades on, Naomi is adrift on an ocean in an apocalyptic nightmare. What is causing the Earth's unnatural end? As the Doctor scours the years, he meets someone from his past with the tools to help - a mechanic called Ray. With the Angels Part 2 by John Dorney (two parts) A billionaire's birthday party on a super-yacht is the setting for the final battle with the Angels. And the Doctor is on the guest list. The Bladukas family have no idea how dangerous these creatures are. But they're about to find out. Can an old friend help the Doctor prevent a tragedy? **Please note: The collector's edition CD box set is strictly limited to 1,500 copies**  

In this episode we're camping in the Lake District and attending the 150th Keswick Convention, plus making a quick trip to Scotland! Plus we're excited about our three new chickens, and staying busy over the summer.

"Tucked between North Wales and the serene good looks of the Lake District, gritty, vital Liverpool provides an indelible and grounded dose of "real" urban England. It proved to be one of my favourite destinations on my whistle-stop romp with Trafalgar's Real Britain tour. Yes, Beatles fans flock to Liverpool to learn about the Fab Four's early days, but the city's appeal extends far beyond those towering music legends." Read Mike's full article here. LISTEN ABOVESee omnystudio.com/listener for privacy information.

Half a million pounds is going from the UK Government to a project aiming to improve soils in Ukraine. The ongoing research, being run by the Royal Agricultural University, has identified significant damage to soils from the war there - things like heavy metal contamination from bombardments. The new money will help set up soil labs. We speak to the professor leading it and a farmer in Ukraine.Small changes in the way a river catchment is managed can have a big impact - reconnecting floodplains, re-wiggling rivers and slowing the flow upstream can reduce the flood and pollution risk and encourage more biodiversity. A ‘whole Cumbria strategy', which involves three River Trusts, the Environment Agency and Natural England – has just been named as one of only four finalists for a prestigious global award, the Thiess International River prize. It's up against river projects in the USA and Albania. We see the kind of work the Cumbrian River Restoration Partnership Programme is doing in the Lake District.The Environment Agency's urging farmers to think ahead and get ready for storage of slurry this winter.Presenter = Charlotte Smith Producer = Rebecca Rooney

“I knew teaching 20 classes a week wasn't sustainable. I wanted to find something slower, more spacious.”Lucy Sesto (@sestoyoga) shares how her journey from GB acrobatic gymnast to sought-after yoga teacher shaped a uniquely grounded and artistic approach to teaching. With a background in Psychology and Sociology, Lucy combines movement and self-inquiry in a way that feels both intelligent and deeply human.We explore her shift from gym floors and reception desks to managing a London wellness studio, teaching corporate yoga, running international retreats, and working alongside Joe Wicks on the Bodycoach platform. Lucy speaks openly about her intention to “make art, not content” on social media, the pressures of constant creation, and the power of stepping back to reconnect with joy and creativity.She also unpacks the emotional reality of holding space for others, setting boundaries, and how yoga and psychology beautifully intertwine. Whether you're a yoga teacher, a creative entrepreneur, or someone figuring out your next chapter, Lucy offers grounded wisdom and gentle humour on how to live and work more authentically—and why slowing down is sometimes the most radical thing you can do.WANT TO BE A YOGA TEACHER? - training in London, UK every Spring and Fall at triyoga Camden - https://tr.ee/1UILsE-WANT TO RETREAT WITH ME? - next stop, a Lake District castle - https://tr.ee/t4NViA-MAKE SURE YOU FOLLOW US …@adamhusler - https://tr.ee/b8QKyF@honestlyunbalanced - https://tr.ee/i1PXpT @iamhollyhusler - https://tr.ee/0ORJPX-PERKS FOR YOU10% off Liforme yoga mats with code HUSLER10 - https://tr.ee/PEju3010% off expert validated wellbeing brand at Healf via this link - https://tr.ee/dPMj2Y 10% off Colorful Standard clothing with code ADAMHUSLERCS10 - https://tr.ee/R1ugsk20% off Vivobarefoot shoes with code HUSLER20 - https://tr.ee/3Hs8kU5% off Nurosym vagus nerve stimulation device with code ADAMH5 https://tr.ee/CCbg8x25% off our online studio full of yoga, sound and meditation, with code HONEST25 (25% off single 12 month membership or reoccurring monthly membership until cancellation) - https://tr.ee/GCQdTB

