Photographing Wiltshire by Robert Harvey (fotoVUE) by Michael Ryan

A PHOTO-LOCATION AND VISITOR GUIDEBOOK

SECTION P H O TO G????? RAPHING HEADER

WILTSHIRE S TO N E H E N G E , AV E B U RY , M O O N R A K E R S WHITE HORSES, WILDLIFE, CLASSIC GARDENS BEAUTIFUL COUNTRYSIDE AND VILLAGES

ROBERT HARVEY

A PHOTO-LOCATION AND VISITOR GUIDEBOOK

P H O TO G R A P H I N G

WILTSHIRE

S TO N E H E N G E , AV E B U RY , M O O N R A K E R S WHITE HORSES, WILDLIFE, CLASSIC GARDENS BEAUTIFUL COUNTRYSIDE AND VILLAGES

ROBERT HARVEY

PHOTOGRAPHING WILTSHIRE BY ROBERT HARVEY

First published in the United Kingdom in 2020 by fotoVUE. www.fotovue.com

Copyright © fotoVUE Limited 2020. Text and Photography: Copyright © Robert Harvey 2020. Foreword Copyright © Sarah Troughton 2020. Robert Harvey has asserted his right under the Copyright, Designs and Patents Act 1988 to be identified as the author of this work. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without the written permission of the publisher, except for the use of brief quotations in a book review. TRADEMARKS: fotoVUE and the fotoVUE wordmark are the registered trademarks of fotoVUE Ltd. Edited by Mick Ryan. Layout by Vicky Barlow. Book Design by Ryder Design – www.ryderdesign.studio Book project managed by Mick Ryan. All maps within this publication were produced by Don Williams of Bute Cartographics. Map location overlay and graphics by Mick Ryan. Maps contain Ordnance Survey data © Crown copyright and database right 2016. A CIP catalogue record for this book is available from the British Library. ISBN 978-1-9160145-2-7 10 9 8 7 6 5 4 3 2 1 The author, publisher and others involved in the design and publication of this guide book accept no responsibility for any loss or damage users may suffer as a result of using this book. Users of this book are responsible for their own safety and use the information herein at their own risk. Users should always be aware of weather forecasts, conditions, time of day and their own ability before venturing out. Front cover: Westbury White Horse at sunset (page 324). Canon 5D IV, 8–15mm fisheye at 15mm, ISO 100, HDR: 1/4000s, 1/500s, 1/60s, 1/8s and 1s at f/16. June. Opposite: Cherhill Down (page 134). Canon 5D III, 16–35mm f/4 at 16mm, ISO 100, 1/100s at f/16.Stitched panorama of three images. Tripod. June. Printed and bound in Europe by Latitude Press Ltd.

Have you followed richer valleys? Have you rounded fairer hills? Have you walked in broader avenues, or higher colonnades? Have you wandered in such pastures, by such pleasant lakes and rills, Through such forest and plantations, through such thickets and such glades? Can you trace a fairer garden, truer-trimmed or better-ordered? Here the channel of the Avon, there the Valley of the Horse, North the flowing Thames arises flowery-banked and jewel-bordered, East the shallow silvery Kennet chimes along its reedy course. Alfred Williams, About Wiltshire

CONTENTS

Locations and map overview �� 6 Acknowledgements �� 10 Foreword by Sarah Troughton �� 12 Introduction �� 14 All about Wiltshire �� 16 Getting to and around Wiltshire �� 54 Where to stay, eat and drink �� 56 Wiltshire weather and seasonal highlights �� 58 Wiltshire climate �� 62 Using this guidebook to get the best images �� 64 Camera, lenses & captions �� 66 Classic Wiltshire locations �� 68 Access and behaviour �� 70

CONTENTS

MARLBOROUGH DOWNS

VALE OF PEWSEY

Introduction �� 74 Area Map �� 76 1 Avebury �� 80 2 Silbury Hill �� 86 3 West Kennet Long Barrow �� 90 4 Devil’s Den �� 92 5 Fyfield Down �� 94 6 The Ridgeway �� 98 7 Rockley �� 108 8 Berwick Bassett Buzzard Hide �� 110 9 River Kennet �� 112 10 Lockeridge Dene �� 114 11 Savernake Forest �� 116 12 West Woods �� 122 13 Gopher Wood �� 126 14 Martinsell Hill �� 128 15 Littlecote Roman Villa �� 132 16 Cherhill Down and White Horse �� 134 17 Morgan’s Hill �� 142 18 Roundway Hill �� 146

Introduction �� Area Map �� 1 Great Bedwyn �� 2 Crofton Pumping Station �� 3 Wilton Windmill �� 4 Canal at Wilcot �� 5 Oare House Pavilion �� 6 Woodborough and Picked Hills �� 7 Alton Barnes White Horse �� 8 Bishops Cannings Church �� 9 Urchfont �� 10 Caen Hill locks ��

154 156 160 162 164 170 172 174 180 182 186 190

THAMES & BRISTOL AVON VALES Introduction �� Area Map �� 1 Lacock �� 2 Abandoned Petrol Station, Steeple Ashton �� 3 Bowood �� 4 Spye Park �� 5 Royal Wootton Bassett �� 6 Lydiard Park �� 7 Clattinger Farm and Lower Moor Farm �� 8 Cricklade North Meadow �� 9 M4 Motorway �� 10 Eastbrook Farm ��

198 199 202 208 210 218 222 226 228 236 238 240

WILTSHIRE COTSWOLDS Introduction �� Area Map �� 1 Bradford-on-Avon �� 2 Avoncliff and Dundas Aqueducts �� 3 Iford Manor �� 4 Courts Garden �� 5 Great Chalfield Manor �� 6 Box �� 7 Corsham �� 8 Castle Combe �� 9 Rack Hill �� 10 Malmesbury ��

CRANBORNE CHASE & THE VALE OF WARDOUR 246 247 250 254 256 260 262 268 274 278 284 288

SALISBURY PLAIN Introduction �� Area Map �� 1 Stonehenge �� 2 Ludgershall Castle �� 3 Charlton Beech Clumps �� 4 Military Communications Post �� 5 Imber �� 6 Westbury White Horse �� 7 Cotley Hill �� 8 Woodford Valley �� 9 Great Bustard Project ��

296 298 302 312 314

Introduction �� Area Map �� 1 Stourhead �� 2 Mere Down �� 3 Lone Tree, Two Mile Down �� 4 Longleat House and Gardens �� 5 Heaven’s Gate �� 6 Shearwater Lake �� 7 Fonthill Lake �� 8 Old Wardour Castle �� 9 Win Green Hill �� 10 The Folly, Tollard Royal �� 11 Marleycombe Hill �� 12 Beech Avenue, Knowle Hill �� 13 Fovant Badges �� 14 Teffont Evias �� 15 Sherrington �� 16 Langford Lakes �� 17 Great Yews ��

SALISBURY & SOUTH-EAST WILTSHIRE 338 340 344 352 356 358 362 364 366 368 370 372 374 376 378 380 384 386 390

Introduction �� Area Map �� 1 Salisbury Cathedral �� 2 Salisbury Market Place �� 3 Palladian Bridge, Wilton House �� 4 Bentley Wood and Blackmore Copse �� 5 Dean Hill �� 6 Pepperbox Hill �� 7 Charlton All Saints �� 8 New Forest ��

394 395 398 408

Wiltshire at Night �� Wiltshire from the Air �� About the Author �� About fotoVUE �� Moonraking ��

432 438 442 444 448

410 412 418 420 422 426

FEATURE PAGES

318 320 324 326 328 332

CONTENTS

GETTING TO AND AROUND WILTSHIRE Occupying a central position in southern England, Wiltshire is easy to reach from the rest of the country. The main routes are from west to east; the M4 motorway across the north of the county and the A303 across the south. The M4 has three junctions within Wiltshire (15, 16 and 17) and two further junctions (14 and 18) lie just outside the county boundary. The A303 is partly dualled and partly single carriageway; it is a popular route to the West Country so be prepared for slow-moving traffic at holiday times and summer weekends.

uncommon. In the east of the county, the A346 and A338 form the major route between Swindon and Salisbury; this is also single carriageway and passes through several villages. In central Wiltshire, north to south routes are the A360 and A345 through Salisbury Plain. Country lanes can be narrow and winding, especially in Wiltshire’s Cotswolds, so be cautious if you are unfamiliar with the roads. Drive slowly where road width or visibility is restricted. You can find yourself approaching another vehicle head-on and need to be able to stop or pull over safely.

Peak Times

For north Wiltshire take the M4. For south Wiltshire take the M3 followed by the A303 at junction 8. Almost the whole of Wiltshire is between one and two hours’ drive from the M25.

As yet, there are only a few “honeypot” locations in Wiltshire that get really busy. These include Stonehenge (especially around the summer solstice), Avebury, Stourhead (especially in autumn), Longleat (especially in school holidays), Lacock (mainly in summer) and Castle Combe. At many of the other places in this book, you are likely to encounter few other visitors, particularly around dawn and sunset when some of the best photographic opportunities occur.

From Bristol and the West

Parking

For north Wiltshire use the M4 eastbound. For south Wiltshire take the A4, A35 and A36. Most of Wiltshire is within 45 to 90 minutes’ drive from Bristol.

