Four Manors, Damaged Cameras, Roadside Punctures & An Ambulance Spotters Paradise!
Steam galas have a habit of blurring into one after a few years of doing this hobby full-time. The locations change, the locos rotate, but the rhythms often feel familiar. That said, last year’s 2025 gala was anything but ordinary. It was an exceptional event, hugely enjoyable, and one that will be remembered for a long time, not least for Fenchurch becoming a fire starter.
When 2026 started rolling around, it didn’t take long for the temptation to return. Even before Sir Nigel Gresley was announced, plans were already forming, not for the bathtub, but for triple Manors. And as it turned out, the 2026 West Somerset Railway Spring Steam Spectacular Gala delivered in spades.
Across four days, it threw just about everything at us: soaking rain, broken plans, perfect (and imperfect) light, unexpected conversations, and even a mad dash to catch a Bongo. From quiet lineside moments to full-on photographic chaos, it was a proper reminder of why we keep coming back.
So grab your favourite beverage, find a biscuit (or two), and join me as we relive a whirlwind four days spent chasing steam along the West Somerset coast, from the perspective of a slightly damp but very happy lineside photographer.
Friday – Ribbing, Brakes, and Broken Plans
Friday began with Victor, the locomotive that first opened the line 50 years ago in 1976. Long since departed from the railway, Victor has recently returned on loan in time for the West Somerset’s 50th anniversary celebrations. A fitting way to start the weekend.
Our opening location was Coggins Lane. It’s not one of my favourite spots for still photography, but for video it has a certain charm: a pleasing curve, good lines, and, if you’re lucky, a well-timed whistle that keeps the shot short, dynamic, and engaging for most viewers.
Next, we ventured to one of my favourite photographic spots, Whiskey Trail. By the time we arrived, however, the cloud had rolled in and a few spots of rain were hanging in the air, a subtle warning of what the next few days would have in store. It was here that someone recognised the Sharpthorne Steam logo on my camera bag. I’m usually more than happy to stop for a chat, but unfortunately for them, Chailey, Matt, and I were in one of those moods and promptly took the mickey out of me. Apologies to the person who kindly said they enjoyed the content—we do enjoy ribbing each other—but thank you nonetheless for the support. A gala wouldn’t be a gala without a bit of laughter.
Whiskey Trail was primarily chosen for Sir Nigel Gresley and Newstead, although by the time Newstead arrived the crossing had thinned out considerably. I’m not entirely sure why, as Newstead was the standout by a country mile. First, she was on the goods, and second, she absolutely charged past the camera, lovely exhaust, six driving wheels going like the clappers. From that moment on, Chailey and I developed quite an attachment to this so-called “Lost Engine”.
The Lost Engine - 1589 “Newstead” races past the camera with a goods service heading north, seen at a damp Whiskey Trail, as the first of the weekends rain draws in.
Camera Settings:
Camera: Nikon Z8, Lens: Tamron 35-150mm F2-2.8 Focal Length: 78mm, Shutter Speed: 1/500second, Aperture: f6.3, ISO: 160
If the first three runs were anything to go by, we were off to a cracking start. Unfortunately, the brakes, quite literally, came off soon after. Sir Nigel suffered an issue with her tender brakes, resulting in an almost 80-minute delay to the gala. Through no fault of the locomotive or the West Somerset Railway, it did mean we were stuck at Coursley Farm far longer than planned.
That said, it wasn’t time wasted. We met another photographer who spoke passionately about his wildlife prints and his railway work, particularly his use of narrow 3-foot canvases. It was a genuinely interesting conversation and a fascinating insight into his creative process. I hope the results turned out as beautifully as he intended.
After capturing 9351 and 80078 at Coursley Farm, we headed back to the car, thinking Friday was largely done. We were wrong. As the minutes stretched into hours, we found ourselves sitting in Chailey’s car, glued to webcams, wondering what Sir Nigel was up to and whether she might be pulled from the gala altogether. It had turned into a full-blown webcam gala.
However, 60007 has an excellent track record of not letting me down. From coasting behind a stopper at Dawlish before unleashing an extended whistle blast, to delivering a long-awaited portrait at Sharpthorne Tunnel after multiple missed attempts during her Bluebell visit in 2024, she has always delivered when it matters. After repairs, the Bathtub returned to Bishops Lydeard and resumed duties with her second run of the day.
