Hoopoe – A blog by nhbs – The NHBS Conservation Hub

Guest blog from Charlie Tallis: BS3 Moth Club on a mission

Created by mother-daughter duo Charlie and Willow, the BS3 Moth Club is a brilliant initiative that aims to introduce people to the magic of moth-trapping and the amazing wildlife present on our doorsteps. As big supporters of the BS3 Moth Club’s mission, we were delighted to donate one of our NHBS Moth Traps and see it put to good use in the club’s community moth mornings across Bristol. Here, Charlie Tallis (BS3MothClub@gmail.com) shows us how they got on with the trap, tells us more about how the project began, and shares some tips on how to start your journey into the world of moth-trapping.

Charlie writes:

Nothing beats starting your day with moths.

You step outside, cup of tea in hand, still half asleep, and head towards the moth trap you left glowing in the garden overnight. You lift the lid… and suddenly the morning becomes a treasure hunt. You genuinely have no idea what will be inside.

Sometimes it’s a handful of familiar regulars. Sometimes it’s something you’ve never seen before. And occasionally It’s a species so beautiful, bizarre, or perfectly disguised that you can’t believe it’s been living in your garden all along. That sense of surprise is one of the reasons moth trapping is so addictive.

It fits neatly into real life too. Set the trap the night before, go to bed, and in the morning, before the school run or the commute, you get to experience something genuinely wild. It tunes you into the seasons in a way that little else does. Moths become your calendar.

NHBS Moth Trap at night. — NHBS Moth Trap at night

Seeing a moth up close is often a revelation. The intricate patterns, clever camouflage, and soft, furry textures are impossible to appreciate when they’re fluttering around a streetlight. Some look exactly like a broken twig. Some travel thousands of miles to reach your garden. All are vital to the ecosystem, supporting the birds, mammals and amphibians that feed on them, and acting as exceptional pollinators. Extraordinary creatures, hiding in plain sight.

We decided to make it our job to bring them out of the shadows and make these humble garden visitors visible to all.

Which is why, back in April 2024, my ten-year-old daughter, Willow, and I launched BS3 Moth Club: a community project with a simple mission – to help the world fall in love with moths, starting in BS3 (South Bristol).

We travel around with our moth trap, running moth mornings where neighbours can see what appeared overnight in their gardens or community spaces. There’s always excitement, curiosity, and genuine surprise that these marvellous creatures can be found right here. For many, it’s their first real encounter with moths at all.

To reach beyond BS3, we share photos and videos on Instagram, deliver talks, and create zines and fact sheets, spreading the word that extraordinary wildlife lives in the most ordinary places. We want people not just to fall in love with moths, but to understand how to support them in their own gardens, and why that matters. The macro picture, informing micro actions, shared in a fun and positive way.

The dream is to run free, accessible community moth mornings across the city, funded by private sessions, membership and talks.

So, you want to give moth trapping a go?

We’re lucky that our garden in BS3 backs onto a park, so we get a wonderful mix of species. Some of our personal favourites include:

The Lime Hawk-moth, the first hawk-moth we ever found in the trap.

The Oak Eggar, just like a warm, fuzzy teddy bear!

The Black Arches, whose hand-drawn scribbles are mesmerising.

The Large Emerald, so elegant and impossibly green all over.

If you fancy trying it yourself, warm, still, overcast nights are usually best. Numbers really pick up from April and peak through summer, though you can find moths year-round. Check the trap as close to dawn as possible, and look carefully around it before you open it up, as moths often settle nearby. Take your time. Being out in the fresh morning air that early is a such a special experience. It sets you up for the day in the best way.

For identification, ObsIdentify and iNaturalist are brilliant on your phone, alongside a good field guide for the trickier ones. We love the Concise Guide to the Moths of Great Britain and Ireland. Once you’re done, you can leave the trap in a cool, shady spot for moths to disperse naturally at dusk, or gently move them to sheltered spots in your garden.

There are a lot of species to get to grips with at first, but it comes with practice. Moth encounters are so magical, the names just stick. And if you’re able to, submitting records to your local recording scheme, Butterfly Conservation, or iNaturalist means your findings contribute to national data, turning curiosity into something genuinely valuable.

Remember to have fun! When we host larger moth mornings, we don’t obsess over documenting every species. It’s more about connection and curiosity. There’s room to enjoy wildlife in all kinds of ways. Spreadsheets aren’t for everyone, but if they are for you – hurrah!

So if you’re even a little bit curious, find us on Instagram @BS3MothClub, join a moth morning, or treat yourself to your own trap. You won’t regret it.

Charlie Tallis BS3 Moth Club

Author interview with Lin Baldock, Charlotte Bolton and Iain Dixon: Marine Crustaceans of Britain and Ireland

The Seasearch Guides have helped to revolutionise marine recording. Focused firmly on identification in the field, the books use top-quality photography, diagrams and clear text to highlight the things to look for in a typical encounter underwater or on the shore – i.e. the features that are most useful to recreational divers and rockpoolers. Having previously tackled seaweeds, fishes and sea anemones, among other groups, the latest in the series shines a light on the crustaceans, a diverse and fascinating group whose members are ubiquitous in marine environments.

Ahead of publication of Marine Crustaceans of Britain and Ireland, we had the pleasure of talking to the authors, Lin Baldock, Charlotte Bolton and Iain Dixon, about the inspiration for the book and their hopes for how it will contribute to recording efforts.

This is the latest instalment in the popular series of Seasearch photographic guides to marine life. Could you tell us a bit more about the series and its aims?

Charlotte says: As with so much about the community-based Seasearch project, the series emerged organically from the perceived need to support volunteer recorders and to ensure that the data produced was as accurate as possible. The series of guides follow on from the original UCS mini-prints (remember having to stick in the photos yourself?). Chris Wood (the first National Seasearch Coordinator from 2003 to 2016) was responsible for either authoring guides or persuading people to write one on their specialist subject – all done on a voluntary basis. They had pride of place on my bookshelf when I first started carrying out Seasearch surveying and recording and I particularly wanted to expand and update the range during my tenure as National Coordinator. Retirement has given me more ‘spare time’ to dedicate to this. Concentrating on in situ pictures to emphasise visual recognition and remove the need for sampling, with the images sourced from the recording community as well as the authors, the guides are both accessible and inclusive. Early editions were published by the Marine Conservation Society, then Wild Nature Press (bringing Julie Dando’s exquisite design eye and Marc Dando’s wonderful linework) took over, and now Princeton University Press (PUP) since their acquisition of Wild Nature Press. Without the support of these publishers the guides simply would not exist – it’s a very niche market!

And how did crustaceans come to feature in the series? Can you share the origins of this guide?