"“So many guys look in the mirror and don't recognise themselves anymore. Step one is taking back your physicality.”In this energising and brutally honest episode, we sit down with Rory Williams (@rory_strongdad)— fitness coach, father of two, and creator of the “Strong Dad” movement—to explore what it really means to be a modern father. Rory opens up about the pressures dads face today: being present, being providers, and being strong—mentally, emotionally, and physically.We discuss the silent struggles of fatherhood: lack of support, loneliness, and society's limited celebration of committed dads. Rory shares practical tools for reclaiming your physicality and identity through strength training, early-morning routines, and daily habits—without sacrificing your role as a present, engaged parent.He also reveals how he grew his social media presence from 7k to over 80k in under a year by speaking directly to modern fathers with raw honesty and clean storytelling. If you're a dad who's ever felt lost, exhausted, or just wants to get back on track—physically or mentally—this episode offers powerful motivation, useful strategies, and a reminder that you're not alone.-WANT TO BE A YOGA TEACHER? - training in London, UK every Spring and Fall at triyoga Camden - https://tr.ee/1UILsE-WANT TO RETREAT WITH ME? - next stop, a Lake District castle - https://tr.ee/t4NViA-MAKE SURE YOU FOLLOW US …@adamhusler - https://tr.ee/b8QKyF@honestlyunbalanced - https://tr.ee/i1PXpT @iamhollyhusler - https://tr.ee/0ORJPX-PERKS FOR YOU10% off Liforme yoga mats with code HUSLER10 - https://tr.ee/PEju3010% off expert validated wellbeing brand at Healf via this link - https://tr.ee/dPMj2Y 10% off Colorful Standard clothing with code ADAMHUSLERCS10 - https://tr.ee/R1ugsk20% off Vivobarefoot shoes with code HUSLER20 - https://tr.ee/3Hs8kU5% off Nurosym vagus nerve stimulation device with code ADAMH5 https://tr.ee/CCbg8x25% off our online studio full of yoga, sound and meditation, with code HONEST25 (25% off single 12 month membership or reoccurring monthly membership until cancellation) - https://tr.ee/GCQdTB

We're enjoying our summer holidays, but Eden and Asher are pushing on with some of their GCSE studies regardless. Mirabelle's sharing about the paw print badge projects we're doing, we share about a fun trip to Southport and Blackpool, and we look ahead to a trip to the Lake District.

"It's undoubtedly Britain's equivalent to our Queenstown Lakes district. Windermere and the Lake District is England's favourite national park, a sprawling tourist honeypot that stretches across hundreds of square kilometres of rugged Cumbrian countryside, woodland valleys, shimmering tarns and lakes – all backed by strikingly craggy mountains. It was the 18th century Romantic poets who captured the world's imagination, igniting the region's first tourism wave. Since then, the stature of the Lake District has only grown as a getaway destination, the wave has never crested, culminating in the district securing World Heritage status just eight years ago." Read Mike's full article here. LISTEN ABOVESee omnystudio.com/listener for privacy information.

Take a look here to see how I can help you publish your book!In this week's episode, I chat to author and illustrator Gemma Denham, whose debut adult novel The Storm is a gripping locked-room mystery set in the Lake District. We talk about Gemma's fascinating path from children's book illustrator to crime writer, why she made the switch, and how a personal 40-before-40 challenge helped her finally write her first novel.We also dig into the benefits of writing retreats, plotting versus pantsing, and the pressures of following up your first book—especially when you're already deep into book four!✏️ In This Episode:– The inspiration behind The Storm and its remote, cut-off setting – Why writing crime fiction was a natural step after illustrating picture books – Gemma's structured-but-flexible plotting process and how she lets her characters lead – How visual thinking and cover design influence her approach to books – The reality of professional edits and what “show don't tell” really means – How mini-plotting sessions and character work can keep your writing on track – Why the second book can feel tougher than the first—even without external pressure – Using feedback from trusted beta readers and writer friends to level up

st Host eThis week (on the hottest day of the year) we are talking about Joseph Pocklington. A man with a dream to become an architect, and who was fortunate enough to have enough money to make that dream a reality despite a complete lack of skill.Creating a series of questionable buildings across Nottinghamshire, Joseph then set his sights on the Lake District. However, he found that the locals were a bit less tolerant of his 'beautification' of the area.Given the moniker: 'The Man With No Taste', Joseph knew he needed to do something big to win over the people of Cumbria......But fortunately he had already built a fort complete with a gun battery on his own personal island, so the solution seemed obvious.Guest Host: (A very hot) Emma Heathcote Hosted on Acast. See acast.com/privacy for more information.