Aside from Stonehenge and Avebury at the summer solstice, parking is rarely a problem. The parking places mentioned in this book range from large pay and display car parks to less formal laybys at the side of the road. If you park informally on the roadside, take care not to obstruct any gates or passing places.

From London and the East

From the South-West Use the A303 eastbound, or the M5 and M4 for the north of the county. Most of Wiltshire is within one and a half to two and a half hours’ drive of Exeter.

From the Midlands and the North The M5 is the fastest route, exiting at junction 11a to the A417. At Cirencester, continue onto the A419 for eastern Wiltshire or exit to the A429 for western Wiltshire. Most of Wiltshire is within two to three hours’ drive of Birmingham.

Travelling Around Wiltshire Whilst the main routes from east to west are usually fast, travel from north to south is slower. The main route is the A350 in west Wiltshire, which is mostly single carriageway and passes through Westbury, where congestion is not

GETTING TO AND AROUND WILTSHIRE

Train Swindon and Chippenham are linked to London Paddington, Bristol Temple Meads and Bath Spa by the Great Western Railway (whose Box Tunnel features in the location section of this book). A branch of this railway from Reading to Exeter runs though the Vale of Pewsey, serving Great Bedwyn, Pewsey and Westbury. A separate line connects Swindon to Stroud and Gloucester running north. Salisbury, Tisbury and Grateley are connected to London Waterloo, Basingstoke and Exeter by another main line. You can also reach Salisbury from Bath Spa via Warminster, Dilton Marsh, Westbury, Trowbridge, Bradford-on-Avon and

Visiting Castle Combe by 1925 Austin 7 Chummy. Canon 5D IV, 24–70mm f/4 at 42mm, ISO 100, 1/8s at f/18. Tripod. June.

a curious little station at Avoncliff. To the south, Salisbury is connected to Southampton, passing through a rural station at Dean. Melksham is on a branch line between Chippenham and Trowbridge.

• More Bus • National Express • Salisbury Reds • Shaftesbury & District • Stagecoach • Swindon’s Bus Company

Bus

By Air

National Express provides long-distance coach services to Wiltshire. Swindon and Salisbury are the main hubs. There is a regular bus service in the main towns and between towns. You can find and print the timetable for any bus in Wiltshire on Traveline including:

There are no commercial airports in Wiltshire. The most convenient airports are London Heathrow, Bristol and Southampton. All are within one to two hours’ drive of most of Wiltshire.

• Bradies taxis • Berrys Superfast (Warminster to London) • Coachstyle • Connect2 Wiltshire • Faresaver • First • Frome Bus

GETTING TO AND AROUND WILTSHIRE

WILTSHIRE CLIMATE

Wiltshire’s climate is typical of southern England. Being inland, the county tends to be warmer in summer and more frost-prone in winter than other parts of the south-west. Frost is to be expected on clear, still nights from October to April. On the downs, frost can also occur in late September and May. Hoar frost is rare but spectacular when it occurs, usually on very cold, dry winter nights near water. Rainfall is between 700mm and 900mm annually, which is lower than in Somerset, Devon and Cornwall to the west but higher than in south-east England. Snow is fairly uncommon but two or three significant snowfalls can be expected in a typical year between December and March, most likely in January or February. Cloud cover averages between 50% and 70% depending on the season. As elsewhere in England, July has the most sunshine (over 240 hours) and January has the least (about 50 hours). Sunny days with a plain blue sky rarely make for the most interesting landscape photographs. Look for weather

WILTSHIRE CLIMATE

Above: Ice and snow on the Kennet and Avon Canal. Canon 40D, 70–300mm f/4 at 100mm, ISO 100, 1/160s at f8. Tripod. Jan. Below: Frosted green-winged orchids (Orchis morio) at sunrise on 12 May. Canon 5D IV, 8–15mm f/4 fisheye at 15mm, ISO 100, HDR: 1/320s, 1/80s, 1/20s, 1/5s and 0.8s at f/22. Tripod. May.

patterns such as sunshine and showers or a storm clearing for more dramatic lighting and the possibility of a rainbow. Mist, frost, snow and floods are all good indicators that excellent and unusual photographic opportunities may be in prospect.

Rainbow over Salisbury Plain. Canon 5D III, 16–35mm f/4 at 31mm, ISO 100, 1/25s at f/16. Tripod. Dec.

Met ofﬁce weather station averages 250

Boscombe Down, Wiltshire SUN / Average SUN hours / Average of sunshine hours ofper sunshine monthper month / Average of sunshine monthper month SUNhours / Average hours ofper sunshine Location: 51.157500, -1.746940 Altitude: 126m aboveSUN mean sea level

200

250

200

hours 150 hours 150 SUN of sunshine monthper month 100 100/ Average SUN hours / Average hours ofper sunshine 50 250 0 200

250 200

SUN / Average of sunshine monthper month SUN hours / Average hours ofper sunshine

hours 150 hours 150 250 250 100 100 200 200 50 50 hours 150 0 hours 150 0

50 250 0 200

100 100 150 hours 150 hours TEMPERATURE / Average /min/max TEMPERATURE Averagetemperature min/max temperature per monthper C/Fmonth C/F TEMPERATURE / Average /min/max per monthper C/Fmonth C/F TEMPERATURE Averagetemperature min/max temperature 50 50 100 100 22/71 22/71 22/71 22/71 0 0 50 C/F 11 50 C/F 11 C/F 11 C/F 11 0/32 0/32 0 0 0/32 0/32 per monthper C/Fmonth C/F TEMPERATURE / Average /min/max TEMPERATURE Averagetemperature min/max temperature

FROST / Average FROST/ days /Average Average of frost days perofmonth frost per month TEMPERATURE temperature per monthper C/Fmonth 22/71C/F FROST 22/71 / Average TEMPERATURE /min/max Average min/max temperature of frost perofmonth FROSTdays / Average days frost per month C/F 11 C/F 11 days 22/71days 1022/71 11 10 6 11 3 0 6 0 3 00 00 00 10 5 0 11 1 5 days 11 0/32 days 10 0/32 11 6 03 00 10 50 11 10 3 11 06 0 0 1 5 11 C/F 11 C/F 11 0/32 0/32 / Average RAIN rain/month and precipitation in mm in mm RAIN days / Average days rain/month and precipitation FROST / Average of frost per FROST / Average days ofmonth frost perand month RAIN / Average days rain/month and precipitation in mm RAIN / days Average days rain/month precipitation in mm 20

days

FROST / Average of frost perofmonth FROST days / Average days frost per month

10days 10 75 0 mm

10 6 11 10 52 57 75 mm0 mm

3 11 51 52

0 6 57 54

0 3 51

00 49 54

00 52 51

00 60 49

10 83 52

5 0 84 60

days

11 1 82 83

mm mm

5 days 11 84 82

RAIN / Average rain/month and precipitation in mm in mm RAIN days / Average days rain/month and precipitation

Jan Mar Feb Apr May Mar Apr Jun May Jul Aug Jun Jul Sep Aug Oct Nov Sep Dec Oct Nov Dec 20 Jan Feb 20 days days

10days 75 0 mm

10 52 57 75 mm 0 mm

51 52

mm mm

54 57

mm mm

49 54

mm mm

52 51

mm mm

60 49

mm mm

83 52

mm mm

84 60

mm mm

82 83

mm mm

20days 10

20 11

6 10

3 11

11 1

10days 10 and precipitation mm 84 in82 / Average and 84 precipitation mm 75RAIN 52 / Average 57 51 54 51 49 52 60 75RAIN 52 days 57 rain/month 51 days 54 rain/month 51 49 83 52 60 in82 83 mm mm mm mm mm mm mm mm mm mm mm mm mm mm mm mm mm mm mm mm mm mm mm 0 0 mm 20 20 Jan Feb Apr May Jul Aug Oct Nov Jan Feb Mar Jun Apr May Jun Sep Jul Aug Sep Dec Oct Nov Dec 10days 10 Mar 75 52 57 54 51 49 75 51 52 57 54 52 51 60 49 83 52 84 60 82 83 84 82 mm mm mm 0 mm mm0 mm mm mm mm mm mm mm mm mm mm

Jan Feb Jan Mar Feb Apr May Jul Aug Sep Aug Oct Nov Mar Jun Apr May Jun Jul Sep Dec Oct Nov Dec

Jan Feb Jan Mar Feb Apr May Jun May Jul Aug Sep Aug Oct Nov Mar Apr Jun Jul Sep Dec Oct Nov Dec

WILTSHIRE CLIMATE

CAMERA, LENSES & CAPTIONS This book is a distillation of more than 20 years spent exploring, understanding and photographing the Wiltshire countryside. During that time my photographic equipment has advanced significantly. For landscape photography I now carry a Canon 5D Mark IV body (a full frame camera) and three main lenses: 16 to 35mm wide angle, 24 to 70mm standard zoom and 70mm to 300mm telephoto. They are used in roughly equal proportions and I recommend them all. Also good, though less frequently used, is my 8 to 15mm fisheye lens, which can produce innovative compositions. All my landscape photographs are taken on a tripod, both to assist in precise composition and ensure no camera shake at whatever shutter speed the images are taken. I use neutral density filters or a polarising filter when appropriate. I do not use graduated filters as I prefer to bracket exposures and combine them in processing. For bird and mammals, I use a Canon 7D Mark II with a 400mm telephoto lens and sometimes a 1.4x teleconverter. Insects, flowers, fungi and other small subjects are mostly

photographed with a 5D Mark IV and a 180mm macro lens. Camera support is provided by a tripod, monopod or beanbag. For night time astrophotography, fast lenses are valuable to capture as much light as possible. Depending on the field of view required, I use a Rokinon 24mm f/1.4 lens or a Sigma Art 14 mm f/1.8 lens. A sturdy tripod is essential. Most of my processing is done in Lightroom, with Photoshop used mainly for selective sharpening. I strive for a natural look in my photographs of the natural world, with the drama hopefully provided by the light, weather and composition. Good planning and good luck are both essential ingredients to photography. I plan my shoots around the seasons, time off day, weather, moon and other natural cycles. The better my planning and the more time I am out in the field, the luckier I seem to get.

