The four-bedroom semi-detached house in Lavernock Road, Penarth, is for sale for £920,000.

It has planning permission for a two-storey side extension to include a large garage and an additional reception room to the ground floor and two double bedrooms on the first floor.

At the top of the garden, there is a large detached studio/gym which has planning permission to convert to a granny annexe.

The house has a 90ft-long south/west facing garden, a garage, and off-road parking for five cars.

The house has been totally renovated and has an entrance porch, a hall with a porcelain floor, panelling and plate rack, a lounge with a bay window with original block flooring (beneath the carpet) and an open fireplace.

The family room has doors opening onto the garden, a log burner, and a porcelain tiled floor, and is open plan to the kitchen.

The modern kitchen is fitted with gloss black fronted cupboard and drawer units with grey Corian worktops, integrated Neff appliances, and porcelain tiled floor.

It is open plan to the dining area which leads to the utility room and W.C.

Upstairs, there is a principal bedroom with fitted wardrobes and an en-suite shower room.

Bedrooms two and three also have fitted wardrobes, and there is a fourth bedroom and a family bathroom.

The house has double glazing and gas central heating with a pressurised hot water system.

The estate agent said: “We are absolutely delighted to be instructed to sell this superb family home located in a sought after area of Penarth in an excellent School catchment area.

“This is a wonderful family home which must be viewed to be fully appreciated.”

7 early warning signs of pancreatic cancer

Seeking to celebrate the deep (and expanding) history of photography in Wales and bring great international examples to our domestic galleries, Ffoto Cymru’s second edition looks to be as arresting and thought-provoking as its debut two years ago. Ben Woolhead sifts through some potential highlights.

October sees the return of the biennial, month-long Ffoto Cymru to venues around the country, following its debut in 2024 as a successor to Diffusion. Under the broad theme “There’s More To Life”, this year’s event is focused on offering new angles and fresh perspectives and, in the words of organisers Ffotogallery, “celebrates photography as a tool for storytelling, questioning and imagining – creating spaces where different experiences, ideas and conversations can come together”.

The headline exhibition, arguably, is Coping With And Enjoying Life, a retrospective of images taken by the late Francesca Odell between 1983 and 1985, when she was studying at the storied School Of Documentary Photography in Newport. Many of the prints come from the archives of Ffotogallery and the University Of South Wales, but it’s the tantalising prospect of previously unseen pictures, selected by Odell’s daughters, that will have enthusiasts flocking to Penarth’s Turner House Gallery.

The tender fly-on-the-wall work is the result of a sensitive approach and a concern to construct rapport. Odell’s photographic philosophy – “I try to convey the essential humanity we share as individuals, despite sometimes very adverse situations, believing that through knowledge and understanding, we can come to a more tolerant attitude towards each other and, perhaps ultimately, change for the better” – makes her an ideal figurehead for the festival.

Richard Billingham also made his name with intimate domestic images – in his case, lurid portraits of his dysfunctional parents. 1996’s Ray’s A Laugh has a fair claim on being one of the most controversial photobooks ever published, and pictures from the series were selected by Charles Saatchi for his infamous 1997 exhibition Sensation. For Ffoto Cymru, he’s been specifically commissioned to produce new work: a moving image installation on far-right protest to be screened at the Elysium Gallery in Swansea.

Politics and simmering anger are also to the fore in Jack Moyse’s work on disability and inadequate welfare provision, on display at Machynlleth’s Oriel Sploj. The title of his project, A Sorry State, draws attention to the way in which structural problems are all too often read merely as individual failings. Exploring and depicting how others live is a key preoccupation of Bindi Vora’s practice too, with her exhibition Silence In The Dream Of A Language That Cannot Hold Us showing at Chapter Arts Centre in Cardiff.

At Ffotogallery HQ, the curators have brought together a quartet of photographers for a thematic group exhibition. These include Heather Agyepong, whose work centres around Blackness, identity, agency and mental health, and Harley Weir, who pursues personal projects alongside her commercial and editorial work for prestigious publications and international fashion brands.