HUNTING THE CHILDCATCHER - Stefan Heidegger had clearly convinced Saltire to leave his dorm in the middle of the night. He had snatched him off into the darkness of the Lake District. We were a day behind but we were catching up fast. Part 2 of 3 This episode contains swearing, horror, sexual references, drug references, drug abuse, distress, references to violence, references to child abuse. Listener discretion is advised. For merchandise and transcripts go to: www.sherlockandco.co.ukFor ad-free, early access to adventures in full go to www.patreon.com/sherlockandco To get in touch via email: docjwatsonmd@gmail.com Follow me @DocJWatsonMD on twitter and BlueSky, or sherlockandcopod on TikTok, instagram and YouTube.  This podcast is property of Goalhanger Podcasts. Copyright 2025.SHERLOCK AND CO. Based on the works of Sir Arthur Conan Doyle Paul Waggott as Dr. John Watson Harry Attwell as Sherlock Holmes Marta da Silva as Mariana Ametxazurra Luke Jasztal as Tom Huxtable Jake Burlow as Jim Wilder Thomas Mitchells as Benjamin Duke Adam Jarrell as Reuben Hayes Additional voices Darcey Ferguson Joel EmeryAdam Jarrell Jake Burlow Written by Joel Emery Directed by Adam Jarrell Editing and Sound Design by Holy Smokes AudioProduced by Neil Fearn and Jon Gill Executive Producer Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week, we raise our mugs and reflect on the inaugural Tea & Trails Ultra, an unforgettable celebration of endurance, friendship, and the wild beauty of the Lake District.

INTO THE DARKNESS - we had been struggling financially for a few weeks and now we had to pay some bills. Mariana and I needed Sherlock's help to raise funds via some wealthy client cases... and boy did he find us a case. We headed to the Lake District, to Moorhill. To look for the child of a billionaire. Part 1 of 3 This episode contains swearing, horror, sexual references, drug references, drug abuse, distress, references to violence. Listener discretion is advised. For merchandise and transcripts go to: www.sherlockandco.co.uk For ad-free, early access to adventures in full go to www.patreon.com/sherlockandco To get in touch via email: docjwatsonmd@gmail.com Follow me @DocJWatsonMD on twitter and BlueSky, or sherlockandcopod on TikTok, instagram and YouTube.  This podcast is property of Goalhanger Podcasts. Copyright 2025. SHERLOCK AND CO.Based on the works of Sir Arthur Conan Doyle Paul Waggott as Dr. John Watson Harry Attwell as Sherlock Holmes Marta da Silva as Mariana Ametxazurra Luke Jasztal as Tom Huxtable Thomas Mitchells as Benjamin Duke Additional voices Darcey Ferguson Joel Emery Adam Jarrell Jake Burlow Written by Joel Emery Directed by Adam Jarrell Editing and Sound Design by Holy Smokes Audio Produced by Neil Fearn and Jon Gill Executive Producer Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