Equipment list Camera bodies Canon 5D IV Canon 5D III Canon 7D II

Lenses Canon 24–70mm f/4 L IS USM Canon 16–35mm f/4 L IS USM Canon 400mm f/5.6 L IS USM Canon 70–300mm f/4–5.6 L IS USM Canon 8–15mm f/4 L fisheye Canon 180mm f/3.5 L macro Sigma 14mm f/1.8 Art Rokinon 24mm f/1.4 Canon 1.4x III teleconverter

Other equipment Manfrotto MT190CXPRO3 carbon fibre tripod with Manfrotto 496rc2 ball head Manfrotto XPRO 4 monopod Canon Macro Twin Lite MT-26EX-RT flash Remote cable release Reflector

CAMERA, LENSES & CAPTIONS

Captions The photo captions in fotoVUE guidebooks are in two parts:

2 Photographic information

1 Descriptive caption First is a descriptive caption that describes where the photograph was taken, mentioning any references to viewpoints (e.g. VP1) in the accompanying text and any other useful information.

The second part of the caption lists the camera, lens, exposure, filter used (if any) and the month the photograph was taken. This information is from the Exchangeable Image File Format (Exif data) that is recorded on each image file when you take a photograph.

Tripod or Handheld

Make and model of camera

The focal length of the lens

at which the photograph was taken (for non-prime lenses).

If a tripod is used, it will say Tripod. If the word Tripod is not there, you know the photograph was taken by handholding the camera.

Filter used, if any

Canon 5D IV, 24-105mm f/4 at 28mm, ISO 100, 1/20s at f/11, Polariser. Tripod. July. Lens focal length and aperture

Lightâ&#x20AC;&#x201C;Exposure information The ISO setting, shutter speed and aperture that the photograph was taken at.

The month taken

The month included in the caption enables you to know the (possible) type of weather and state of vegetation at the location.

CAMERA, LENSES & CAPTIONS

Magenta Dawn at Avebury Stone Circle. Canon 70D, 10–22mm f/3.5–4.5 at 22mm, ISO 100, HDR 1/5s, 0.6s and 2s at f/18. Tripod. Dec.

MARLBOROUGH DOWNS

Green Hill 2

Callow Hill

A4311

Lydiard Millicent

National Trust Central Office

Hook

Brinkworth

Royal Wootton Bassett

Dauntsey

A4259

Museum of Computing

Museum & Art Gallery

A4289 A3102

Grittenham

Swindon

A4361

M4 B4 005

Tockenham Wick

Wroughton

Elcombe A3102

B40

Tockenham

Bincknoll Castle

Markham Banks NR

Bradenstoke Lyneham

Overtown

White Horse

6 The Ridgeway See detail map on page 100

Broad Town

Bushton Preston Clyffe Pypard

Broad Hinton Spirthill

6 VP2 Beech clumps

The Winterbourne

A4361

Hilmarton

Clevancy

Highway

Winterbourne Bassett

Highway Hill

A3102

6 VP3 Barbury Castle

Uffcott

Goatacre

Buzzard Hide

M ar lbor ough Downs Hackpen

White Horse

Hill 272m

Berwick Bassett Compton Bassett

Calne

Mile Elm

Calstone Wellington

VP1 Oliver’s Castle

VP2 Green Lane

VP3 16 Calstone Combes

Cherhill Down & White Horse

Devil’s Den Red Lion

6 VP1 Round Barrows

Silbury Hill

Waggon & Horses

Beckhampton

West Kennet Long Barrow

West Kennett

Bishops Cannings The Crown

Stanton St Bernard All Cannings

Fyfield

East Kennett

River Kennet

The Who’d A Thought It

Lockeridge

Lockeridge 12 Dene West Woods 13

Milk Hill 294m

Gopher Wood Huish

White Horse

Allington

Coate

West Overton

See detail map on page 79 Tan Hill 294m

Horton

Devizes

Avebury 2

A361

White Horse VP3 Leipzig Roundway Plantation

Fyfield Down

The Circle Café

VP3 260m 17 Nature Reserve VP1 Furze Knoll Heddington

242m

Rockley

NNR

World Heritage Site

Morgan’s Hill

Roundway 18 Hill

Winterbourne Monkton

Windmill Hill 196m

VP1 Cherhill A4 roadside Black Horse A4 Quemerford White Horse VP2 VP4 Skyline Calstone Down Monument

Stockley

VP2 Roundway Combes

Yatesbury

Oare Alton Barnes

West Stowell Alton Priors Wilcot

A345

A4312

MARLBOROUGH DOWNS

Ashbury

1 Avebury �� 80 2 Silbury Hill �� 86 3 West Kennet Long Barrow �� 90 4 Devil’s Den �� 92 5 Fyfield Down �� 94 6 The Ridgeway �� 98 7 Rockley �� 108 8 Berwick Bassett Buzzard Hide �� 110 9 River Kennet �� 112 10 Lockeridge Dene �� 114 11 Savernake Forest �� 116 12 West Woods �� 122 13 Gopher Wood �� 126 14 Martinsell Hill �� 128 15 Littlecote Roman Villa �� 132 16 Cherhill Down and White Horse �� 134 17 Morgan’s Hill �� 142 18 Roundway Hill �� 146

Idstone Hinton Parva

A419

Helen Browning's Royal Oak

Bishopstone A4259

Wanborough

6 VP5 Strip Lynchets

Liddington 15

The Plough Inn

Badbury

Chiseldon

6 VP4 Liddington Castle B4

Baydon

Upper Upham A346

Woodsend

High Clear Down NR

Aldbourne

Ogbourne St George 19

Ogbourne St Andrew

Whittonditch Ramsbury

Ogbourne Maizey

Stonebridge Wild River Reserve Polly Tea Rooms

Axford

net

Mildenhall

Ken er

Chilton Foliat

Littlecote Roman Villa Littlecote Hotel

Marlborough

White Horse

Postern Hill Campsite

11 Clench Common

Hungerford

Chisbury

Savernake Forest

Cadley

Froxfield

Bagshot

A346

Great Bedwyn 14

289m

Martinsell Hill

Ken

Av o n net &

Wootton Rivers 7

B308

Easton Royal

Little Bedwyn

See detail map on page 117

Canal

A338

Durley

mile

Shalbourne Crofton

Burbage

Ham Wilton

Rivar

Ham Hill NR

Buttermere

AVEBURY

Avebury is Britain’s largest stone circle and, a sign outside the “Red Lion” informs us, the only one in the world to surround a pub. Built in the Neolithic period between 2850 BC and 2200 BC, this stone circle pre-dates Stonehenge. Moreover, it represents an altogether larger scale. The monument comprises a huge, almost circular bank and ditch over 1 km in circumference. Within these are an outer stone circle, believed to have originally comprised 98 standing stones, and two smaller ones. The stones used at Avebury are sarsens, dragged using stone-age technology from the surrounding Marlborough Downs. The Avebury monument forms part of an outstanding prehistoric landscape containing several related monuments, including West Kennet Long Barrow, Windmill Hill and Silbury Hill. What was the purpose of the stone circle? Although surrounded by a bank and ditch, these are unlikely to have been defensive as the ditch was built inside the bank. An avenue of paired stones runs between Avebury and West Kennett, around a mile to the south, apparently forming a processional route. The whole complex was most likely a ceremonial structure, presumably connected with Neolithic religious observance. It is notable that the sarsens in the Avenue appear to be paired in distinct shapes; broad in one row and narrow in the other. Some archaeologists interpret these characteristics as representing female and male genders. A similar dichotomy can be observed in the shapes of sarsens within the stone circle. Today, Avebury stone circle is severed by an “A” road, encroached into by the modern village and sometimes crowded with visitors. After 4,500 years many of the original stones have gone missing; some have been replaced with unsympathetic concrete markers. However, it is entirely possible to capture a sense of timelessness and solitude in photographing Avebury. The key is to come when few other people are about and the light is at its best, which is usually the case around dawn. >>

MARLBOROUGH DOWNS – AVEBURY

How to get here Avebury is managed by the National Trust, which operates a large car park (pay and display, currently £7, NT and EH members free) accessed from the A4361 south-east of the village. From here it is a five minute stroll to the stones. During the evening and when the main car park is closed at night (which covers most of the times photographers are likely to want to visit), the Trust allows visitor parking in the small car park located on the High Street, just west of the A4361 in the centre of the village. There is no parking available at Avebury on the morning of summer solstice and the evening before, so if planning to visit at this time it is recommended to travel by bicycle or bus.