During that second run, that elusive thing, which seems to exist for weeks beforehand but vanishes the moment you want photographs, partially returned: sunlight. As Sir Nigel rounded the corner, shutters fired relentlessly, and the results were rather tasty.
A Streak of Light - With a rare moment of sunlight, start attraction of the gala, A4 Pacific No60007 “Sir Nigel Gresley” rounds the curve at Coursley Farm on its second trip north to Minehead.
Camera Settings:
Camera: Nikon Z8, Lens: Tamron 35-150mm F2-2.8 Focal Length: 35mm, Shutter Speed: 1/640second, Aperture: f6.3, ISO: 64
The final highlights of Friday came with a welcome burst of evening light at the Minehead end of the line. This allowed us to capture Victor departing Minehead with Newstead on the rear, working the shuttle services between Minehead and Blue Anchor. This shot was one, I really enjoyed, the light was just right and the loco was on a suitable set for a shuttle. I much prefer photographing smaller locos and I was keen to get a ¼ shot of her. however, I did um and ah about location, more out in the field or at the crossing. The crossing has an ivy post and I was unsure of this, until a light bulb moment (imagine the light bulb fish from Finding Nemo) try merging it into the foliage on the right hand side of the picture. The shot with Odney Manor, I took in the field and this marked the end of usable light however, not the last interesting photograph! However, first we needed a plan.
The Minehead Shuttle - “Victor” produces wonderful textured exhaust as the light starts to fade around Minehead with a shuttle bound for Blue Anchor, sneaking on the rear is “Newstead” ready to take the service back to Minehead.
Camera Settings:
Camera: Nikon Z8, Lens: Tamron 35-150mm F2-2.8 Focal Length: 62mm, Shutter Speed: 1/640second, Aperture: f6.3, ISO: 100
Do we head to Watchet Hill for the 4MT, or Castle Hill for the Manor? Cue Matt doing a full lap of Watchet as we changed our minds on the fly. In the end, a last-second decision paid off—and it’s always satisfying when spontaneity turns out to be inspired.
We were joined shortly afterwards by Joe (21cPhotography) for what I assumed would be one last shot. Instead, he captured one of my favourite images of the entire gala on his Nikon, when a curious donkey from Watchet Hill wandered over to investigate our cameras. It’s a beautiful landscape photography spot, and one image nearly slipped through our fingers thanks to a complete breakdown in planning.
Not quite a Dawlish Donkey, we would need a 14xx for that, who knows maybe next year? But a lovely shot on loan Standard 4 80078 climbs out of Watchet and back to Minehead late on Friday evening.
Saturday – Rain, Resilience, and Bongo Beats
Saturday was the complete opposite of Friday’s more relaxed approach. Where Friday allowed space to breathe, Saturday was all about execution. The plan called for 17 shots, including a main line working featuring a certain Bongo, there was very little margin for error.
Photographically, we began somewhere entirely different to where the plan suggested, starting with a quick run down to Coggins Lane to catch Sir Nigel Gresley, complete with plenty of obliging whistles. From there, we moved to a very different spot for me: Nethercott Crossing, just down the road. I’m always drawn to shots that make these machines look as powerful as possible, and with wildflowers conveniently lining the foreground, I couldn’t resist a low, looking-up angle of 9351. It’s a locomotive I really grew to love last year, my ideal Mogul: compact, purposeful, and powerful, now looking especially sharp in her freshly applied British Railways lined black livery.
BR Mogul Power - No9351 hauls a service from Bishops Lydeard back to Minehead at Nethercott Crossing
Camera Settings:
Camera: Nikon Z8, Lens: Nikkor Z 24-70mm F4 Focal Length: 26mm, Shutter Speed: 1/800second, Aperture: f7.1, ISO: 100
From there, it was time for the first of two side-quests of the weekend. With Sir Nigel Gresley unable to haul the first Riviera Express of the year, the honour fell to another North Eastern locomotive: No. 61306 “Mayflower”, resplendent in her transitional British Railways/LNER apple green livery. As with anything main line-related, it became a race against the clock, but that’s part of the thrill. Thankfully, Joe’s recent car upgrade (and careful driving) meant we arrived at Beambridge with time to spare.