Charlotte says: Crustaceans were an obvious candidate for the Seasearch guide treatment, but we needed to find authors willing to write the book! Robert Kirk (head of Princeton Nature at PUP) was always keen to see a crustaceans guide and is a big fan of the series. Lin Baldock stepped up to the challenge (in the process revealing her familial connection to the group), Iain Dixon earned his PhD studying amphipods so was an obvious choice for that group and I came on board (as author, upgraded from series editor) to provide the interface between the experts and the book audience – it was a steep learning curve and an unexpectedly immense amount of work.

Crustaceans are amazingly varied, ranging from planktonic copepods through the Britain’s biggest arthropod, the European Lobster. How did you decide which species to cover when dealing with such a diverse group?

Lin says: It was a real challenge selecting the species we might include and the list was growing right up until the press proofs were delivered. The criteria we used to narrow the list were as follows:

Is it likely to be encountered by divers, snorkelers and beach walkers in the intertidal and shallow waters (<30m) around Britain and Ireland? (This excludes extremely rare species)
Can the species be accurately identified in the field without the need to resort to collection and microscopic examination?
Is the animal large enough for the critical features for accurate identification to be captured in field photographs?

The minute planktonic species so vital to pelagic marine ecosystems and the plethora of highly specialised parasitic crustaceans are mentioned and users pointed to freely available ID resources on the internet. We felt it was important that wherever possible we should provide pointers to articles that are freely available through open access.

Charlotte says: We wanted to cover ‘everything’ and in fact sneaked in pycnogonids as a bonus group bearing a resemblance to spindly spider crabs despite not being crustaceans… Obviously this was wildly ambitious and constrained by the page count available as well as the availability of images and the likelihood of being observed and recorded. The initial plan evolved and the book actually ended up being about 40% larger than originally anticipated.

How did you set about the task of gathering photos? Did you have to make dedicated field trips for some images?

Iain says: Photos were gathered from the authors’ collections, but most came from a wide circle of friends and contacts in the wider Seasearch community. Obtaining images from as wide a variety of people as possible is important as a means of ensuring buy-in, spreading the word and gaining feedback for improvements. On the whole this gave us most of what was needed and, because of the serendipitous nature of wildlife spotting and photography, dedicated field trips were generally unlikely to yield the specific results that might have been required.

Lin says: I had always been fascinated by crustaceans so I had built up an extensive image library of the larger crustaceans found around British and Irish coasts over the years. Our main source of images, however were contributions from members of the Seasearch community who themselves have been collecting images from all around our coasts for decades. We are hugely grateful to those many individuals who freely provided their images for us to use, without this invaluable library of pictures to hand we would have struggled to get hold of all the images we needed.

There was one group for which we did make a focused effort to collect images specially for the guide: the hermit crabs. The classic guides to this group of charismatic crabs require the animal to be sampled and reduced to a series of body parts resembling an Airfix kit while focusing on microscopic detail of the mouthparts or other inconspicuous appendages in order to name the species. Contributions of detailed macro photographs from a number of enthusiastic Seasearchers proved that the eight species of hermit crab likely to be found in shallow British and Irish waters can be reliably identified using the colour of live animals specially their legs, antennae and antennules. In fact a review of images submitted by Seasearchers showed that some species of hermit crab are much more common in habitats such as Scottish sea lochs than the records available on national databases would suggest.

We hear a lot about shifting marine communities, with the spread of warm-water species and arrival of invasives. Are we seeing changes in our crustaceans too?

Lin says: Yes, indeed the crustaceans as a group are not immune to changes in distribution. Changes in distribution are always hard to pin down but my impression (being based in Dorset) is that there are a number of native species which we have included in the guide which are now rare or no longer occur along the south coast of England despite the fact that the type locality for the species was located there. I call these ‘climate change losers’ which are retreating north or into deeper, cooler waters.

Non-native species are of course an ever present threat: examples are the Chinese Mitten Crab with its highly destructive behaviour of burrowing into muddy river banks seriously threatening the integrity of our flood defences in some parts of the country, or the replacement of our native Green Shore Crab by the invasive Brush-clawed Shore Crab in the estuaries of eastern England. Records of changing distributions raise the semantic puzzle of whether the species is an introduced non-native crustacean or simply a native species extending its geographical range northwards as climatic conditions change to suit its requirements. Just before the guide went to press we were alerted to a first record of a non-native crab species from the Solent highlighting the fact that we should constantly be on the lookout for the new and exotic.

Iain says: Yes, range changes over time are apparent in crustaceans as in all groups; certain species once thought to be mainly southern in distribution are now being observed further north and new species from warmer parts of Europe are appearing on the south coast. At the same time, species familiar in more northern waters are disappearing as our waters become warmer.

Finally, what do you hope this guide will do for interest in, and recording of, crustaceans?

Charlotte says: Hopefully it will persuade people to look more closely at what they are seeing on the shore or underwater – it has certainly opened my eyes. It should also highlight how much information can be gleaned from images taken with modern compact cameras – it’s not necessary to spend thousands of pounds nor to sacrifice animals in search of a label. One mark of success will be if the range descriptions and distribution maps rapidly become outdated because people have been encouraged to go out and see what they can find (and record it!).

Iain says: We very much hope that this guide shows that it is possible to identify species by direct observation and from photographs, and that species collection, dissection and microscopic examination is not always absolutely necessary. We hope that this guide sheds light for many and encourages closer examination, particularly of those groups which might formerly have been thought of as being ‘too difficult’. The more examination and recording that goes on, the more guides like this will improve and develop.

Lin says: We hope the guide will stimulate people’s interest in the group and provide an introduction to the huge diversity encompassed by the crustaceans. With my Seasearch recording hat on I anticipate a flood of species sightings helping us to build up a better picture of our crustacean fauna and future changes in distribution driven by shifts in climate or the introduction of non-natives. I am also hopeful that we may find better, more reliable ways to identify species in the field, thus teasing out some of the uncertainties which still exist in distinguishing species in some groups, particularly the spider crabs for example.

Author interview with Jack Perks: The Great British River

Jack Perks brings Britain’s rivers to life with his beautiful new book, The Great British River. Packed with fascinating information, insights, and stunning photography, it offers a fresh perspective on Britain’s waterways.

A passionate wildlife photographer, TV presenter, and writer, Jack is widely recognised as a leading expert on British fish. His work behind the camera includes acclaimed shows like Springwatch, Countryfile, and The One Show.

Beyond television, Jack contributes to top nature magazines such as BBC Wildlife and Country Life, and he’s the author of several books, including Field Guide to British Fish. As vice president of WildFish Conservation, he is deeply committed to protecting aquatic life. Jack also hosts The Bearded Tit’s Podcast, where he chats with a diverse range of guests about the natural world with a light-hearted touch. On his YouTube channel, Chasing Scales, he shares his love for nature, angling, and aquariums, inviting viewers into his vibrant world.