Adam Keen(@adam_keen_ashtanga) returns to the mic to unpack decades of experience as a yoga practitioner, teacher, and deep thinker. Practising since 1999 and one of the rare few to complete the Advanced A series in Mysore under Sharathji, Adam shares insights that only years of dedication can offer—cutting through the fluff of modern yoga while still teaching with compassion, humour, and nuance.Drawing on his experience running a Mysore programme in London for over a decade and his time immersed in the roots of Ashtanga at Purple Valley Goa, we explore; spinal stimulation, aging as a teacher, spiritual bypassing, social media illusions, and whether yoga is becoming just another performance art. For those interested in intelligent, inclusive, and reality-based yoga, this episode offers clarity, humility, and some laugh-out-loud truths.Adam now shares his reflections through the Keen on Yoga podcast, YouTube, and social media—Whether you're a newer teacher or a long-time student, this conversation offers sharp insight into how we can honour yoga's roots while teaching in today's world-—and why sometimes the most revolutionary thing we can do is admit we're still figuring it out.YOGA TEACHERS - join my 75 hour mentor and education programme - https://tr.ee/uzn6xj - or deepen your skill in my weekly online teachers practice on the Honestly Unbalanced studio - https://tr.ee/GCQdTB - or join me on my trainings around Europe - https://tr.ee/3KKLdz-WANT TO BE A YOGA TEACHER? - training in London, UK every Spring and Fall at triyoga Camden - https://tr.ee/1UILsE-WANT TO RETREAT WITH ME? - next stop, a Lake District castle - https://tr.ee/t4NViA-MAKE SURE YOU FOLLOW US …@adamhusler - https://tr.ee/b8QKyF@honestlyunbalanced - https://tr.ee/i1PXpT @iamhollyhusler - https://tr.ee/0ORJPX-PERKS FOR YOU10% off Liforme yoga mats with code HUSLER10 - https://tr.ee/PEju3010% off expert validated wellbeing brand at Healf via this link - https://tr.ee/dPMj2Y 10% off Colorful Standard clothing with code ADAMHUSLERCS10 - https://tr.ee/R1ugsk20% off Vivobarefoot shoes with code HUSLER20 - https://tr.ee/3Hs8kU5% off Nurosym vagus nerve stimulation device with code ADAMH5 https://tr.ee/CCbg8x25% off our online studio full of yoga, sound and meditation, with code HONEST25 (25% off single 12 month membership or reoccurring monthly membership until cancellation) - https://tr.ee/GCQdTB

What does it take to climb your hardest route at 50—and then hold the rope while someone else pushes that same line even further?For Neil Gresham, that moment came on Lexicon, a bold and beautiful E11 route he bolted and climbed later in life. In this conversation, Neil shares the full story—from discovering the line in the Lake District to the deep personal shift that allowed him to reach a new peak, years after he thought he'd already hit it.We also talk about what it was like to support a rare flash attempt by another world-class climber (whose recent film on Lexicon just dropped), and how that moment made Neil reflect on performance, legacy, and the long game.But this episode goes far beyond a single climb.We explore:Why Neil climbed his hardest routes after 45The nutrition and training strategies that helped him recover faster in his 50s than in his 20sWhat most athletes misunderstand about agingCoaching climbers into their 70s—including how he succeeded working with Rob MathesonThe mindset shift that helped him let go of pressure and finally enjoy the process againWhether you're a climber or not, Neil's story is about curiosity, adaptation, and staying sharp—mentally and physically—as the years go by.References & Resources:

Today we welcome Ben Briggs onto the R2Kast!

My friend Simon Curtis, who has died aged 70, was one of the small band of people who work tirelessly, for no pay and few thanks, to promote poetry. An excellent poet himself, he edited two magazines and helped many struggling writers into print.His heroes were Wordsworth, Hardy and Causley. His own poetry, which rhymed and was perfectly accessible, was distinguished by, in his words, its "shrewd, ironic and Horatian tone". It ranged from accomplished light verse, which was often very funny, to deeply affecting poems about family bereavement. He appeared in the Faber Poetry Introduction 6 (1985).Simon was born in Burnley, Lancashire, the son of Susan, an English teacher, and the Rev Douglas Curtis, a vicar, and grew up in Northamptonshire. Armed with an English degree from Cambridge University, and a PhD from Essex, on Darwin as writer and scientist, he became a lecturer in comparative literature at Manchester University. He was active in the Hardy Society, editing the Thomas Hardy Journal for several years, worked quietly for the Campaign to Protect Rural England, and spent a lot of time caring for his mother, who lived to a great age.Eventually, he moved to Plymouth and in 2010 took over from me as the editor of the little magazine The Interpreter's House, which he made, in Hardy's phrase, "a house of hospitalities". We were both determined that it shouldn't be just a platform for the editor's friends but should be open to good poets of all stripes.But early in 2013 all plans had to be shelved as this active outdoor man was diagnosed with incurable cancer. Though paralysed below the waist, he remained positive, continued to watch the yellowhammers outside his window and never allowed his many visitors to feel downhearted. Shoestring Press rushed out a volume of his new and selected poems, Comet Over Greens Norton, which contains all his best work.Simon was old-fashioned in the best kind of ways, a former 1960s student who canvassed for Labour but who dressed conservatively and retained a stiff upper lip and immaculate manners. He hated pollution, literary infighting, and public greed and waste. He loved bird-watching, football, woodcuts and the Lake District.-bio via Merryn Williams' 2014 Obituary for Curtis in The Guardian This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