A small gallery had already formed just up the road from the Beambridge Inn. I’d never attempted this shot before, but Chailey assured Joe and me that we’d have plenty of warning when Mayflower appeared, marked by a growing plume of white exhaust on the horizon. With the camera dialled into my main line settings (1/1250th to freeze the action), we waited. Moments later, the Bongo burst into view, charging round the corner, whistle screeching, flashing past us at speed, and making at least one cameraman jump (cough *Chailey* cough)
Matt had previously taken great pleasure in mocking our decision to go and see Mayflower, so as a proud member of the Bongo Beats since December, it was immensely satisfying to justify the detour. It also made a refreshing change from photographing yet another main line Bulleid.
To the Bongo Beats - On the first English Riviera Express train of the season operated by Saphos Trains, No61306 “Mayflower” operates the Taunton-Kingswear part of the service as she as seen as Beambridge.
Camera Settings:
Camera: Nikon Z8, Lens: Nikkor Z 24-70mm F4 Focal Length: 31mm, Shutter Speed: 1/1250second, Aperture: f6.3, ISO: 200
With the Bongo gone, the last of the usable light faded, and our attention turned to the clouds, watching closely for the inevitable rain. This is one of the many benefits of having Chailey around: he’s effectively a walking weather station. Whether it’s through endless model comparisons or pattern spotting, he usually gives us a very good idea whether we’re hoping for sun or bracing for disappointment.
Our next spot marked my final photographic opportunity of the day, taken at another new location for us this year: Kentsford Crossing. It was much more of a stills spot than a video location, so I did feel slightly guilty for Chailey, who, unlike me, doesn’t suffer from the constant need to juggle both video and photography.
Then it was time for the main event: triple Manors.
We headed back up the line to Whiskey Trail to capture two runs, but by now the rain clouds had fully arrived. Out came the camera protectors, something I never enjoy using. I treat my cameras with near reverence, so any amount of water nearby makes me deeply uncomfortable. Thankfully, a convenient cut out in the bushes gave us somewhere to shelter both ourselves and the gear.
Unfortunately, we suffered a casualty. Chailey’s camera refused to power on, leaving it to me to cover the video of the three Manors at Whiskey Trail. We made a brief attempt at diagnosis under cover, but by the time we reached Watchet Hill, it was clear the patient wasn’t playing ball.
In the end, neither of us got the shot at Watchet Hill. My lens had fogged up during the journey and, despite wiping it down, the moisture caused autofocus issues. The better of the two opportunities was lost, a real shame, but I’ll keep the video regardless, if only as a reminder of the moment.
With everyone thoroughly wet and resigned to the fact that this weather was likely here to stay until Sunday, we retreated to the Golden Arches to regroup and plan a very different kind of day. One final observation before calling it a night: it was around this time we remarked on the sheer number of ambulances we’d seen (we guessed by the end of the weekend we had see 30+), though for me, it mostly served as a reminder that I work for South Western Ambulance Service.
Sunday – Drizzle, Discovery, and Disappearing Sun
Chailey had originally planned to head home on Saturday evening once the triple Manors were done. However, thanks to the aforementioned camera issues, he decided to stay on—and it turned out to be a very good decision. Had he left, he’d have missed all the fun, frustration, and general shenanigans of the following two days.
The night before, we’d carefully dried Chailey’s camera, attempted several power-ups, and been met with nothing but disappointment. With no miracles forthcoming, Chailey resorted to trawling Panasonic forums before leaving it on charge in the hotel room, quietly hoping that when we returned it might spring back into life.
The Saturday evening, we’d agreed on our second side-quest of the weekend: the Paignton and Dartmouth Steam Railway. The main motivation was simple—we wanted to complete the challenge of photographing all four Manors in steam in the same weekend. Having already covered 7802, 7812, and 7828, it was now time for 7827 Lydham Manor. Unfortunately, the dreadful weather had followed us into Devon, and I flatly refused to take my camera out until the rain stopped.
The trip was partly about taking a break from the West Somerset, but also gave Joe and me the chance to show Chailey some of the locations along the PDSR. It’s an incredibly picturesque line, with stunning views at both the Paignton and Kingswear ends. We started at Goodrington Sands, but the rain was the deceptive kind, light enough to tempt you out, but heavy enough to soak you through in minutes.
We quickly relocated to Kingswear and set up at Britannia Crossing to catch Lydham Manor on her second return working to Paignton. It’s a gorgeous shot at the best of times, made even more atmospheric by a stubborn blanket of fog hanging over the River Dart.