Beyond the capital, another group show is taking place at Carmarthen’s Coleg Sir Gar, featuring images by Welsh photographers Peter Finnemore and Paul Cabuts, who share a fascination with culture, memory and history. At Pontypridd’s YMa, self-proclaimed “visual storyteller” Bukunmi Oyewole’s Living On The Edge tackles the thorny and urgent topic of climate change, illustrating its devastating impacts in Nigeria and The Gambia but also human resilience and resistance in the face of environmental apocalypse. Visitors to Theatr Clwyd in Mold, meanwhile, have the opportunity to enjoy Gemma Pepper’s intriguing project The Quiet Locus, in which found photos are absorbed into carefully arranged natural collages.

With a programme that builds on and strengthens the fledgling festival’s international alliances (with the GLAZ Festival in Rennes, for example, and with the Foto Feminas group in South America) and encompasses a Portfolio Review day on Fri 16 Oct and the ever-popular Photobook Fair on Sat 24 Oct, Ffoto Cymru promises to provoke dialogue and promote creative connections.

Ffoto Cymru 2026: Wales International Festival Of Photography, various venues across Wales throughout October

Admission: FREE. Info: Linktree

words BEN WOOLHEAD

The latest numbers are out this morning, Sunday, September 13 – and there are specific rules on claiming a prize

The latest Powerball numbers are out – and there are strict rules winners have to follow to claim their prize. This morning’s National Lottery Powerball winning numbers and prizes are as follows.

The winning main Powerball numbers are: 14, 16, 23, 58, 69 (in ascending order). The winning Powerball is: 03

The next jackpot is an estimated £128 million paid over 30 years. Note: The UK prize is an annuity and the jackpot shown is after tax is calculated at the highest possible rate. See official details here.

Numbers Powerball Winners Ticket

• 5 1 0 £0
• 5 0 0 £1,000,000.00
• 4 1 1 £29,456.10
• 4 0 8 £2,012.80
• 3 1 42 £439.50
• 3 0 881 £54.80
• 2 1 816 £28.80
• 1 1 5,971 £14.90
• 0 1 13,588 £12.30
• 2 0 18,474 £8

What happens if you win National Lottery Powerball prize

The National Lottery website says: “in order to claim Your Prize, you must phone the National Lottery Line (if you played at a retailer) or the Customer Care Team (if you played online) during the Claim Period and in line with the prize claim procedures and requirements set out in the applicable Rules.

“Entitlement to the Prize will be lost (and the Prize won’t be paid) if a Prize is not claimed by the deadline set out in the applicable Rules. Prizes must be claimed in person so you will need to arrange an initial appointment with Allwyn (the “Validation Meeting”). The Validation Meeting can be at Allwyn’s Head Office or any other location in the UK agreed by Allwyn.”

You will be asked for certain information which may include your name, date of birth, email address, postal address and telephone number and where you bought the relevant ticket from.

There will be a series of meetings with Allwyn (at least two) that will take place before the First Prize Payment will be made. Rules state the first meeting will be the Validation Meeting where You will be asked to confirm personal information and complete a Prize Claim Form and other forms. If you played at a retailer, you will also need to provide the ticket to Allwyn.

For more, see the National Lottery web page.

Officers are appealing for information after a large amount of copper was found. At approximately 03:45am, on Friday September 4, three men were found in possession of a large amount of industrial sized copper piping and tools in the Ely area of Cardiff.

Officers are appealing for anyone who has information regarding thefts of cooper piping or recognise the attached image, please get in contact quoting occurrence 2600290280.

Recently, I overheard a conversation in a cafe where someone described their toast as “awesome”. I felt myself bristle. Not because the toast wasn’t good – I didn’t taste it – but because I remember a time when “awesome” meant something that inspired awe: towering mountains, the vastness of the night sky, the haunting song of a humpback whale. Now it’s being used to describe breakfast.

“Fantastic” has met the same fate, shedding its fantastical origins to become a synonym for “great”. Meanwhile “literally” has been so thoroughly abused that it can now mean something that is, quite literally, not literal.