Previous spread: “Hedgehog” round barrow on Overton Hill (Location 6 VP1). Canon 70D, 10–22mm f/3.5–4.5 at 14mm, ISO 100, 1/6s at f/16. Tripod. Dec.

Main Car Park

Lat/Long: 51.425818, -1.8581714 what3words: ///play.waltzed.standards Grid Ref: SU 099 696 Postcode: SN8 1RD

Village Centre Car Park

Lat/Long: 51.428544, -1.8556125 what3words: ///hypocrite.helping.parent Grid Ref: SU 101 699 Postcode: SN8 1RF

You can walk down the Avenue from Avebury stone circle. Alternatively, drive half a mile along the unsigned B4003 road towards the A4 and park in an informal roadside layby free of charge (same parking as for Silbury Hill Viewpoint 1).

Accessibility The recommended viewpoints are on level ground, reached through latched gates, and are wheelchair accessible. Some other parts of the monument are on slopes, which are steep in places.

Best time of year/day Winter sunrise is the best time to photograph Avebury, especially when frosty. The best colour in the sky is usually about 20 minutes before sunrise, so aim to arrive before that to select a good composition. Lying snow is great but attracts many photographers and other visitors (even before sunrise) so does not remain pristine for long. A frosty April morning is ideal for photographing sunrise from the north-eastern quadrant. On the summer solstice, the monument is crowded with revellers all night and at dawn, which is great if your intention is to photograph people but not ideal for conveying the timeless quality of the stones. Evening light on standing stones at any time of year can also be attractive.

Above: Midsummer dawn, The Cove (VP2). Canon 5D III, 24–105mm f/4 at 32mm, ISO 200, HDR 1/60s, 1/8s and 1s at f/11. Tripod. June.

MARLBOROUGH DOWNS – AVEBURY

The Cove by moonlight (VP2). Canon 5D III, 24mm f/1.4, ISO 800, 20s at f/2. Tripod. Nov.

AVEBURY

Winter sunrises work particularly well, with hard frost or snow on the ground and fiery or pastel colours in the sky. A little mist can also add a wonderful sense of mystery to the stones. For a very different experience, visit at dawn on the summer solstice, which falls on either 20th or 21st June. Although there is no evidence of a solstice alignment of the stones at Avebury, like Stonehenge it has become a happy place of celebration for pagans, druids, hippies, performance artists and party-goers throughout the shortest night of the year. These bring many opportunities for portrait photography. Revellers line the monument’s eastern bank to greet the rising sun at 4.50am (one minute earlier than at Stonehenge, as Avebury is further north).

What to shoot and viewpoints Avebury Stone Circle is divided into quadrants by modern roads through the village, including the busy A4361. Compared to those east of the highway, the north-west and south-west quadrants have more of the outer circle remaining. However, options for a well-balanced composition are limited here as all their sarsens are in a single row, alongside the ditch and outer bank. The most effective photographs usually include stones from the two inner circles, in the south-east and north-east quadrants. Compositions here can readily include trees and more distant landscape features, with the stones photographed against the sky. Avebury from the air. Canon 7D, 24–105mm f/4 at 28mm, ISO 200, 1/500s at f/6.3. July.

Viewpoint 1 – Southern Inner Circle (south-east quadrant) The south-east part of the monument has only two surviving stones in its outer circle but they can be combined with those remaining in the southern inner circle and trees on the outer bank to create a well-balanced image, giving a good sense of depth. The sector is ideally placed for winter sunrises (November to February), with an almost unobstructed view to the south-east across the Marlborough Downs. A classic composition here has the southern inner circle in the foreground and elements of the outer stone circle beyond, along with a distinctive clump of beech trees on the outer embankment. Careful positioning can avoid including any concrete markers by hiding them behind sarsens. Adopt a low viewpoint to make the stones appear imposing in an image. It is worth exploring other possibilities, both for wide angle shots and going in close to convey the character of individual stones. By moving a few metres to your left and swinging your camera round to point south-west, you can include the largest sarsen of the southern inner circle mirroring the wedge shape of the beech clump.

Viewpoint 2 – Northern Inner Circle (The Cove) (north-east quadrant) The part of the monument lying north of the village and east of the A4361 also has great potential and is perhaps less photographed than the southern view. Two remaining stones of the inner circle, known as the Cove, are amongst the largest and most impressive standing sarsens at Avebury. A great composition is looking across the Cove, its pair of stones balanced by an ash tree on the right of the image to make a pleasing triptych. By moving a few metres right, you can include a third, more distant, stone of the inner circle between the pair and omit the ash tree. This viewpoint works well at dawn in late spring and summer, with an unobstructed view of sunrise across the Marlborough Downs from late April to August. It is also a good place to photograph by moonlight, with a waxing gibbous moon behind you. Opposite top: Frosty dawn at Avebury (VP1). Canon 70D, 24–105mm f/4 at 24mm, ISO 100, HDR 1/25s, 1/6s and 0.6s at f/16. Tripod. Nov. Middle left: Snow at Avebury (VP1). Canon 5D III, 16–35mm f/4 at 34mm, ISO 100, 1/50s at f/18. Tripod. Mar. Middle right: Midwinter sunrise at Avebury (VP1) Canon 5D IV, 24–70mm f/4 at 53mm, ISO 200, HDR: 1/400s, 1/100s and 1/6s at f/16. Tripod. Dec. Bottom: Crowds gather on Avebury’s outer embankment to welcome sunrise on the summer solstice. Canon 5D III, 24–70mm f/4 at 59mm, ISO 200, 1/320s at f/16. Tripod. June.

MARLBOROUGH DOWNS – AVEBURY

MARLBOROUGH DOWNS â&#x20AC;&#x201C; AVEBURY

Beech clumps on Hackpen Hill (VP2). Canon 5D IV, 70–300mm f/4.5–5.6 at 70mm, ISO 100, 1/4s at f/22. Tripod. Apr.

THE RIDGEWAY Viewpoint 5 – Bishopstone Strip Lynchets

Bishopstone strip lynchets (VP5). Canon 5D IV, 24–70mm f/4 at 44mm, ISO 100, 1/20s at f/11. Tripod. May.

VP 5 – Bishopstone Strip Lynchets

The strip lynchets can be reached along the Ridgeway or from Bishopstone village. For the Ridgeway route, take the minor road on the right about 200m east of the village pond and proceed uphill for about one mile until you pass Ridgeway Farm and reach the Ridgeway itself immediately beyond. Turn right onto the Ridgeway and park immediately on the left in an informal parking area. Proceed on foot along the Ridgeway for 1 km, passing a signed footpath on the right and bridleway on the left after 400m. As you reach the 1 km point, look out for an unsigned permissive footpath on the right. Take this, passing along a field boundary as it descends. Where the path forks either side of the field boundary, take the right hand fork, pass over a style and the strip lynchets are ahead of you. This route involves ascent of around 35m and descent of 25m.

Lat/Long: 51.542416, -1.6372955 what3words: ///perusing.homes.apart Grid Ref: SU 252 826 Postcode: SN6 8PW

From Bishopstone village, park in the Church Car Park, which is signed from the village main street. Return to the main street and a signed footpath starts from right across the street. Follow this for 500m into a dry valley. You will see the strip lynchets on the steep hillside ahead. As the footpath starts to climb, leave it and follow a permissive footpath up the right hand fork of the dry valley to reach the strip lynchets after another 500m. The ascent by this route is about 70m.

Lat/Long: 51.552559, -1.6506904 what3words: ///tests.surprises.incorrect Grid Ref: SU 243 837 Postcode: SN6 8PY

South of the attractive village of Bishopstone, the steep downland slopes just north of the Ridgeway have been carved into what looks like a giant’s staircase. The main section has eight risers and treads, each up to 260m in length. These strip lynchets are an ancient field system, excavated to increase the area of land that could be cultivated. They are believed to be of Medieval date, though they could be older. Although impressive, the strip lynchets are not easy to photograph successfully. Differential lighting on the risers and treads emphasises the landform but as the most impressive section faces north at the back of a bowl-shaped valley, it is not well oriented for morning or evening light. Try an evening shot around midsummer from the hillside to the west; or a midday composition in winter.

Accessibility Viewpoints 1, 2 and 3 are easily reached with only minor gradients. Viewpoints 4 and 5 require ascent on footpaths from public roads. The Ridgeway can be rutted and potholed due to its use by all-terrain vehicles between May and September. The ramparts of Barbury and Liddington Castles are steep but the footpaths along the top are straightforward. Viewpoints 1 and 2 are wheelchair accessible with care.