We recently had the pleasure of talking to Jack about his new book and the wonders of rivers in general.

What inspired you to write this book, and how does it differ from your previous releases?

Rivers are such a close part of my life. Spending time filming wildlife about and below them has meant I’ve seen most major rivers across the British Isles, and it’s fair to say many have declined. I wanted to highlight some of the issues in rivers while also celebrating the wildlife that calls them home and how the public can still enjoy them.

Your book highlights a fun and diverse selection of rivers, species, activities, and places to visit. What criteria did you use to decide which items to include or exclude?

I tried to keep it fairly simple, starting at the source and ending at the estuary, but I was a few chapters short so added other interesting topics like chalk streams (an almost uniquely English habitat), urban rivers, Scottish spate rivers and even ponds!

With all the knowledge you hold, did you still encounter any unexpected discoveries or surprises during your research or writing process?

There’s always more to learn and that was the great thing when delving into the world of British rivers. Some highlights included learning how many of them were named, discovering regional names for rivers, and revealing the wildlife you might not even know is living in them, from beavers to barbel.

In recent times, there has been growing concern about the state of British rivers due to pollution, including sewage spills, which you also mention in your book. What can the public do to help protect and improve British rivers?

It can seem rather depressing, but I think it’s key to hold those to account who are causing these issues and not let up. Report sewage incidents, lobby your MP and do what you can in the meantime on a smaller scale, like litter picks, habitat improvement, etc.

How do you see the balance between preserving the natural beauty and biodiversity of British rivers while accommodating human activities such as recreation, agriculture, and urban development? What approaches do you think are most effective for achieving or improving this balance?

It’s a case of working with nature where possible. Not building on floodplains, for example, seems rather obvious to me. Rewiggling rivers to help with flows and flooding, and keeping spots where people can enjoy the river while also having areas where wildlife can be left in peace, are both important.

It’s been a decade since you set up the UK national fish vote, where 21% of nearly 7,000 voters chose the Brown Trout as Britain’s favourite fish. The Environment Agency has warned that this species might disappear from most English rivers by 2080. What are your thoughts on this?

I find the idea horrifying that British rivers could be devoid of such iconic species. Look at Water Voles, once found pretty much on every beck and brook in the country, but now our fastest declining mammal. Common species we take for granted can be under threat.

How optimistic or pessimistic are you about the future of British rivers?

I won’t lie, I’m a pessimist generally in life, but the remarkable thing about nature is that, given the chance, it can bounce back and bounce back quickly. We simply need to give it the opportunity, but if we don’t then it’s not looking good.

What do you think should be the next step in raising public awareness about Britain’s rivers?

I think the more people who know about the issues, the better. Certainly, in recent years it’s become fairly public knowledge that our rivers are on a downward spiral. It’s never been more vital to record on your local patch to show what is currently there – or, in many cases, what isn’t there but should be. Taking pictures and videos on your phone, or with a larger camera if you have one, means we can keep records of what’s living on the riverbank.

What makes British rivers unique compared to waterways in other parts of the world?

I suppose, put simply, it is that they are British! You could argue that many rivers in France, Belgium and the Netherlands are geographically quite similar, but our rivers are an important part of our history – being trade routes into cities, inspiring stories like The Wind In The Willows, and allowing us glimpses into the natural world, whether in the heart of London or a hidden valley in Monmouthshire.

Other books authored by, or with photography from, Jack Perks:

Field Guide to British Fish: Freshwater and Marine

A richly illustrated photographic handbook showcasing 200 freshwater and marine fish species found across Britain. It offers detailed identification tips, notes on behaviour and habitat, and conservation insights, making it an essential guide for enthusiasts.

Small Fry: Britain’s Tiniest Freshwater Fish

Small Fry celebrates Britain’s often overlooked small freshwater fish, blending detailed biology with engaging stories to inspire both academics and enthusiasts. Richly illustrated and accessible, it highlights their ecological importance and enduring charm amid growing conservation needs.

The Complex Lives of British Freshwater Fishes

This beautifully illustrated book reveals the complex lives of Britain’s freshwater fishes, highlighting their ecological, cultural, and conservation importance beyond angling. Combining scientific detail with stunning photography, it engages conservationists, anglers, and nature lovers alike.

International Dawn Chorus Day – 3rd May 2026

Singing Robin – James Wainscoat, Unsplash

Taking place every year on the first Sunday of May, International Dawn Chorus Day is an initiative that aims to inspire people to pay attention to one of the great spectacles (or rather symphonies) of the natural world. The Dawn Chorus is a cacophony of birdsong performed by birds trying to find a mate and establish their territories. In spring, as the days stretch longer, and birds start to think of breeding, these songs amp up, as males compete for the amorous attention of females.

Across the globe, on the 3rd of May, people will be setting their alarms to wake up before the sun, hoping to listen to a phenomenon that happens every day through the spring and early summer, everywhere, yet is often overlooked in our busy modern lives.

This year the RSPB has set a challenge for the UK to wake up 30 minutes before dawn, step outside and record what they hear, uploading it to social media using the hashtag #DawnChorusClub to share with as many people as possible and raise awareness. Here at the NHBS, we want to help people get the best experience possible recording these songs and have put together a short product list that can help you take your recordings to the next level.

Parabolic Microphones

Below is a selection of parabolic microphones in our range. Small Parabolic microphones are ideal for picking up bird song but may not be as effective with low frequency animal calls such as deer. Whereas large or full size parabolic can pick up animal sounds through a wide range of frequencies, from bats to birds to deer.

Small Parabolics – Ideal for bird song

BirdMic One Parabolic Microphone with Audio Interface

Our most popular piece of sound recording equipment, the BirdMic One is a compact, lightweight and great value parabolic microphone, designed to make recording simple. A parabolic microphone acts sort of like an audio zoom lens, for focusing on particular sounds, able to amplify sounds at 1.5KHz and above – perfect for capturing bird calls. The included audio interface connects directly to the parabolic dish and allows for direct connection to a smartphone so that you can use an auto ID app (such as Merlin) to record and ID bird species in real time. This item does not include an iPhone adapter (3.5mm jack to Lightning) which are readily available online.

BirdMic Pro Parabolic Microphone with Audio Interface

A step up from the BirdMic, the BirdMic Pro uses the highly regarded PRIMO EM272Z1 microphone capsules, boasting high sensitivity and virtually no self-noise, ensuring crisp and clear recordings. This Microphone also has more versatile connection options allowing you to connect to a SLR camera, or other handheld audio recording devices.