Ron and I chat about our UK adventures so far...and some of the interesting town names here in England :)

The Environment Agency says the north west of England is in drought. One farmer tells us this year's crops are already ruined because of a lack of water.Two proposed reservoirs have been given 'nationally significant' status by the government to speed up the planning process. Decisions on the Lincolnshire Reservoir which is planned for an area near Sleaford and the Fens Reservoir near March in Cambridgeshire will now be accelerated. Ministers say the law will also be changed so that in the future all projects which are, as they put it, 'fundamental to national water resilience' will automatically be designated as 'nationally significant'. Farming communities are concerned about the impact on productive farmland, and one farmer says the Lincolnshire scheme will wipe out her home and her business.All week we're talking about the nation's national parks. The Scottish Government's decided not to go ahead with plans for a new national park in Galloway. After a long legal battle supreme court judges ruled that wild camping is allowed on Dartmoor, we speak to the park's chief executive. In Wales we report on a nature recovery project in Pembrokeshire which works with farmers to enhance farmland by the coast. In The Broads Norfolk farmers and environmentalists are trying to tackle the damage being caused by deer. Golden Eagles have been extinct in England since 2015 when a solitary bird died in the Lake District. But could that be about to change? A conservation project in the south of Scotland which began in 2018 has seen a huge increase in the eagle population there, and some of those birds have begun exploring places like the Northumberland National Park where one was spotted just a few weeks agoPresenter = Charlotte Smith Producer = Rebecca Rooney

Two proposed reservoirs have been given 'nationally significant' status by the government to speed up the planning process. Decisions on the Lincolnshire Reservoir which is planned for an area near Sleaford and the Fens Reservoir near March in Cambridgeshire will now be accelerated. Ministers say the law will also be changed so that in the future all projects which are, as they put it, 'fundamental to national water resilience' will automatically be designated as 'nationally significant'. Farming communities are concerned about the impact on productive farmland, and one farmer says the Lincolnshire scheme will wipe out her home and her business.Golden Eagles have been extinct in England since 2015 when a solitary bird died in the Lake District. But could that be about to change? A conservation project in the south of Scotland which began in 2018 has seen a huge increase in the eagle population there, and some of those birds have begun exploring places like the Northumberland National Park where one was spotted just a few weeks agoAll week we're talking about the nation's national parks. There has been much debate over the past few years about the state of nature in the parks and how it can be improved while also supporting farming. In Pembrokeshire a nature recovery project was launched two years ago with the aim of enhancing biodiversity on farmland by the coast - we speak to those involved.Presenter = Charlotte Smith Producer = Rebecca Rooney

We are joined from Kendal in The Lake District, England by Vicki Farrington a former member of the MET Police turned Sports Therapist, Strength Coach & Ultra Endurance Cyclist.   We talk about open water swimming, fell running, mountain biking & Vicki's recent conquering of the Mega Mallorca 312 challenge! We also discuss the stark change of lifestyle moving from London in a highly pressurised & stressful career to a life in the countryside, spending much time outdoors & a totally different pace of life. This is a wide reaching conversation that I guarantee will make you want to spend more time in nature (& possibly visit The Lakes).

So-called ‘chlorinated chicken' has been a major sticking point in US-UK trade talks, one of the red lines British farmers say the Government cannot cross. But US Agriculture Secretary, Brooke Rollins, says we've got the wrong end of the stick about how their chicken is produced nowadays. So is chlorine washed chicken merely a “myth to dispel”? We look for some clarity.It's been obligatory to keep all poultry and captive birds indoors in some parts of England under the Government's mandatory housing restriction order to help prevent the spread of bird flu. That order has been lifted this morning because the risk of avian flu has reduced.As part of our week looking at grass, today we visit a turf farm. There's a big market for turf from gardeners, golf courses and for sports pitches and parks, and it's not just for the pristine tightly-mown grass, you can even buy specialist turfs for green roofs, and species-rich and wild-flower turfs too. The Government's Farming in Protected Landscapes programme has funded river re-wiggling, school visits to farms and even the creation of Lake District tweed since it began in 2021, and now it's making life easier for rock climbers with disabilities in the Peak District. Presented by Caz Graham and produced by Beatrice Fenton.