Best time of year/day The Ridgeway can be good at any time. Early winter mornings are best for frost, mist and spiky trees bare of leaves, especially at Viewpoint 1. The round barrows look good under a dramatic pre-dawn sky. Beech clumps at Viewpoint 2 are attractive in late April or early May as they come into leaf. Autumn is not usually so pleasing, as in this exposed location the leaves are quickly blown from the trees. The strip lynchets at Viewpoint 5 benefit from low light to show the contours of the land, though this is tricky to get as the downland faces north. At the end of spring and in early summer, evening sun rakes along the staircase, though it starts to go into shadow almost an hour before sunset. In mid-winter, midday sun can illuminate the treads while leaving the risers in shadow. Snow is ideal for emphasising the landform. You are most likely to encounter farmland birds along the Ridgeway early on spring mornings, whereas short-eared owls hunt over rough grassland on winter afternoons. Opposite left: Short-eared owl at Barbury Castle (VP3). Canon 7D II, 400mm f/5.6, ISO 1600, 1/1,000s at f/5.6. Dec. Opposite right: Marbled white butterfly at Barbury Castle (VP3). Canon 60D, 100mm f/2.8, ISO 160, 1/200s at f/13. Tripod. July.

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Above: Corn bunting singing on Hackpen Hill (VP2). Canon 7D II, 400mm f/5.6, ISO 200, 1/1,000s at f/5.6. Beanbag. May.

Above right: Field scabious at Barbury Castle (VP3). Canon 60D, 100mm f/2.8, ISO 100, 1/250s at f/10. Tripod. July.

Above: Large white butterfly at Barbury Castle. Canon 60D, 100mm f/2.8, ISO 100, 1/125s at f/9. Tripod. July.

Above: Yellowhammer at Overton Hill (VP1). Canon 7D II, 400mm f/5.6, ISO 200, 1/1,000s at f/6.3. Tripod. May.

WILTON WINDMILL

The village of Wilton in the Vale of Pewsey (not to be confused with the town of Wilton near Salisbury) has Wiltshire’s only working windmill. It was built in 1821 after completion of the Kennet and Avon canal rendered local watermills unviable. By the mid-20th century the windmill was derelict, before restoration by volunteers in 1976. Today, Wilton Windmill once more produces wholemeal stoneground flour.

What to shoot and viewpoints

Located on a hilltop a mile south of the Kennet and Avon canal, there are many photographic possibilities here. This traditional tower mill is equipped with a fantail which turns its cap to ensure that the sails always point into the wind. Prevailing winds are south-westerly, so the sails are most often directed west or south.

There is space within the curtilage of the windmill and the immediately adjacent grass field to photograph it from the south using a wide angle or standard lens. You may want to find a position that omits the ticket office, gift shop and tea room, which are located with a former Shepherd’s Hut.

The windmill is a good subject at any time of day or night, especially when illuminated by evening sun or by the moon. Photographs here inevitably include plenty of sky, so aim to visit when there are sufficient clouds to add interest in the daytime, or stars at night. The windmill sunlit against a backdrop of dark, stormy clouds would be effective.

Viewpoint 1 – From the south

Opposite: Moonlit Wilton Windmill (VP1). Canon 5D III, 24mm f/1.4, ISO 400, 20s @ f/2. Tripod. Oct. Full moon rising over Wilton Windmill (VP4). Canon 7D II, 400m f/5.6, ISO 200, 1/8s at f/8. Tripod. Dec.

How to get here From Burbage, take the A338 towards Shalbourne. After two miles turn left at East Grafton, signed to “Wilton Windmill”. Half a mile along this road you will see the windmill on a hill to your right; park on the roadside here for Viewpoint 4. To reach the windmill itself (Viewpoints 1, 2 and 3) continue into Wilton village and carry on up Wilton Hill. Despite being visible for miles around, the closer you get to the windmill, the harder it is to find! After leaving the village, take the second turning on the right onto Windmill Lane and after 300m you reach an unpaved layby on the left. Park here and cross the road to reach the windmill along a short footpath.

VP 1, 2 & 3 – Windmill

Lat/Long: 51.353953, -1.6050661 what3words: ///deep.wades.habits Grid Ref: SU 275 617 Postcode: SN8 3SW

VP 4 – Wilton Road, East Grafton

Lat/Long: 51.346939, -1.6244316 what3words: ///inch.jugs.depending Grid Ref: SU 262 609 Postcode: SN8 3SU

Wilton Windmill can be accessed externally at any time or day or night, free of charge. The inside can be visited on guided tours on Sundays and Bank Holiday Mondays between Easter Saturday and the end of September, from 2pm to 5pm. The cost of these is currently £5.

CANAL AT WILCOT

A mile east of Pewsey, this tranquil section of the canal is unusual in that it is wooded. For a short length, the tree canopy is almost closed over the canal. There are no locks on this section but Bristow road bridge (number 115) makes a good focal point or a frame for the canal, especially if there are narrow boats either moored on the other side or travelling through it.

What to shoot and viewpoints From the canal tow path about 100m north-east of Bristow Road Bridge, shoot back towards the bridge, with foliage around and/or through the bridge. Try to avoid chinks of sky showing between branches. This is very much a late spring or late autumn composition, at which seasons the trees have a variety of colours and tones. To get the best composition, walk a little way along the tow path and notice how the view through the bridge changes over a short distance. A short to medium telephoto lens gives the best results here. You will need to stop down to at least f/22 in order to get both the bridge and boats beyond in sharp focus.

Canal boats framed by Bristow Road Bridge in Spring. Canon 5D III, 70â&#x20AC;&#x201C;300mm f/4â&#x20AC;&#x201C;5.6 at 300mm, ISO 100, 1/50s at f/22. Tripod. May.

Autumn colours at Bristow Road Bridge. Canon 5D III, 70–300mm f/4–5.6 at 135mm, ISO 100, 2.5s at f/22. Tripod. Nov.

How to get here

Best time of year/day

From Marlborough, take the A345 south towards Pewsey. After six miles, where the road bends sharp left, turn right onto a minor road signed to “local villages only”. You will find an unpaved layby on the left 300m along this road. Park here and walk another 100m to reach Bristow Bridge. Turn right onto the canal towpath, dropping down a short slope, and you are at the viewpoint.

Early May when leaves are young, vibrant and multi-toned, or early November, when autumn colours are at their peak. Any time of day is suitable but preferably in overcast conditions or when the sun is low in the sky, as bright sunlight is too contrasty shining through gaps in foliage. In the morning Bristow Bridge is backlit. Late afternoon on a sunny day can work well, with the foreground and most of the canal in shade but sunlit beyond the bridge.

Lat/Long: 51.352673, -1.7844790 what3words: ///tragedy.engineers.glorious Grid Ref: SU 151 615 Postcode: SN8 4JF

Accessibility The canal tow path is level but reaching it from the road involves a slope, which is not wheelchair-friendly.

VALE OF PEWSEY – CANAL AT WILCOT

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URCHFONT

Nestled at the foot of Salisbury Plain, Urchfont has everything you would expect in a quintessential English village. Thatched cottages, half-timbered buildings, grand houses, a manor, two village greens and a duck pond. The duck keeper puts his charges to bed at night in a custom-built, brick duck house. The west of the parish has an ancient bluebell wood. Over the first weekend in May, this usually sleepy village is transformed into a bustling hub as the Urchfont Scarecrow Festival gets underway.

What to shoot and viewpoints Viewpoint 1 – Mulberry House and the Duck Pond The imposing three stories of 18th-century Mulberry House look directly over the village pond. On a windless day and when the ducks are out of the water, it makes a pleasing reflection. Walk from Pond Green along the High Street to The Green to take in some of Urchfont’s other historic dwellings.

Viewpoint 2 – Scarecrow Festival The scarecrow festival takes place all over the village, with a hub on Pond Green. Urchfont scarecrows are works of art, painstakingly created as effigies of celebrities or historical figures. This quirky tradition has abundant photographic potential.

Viewpoint 3 – Oakfrith Wood As its name suggests, this is an ancient oak woodland. Most was cleared and replanted between 1928 and 1938 with beech, which can be deduced from the single-species monoculture and even age structure of most of the trees. This wanton act of felling ancient trees is commemorated by a rather self-satisfied plaque in the middle of the wood. However, some of the original trees remain, as does the ancient woodland ground flora. In early May (conveniently coinciding with the scarecrow festival) it is carpeted with bluebells. As with other bluebell woods, Oakfrith photographs best under bright overcast conditions, or alternatively get there early or late in the day.

Thatched cottage, Urchfont High Street. Canon 5D IV, 24–70mm f/4 at 31mm, ISO 400, 1/250s at f/16. May.

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Above: Mulberry House and village pond, Urchfont (VP1). Canon 5D IV, 24–70mm f/4 at 64mm, ISO 200, 1/200s at f/16. Tripod. May.

Below: Bedtime at Duckingham Palace, Urchfont (VP1). Canon 5D III, 24–70mm f/4 at 60mm, ISO 1600, 1/200s at f/6.3. Tripod. Oct.

Sunrise over Caen Hill Locks. Canon 5D III, 70–300mm f/4–5.6 at 93mm, ISO 100, HDR 1/15s, 1/1,000s, 1/125s and 0.5s at f/22. Tripod. Sept.

