Heather In Bloom - Peak District Photography Tour 10th - 13th August 2026 by Rob Whatmough

Heather In Bloom - Peak District Photography Tour

10th - 13th August 2026

by Rob Whatmough

Some decisions come readily. The moment I saw the Light and Land email advertising a trip to the Peak District, I knew I wanted to participate, and so I signed up a year and two days before we would be due to start. There were two principal reasons. The first is that, in the 30 or so years since my last (and only) visit to the area, I had seen articles and individual images in photographic publications that showed just how glorious the peaks and valleys could be. The second was the prospect of being tutored by Verity Milligan and Charlotte Bellamy. Prior experience of successful trips with Verity to the misty landscapes of Slovenia and autumnal lakes and mountains of Snowdonia gave me confidence in both the selection of locations and the benefits of tutorial support. While I had never met Charlotte in person before, her renowned expertise in ICM and multiple exposure photography offered the prospect of additional creative challenge. In the event, my high expectations were more than met.

Snapshot 1: Iconic Locations

Instantly recognisable landscapes present a challenge for anyone seeking a fresh or personal way to find and convey meaning in them.  Stepping, for example, onto the rock-strewn plateau of Curbar Edge – the venue of our first session – was initially overwhelming.  Although we knew that the sun would set quite soon, it was worth taking a moment just to settle in before taking too many photographs. Fortunately, by the time the sun finally disappeared, I had some images that I felt confident I would want to keep. Some could be considered clichéd but they are my clichés, and the life in them is unique to the moment they were made.

Snapshot 2: In a Quarter of a Second

Two of our sessions featured riverside settings: Wyming Brook and Padley Gorge. At the first, Charlotte offered direct tuition in ICM to supplement the more informal guidance that was constantly available throughout the trip. Key instructional points were to prepare the direction of the camera movement we would make by shadowing or imitating with our hand the undulations of the section of water that would become the subject of an image; to start experimentation with a shutter speed of 1/4 of a second; to keep our movements small in line with locations that were more babbling brook than seascape.  Gently but firmly, Charlotte then supervised my efforts to put this advice into practice until initial, rather operatic, grand gestures were scaled down to no more than a twitch.

The result was a sequence of images with which I am delighted. I still feel uncertain about offering responses to ICM that go beyond "I like/don't like this one". However, especially when presented as a collage, I hope the images say something about the water's colours, energy and tumbles into turmoil. 

Snapshot 3: Stanton Moor and Nine (Dancing) Ladies

Stanton Moore is a readily accessible upland area with (even at the time of the 2026 drought) large expenses of beautiful heather and forest areas luxuriant with fern-filled floors.  It is also the site of one of the first monuments protected by the Ancient Monuments Act (1882): Nine Ladies Stone Circle.

After outlining the many opportunities offered by this dawn shoot, Verity explained that, while the stone circle itself was not all that striking and the "dancing ladies" element was folklore, the path to it and the immediate setting could be an absolute joy.

That morning, the light filtering through the trees and ferns was, indeed, quite wonderful. What struck me more than anything, though, was the power of even a small stone circle to make us pause. As the nearby English Heritage plaque states, whatever its ancient meaning, the stones certainly marked a place felt to be special some 4000 years ago. Images made in and around the circle have a consequent, special resonance for our own time.

Snapshot 4: And relax ... regroup ... refocus

I suspect that dawn shoots are quite demanding for most people, and there were three on this trip, one each morning. Personally, I have no difficulty in waking up in time for a 4:45 am departure because I usually do not sleep much anyway in anticipation of being jarred awake by my alarm clock. What was welcome on this trip was how abundantly clear it was made that each sunrise venture was entirely optional, and that participation in the rest of the day's programme would be no problem. Moreover, each shoot was – thanks to our excellent hotel's extensive menu – followed by an enjoyable breakfast and a period of down time. The resultant well-considered pace of the tour was hugely helpful in creating the context for genuine appreciation of the landscape and the making of memorable images.

Snapshot 5 (and the rest!): The Inevitability of Selection

Given just how much wonderful scenery that Peak District has to offer, the selection of locations is a key part of a tour such as the one we enjoyed. Other locations on our list, mentioned here for the record, included Higgar Tor, Burbage West, Surprise View, and Bolehill Quarry.  Even if one or more of these is not included in a future version of the tour, the very detailed itinerary notes distributed after our trip listed half a dozen other sites worthy of future exploration.  For me at least, a return visit would allow the exercise of understanding and skills extended and sharpened by this year's experience.

With thanks to Verity Milligan and Charlotte Bellamy as excellent tutors and to fellow participants for their support and lively, good humour. I think that, of all the Light and Land trips I have been on, this one had the least discussion of gear and the most about what leads, sustains and inspires us to make images in the first place.