Unfortunately, this is where our exploring came to a sudden halt. A small screw managed to put a very large hole in Joe’s tyre, resulting in a puncture. It was a real shame, as we’d hoped to visit several more PDSR locations before heading back to the West Somerset. With repairs taking some time, Chailey and I, in true Top Gear fashion, left our stranded photographer to endure the wait (don’t worry he got a sausage roll out of it)
Foggy on the Dart - No7827 “Lydham Manor” operates under damp conditions as the local seagull enjoys a swim and a bit of GWR 4-6-0 bark as 7827 heads her second train of the day back to Paignton.
Camera Settings:
Camera: Nikon Z8, Lens: Tamron 35-150mm F2-2.8 Focal Length: 81mm, Shutter Speed: 1/640second, Aperture: f6.3, ISO: 160
Fully aware of the agony of being unable to photograph a Manor, we did the kind thing and took Joe’s camera with us, giving Chailey his first taste of Nikon photography. With a bit of guidance on settings, Chailey took his first-ever DSLR photograph, and for a first attempt, it was a very respectable effort. The final image became a genuine team effort: Chailey behind the camera, Joe editing, and me acting as technical support for camera settings.
After all that excitement, Chailey and I retired to the PDSR café for cake (nice slab of Shortbread for me) and a drink before watching 7827 arrive, run round, and head back towards Kingswear. All in all, another excellent day on the PDSR, and one that left me looking forward to returning the following weekend with Sir Nigel Gresley.
The First Shot - No7827 takes her service back towards Paignton as she is seen leaving Kingswear with the lunchtime service. Copyright to Chailey Stowe and Joe Martin-Smith
With the car repaired we headed back to the West Somerset, one of the shots of the gala was next: a classic “little and large” pairing. Last year we’d had to wait until Monday to see Fenchurch alongside Erlestoke Manor, but this time it was a Sunday evening treat. Sir Nigel Gresley would be running with Newstead, an irresistible combination, so Roebuck Crossing was the obvious choice.
Naturally, Joe had promised us sunshine, and naturally, photography tradition prevailed. Just moments before the locomotives appeared, the sun disappeared behind the clouds. Still, both engines looked utterly majestic as they swept past, and for me it was one of the standout runs of the entire gala.
The final shot of the evening came from Castle Hill, with Odney Manor hauling a fully loaded train of seven Mk1s and a box van bringing up the rear. With a few friendly toots and that unmistakable GWR tick-tick-tick, it made for a fitting end to the day, although once again the sun stubbornly refused to give us any golden-hour magic.
The Manor is the King of the Castle - No7828 “Odney Manor” produces a kingly exhaust as she powers over Castle Hill with a service bound for Bishops Lydeard.
Camera: Nikon Z8, Lens: Tamron 35-150mm F2-2.8 Focal Length: 35mm, Shutter Speed: 1/400second, Aperture: f6.3, ISO: 500
With Odney captured, the evening descended into a Wetherspoons session filled with laughter and increasingly outrageous comments. Chief among them was the age-old debate: which is the best Bulleid in preservation? A question Chailey has now asked me at least a thousand times, each time expecting a different answer. Joe made a spirited case for P&O as “the best bullied,” before straying into non-preserved territory and briefly mentioning Leader, at which point he was swiftly removed from the Bluebell Bashers chat.
For anyone who’s ever discussed this with me, the answer remains unchanged. The best Bulleid in preservation is Charlie 1, and I still hope that one day she’ll return home to the Bluebell, a man can dream!
Monday – Mud, Motion, and One Last Run
The final day began early, though not quite as early as planned, for which I was quietly thankful after feeling a bit under the weather overnight. Chailey and I headed out with Logan and Joe to Fossil Curve, just outside Watchet, to catch 3850 on the goods. A solid, dependable way to start the day, and it’s always a pleasure to see 3850 doing exactly what she was built to do, haul goods trains!
From there, we returned to Watchet Hill, largely in the hope that our now-famous donkey might once again agree to model for us. Sadly, he appeared to be running on a Bank Holiday Monday schedule and was still firmly in bed, which, frankly, I don’t blame him for. Still, we managed a decent if slightly murky shot of 7828 before Chailey peeled off to catch the 4MT and Manor double-header.