Full-size Parabolics – Ideal for a wide range of animal calls

Hi-Sound Stereo AOL Parabolic Microphone

A professional grade parabolic microphone, the Hi-Sound is extremely directional and can pick up sounds over long distances, making it ideal for seeing which birds are making each sound. This microphone uses two pairs of microphones separated by a baffle to capture sounds in stereo, like how your own ears work. The only additional equipment needed is a compatible recorder. The recorder must support PIP plug-in power if it uses a 3.5mm jack and phantom power if it uses an XLR lead. The microphone is fitted with a handle with comfortable foam grip and a 1m cable. More information about what kit may be needed can be found in our blog Introduction to sound recording .

Telinga PRO-X Parabolic Microphone System

Our top of the range parabolic microphone, Telinga is one of the most well-regarded sound recording companies in the world. The microphone is fitted with a 45 PPF cell foam windshield and has a frequency response of 60-20,000Hz, low self-noise and matched stereo microphone capsules. The dish is also foldable and will pack down to a diameter of 15cm (6″) making it easy to transport and store. As with before, please check before purchasing that your chosen audio recorder is compatible with the system you choose.

Passive Microphone

Song Meter Micro 2

For those of us who find ourselves unable or unwilling to rise at unsavoury hours, passive recording devices can help us get by. The Song Meter Micro 2 is an excellent, popular and cost-effective option. The simple yet innovative design of this recorder allows for a lightweight and fully weatherproof device with an impressive 240-hour battery life. This device can be set to record at any time for as long as you want from an app available online, enabling you to hear the dawn chorus once you’ve woken up.

Recommended reading on birds and sound recording

The Sound Approach to Birding:
The Ultimate Guide to Understanding Bird Sound

£25.00

Collins Bird Identifier Set

£39.98

Perspectives on Wildlife Sound Recording:
An Overview of Modern Practice

£35.00

Field Recording:
A Practical Guide

£20.00

Nature Boy:
A Journey of Birdsong & Belonging

£16.99

Author Interview with Paul Stancliffe and Jeff Baker: The Collins British Bird Identifier

The Collins British Bird Identifier offers a fresh and inventive take on the challenge of bird identification, highlighting the five features that can be used to definitively identify every bird species in Britain. With beautiful new artwork and clear labelling, the guide aims to simplify the process of bird ID and make it accessible and enjoyable for everyone, from beginner to expert.

Collins British Bird Identifier was developed by a team from the British Trust for Ornithology (BTO), comprising Paul Stancliffe, who developed the BTO’s bird identification courses, and Jeff Baker, field guide illustrator and former BTO Marketing Director. We recently had the pleasure of talking to Paul and Jeff about the concept behind the guide and the process of bringing it to life.

Firstly, how did the two of you come to work together on this project?

Jeff says: Paul worked with me at the BTO for many years. I project managed a couple of Paul’s books – Collins BTO Guide to British Birds and Collins BTO Guide to Rare British Birds. Having worked on these he came up with an idea that perhaps all British species could be identified using just five features.

Paul says: I have kept notes on the identification of tricky species for many years and have often thought that I could share them more widely. Having worked successfully with Collins before they were the obvious publisher to approach once I had checked and double checked that the five features concept worked. I have always liked Jeff’s artwork and for me the choice for him to illustrate this book was an easy one.

The guide gives a novel but very effective take on the challenge of bird identification. How did the idea of the ‘five features’ approach come about?

Paul says: It has taken a lot of time and thought but I think the process began for me with my first ‘proper’ birding notebook over fifty years ago where I noted features that would help me identify birds that I saw if, and when, I saw them again. For some species only one or two but for others more. This approach has served me well and around a decade ago I began looking at how many features were needed to identify a species of bird beyond doubt – five seemed to be the answer and I then began testing this around Europe and the Middle East and during a trip to North America. It worked very well.

Was it difficult to whittle ID features down to five for some species?

Paul says: Identifying the five features needed took me over a decade of research, mostly in the field though many were already in my notebooks. There are a small number of species where one or two more features may help. Even with those, if the five features given in the book are seen, you can be confident you have the right bird, though that’s not always easy in the field, particularly with secretive and flighty birds.

A bonus of this guide is the inclusion of all birds recorded in Britain, meaning it doubles as a beautifully illustrated checklist of British birds. Were there any challenges in expanding the scope to cover rarer visitors?

Jeff says: Yes, the very rare species, and even scarce species I have not seen, posed more of a challenge when it came to illustrating them. Fortunately, the reference material available today, especially given the vast wealth of photographic libraries as well as identification articles, papers and books, made the task much easier than it would have been say even ten years ago.

Creating the illustrations, showing not just all species but all distinctive plumages, must have been a monumental task. Can you tell us a bit about the process and timeline?

Jeff says: The actual timeline from starting the illustrations for this book to finishing it was about four years. However, this is a bit misleading since a lot of detailed research on non-passerines birds was undertaken at the Tring Natural History Museum over several years to look for ageing and sexing methods using their vast collection of cabinet specimens. This work resulted in a guide to the Identification of European Non-Passerines (BTO Guide). This extensive piece of research work proved crucial for many of the non-passerine illustrations in this book. Also, as a bird ringer for over 55 years, I’ve been privileged to get up close and personal to hundreds of species and thousands of birds handled over the years. It all helps to build up a picture in your head!

Finally, what are your hopes for this guide in terms of how it will help to improve the identification process for birders, new or experienced?

Paul says: I hope it will give beginners a new approach to bird identification and provide experts with a handy memory jogger, but above all, I hope it will make bird identification less daunting for those just starting out, or thinking of taking up this wonderful hobby. It is not often that the opportunity to share a lifetime of watching and learning about birds with others is given.

Song Meter® SM5: A Guide to Wildlife Acoustics’ Passive Recorder Range

Wildlife Acoustics is a leading provider of bioacoustics monitoring technology, and since its founding in 2003 its products have been widely used by biologists, researchers, and government agencies around the world. Through a comprehensive range of recorders, bat detectors, and sound analysis software, the company has enabled the recording and analysis of thousands of hours of acoustic data, helping ecological professionals deepen their understanding of wildlife and ecosystem health.

Ahead of the release of the new flagship SM5 recorders, we have put together a brief guide to the passive recorder range, highlighting the some of the key differences and new functionality.

Key Improvements at a Glance

Extended Battery Life
The SM5 now accepts 18650 lithium-ion batteries, delivering up to 1,710 hours of recording. This is a substantial improvement over the SM4, which achieved approximately 440 hours in comparable configurations — making the SM5 far better suited for long-term and remote deployments.

Built-in GPS & Time Synchronisation
GPS and time synchronisation are now integrated directly into the SM5, eliminating the need for external receivers or antennas. This ensures precise metadata tagging and simplifies field setup.

Bluetooth Configuration
Configuration is now faster and more intuitive thanks to Bluetooth connectivity and a companion app, allowing users to manage settings in the field without opening the unit.

Expansion & Future Proofing
The SM5 includes an expansion port designed to support future accessories, including cellular remote access and data transfer, currently expected in 2027. This ensures the SM5 remains relevant as monitoring requirements evolve.

