The Laughing Flames

On the Isle of Scalpay, where the sea gnawed at the shore and the winds roared like distant thunder, there lived a boy with a dragon. He wasn’t the son of any laird or lord—just another lad among the fishing families, his clothes patched and mended, his hands rough from the nets. But there was a spark in him that marked him as different, something the others sensed even if they couldn’t name it. It was in the way he held his head high, his green eyes alight with something most children on the island didn’t dare to dream of.

"At school, everyone laughed at me when I said my friend was a dragon.
But I laughed even more when the school burned."

The schoolchildren talked about him in hushed tones, casting sideways glances as they dared each other to mock his wild stories. The boy told them, with a quiet conviction, of his friend—a dragon with scales like polished sea glass, green as the moss on the rocks after the rain, and eyes that shone with an ancient wisdom. It was his companion, his secret, unseen by those who didn’t believe.

“You’re daft if you think anyone would believe you’ve got a dragon for a friend,” sneered one of the boys, a smirk tugging at his mouth. The others laughed along, their voices high and bright in the cold classroom air.

The boy just shrugged, his lips quirking in a smile that was both knowing and kind. “One day, you’ll see,” he replied softly, as if the truth of his words was as certain as the tide.

One bleak winter’s afternoon, as thick clouds cast shadows over the island and the smell of salt filled the air, a strange heat began to rise in the schoolhouse. The teacher stopped mid-sentence, a frown creasing her face, and glanced toward the windows. Outside, a thin coil of smoke snaked up from the thatched roof, dark and twisting, reaching toward the sky like the fingers of some ancient curse.

“Fire!” came a shriek, piercing the stillness. Panic spread like the flames themselves, children stumbling over desks, grabbing at coats, eyes wide with fear. In the chaos, they barely noticed the boy standing off to the side, watching the rising smoke with a look that was neither afraid nor surprised.

And then he laughed.

It wasn’t a loud laugh, but it cut through the din like the ring of a distant bell. The children froze, confusion clouding their faces. How could he laugh while their school burned? But his smile held a secret, something ancient and unyielding, as if he saw beyond the flames, beyond the smoke.

In that brief, still moment, a flicker of green shimmered in the distance, half-hidden by the haze. Scales, glinting like polished stones, vanished into the shadows with a flash that left the children rubbing their eyes in wonder. The boy’s dragon, as real as the wind that lashed the coast, had come and gone.

When the villagers finally doused the flames, and the last embers smouldered in the charred timbers, they gathered, murmuring and shaking their heads, casting wary glances at the boy who stood alone in the ash. Whispers rose like the smoke—had the fire been truly accidental, or had something older, something unseen, stirred among them that day?

The boy never answered their questions, only gave a small, secretive smile, the kind that made you think he knew more than he let on. After that day, the children of Scalpay thought twice before laughing at his tales. They’d seen the glint of green in the smoke, the shape of something wild and impossible, and in their hearts, they wondered what other mysteries lingered in the shadowed hills and windswept shores of their island home.

DISCLOSURE

This story and its accompanying images were created with the assistance of AI tools. The story concept, input, and direction are my own, with additional collaboration on story development by ChatGPT, an AI developed by OpenAI, and image generation by DALL-E 2. All content is AI-enhanced, combining technology and imagination to explore new storytelling possibilities.

The mystery of Scottish "witch" Maggie Wall

Just outside the village of Dunning in Perthshire, lies a monument. It’s a collection of stones about 20 feet high, topped with a cross and decorated with gifts left by visitors—pennies, feathers, shells, fluffy stuffed animals, and tiny tea candles. The stones bear the words in stark white lettering: “Maggie Wall burnt here 1657 as a witch.”

Maggie Wall1.jpg

Scotland was home to nearly 3,800 people accused of witchcraft between 1500s and 1700s, the vast majority of whom were women. In the end, about 1,500 were murdered as a result of witch hunt inquisitions. However, mysteriously, there is no record of a woman named Maggie Wall being tried as a witch. What’s more, there’s no record of the monument itself until 1866, though a forest surrounding the monument called Maggie Walls Wood was documented as of 1829.

There are several theories about who Maggie Wall was and why her monument exists. Some have suggested that Lord Andrew Rollo (the landowner of the area at the time) was having an affair with Maggie, and built the monument after she was executed out of guilt.

Others theorise that it was in fact Lady Rollo who erected the monument, feeling a sense of sympathy towards Maggie and women like her.

In 1663, six women from Dunning were accused of witchcraft (and three were executed), which is an alarmingly high number considering the village only had a couple of hundred residents.

The 1650s and 1660s were turbulent times in this Perthshire parish, with the witch trials coinciding with religious and political tensions.

The local minister, Revered George Muschet, was deemed unfit by church officials, but he was well liked within the village. When officials attempted to discipline the minister in 1652, they were attacked by an angry mob of local women who wanted to keep him in the church.

Some have suggested that Maggie Wall was part of this group, and that may be why she came under the wrath of the church and burned as a witch a few years later.

The accepted theory is that this monument stands as a testament to all the witches murdered in Scotland during the witch hunts as no other such monument exists. Perhaps the name was taken from the surrounding wood to represent the countless and forgotten women who were killed. Occasionally a wreath is laid at the foot of the monument, serving as a reminder of the injustices suffered by the mysterious symbolic witch, Maggie Wall.

Before You Go

This monument is located right outside of Dunning Scotland. Dunning is in Perth and Kinross. It is off of the road B8062 which you can access from the A9 highway.

Weston Master III Lightmeter

Over many years, professional photographers the world over have user Weston exposure meters. Why? Because they fulfill the professional's needs. Extremely accurate in all lighting situations, rugged, generally no reliance on batteries. IMG_1650

The epitome of the selenium cell meter is the Weston Master, which has a long and complicated history, not least because there were both US-built and UK-built versions: the UK company started as a subsidiary of the US-based company (which was founded by an Englishman) and became 51% UK owned (as Sangamo Weston) in 1936.

The Weston Master Universal was introduced in 1939 and remained in production in the UK until about 1950, though the Weston Master II was introduced in the United States in 1945/6. The Weston Master III appeared in 1956; the Weston Master IV in 1965; the Weston Master V in 1967; and the Euro-Master in 1970. Even after Weston lost interest, the Euro-Master was manufactured by Kilbride Instruments in Scotland from 1980 to 84 and then as the Euro-Master II by Megatron in London from 1984 to 2010.

It works as follows: moving the small tab that sticks out from the silver dial adjusts the film speed setting which can be read though the small opening in the red dial. Then take a reading by aiming the meter cell on the bottom of the meter at the subject. If the light levels are high, leave the perforated cover over the selenium cell in place; if the the light is dim, then open the perforated cover. The meter needle will point to a number on the meter scale. The range of numbers for bright light is 25 to 1600 and for low light it goes from .2 to 50. Use the turned up tabs on the black wheel to aim the large silver arrow at the corresonding number on the outermost part of the dial. You can then read all the correct exposure combinations off the silver (shutter speeds) and black (f stops) dials. In other words, a shutter speed that lines up with an adjacent f stop should provide the right exposure.

Manual is here