Joe, Logan, and I made our way to Roebuck Crossing for a one-year-on comparison shot of 9351, now resplendent in her new BR black livery. This time, I opted for a more head-on approach. I had a specific image in mind: a wrap-around composition that kept the house in frame for scale, while making the locomotive feel as though it was charging past at speed. Fortunately, the final frame delivered exactly what I’d envisioned, a reminder of the fine margins that often separate success from failure. The moody cloud backdrop, combined with a healthy exhaust, helped enormously, and the canted track on the morning side of Roebuck added that extra bit of drama.
Resplendent BR Mogul - No9351 in her British Railway Black livery passes Roebuck Crossing with omniscious clouds in the background as she produces a lovely exhaust for the camera.
Camera: Nikon Z8, Lens: Tamron 35-150mm F2-2.8 Focal Length: 35mm, Shutter Speed: 1/640second, Aperture: f6.3, ISO: 160
Next stop was Blue Anchor. As a self-confessed clock-watcher, I realised I hadn’t yet photographed 7812 during the gala, and I was keen to correct that. Blue Anchor Crossing is a fantastic location for this, though the sea breeze does have a habit of complicating matters. The wildflowers on the embankment added a lovely splash of colour, enhancing the image nicely, even if the breeze did leave the tender and coaches somewhat shaded. With that ticked off, it was time to say goodbye to Joe, who headed off to Leigh Crossing to capture a lovely photograph of Sir Nigel Gresley.
For Chailey and me, bearing in mind he was never meant to be here past Saturday, until his camera (and my highly effective “just stay one more day” tactic) intervened, it was on to Kentsford Farm for 3850 and a particularly wheezy 9351, before heading to Leigh Crossing for what was, quite possibly, the photograph of the weekend.
For once, the sun played ball. We were rewarded with 7812 charging up the gradient in full, glorious sunshine, almost charter-esque in appearance. What a sight, and an absolute joy to edit. I’ve had a soft spot for Erlestoke Manor ever since her visit to the Bluebell in 2024, and Manors in general have long been favourites of mine. This shot was the icing on the cake and made the entire trip feel unquestionably worthwhile.
Glorious, Wonderful, Resplendent (GWR) Light - No7812 “Erlestoke Manor climbs the gradient at Leigh Crossing with a service for Bishops Lydeard on Monday afternoon.
Camera: Nikon Z8, Lens: Tamron 35-150mm F2-2.8 Focal Length: 43mm, Shutter Speed: 1/640second, Aperture: f6.3, ISO: 100
We stayed at Leigh Crossing for another shot of 9351, but by then the sun had reverted to its usual habit of hiding from photographers. Acting on a recommendation, we headed to the bottom of Washford Bank. After wading through a stream, deep puddles, and sticky clay mud, I settled on attempting a pan. Originally intended for Sir Nigel Gresley, a timetable change meant that Chailey’s favourite Standard 4 tank, 80078, was instead climbing the bank.
So, at 1/25th of a second, I gave it a go. It worked, reasonably well, but it wasn’t one of my standout shots of the gala. Still, Chailey was delighted to see his beloved 4MT tank in action, and that alone made it worthwhile.
And then it was time for the finale. One last visit to Whiskey Trail, where Chailey and I filmed 9351 on the goods as she headed back towards Minehead, bringing a very successful gala to a close. By now, the light had completely disappeared, but I’ll never turn down the chance to photograph or film a goods working.
9351 has gone from being a locomotive I never felt a strong urge to photograph to becoming one of my absolute favourites. I’ve always been drawn to the workhorses over the glitz and glamour express locomotives, and she embodies that perfectly. As she faded into the distance, it marked the moment to begin the long journey home to Sussex.
I left Somerset around ten minutes behind Chailey, but there was one final moment of concern near Andover when I passed him and briefly thought he’d broken down. A quick phone call, while I mentally worked out where I could turn around like some sort of AA-branded steam photographer, confirmed all was well. Slowing down, we soon fell into convoy, the miles ticking by quickly as we passed each other, exchanged waves, hand gestures, and even endured Chailey bad-mouthing Charlie One.
At the M23 split, we parted ways and disappeared into the darkness, another fantastic West Somerset Railway gala completed, and already thinking about next year.
Thank you once again for tuning into the Sharpthorne Steam blog, it was a superb time down in Somerset and lovely to be back at the West Somerset gala. I hope you have all had a great weekend.
Best wishes to you all,
Ben