SM5 Bat vs SM Mini Bat 2: Which Should You Choose?

Why Choose the SM5 Bat?

The SM5 Bat is designed for demanding, long-term monitoring projects where flexibility and robustness are essential. Key advantages include:

Four channel recording (2 ultrasonic + 2 acoustic)
Simultaneous ultrasonic and acoustic monitoring
Exceptional battery life
Flexible power options, including solar compatibility
Increased storage capacity via dual SD cards

These features make the SM5 Bat ideal for multi-taxa monitoring, reducing the need for multiple devices in the field.

SM Mini Bat 2

The SM Mini Bat 2 remains a strong option for shorter term surveys or projects requiring a larger number of deployed units. It offers:

Acoustic or ultrasonic recording (not simultaneous)
A compact, lightweight design
A lower price point
Excellent flexibility for targeted studies

For users balancing budget, portability, and deployment scale, the Mini Bat 2 continues to be a practical and capable solution.

SM5 Bat vs SM4 Bat: What’s Changed?

The SM5 Bat takes everything users value in the SM4 Bat and enhances it further.

Key Differences:

Four independent channels (2 ultrasonic + 2 acoustic) for simultaneous monitoring of acoustic and ultrasonic calls
All the core SM5 upgrades, including:
Improved battery performance
Built-in GPS and time sync
Bluetooth configuration
Expansion port for future connectivity

For users currently running SM4 Bat units, the SM5 offers clear advantages in deployment duration, metadata accuracy, and future expansion.

Why Choose an SM5 Acoustic Recorder?

The SM5 Acoustic is the ideal solution for users requiring multichannel acoustic recording or deploying recorders in remote, hard to access locations. Its long battery life, integrated GPS, and precise time synchronisation make it particularly well suited to:

Longterm biodiversity monitoring
Remote ecological surveys
Projects where accurate metadata is essential

Like the SM5 Bat, it also includes the expansion port for upcoming cellular remote access.

Other Recorders in the Range

Song Meter 2

A good balance between functionality and affordability ships with one acoustic microphone but another can be added. Ideal for shorter term ecological surveys in less remote areas or where a larger number of recorders are used.
Insert pic here

Song Meter Micro 2

The most affordable and compact unit in the range, offering single channel recording. Although not as high fidelity as the SM5 or Mini 2 it an ideal choice for short term deployments where weight and budget are more of a considering that the highest quality audio.

Choosing the Right Recorder

Whether you need long-term, multi-taxa monitoring or a lightweight solution for short-term surveys, Wildlife Acoustics’ passive recorder range offers a solution to match almost any project requirement. The SM5 stands out as the most powerful and future ready model to date — delivering longer deployments, easier configuration, and expanded monitoring potential in a single, flexible platform.

Interview with Emma Onyejekwe: Mammal Society’s Mammal Champion 2026

Emma Onyejekwe is a Registered Veterinary Nurse and Citizen Scientist with a lifelong passion for helping animals and conserving wildlife. After qualifying she volunteered internationally before the COVID-19 pandemic shifted her focus to the UK. Alongside her veterinary role, Emma began volunteering locally and developed a strong interest in British wildlife. In 2021, her involvement with the Royal Parks ‘Hedgehog Heroes’ inspired Emma to explore hedgehog presence on Mitcham Common, where surveys confirmed their presence and led to the creation of the voluntary Mitcham Hedgehog Project.

We recently caught up with Emma to discuss her conservation project, Mammal Champion of the Year award, and plans for the future.

To start with, could you tell us a bit about yourself and how your passion for wildlife first began?

I’ve always been driven by a deep love for animals, which originally led me become a Registered Veterinary Nurse. For seven years, I worked within small animal clinical practices, but I always carried a dream of working with wildlife. In my early career, this took the form of traveling abroad to volunteer on various projects with wildlife.

However, my specific passion for British wildlife actually began closer to home during the COVID-19 pandemic. With the world slowed down, I found myself truly noticing and appreciating the local species in my own back garden. That newfound connection inspired me to start volunteering at a local wildlife hospital, and it ultimately became the catalyst for my decision to pivot my career toward wildlife conservation.

Congratulations on being named the Mammal Society’s Mammal Champion 2026. This award recognised your work on the Mitcham Hedgehog Project – could you explain the project’s aims and what inspired it?

Thank you! It’s an honour to be recognised. The primary goal of the Mitcham Hedgehog Project is to identify where hedgehogs are present in the residential areas and green spaces around Mitcham Common. We aim to support hedgehogs in our area by uniting the community and local stakeholders while promoting conservation efforts. These efforts include citizen science surveys, the creation of hedgehog highways, and the development of hedgehog-friendly greenspaces.

The inspiration for the project came from my time volunteering with The Royal Parks’ ‘Hedgehog Heroes’ survey. It made me wonder if hedgehogs were present on my own local Common. Collaborating with the Friends of Mitcham Common and securing a grant from the Mitcham Common Education Trust, we conducted initial surveys in 2022 and 2023. Confirming their presence was what encouraged me to launch the project in 2024. I was also inspired by the work being carried out by ZSL London Hogwatch, following my time volunteering with them.

What survey methods did you use during the project, and did any of the results surprise or particularly interest you?

Our main survey methods involve footprint tunnels and trail cameras. We’ve been very fortunate to have the ongoing support of ZSL London Hogwatch for our garden camera surveys, and we also conduct spotlight surveys under a Natural England license.

One particular garden survey stood out as a highlight. I worked with residents who had lived in their home for 26 years and had never once seen a hedgehog in their garden. They were so fond of the species that they had recently installed a ‘hedgehog hole’ in their metal gate and even travelled all the way to a rescue centre in Lewes just to see one up close! Though they were convinced we wouldn’t find anything, they agreed to a camera for two weeks. To everyone’s surprise, the camera captured a hedgehog. We were curious to see if they used the hedgehog hole, so set up another camera up for two weeks – this time capturing video footage. This revealed that at least one hedgehog was visiting every single night! It was a wonderful to see. The residents have since encouraged one of their neighbours to create a hedgehog hole and have set up a feeding station. Since the garden is opposite the Common, it was also a vital piece of data confirming that hedgehogs are crossing the road to utilise residential habitats.

In what ways did the project benefit wildlife on the common, as well as the surrounding local community?

For wildlife, our survey data directly influenced an amendment to the Common’s management plan. They now cut and clear selected grassland areas to maintain a mosaic of cut and uncut areas in any one parcel in any one given year. This benefits not just hedgehogs, but a whole host of other species.

For the community, it’s been wonderful to see people connect over a shared purpose. As one of our volunteers beautifully put it: ‘Being outside with a group of likeminded, decent people was rewarding in itself! I’ve been inspired to learn so much more about our spiky friends—and, more importantly, exactly what to do to help them.’

