
I am sitting by the path, looking out over Ribblesdale, in the Craven district of North Yorkshire. Below lies a patchwork of lush, undulating pasture, overlaid with a gentle criss-crossing of dry-stone walls. A lone tree holds the eye, centre stage. It prevents the senses from being overrun by beauty, while the greater landscape races off to the horizon. I am waiting for the light. At the moment, it’s very subtle. The sun is filtering down through shifting layers of cloud, so the scene is one of softness. I am anticipating something more dramatic breaking through.
There’s no rush. It’s early afternoon on a midweek in August. The schools are off, and most of the UK is holidaying in the UK this year, instead of jetting away. The National Parks are busy and all the holiday cottages are booked up ’till goodness knows when. The little car-park, down in Langcliffe was full by mid-morning. I managed to get the last spot. I had thought this was a secret place, known only to a handful of discerning walkers. This year it’s different. This year, everyone seems to know where the secrets are kept, and they rush at them.
The walk itself has been a bit of a run around, and strangely unremarkable. First, it was up the River Ribble from the Lock Weir at Langcliffe, to Stainforth, to see the falls. Then it was on to Catrigg Force. Both falls were overly busy with tourists. It was difficult to settle.
The first time I saw Stainforth falls was a winter’s evening, January 2019. The last of the light was spilling over the dale, painting it in shades of gold and tobacco. There was no one there, and the scene, coming at the end of a long walk, took my breath away. Today, late summer of this Covid year, was different. I didn’t bother taking a photograph, same at Catrigg. I couldn’t get a clear shot of either, couldn’t take the time to explore the angles and the light. I’m such a fusspot when I’m out with the camera.

So now I’ve walked over by Upper and Lower Winskill, and I’m dropping back towards the car at Langcliffe, a round of about five miles. There’s a mile or so still to go and, of a sudden, no people. I want to slow the day, to stretch it out. Soon I’ll be driving back home among the thundering hardcore wagons. What I was looking for today, down by the river and the falls, but could not find, the Dales are now gifting me in spades. It’s a scene I have gazed upon many times, but today, it’s like a door is opening to another world.
This time last year, I was working for a living. Days in the hills like this were prized outings. They were the result of planning, limited opportunity and negotiation. Now I can come whenever I want. I simply check the weather forecast, and pick my day. There are still times when I feel I’m on extended leave, that it will come to an end, that there’ll be another bloodshot eye of a Monday morning, another commute in pitch dark and pouring rain to find emails stacked all the way to Christmas. Then I remember it’s over, and it feels so natural, like pulling on an old glove. Thus, I swing between feelings of ease and disbelief. This afternoon, the feeling is one of luxury, with the added spice of the promise of insight.
I’ve got the big camera today, and a medium zoom. It’s a slow lens, zoomed out, and I need a bit more light to get the shutter speed up. As I wait for the light, I realise there’s a run of power lines to the right of the frame, spoiling the composition. It inflicts a scar of linear modernity to a scene that has otherwise not changed in centuries. I try to frame it differently, but it doesn’t work. I don’t know why I didn’t see them before. It’s like the mind saw the scene in perfection, in abstract form. Now, the eye points out the reality, which is always less than perfect. I can crop the power-lines out or, I can even disappear them with the clone brush in post-processing. It’s cheating, I know. It’s not conveying what’s there, but sometimes, we try more to convey what is felt. Playing with the image, exploring it, reinforces the scene in memory, but it doesn’t open doors, like the mind can.
The clouds thicken, and a stiff breeze comes up the dale. There is a brief flurry of light, and then the dale darkens down to a moodiness that looks set for the rest of the day. We’ve been half an hour now, resting, relaxing, finishing the nibbles, watching the subtle shifts of light. Time to move on, to tail the heavies back to Lancashire. We’ll see what comes out of the camera. Knowing me, half the shots will be out of focus. Others will be blurred by camera shake, but there should be one or two we can work with. As for the feeling, though, that’s a one time thing, a wordless thing we can at best glimpse in passing, and savour alone, in real time.
There’s no drama, no revelatory burst of sunlight upon emerald pastures. That’s just the way it is.
And you can never really photograph it.