THAMES & BRISTOL AVON VALES

ROYAL WOOTTON BASSETT

How to get here Royal Wootton Bassett is easily reached from Junction 16 of the M4 motorway, from where you take the A3102. For the starlings, turn left after one and a half miles onto Stoneover Lane and then right onto Longleaze. Park on any of the residential streets around here and wait for the display to begin. Thousands of aerial starlings means thousands of starling droppings, so you may wish to take an umbrella. If your car takes many hits (which is likely), there is a jet wash at the BP Garage on the A3102 in town, which closes at 6pm. For the canal, take Station Road from Royal Wootton Bassett High Street towards Broad Hinton. Cross over the railway bridge and about 200m further on there is an unpaved car park on the left. The entrance is almost opposite the Royal Mail Sorting Office. Park here and follow the footpath past a vehicle barrier to reach the canal after 200m. A footpath runs the entire length on the south bank and there are also two footbridges on which the canal can be crossed.

VP 1 – Starlings

Lat/Long: 51.544545, -1.8941921 what3words: ///frog.cover.glance Grid Ref: SU 074 828 Postcode: SN4 8AH

VP 2 – Wilts & Berks Canal

Lat/Long: 51.531813, -1.8989986 what3words: ///commutes.tweeted.explain Grid Ref: SU 071 814 Postcode: SN4 7WB

Accessibility The footpath is level and accessible to all including wheelchair users.

Best time of year/day The starling murmuration occurs around sunset from December to early March. The canal can be visited at any time of day but to see wildlife with least disturbance, early morning is best. Water voles may be seen all year but are particularly active in spring, as are nesting birds.

Viewpoint 2 – Wilts & Berks Canal Opposite top: Water vole on canal bank (VP2). Canon 7D II, 400mm f/5.6, ISO 1600, 1/320s at f5.6. May. Opposite left: Water vole swimming (VP2). Canon 7D II, 400mm f/5.6, ISO 1600, 1/1600s at f5.6. May. Opposite right: Mallard (Anas platyrhynchos) duckling (VP2). Canon 7D II, 400mm f/5.6 plus 1.4x teleconverter, ISO 400, 1/800s at f/8. May.

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Walk along the canal footpath to see wildfowl such as mute swans (Cygnus olor), together with coots (Fulica atra) and moorhens (Gallinula chloropus), all of which nest here. Dragonflies and damselflies are common in summer. A target species for many photographers is the water vole (Arvicola terrestris), which live in burrows along the canal bank. With patience, these endearing animals can be seen and photographed resting on the opposite bank, feeding and swimming. Water voles are not tolerant of dogs and this is a popular location for dog walking, so visiting very early in the morning is a good strategy.

THAMES & BRISTOL AVON VALES â&#x20AC;&#x201C; ROYAL WOOTTON BASSETT

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CLATTINGER FARM AND LOWER MOOR FARM

Viewpoint 2 – Front Field

Viewpoint 4 – Sandpool Farm

Front Field is the place for green-veined orchids (Anacamptis morio) – thousands of them. Rich purple in colour, they flower in early May amongst even greater numbers of cowslips (Primula veris). The result is a delightful plums-and-custard complementary colour palette. A landscape composition here can include orchids, cowslips and a line of poplars along the adjacent lane.

A patch of rough grassland on Sandpool Farm has a small colony of bee orchids (Ophrys apifera). One of the best known species, their plump flowers resemble fat, furry bumble bees. This orchid has evolved to trick male insects into trying to mate with the flower and thereby distribute pollen from one orchid to the next. The orchid achieves fertilisation, whereas the bee does not.

Viewpoint 3 – Mrs Ody’s Field

Opposite top left: Southern marsh orchid in Mrs Ody’s Field (VP3). Canon 5D III, 70–300mm f/4.5–5.6 at 236mm, ISO 100, 1/250s at f/8. Tripod. May.

Flowering in June, common spotted (Dactylorhiza fuchsii) and southern marsh (Dactylorhiza praetermissa) orchids abound in several fields on the farm, notably Mrs Ody’s. There is a considerable proportion of orchids that could be either species, or both, indicating cross-fertilisation and hybridisation. The orchid equivalent of illicit sex.

Opposite top right: Common blue butterfly (Polyommatus icarus) in Mrs Ody’s Field (VP3). Canon 70D, 100mm f/2.8, ISO 100, 1/80s at f/5.6. Tripod. May. Opposite bottom left: Cowslips in Front Field (VP2). Canon 60D, 70–300mm f/4.5–5.6 at 300mm, ISO 100, 1/500s at f/5.6. Tripod. May. Opposite bottom right: Bee orchid at Sandpool Farm (VP4). Canon 5D III, 180mm f/3.5, ISO 100, 1/160s at f/8. Eight images focus-stacked. Tripod. June.

Previous spread: Backlit Snake’s head fritillaries, Bridge Field (VP1). Canon 5D III, 70–300mm f/4.5–5.6 at 135mm, ISO 100, 1/200s at f/5. Three images focus–stacked. Tripod. Apr.

How to get here Clattinger Farm is two miles north of Minety, at the western end of the Cotswold Water Park. From Minety, take the minor road north towards Somerford Keynes. After passing through the tiny hamlet of Swillbrook you cross a small road bridge. Immediately after this there is a field entrance on the left through a gate, with space to park one or two cars off the road. This is the entrance to Bridge Field. The next field along to the north is Front Field. Continuing up the minor road for a further 500m brings you to another access point, with a gate, stile, information board and off-road parking for three cars. Cross the stile to enter an unnamed field, from which Mrs Ody’s Field is the next one to the south. To reach Sandpool Farm, cross the bridge on the right at the corner of the unnamed field and follow the footpath for 400m. The third point of access is through Lower Moor Farm, from the Water Park Spine Road. Continue along the lane from Minety to the Spine Road (West), at which you turn left. After a mile you reach the signed main entrance to Lower Moor Farm on the left, where there is a car park and visitors’ centre. This is the most convenient access point for the Wildlife Learning Area and Swallow Pool.

Bridge Field

Mrs Ody’s Field

Lower Moor

Lat/Long: 51.642998, -1.9768298 what3words: ///bounded.indicates.nutrients Grid Ref: SU 017 938 Postcode: GL7 6DY Lat/Long: 51.643021, -1.9899738 what3words: ///shorten.basic.gratitude Grid Ref: SU 007 938 Postcode: SN16 9TW

For a map of the reserves, visit www.wiltshirewildlife.org/ lower-moor-farm-including-clattinger-farm-sandpool-oakseymoor-farm-meadow-cricklade.

All the reserves and fields are interconnected with gates and footpaths. There is certainly no need to drive between them as they can be readily reached on foot from whichever car parking location is most convenient. The walking routes round the reserves all offer a good chance of seeing wildlife, so keep your camera ready.

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Lat/Long: 51.638142, -1.9771153 what3words: ///wheels.synthetic.wrenching Grid Ref: SU 016 932 Postcode: SN16 9QA

THAMES & BRISTOL AVON VALES – CLATTINGER FARM AND LOWER MOOR FARM

GREAT CHALFIELD MANOR

Only a mile from The Courts, hidden away in peaceful countryside, is another National Trust garden. Great Chalfield Manor is a gem. The Medieval manor, which can be visited on guided tours only, has a tangible sense of antiquity, with many stories to tell. Surrounded by a moat, its extensive Arts and Crafts gardens include prolific climbing roses, topiary yew houses, a spring-fed lily pond and long herbaceous borders. Adjacent to the manor is the parish Church of All Saints, within which rural scenes are illustrated in a delightful painted window.

What to shoot and viewpoints Viewpoint 1 – The Moat On a still day, the manor and some garden features are beautifully reflected in the moat. Follow the footpath around the south side of the moat from the garden and look for good viewpoints. If there is a little rippling on the water, try an 8 or 10 stop neutral density filter to achieve a long shutter speed, say around 30 seconds. This averages out the ripples and makes a reflection stronger.

Viewpoint 2 – Lily Pond The lily pond makes effective foreground to a wide-angle composition including the manor house, church and yew topiary, especially in early summer when the lilies are in flower. Part of the manor house on the left is balanced on the right by a huge yew “house”, complete with four entrances and space inside.

Viewpoint 3 – Well Court A riot of colourful roses ramble up the sides of this courtyard, bounded on two sides by the Manor house. Shrub roses make a fine foreground to the part-timbered manor house walls and latticed windows.

Next spread: Period costumes at Great Chalfield Manor. Canon 5D IV, 24–70mm f/4 at 28mm, ISO 100, 1/10s at f/16. Tripod. May.

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WILTSHIRE COTSWOLDS – GREAT CHALFIELD MANOR

Great Chalfield Manor reflected in its moat (VP1). Canon 5D IV, 24–70mm f/4 at 38mm, ISO 100, 1/30s at f/16. Tripod. Apr.

WILTSHIRE COTSWOLDS – GREAT CHALFIELD MANOR

263

MALMESBURY

Viewpoint 2 – Malmesbury Abbey House Gardens Adjacent to the Abbey are the privately-owned Abbey House Gardens, which are open to the public. They are largely the creation of Ian and Barbara Pollard, who in the early years of the present century achieved fame as “The Naked Gardeners”. The 16th century Abbey House and its five acre gardens are now owned by their son.