Finally, what’s next for you – are you planning to expand the project, or looking for something new?

I’m definitely looking to grow the project! I’m currently planning to expand the project into the neighbouring borough of Croydon to support the hedgehog population there.

One thing I’ve learned is that because hedgehogs are nocturnal and naturally elusive, it can be a slight barrier to community engagement. To help with this, I’ve set up a constituted community group – Our Wild Life – to connect people and wildlife, forming a general wildlife group, with a strong community focus. Hedgehog’s will always have my heart though!

Author Interview with Jackie Morris: The Book of Birds

Jackie Morris – Photo credit Urszula Soltys

Jackie Morris is an artist, illustrator and writer based in Wales. She has created many enchanting books, from fantastical adventures for children to wild folk tales for grown ups. Along with celebrated nature writer Robert Macfarlane, Jackie Morris Co-created The Lost Words (and its companion Lost Spells and Spell Songs), which has become a touchstone phenomena in British publishing for its celebration of wildlife, its consolation for the plight of nature in the UK, and for it’s rallying call to everyone and anyone to engage or re-engage with the natural world.

The Book of Birds is the newest collaborative title from Jackie Morris and Robert Macfarlane, released early this Summer as many of the species included in the book will be hopefully re-establishing nests and singing their songs among us. We’re thrilled that Jackie kindly took time to talk with us about this project ahead of the books release in May!

Are there particular books that have been important to you in your life, that have inspired your passion for, and celebration of, the natural world?

The main book that has lived a life with me is the Reader’s Digest Book of British Birds. It was published in 1969 I think, and these books (Reader’s Digest) were bought on subscription via a mail order catalogue. Iconic. I know it lives with and has inspired so many others. A tawny owl on the cover and no title or author names as it was co-created by so many people (almost but not quite 100% white men, Raymond Harris Ching being one of the foremost illustrators. And, I must confess, in the 56 years it has lived with me I have only ever read the pictures. But how I have read them. Taking in the shape of each bird deep into the eye of the soul.

As a child I copied the paintings, in crayon, then later in paint, learning the shapes and the English names of the birds, but even then understanding that these were not ‘British’ birds. For how can a cuckoo, who spends her life in so many other skies, be claimed by any nation? Is this why I love birds? They were my first realisation that humans are surrounded by other lives, equally as important as our own.

We had few other books in the house, but I did have a tiny Observer’s Book of Wild Flowers, bought with birthday money, for when we went on holiday to Torcross in Devon so I could learn the names of the flowers that grew there. I didn’t read that one either, but now love the language of these tiny classics. It wasn’t that I didn’t want to read, it was simply that I found reading so hard and incomprehensible, where as images were so perfect, accessible, easy to read. I did learn to read, but was slow to catch the way of it all.

The Book of Birds marks your fourth collaboration with celebrated nature writer Robert Macfarlane after the monumental The Lost Words and its subsequent Spell Songs, and the magical pocket-sized follow up The Lost Spells. Could you tell us more about how the collaboration between you and Robert began, and how the process looked working together on this new book?

The Lost Words grew from a few springs before it became a river. In Landmarks, Robert had talked of the dropping of words from a major educational dictionary as far back as 2007. This was picked up by Laurence Rose, a poet, who, like many, knew the power of language. He asked if I would sign an open letter to the dictionary’s publisher and willingly I did. This seeded an idea to make an illustrated slide show for The Guardian online, making these lost words into the central focus, to try to make them live again. But, the idea of a book of them wouldn’t go away. My idea was simple. Just the dictionary definition set in the way dictionary type is, a gold leaf icon, and I wrote to Robert, who I had only met through reading The Wild Places to ask if he might write a foreword. I had a reply. He was very sorry he said. He was busy he said, but he wished me luck with the idea. And he said lovely things about my work: he is very polite.

So, I got on with work. I had six books on contract at the time and was working my way through, writing The Quiet Music of Gently Falling Snow, illustrating another. A few weeks later an email came from Rob saying he couldn’t get the idea out of his head. Would I consider working on a children’s book with him around the idea, and I said, ‘not really’. I don’t want to do a children’s book, but a book ‘for people’ of all ages. So we talked, we passed ideas back and forwards, we wrote a proposal and Rob took it to his publishers and I think on the same day we had a resounding ‘yes please’. I was at Druidstone Hotel at the time, working on a short text (One Cheetah, One Cherry – very much a book for young children) and I remember the feeling of mild panic. Because now we had to do this thing.

Each book has been different. Each one a collaborative weaving of word and image. Birds is the third book in a curious series. Although there are two names on the covers there is a whole team of people behind these books, from our publisher and agent, editors and designers (Alison O’Toole designed Lost Words and Lost Spells, Daniel Streat designed The Book of Birds). Publishing is a collaborative experience that includes the book sellers and the readers. It is an ecosystem.

With birds, which took seven years, there was a constant dialogue between myself and Rob, responding to how we felt about, thought about each bird, each wonder. Then Rob would weave the words as a bird weaves a nest, and some came easier than others and likewise with the images.

I painted the 49 birds first and then had to tackle how to depict the wonders to wind poetry and awe into the images. The wonders are painted on claybord using shell gold. This change of visual pace gives the eye a breathing space, I hope, and sings a gentle song of wonder to accompany the beautiful words.

What formed the basis of the criteria for the 49 species chosen to feature in The Book of Birds?

Most of the 49 species were on the red and amber list when we first began the book. Because it took so long some birds moved off, others moved on, so there was negotiation with loss and each other.

In this new book, bird species are presented along with illustrations of their eggs. Were there particular species you enjoyed exploring for this project, or species who presented a challenge?

We are so lucky with our publisher. Not only did they understand as about seven deadlines whistled in flight past our ears, they also embraced things like, just as I finished the last painting, me phoning them to say ‘I’ve just had this idea. I think it’s brilliant, but it means I have to paint another 49 paintings. Hope that is ok. Shouldn’t take long.’ (This was the eggs that sit on each birds’ title page.)

Every single painting was a challenge, no more so than the simplicity of the perfect form of egg. When people say ‘you are so talented’ it grates a little. Every artist spends years learning how to master their chosen medium, struggling to learn the shape of things and how to communicate without words. Each blank page is such a challenge. But for The book of Birds, well, I just care so very much about these creatures. I am aware that I stand in the shadow of such great artists, from Tunnicliffe to Elizabeth Gould. They really knew and understood the shape of the bird. I am a beginner by their standards, but, when I paint what I am trying to do is to somehow show a glimpse of the soul of the creature, tree, seed, egg- whoever it is. I chase the essence. I always feel that I fall short of my ambitions but I guess this is what keeps me going. If birds did not matter so much to me maybe it would have been easier work for seven years, but nothing worth doing is easy, and embedding love, loss and a praise song into each and every piece is what I aimed to do. Each one is a prayer for the bird.