Linguists call this “semantic bleaching”: the gradual erosion of a word’s original meaning through overuse. Which got me thinking about another word we hear with increasing frequency: “unprecedented”, the go-to adjective in reporting about the climate crisis. In recent months, I’ve read about unprecedented heat, unprecedented rain, unprecedented drought and unprecedented wildfires. Batten down the hatches: reports suggest that the current El Niño is going to be – you guessed it – unprecedented.

The dictionary definition hasn’t changed. “Unprecedented” still means something that has never happened before – and all the events described above have indeed represented a ratcheting up of the severity of heat, drought, rain and fire. But the word is being used so often, it feels as though it’s losing its punch. The extraordinary is starting to sound ordinary, the unprecedented almost routine.

And yet, there is nothing ordinary about what is happening. Britain has just experienced its hottest summer on record, beating the previous record set only last year. When climate-related records keep being smashed, it raises a question: what do we actually find remarkable?

In a study analysing more than 2bn weather-related social-media posts, Frances Moore from the University of California, Davis, and colleagues found that when it comes to temperature, remarkability changes with repeated exposure. Unprecedented temperatures feel less remarkable when we’ve experienced similar ones in the previous few years. We don’t make judgments based on historical precedents or childhood memories, but on what we’ve lived through recently. In other words, something can be historically unprecedented but psychologically precedented.

This means our yardstick for what counts as normal or remarkable is constantly changing. Ecologists call this “shifting baseline syndrome”. This was originally described in the context of fisheries, when Daniel Pauly noted that successive generations of fisheries scientists accepted increasingly depleted fish populations as their baseline. We now realise that the phenomenon is widespread, applying not just to biodiversity loss, but to pollution, environmental degradation and the climate crisis.

But Moore’s study contained a twist. Although extreme temperatures became less remarkable with repeated exposure, the negative feelings they provoked didn’t fade. We may stop finding unprecedented temperatures remarkable, but that doesn’t mean we find them tolerable. We’re not necessarily becoming blase about the climate crisis. We can still recognise that something is unpleasant without realising how unusual it is.

You have probably heard the parable of the boiling frog. When the unfortunate amphibian is placed in a pot of slowly warming water, it supposedly fails to notice the gradual rise in temperature and stays put until it croaks. So, here we all are, bobbing around in our family-size Le Creusets, marvelling at how balmy the water feels, as we complain that we’re starting to poach.

And that’s the dangerous bit. If extreme temperatures become familiar, we may be less likely to recognise just how extraordinary they are. What once would have seemed remarkable becomes just another hot summer, another flooded street, another crop failure. The baseline shifts, and with it our sense of what needs fixing. If the water feels normal, we may be less likely to demand that the heat be turned down.

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Which brings us back to the frog. As it turns out, the old parable gets it completely wrong. No healthy frog would sit idly in a warming pan of water. They feel the heat and respond to it. When the temperature crosses a threshold, they hop out. So, maybe that’s the question we should be asking ourselves. If we can no longer recognise how remarkable these uncomfortable temperatures are, what will it take for us to do what the frog does: respond to the heat?

One place to start is with the words we use to describe what is happening. “Awesome” became ordinary because we kept using it for ordinary things – such as warm bread and marmalade. Climate extremes are different: the events themselves haven’t become ordinary, even if our experience of them is becoming more familiar. “Unprecedented” is in danger of becoming a synonym for “really extreme”. It shouldn’t. The word tells us that we have crossed into territory humanity has never experienced before. It’s important we retain that historical meaning.

Perhaps one of the most unsettling things about a heating world is not that unprecedented weather keeps happening. It’s that “unprecedented” is beginning to sound like a perfectly normal thing to say.

AA Traffic news has reported delays of up to 27 minutes in the area due to the crash that spans miles of the M4.

It states: “Severe delays of 27 minutes and delays increasing on M4 Prince of Wales Bridge eastbound between junction 23 M48 and junction 22 M49. Average speed five mph.”