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WILTSHIRE COTSWOLDS – MALMESBURY

There are two contrasting sections to the gardens, a formal area in front of Abbey House and an informal area descending to the Tetbury branch of the Bristol Avon. There many opportunities for photographic compositions in the formal area, often including the Abbey House or the Abbey as focal points. An attractive stone arch can be used to frame part of the house and elaborate box topiary lining a path. In the river valley, luxuriant

vegetation has the atmosphere of a tropical jungle, enhanced by various garden sculptures including a life-sized gorilla and a sloth.

Top: Something in the jungle, Malmesbury Abbey House Gardens (VP2). Canon 5D IV, 16–35mm f/4 at 23mm, ISO 100, 2s at f/16. Tripod. June. Above: Stone arch and box topiary (VP2). Canon 5D IV, 24–70mm f/4 at 45mm, ISO 100, 1/8s at f/22. Tripod. June.

Above: Malmesbury Abbey House Gardens (VP2). Canon 5D IV, 16–35mm f/4 at 16mm, ISO 100, 1/100s at f/18. Tripod. June.

WILTSHIRE COTSWOLDS – MALMESBURY

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Midwinter sunset at Stonehenge. Canon 40D, 24â&#x20AC;&#x201C;60mm f/3.5â&#x20AC;&#x201C;4.5 at 28mm, ISO 100, 1/50s at f/16. Tripod. Dec.

SALISBURY PLAIN

STONEHENGE

If there is one place in Wiltshire that is known across the entire world, it is Stonehenge. This enigmatic stone circle has seeped into the consciousness of billions of people as an emblem of Britain. Consequently, it receives more visitors than anywhere else in the south-west of England. In recent years, visitor numbers have peaked at over one and a half million annually. Stonehenge was built in a number of stages during the Neolithic and Bronze Ages, starting 5,000 years ago. The first development, around 3,000 years BC, was the construction of a circular ditch with two banks about 100m in diameter, referred to by archaeologists as a henge. A series of 56 pits, known as Aubrey holes, were dug inside the bank. Along with the ditch, they were used for cremations. In about 2,500 BC the stones were set up in the centre of the monument. Two types of stone are used at Stonehenge – the larger sarsens, which were dragged from the Marlborough Downs about 20 miles away, and smaller bluestones, which came from Pembrokeshire. It is not known how the bluestones were transported but water-borne rafts seems most likely. We can only speculate what properties our forebears attributed to bluestones that made them so valuable to justify transporting them 250 miles to Wiltshire. The sarsens were erected in two concentric arrangements – an inner horseshoe and an outer circle. The bluestones were set up between them in a double arc, later rearranged to form a circle and inner oval and then subsequently moved again to form a horseshoe. By 2,000 BC, an earthwork avenue was built, connecting Stonehenge with the Salisbury Avon. One of the last prehistoric activities at Stonehenge was digging two rings of concentric pits around the stone settings, which have been radiocarbon dated by antlers to between 1,800 and 1,500 BC. About the same time, numerous round barrows were built in the landscape around Stonehenge. Opposite: Mars over moonlit Stonehenge (VP4). Canon 5D III, 24–70mm f/4 at 57mm, ISO 1600, 20s at f/4. Tripod. Aug.

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Hence, archaeologists have been able to deduce a great deal about when Stonehenge was built. They have also made some informed insights into how it was constructed. But why it was built remains a mystery. Was it a temple? An observatory? A place of healing? Or a place for the dead? Or all of these? One thing we do know is that Stonehenge was constructed on a principal alignment between the direction of midsummer sunrise (north east) and mid-winter sunset (south west). Although its builders had no clocks to measure changing daylight hours, they could pinpoint the solstices by observing the position of sunrise and sunset along the horizon. At midsummer, the sun rises and sets at its most northerly point, whilst at midwinter it reaches its southerly extremes. The stone circle would have provided a way of marking out the progression of sunrise and sunset around the horizon throughout the year. Viewed from the heel stone, midwinter sunset is seen between the huge standing stones (trilithons) along the main axis of the circle. It seems likely that the monument was used for ceremonies, most probably at the winter solstice, to mark the turning point of the year and welcome the sun back. The tradition of a midwinter festival is one that has been handed down through millennia, in the form of the modern date on which Christmas is celebrated, four days after the solstice.

What to shoot and viewpoints Viewpoint 1 – The Viewing Circuit For most visitors, a visit to Stonehenge begins at the recently built visitor centre, a mile to the west, from where shuttle buses deliver them to the stones. The standard tour comprises a walk around the perimeter of the stones, kept at a respectful distance by guard ropes. No entry to the stone circle itself is permitted in regular visiting hours. For serious photographers, this experience is likely to be a disappointment. It is difficult to make creative compositions from a standard distance and hard to avoid getting other visitors in shot beyond the stones. The cost of the standard viewing circuit, at the time of writing, is £19 (English Heritage and National Trust members free; advance booking recommended).

Tum ul i

Larkhill

ntati

o Pla

Farg

Airmen’s Corner A360

T h e

Coach Park

To Shrewton

s C u r s u World Heritage Site

Tumuli

Stonehenge

Tu m u l i

Car Park Visitor Centre

Visitor Bus Terminus

Tum ul i

Stonehenge

A360

VP4 – From the North To Amesbury

PROW

VP3 – Byway 12

Tu m u l i

Stonehenge Down Tu m uli

VP1 – The Viewing Circuit VP2 – Stone Circle Access VP5 – Summer Solstice Managed Open Access see text for details

A303

(Wi nterb our ne Stokes Gr oup)

Normanton Gorse Tumuli

A303 To Wincanton

A360

To Salisbury

The Diamond

N Tu m u l i

Normanton Down 0

500m

CHARLTON BEECH CLUMPS

Few places capture the emptiness of Salisbury Plain more effectively than the lonely beech clumps perched on its windswept northern perimeter. Each comprises just a handful of trees, often leaning at kooky angles. Above: Rainbow over Charlton Beech Clump. Canon 5D III, 16â&#x20AC;&#x201C;35mm f/4 at 16mm, ISO 100, 1/20s at f/16. Tripod. Dec.

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SALISBURY PLAIN â&#x20AC;&#x201C; CHARLTON BEECH CLUMPS

The most readily accessible, photogenic trees are along the north side of the unpaved Salisbury Plain perimeter byway between Redhorn Vedette (near Urchfont) and Casterley Vedette (near Upavon). You can drive along this unpaved track, which is outside the Ranges Danger Area, and stop when you see a clump that you like. It is readily traversed in as two-wheel drive vehicle but keep your speed down and beware of punctures from stones on the track.

What to shoot and viewpoints At Charlton there are four tree clumps within 250m of the byway, each comprising between 4 and 8 beech trees. A strong sky helps make a successful image here. Good options are a colourful sunset, stormy dark clouds with a sunlit foreground, star trails at night or a rainbow. Some of these conditions are more easily predicted than others!

SALISBURY PLAIN â&#x20AC;&#x201C; CHARLTON BEECH CLUMPS

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WOODFORD VALLEY How to get here From Salisbury, take the A345 from the ring road and after a quarter of a mile, turn left onto Stratford Road. Two miles further on you come to a fork, where you carry on for the east side of the Woodford Valley or turn left for the west side. From Amesbury, take the A345 towards Salisbury and after three miles take a left turning signed to “The Woodfords”. After two miles, you reach the east side of the valley. For the road bridge to Upper Woodford and the west side, turn right and then left. Within the valley, park on the roadside in Lower Woodford for Rose Cottage. Heale House has its own car park, signed from Middle Woodford and the entry cost is presently £6. For Chine Farm, turn left immediately after The Bridge Inn and park on the roadside adjacent to a small group of houses, then walk up the private road. This is a public right of way for pedestrians, passing through a vehicle gate which is sometimes locked, to Chine Farm.

Lower Woodford

Lat/Long: 51.115692, -1.8213540 what3words: ///brimmed.knots.nibbled Grid Ref: SU 126 351 Postcode: SP4 6NQ

Middle Woodford

Lat/Long: 51.126481, -1.8191010 what3words: ///tolerates.feeds.variety Grid Ref: SU 127 363 Postcode: SP4 6AN

Upper Woodford

Viewpoint 2 – Heale Gardens, Middle Woodford Sixteenth century Heale House is surrounded by eight acres of beautiful gardens beside the Salisbury Avon. The gardens are open to the public from Wednesday to Sunday (plus Bank Holiday Mondays), between March and mid-October. A favourite view is the paved driveway leading up to the house, the crevices of which are festooned with lady’s mantle and aromatic herbs.

Lat/Long: 51.134374, -1.8250206 what3words: ///cubed.hamster.fool Grid Ref: SU 123 372 Postcode: SP4 6NX

Accessibility Rose Cottage is by the roadside and readily accessible by all. Due to the lay out and age of Heale Garden, roughly 70% is accessible for wheelchair users. Chine Farm involves significant gradients and is unsuitable for wheelchair users.

Best time of year/day

Viewpoint 3 – Chine Farm, Upper Woodford This wildlife-friendly farm is one of the best places in Wiltshire to photograph brown hares and roe deer. A footpath runs from Chine Road through the farm for over a mile, ending at the A360. Wait quietly at the edge of a field, screened by hedges (and camouflage netting, if you have it), and you may be rewarded with good sightings and potential photo opportunities. Bring your longest lens and please stay on the footpath.