There is a serious plight acting as a catalyst for works like The Lost Words and The Book of Birds, namely the catastrophic decline of species, from both language and landscape. Could you tell us more about the role you feel art has in inspiring change, and integrating with science on these issues?

Art and science are integral to each other and both are seeded in the imagination. Music winds through this also and can thread ideas so deep in memory. It felt for a while that humans were making some headway at last after centuries of colonial degradation of species, environment. Rivers gaining rights, spokes people for forests and legal rights for forests and rivers. And then the world turned… It feels as if the world is in turmoil, but these are the very times when artists really need to go to work, to challenge, to try to find new ways forward, to imagine a better way to be. It’s hard to even think about in the chaos of today.

I am a pacifist. I am trying to understand the answer to this question myself, so if this seems a muddled and unsatisfactory answer then I can only offer up The Book of Birds as my answer for a reader to decide for themselves.

I wonder if you could tell us about what is next for you, if there’s any future projects you can share about?

I did threaten to retire after finishing The Book of Birds. But then I thought, well, in my retirement I might paint, or write a book.
Robert and I are, now and again, speaking of the seed of a new idea. It is slow to germinate as both of us are so busy, but I hope it will take root and grow. Meanwhile I am working on a new book with Hamish Hamilton, a small companion to the birds, perhaps an allegory, still very much feather related, and incubating at the moment. Also I am working with Tamsin Abbott who illustrated Wild Folk, a book I wrote and she illuminated with gorgeous pieces of glass. Our next book is coming together. Both working relationships are about friendship.

The Book of Birds:
A Field Guide to Wonder and Loss

Robert Macfarlane and Jackie Morris

£35.00

The Lost Words

Robert Macfarlane and Jackie Morris

£20.00

The Lost Spells

Robert Macfarlane and Jackie Morris

£14.99

The Wild Cards

Jackie Morris and Robert Macfarlane

£14.99

Tips on How To Paint Your Bird and Bat Nest Box

Painting a Nest Box: Considerations for Bird and Bat Homes

Adding a nest box to your garden is a wonderful way to support local wildlife. At NHBS, we often receive questions about painting bird and bat nest boxes—whether for aesthetic reasons, to help the box blend into its surroundings, or to improve its durability. However, caution is essential, as many standard paints can be toxic to wildlife.

In this blog, we highlight important considerations to keep in mind before you start painting your nest box.

Summary: benefits and risks of painting

Protection and durability: A well-painted nest box is better protected from the elements. Non-toxic, weather-resistant paints can prevent wood rot, UV damage, and general wear and tear.
Heat absorption: Bats prefer warmer temperatures, so dark colours help absorb heat, making the box more attractive to them.
Safety: Bats are highly sensitive to chemicals and fumes, so only non-toxic, water-based paints should be used.
Natural grip: Bats need a rough, natural surface to cling to, so the interior and entrance should never be painted.

Choosing the right paint

Water-based latex or acrylic paints are non-toxic and safe for both birds and bats.
Eco-friendly, organic paints are kind to the environment and wildlife.
Avoid: Lead-based paints, creosote, oil-based paints, and any product with strong odours or volatile organic compounds (VOCs).

Where not to paint

Bird boxes: Never paint inside the box or around the entrance hole. Birds may peck at the paint and ingest harmful chips.
Bat boxes: Do not paint the interior and also preferably not the landing area. If you do choose to paint the landing area, remember that bats need a rough surface to cling to, so do not smooth the area out.

What you’ll need

Item	Purpose
Non-toxic paint	Increase nest box durability
Sandpaper	Smooths the surface for better paint adhesion
Primer	Protects wood and ensures even coverage
Brushes/rollers	For applying paint
Masking tape	Creates clean lines and protects selected areas
Sealant/varnish	Protects the painted surface
Drop cloth/newspaper	Keeps your workspace clean

Preparing your nest box for painting

Step 1: Clean the box

Remove dirt, debris, and dust from both inside and out. If the box is old, check for structural damage.

Step 2: Sand the surface

Lightly sand the exterior to help the paint adhere. Round off any sharp edges for safety.

Step 3: Apply primer

Use a non-toxic, water-based primer to protect the wood and ensure even paint coverage.

Step 4: Set up your painting station

Choose a dry, cool day for painting. Lay down a drop cloth and gather your supplies.

Painting techniques and tips

Use masking tape

Protect areas you don’t want to paint, like the entrance hole.
Create clean lines and geometric patterns.

Start with a base coat

Apply a thin layer of paint and let it dry.
Build up layers, sanding lightly between each for a smooth finish.

Add designs with stencils

Use wildlife or garden-themed stencils for patterns.
Let kids join in with their own artwork!

Keep It Simple

Avoid over-decorating. Wildlife prefers a natural look.

Protecting your painted nest box

Apply a clear, non-toxic sealant to protect against weather.
Let it dry thoroughly before hanging it up.
Repaint as needed if the paint chips or peels.
Image by makasana

Creative ideas for your nest box

Nature-inspired designs: Mimic trees or foliage with greens and browns.
Cheerful colours: Soft blues, yellows, or reds can add a pop of colour (for bird boxes only).
Themed patterns: Flowers, leaves, or whimsical shapes.
Children’s artwork: Let kids decorate with drawings or handprints.

Special considerations for bat boxes

Why dark colours for bats?
Bats prefer warmer roosts, so dark colours (black, dark brown, or dark grey) help absorb heat.

Installation tips

Mount the bat box in a sunny, south-facing location (in the Northern Hemisphere).
Ensure the box is at least 4–5 metres off the ground and sheltered from wind and rain.
Install in late autumn or winter so the box is ready for bats in spring.

Final tips

Paint at the end of summer (for bird boxes) or in late autumn/winter (for bat boxes) to allow time for fumes to disperse.
Position bird boxes in a shady spot and bat boxes in a sunny spot.
Check and maintain your nest box each year – see our blog for tips on how to clean a nest box.

A well-painted nest box is not only a charming garden feature but also a safe and welcoming home for birds and bats. With the right materials and a little creativity, you can create a nest box that’s both beautiful and wildlife-friendly!

Read our other useful blogs on nest boxes:

How To Clean A Nest Box

How To Put Up A Nest Box

Where To Hang And How To Maintain Your Nest Box

Thermal Imaging and Bat Surveys

Thermal imaging has revolutionised wildlife surveys by detecting the heat emitted by warm-blooded animals, producing clear images even in complete darkness. This makes thermal cameras especially valuable for observing elusive, nocturnal species like bats while minimising disturbance to these sensitive creatures.