Danny sits down with Ben Fisher, Head of Design at Rebellion, to discuss their latest game: Atomfall. Atomfall: https://store.steampowered.com/app/801800/Atomfall/ iTunes Page: https://itunes.apple.com/us/podcast/noclip/id1385062988 RSS Feed: http://noclippodcast.libsyn.com/rss Spotify: https://open.spotify.com/show/5XYk92ubrXpvPVk1lin4VB?si=JRAcPnlvQ0-YJWU9XiW9pg Soundcloud: https://soundcloud.com/noclippodcast Watch our docs: https://youtube.com/noclipvideo Crewcast channel: https://www.youtube.com/channel/noclippodcast Learn About Noclip: https://www.noclip.video Become a Patron and get early access to new episodes: https://www.patreon.com/noclip Follow @noclipvideo on Twitter Chapters: 0:00:00 - Intro 0:03:20 - Thanking our Patreon supporters! 0:05:03 - Welcome Ben Fisher, Head of Design @ Rebellion 0:06:29 - Where did the idea for Atomfall come from? 0:09:44 - Moving Away from an Open World 0:19:33 - Crafting the Vibes of Atomfall's Regions 0:25:57 - Getting the Player to Trust the World 0:27:52 - Rebellion's Approach to Quest Design in Atomfall 0:37:47 - Fine-Tuning Atomfall's Combat 0:44:45 - Fast Travel vs. Shortcuts 0:47:57 - Atomfall's Positive Response 0:50:26 - What would you have done differently? 0:51:55 - Designing with Sequels in Mind (Or not!) 0:54:26 - Sign Off + Tips for visiting The Lake District 

"The Burned House" is a ghost story by Vincent O'Sullivan, first published in The Century Magazine in its October 1916 edition. In the story, a man recounts his eerie experience in a Lake District village where he witnessed a ghostly house fire and a hanging body, only to find no trace of them the next day.

Last week, the boys (Russell Myers and Ian Vogler) were on tour in Italy, and this week, it's the girls back in charge again with Pod Save the King host Ann Gripper joined by Daily Mirror deputy royal editor Jennifer Newton. Prince William has many titles and roles - the Prince of Wales being just one of them - and he added football pundit to that list, giving his take on his beloved Aston Villa during their Champions League clash with PSG. Ann and Jen explain why they were impressed by his live TV appearance on TNT Sports. Plus Kate visited the Lake District with the Scouts, connecting with nature. Ann tells Jen why she could watch the Princess of Wales exploring nature all day. They also chat about Meghan's new podcast, Confessions of a Female Founder, Prince Harry's recent visit to Ukraine, and the upcoming Easter celebrations and commemorations for VE Day. Learn more about your ad choices. Visit megaphone.fm/adchoices

Operation Matrix saw a drugs gang of ten men sentenced to more than 120 years in prison for their part in a £53 million supply of cocaine into the UK.But what is the story between the headlines? It all started when Cumbria Police asked the North West Regional Organised Crime Unit to arrest a local drug dealer who was operating in beautiful Windermere, at the heart of the Lake District...Support me at Patreon:https://www.patreon.com/UKTrueCrimeWatch my YouTube Channelhttps://www.youtube.com/@Adam-uktruecrimeSourceshttps://www.uktruecrime.com/2025/04/15/operation-matrix Hosted on Acast. See acast.com/privacy for more information.

Following David's recent tales from the Lake District, in this episode he tells Joe about more family trips to Cheddar Gorge in Somerset - with stories about caves, gorges, pricy admission tickets, edgy vibes and ice cream shop wars. And then to Longleat Safari Park in Wiltshire, where he spent a wonderful day in and amongst the gazelles, lions, rhinos, emus and monkeys. Plus an invisible Elephant called Ann. FOR ALL THINGS CHATABIX'Y FOLLOW/SUBSCRIBE/CONTACT: YouTube: https://www.youtube.com/@chatabixpodcast Twitter: https://twitter.com/chatabix1 Insta: https://www.instagram.com/chatabixpodcast/ Patreon: https://www.patreon.com/chatabix Merch: https://chatabixshop.com/ Contact us: chatabix@yahoo.com Learn more about your ad choices. Visit podcastchoices.com/adchoices