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SALISBURY PLAIN – WOODFORD VALLEY

Rose Cottage is best in June and gets afternoon sun. Heale Gardens have interest throughout their opening season and the “weedy” driveway is most luxuriant in summer. Hares and deer on Chine Farm are best photographed in spring, before the crops are high enough to hide them. April is ideal, which is also when hares are most active and may be boxing. Evening light works well at this location. Left top: Roe deer, Chine Farm. Canon 7D II, 400mm f/5.6, ISO 400, 1/1000s at f/5.6. Tripod. May. Middle: Brown hare, Chine Farm. Canon 7D II, 400mm f/5.6, ISO 125, 1/1000s at f/5.6. Tripod. Mar.

Top: Heale House, Middle Woodford. Canon 5D IV, 24–105mm f/4 at 35mm, ISO 100, 1/15s at f/22. Tripod. July. Above: Road Bridge, Upper Woodford. Canon 5D IV, 70–300mm f/4–5.6 at 93mm, ISO 100, 1/8s at f/22. Tripod. May.

All Saints Church, Middle Woodford from the air. Canon 7D, 70–300mm f/4–5.6 at 200mm, ISO 400, 1/640s at f/5.6. July.

SALISBURY PLAIN – WOODFORD VALLEY

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Pantheon framed by Turf Bridge. Canon 5D III, 24â&#x20AC;&#x201C;70mm f/4 at 53mm, ISO 100, 3.2s at f/22. Tripod. Nov.

CRANBORNE CHASE & THE VALE OF WARDOUR

LONGLEAT HOUSE AND GARDENS

Longleat is famous for its lions and other exotic animals. Although the 360 ha safari park is the best-known attraction, it is only part of a huge 3,920 ha estate surrounding an exceptional Elizabethan house. Longleat House was built by Sir John Thynne between 1568 and 1580 and is widely regarded as the finest example of Elizabethan architecture in Britain. His descendent, the 8th Marquess of Bath, currently owns and manages the house. Its interior is opulently furnished in Victorian style, with magnificent Venetian painted ceilings. The house is set in 400 ha of gardens laid out by Lancelot “Capability” Brown. Extensive modifications have taken place since, partly to accommodate the huge numbers of visitors to the estate. Brown’s serpentine lake now hosts “Jungle Cruises” featuring sea lions, gorillas and hippopotamus. Many of these are the inspiration of the 6th Marquess, who first opened the house to visitors in 1949 to defray inheritance taxes. The 7th Marquess, who died in 2020, had a penchant for labyrinths and created the world’s longest hedge maze, together with a “love labyrinth”, sun maze, lunar labyrinth and King Arthur’s maze. In November and December each year, Longleat hosts a Festival of Light, described as the original and biggest lantern festival in the UK. Hundreds of illuminated lanterns in the shapes of animals, mythological creatures, people, temples and fairy tales are displayed in the gardens surrounding the house. The theme changes each year but recent highlights have included Tyrannosaurus, St George slaying a dragon and Cerberus, the three-headed hound guarding the entrance to Hades. >>

Longleat House from the Love Labyrinth (VP2). Canon 5D IV, 24–70mm f/4 at 24mm, ISO 100, 1/13s at f/18. Tripod. June.

How to get here

Accessibility

Longleat is situated south-west of Warminster. The house and gardens are accessed from the A362, about one mile west of its junction with the A350/A36, from where they are clearly signed. Turn left from the A362 onto a minor road at a roundabout (Picket Post Gate) and after a mile turn right into the grounds, at which point you pay for entry before a long drive takes you to the car park near the house. The cost of a day ticket to the house and gardens is currently £18.95.

The viewpoints described are accessible by wheelchair on made-up paths over level ground.

At the time of writing, an evening ticket to the Festival of Light is £22.45, booked online in advance. If you pre-book and inclement weather is forecast on the day (not unusual in November and December), it is possible to telephone and change the date of your ticket for a £5 administration charge.

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Lat/Long: 51.186356, -2.2780913 what3words: ///expansion.equity.winning Grid Ref: ST 806 430 Postcode: BA12 7NQ

Best time of year/day Longleat house and grounds are open from February to October. June is the best time to visit for flowering roses in the formal gardens. Light on the front of the house is best in the morning and on the back (from the Love Labyrinth) is best in the late afternoon. The Festival of Light is in November and December - check www.longleat.co.uk for dates, times and ticket prices.

Opposite: Lion at Longleat (VP1). Canon 5D IV, 24–70mm f/4 at 39mm, ISO 100, 1/25s at f/16. Tripod. June.

CRANBORNE CHASE & THE VALE OF WARDOUR – LONGLEAT HOUSE AND GARDENS

WILTSHIRE AT NIGHT

Star trails over Wilton Windmill. Canon 5D III, 16â&#x20AC;&#x201C;35mm f/4, ISO 3200, 110 stacked exposures each of 30s at f/4. Tripod. Torch. Aug.

7. Wilton Windmill (page 164)

8. Ludgershall Castle (page 312)

Its tower and sails standing against the sky, well away from the lights of any towns, Wilton Windmill is an ideal astrophotography subject. It works well on a moonlit night or using a torch when no Moon is in the sky. For an effective composition the sails need to be oriented towards your shooting position, so check the direction of the wind as well as the Moon when planning your shoot. Looking due north (Viewpoint 1, page 164), this is a great location to capture star trails. This viewpoint is 200m from the roadside layby where you park.

The castle ruins are located on the edge of Ludgershall so there is quite a bit of artificial light around. Looking north over Salisbury Plain, the sky is fairly dark so with the right viewpoint a picture of the night sky can succeed with the ruined tower standing against it. Moonlit pictures can work well here, particularly when a gibbous moon is low in the eastern sky. For effective star trails, choose a position with a view of the sky through the window of the ruined tower. Ludgershall Castle is 200m from the car park (page 313) and is straightforward to access at night.

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WILTSHIRE AT NIGHT

Star trails over moonlit Ludgershall Castle. Canon 5D IV, 14mm f/1.8, ISO 1600, 110 stacked exposures of 30s at f/2.8. Tripod. Sept.

Star trails over Pepperbox Hill. Canon 5D IV, 14mm f/1.8, ISO 320, 110 stacked exposures of 30s at f/2. Tripod. Torch. Jan.

Cygnus and Lyra over moonlit King Alfred’s Tower. Canon 5D IV, 24mm f/1.4, ISO 1600, 20s at f/2. Tripod. Sept.

9. Pepperbox Hill (page 420)

10. King Alfred’s Tower (page 350)

Eyre’s Folly (the Pepperbox) is best photographed at night. There are good all-round views at this location and perhaps surprisingly, the lights of Salisbury five miles away are not intrusive. The folly can be lit by torchlight or moonlight. If using your torch, it is a good plan to shine it from a couple of metres beside, rather than directly behind, your camera. This will give modelling to the hexagonal building and make it appear more three-dimensional. For star trails, try positioning yourself with the North Pole star directly over the apex of the Pepperbox (watch out for overhanging branches in the foreground). Eyre’s Folly is 120m from its car park (page 421) and is straightforward to access at night.

Cranborne Chase is a designated Dark Sky Area and King Alfred’s Tower is one of the most impressive features within the AONB for landscape astrophotography. Because it is almost encircled by trees, the best shooting position is from the avenue running up to the tower, looking west-south-west. Whilst torchlight could be used to light the tower, gibbous moonlight is particularly effective. However, there are only a few nights of the year when the gibbous moon rises sufficiently far north to shine along the length of the avenue. These nights are roughly between three and five days after Full Moon between August and December. King Alfred’s Tower is 400m from its car park (page 348) and access at night is straightforward.

WILTSHIRE AT NIGHT

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ABOUT THE AUTHOR – ROBERT HARVEY Biography Robert Harvey BA ARPS EFIAP CSci CEnv MCIWEM is a leading outdoor photographer based in Wiltshire. A Chartered Natural Scientist and Associate of the Royal Photographic Society, he brings to his work an understanding of the processes that form landscapes, together with the creative determination to show them in new ways. Robert seeks strong seasonal themes to his images, making use of different light and colours throughout the year. His photographic schedules are often dictated by sunrise, sunset, moon, tides and weather. Over 300 of his images have been accepted in international exhibitions worldwide. Living near the World Heritage Site of Avebury, some of his favourite images have been taken in Wiltshire, where our ancient past resonates through the landscape. Further afield, he has photographed all Britain’s National Parks and many renowned landscapes and wildlife destinations around the world. He is inspired by coasts, mountains and deserts where untamed land is sculpted by natural elements. At night, he is often to be found photographing stars, planets, the moon, galaxies, aurorae and other astronomical phenomena, frequently in compositions including the prehistoric monuments and follies of Wiltshire. He is the author of Photographing the Heavens: Images of Earth and the Universe, which has recently been the subject of a public exhibition at Wiltshire Museum. Robert created Natural World Photography to share his knowledge and enthusiasm for the natural world with others. He gives about 30 lectures a year throughout the country, is a tutor at Lacock Photography and leads photography tours throughout Britain and overseas. When at home, he maintains a garden on the Marlborough Downs that he created with his wife Sarah. For more of Robert’s photography, please visit www.naturalworldphotography.net

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ABOUT THE AUTHOR

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