Emergence surveys, typically conducted during spring and summer evenings when bats leave their roosts to forage, often take place in very low light or darkness. Thermal imaging has become the preferred method because it non-invasively detects bats by sensing their body heat rather than relying on external light sources. Unlike traditional visual surveys or ultrasound detectors, thermal imaging provides immediate visual confirmation, enabling researchers to efficiently cover larger areas – even in vegetation or complex terrain.

This technology allows for the collection of detailed data on bat flight patterns, population sizes, and roost locations, improving the accuracy and reliability of survey results. Ultimately, these advances support more informed conservation efforts and better habitat management, contributing to the protection of vulnerable bat populations.

Footage of bats through a Pulsar Merger LRF XP50.

What the guidelines say

The Bat Conservation Trust’s Bat Surveys for Professional Ecologists: Good Practice Guidelines set the standard for professional monitoring, being regularly revised as new techniques and technologies come to the fore. The latest edition, published in 2023, now strongly recommends the use of night vision aids (thermal or infrared devices) for any bat emergence survey – indeed, any survey not using these devices needs to justify why they were omitted in the survey report.

Given the great range of thermal imaging devices available it can be tricky to pick the right one, as not all will be suitable for bat surveys. Helpfully, however, Kayleigh Fawcett-Williams and the Bat Conservation Trust have published additional guidelines offering advice on the exact technical specifications needed for bat work. Here we outline the key features to look for when buying a thermal imaging device specifically for bat surveys, along with some additional factors worth considering.

You can learn more on the BCT’s guidelines, following this link:
Thermal Imaging: Bat Survey Guidelines – Guidance for professionals – Bat Conservation Trust

Features to look for
When selecting a thermal imaging device for bat surveys, several key features are crucial to ensure effective, accurate, and practical monitoring:

Thermal Sensor Resolution
Higher resolution provides clearer, more detailed images, making it easier to detect and identify bats in flight or at roosts.
For small-scale applications, a minimum thermal resolution of 320 × 240 pixels is recommended. Medium-scale applications require at least 640 × 480 pixels, while large-scale applications should have a minimum resolution of 1024 × 768 pixels.

Thermal sensitivity (NETD)
A low Noise Equivalent Temperature Difference (NETD) allows the device to detect subtle temperature differences, crucial for spotting small bats against cooler backgrounds. For bat surveys, a thermal sensitivity below 50mK (millikelvin) is recommended.

Field of view (FOV)
A wider FOV helps cover larger areas and track bats in flight more easily and is preferred when surveying at close range. A narrower FOV allows for detailed close-up observation when observing from a longer range. Some devices offer interchangeable lenses or zoom functions for versatility.

Frame rate (refresh rate)
A high refresh rate, expressed in kHz, is important to capture fast-moving bats smoothly without motion blur. A minimum of 30Hz is required.

Battery Life
Long battery life supports operational endurance, and the ability to change batteries in the field significantly extends survey sessions.

Portability and weight
Lightweight and ergonomic designs reduce user fatigue during prolonged field surveys.

Durability and weather resistance
Robust construction and water/dust resistance (e.g., Ingress Protection ratings – IP) ensure reliable performance in various outdoor conditions.

Image and video recording
The ability to record thermal images and videos aids in later analysis, species identification, and documentation.

Ease of use and interface
Intuitive controls and clear displays help users quickly interpret thermal data, especially important in field conditions.

Upgradability and support
Devices that allow hardware or firmware upgrades can extend their useful life and adapt to evolving survey needs.

To help you explore and choose the right thermal imaging devices for your bat surveys, we recommend the following products:

Pixfra Arc 600 Series Thermal Imaging Monocular

The Pixfra Arc A613 is ideal for bat surveys because it combines an excellent 32.3° field of view with a high-resolution 640 × 512 thermal sensor, allowing clear detection of fast-moving bats in darkness. Its fast 50Hz refresh rate captures smooth motion, while long battery life (up to 6.5 hours per battery) supports extended surveys. Durable and portable, it’s well-suited for challenging outdoor conditions, making it a top choice for ecologists monitoring bats.

Pixfra Sirius S650D Thermal Imaging Monocular

The Pixfra Sirius S650D performs very well for bat surveys thanks to its high-quality 640 × 512 thermal sensor with a 12µm pixel pitch and excellent sensitivity of <18mK NETD, which enables clear detection of small, fast-moving animals like bats in low light or darkness.
It features a dual-lens system with a 25mm lens providing a wide 17.9° field of view, ideal for scanning broad areas during surveys, and a 50mm lens for detailed close-up observation.
The device offers up to 6 hours of battery life with a quick-release system for easy swapping, supporting extended survey sessions without interruption.
Additionally, its lightweight magnesium shell ensures durability and comfort during fieldwork.
Overall, the Sirius S650D’s combination of sharp thermal imaging, versatile optics, and solid battery life makes it a strong choice for effective bat monitoring.

Pulsar Telos XP50 Thermal Imaging Monocular

The Pulsar Telos XP50 is excellent for bat surveys with its high-resolution 640 × 480 thermal sensor and very sensitive <18mK NETD, enabling detection of small temperature differences to spot bats at distance. Its 50mm lens provides sharp, detailed images ideal for close observation. The device offers up to 7 hours of battery life and a lightweight, rugged design for comfortable, extended fieldwork. Importantly, its hardware is upgradeable, allowing users to enhance performance and adapt to survey requirements. This makes it a reliable, precise, and durable tool for effective bat monitoring.

Pulsar Merger LRF XP50 Thermal Imaging Binoculars

The Pulsar Merger LRF XP50 Thermal Imaging Binoculars are particularly
suitable for bat surveys. These binoculars offer a comfortable viewing experience with the use of both eyes, which makes it easier to pick out fine details—an important feature when observing small, fast-moving animals like bats.
Additionally, the device is equipped with a high-powered sensor and advanced lens, allowing it to detect heat signatures at long distances (up to 1,800 meters), which can be very useful for locating bats in flight or roosting sites. The precise laser rangefinder also aids in measuring distances accurately during surveys, enhancing the quality of data collected.
Overall, the Pulsar Merger LRF XP50 combines sensitivity, range, and ergonomic design, making it a strong choice for thermal imaging in bat surveys

Economical aids to assist bat surveys

At NHBS, we realise that securing funding for a high-end thermal imaging device can be challenging for some and may be unattainable for others. However, there are more affordable options available that, while not reliable as standalone survey methods, can still support your observations of bat populations and their movements. These devices do not meet the recommended guidelines for professional surveys, but can still produce great results for more informal monitoring.

Thermal Master DV2 Thermal Camera

The Thermal Master DV2 Thermal Camera is a useful aid to detect bats from a closer distance. Detecting the heat signatures of bats, it allows observers to see their movements and emergence from roosts in complete darkness without using disruptive lights. This makes it an effective tool for locating bats and monitoring activity patterns. However, it may not be sufficient for definitive species identification, so it serves as a complementary tool rather than a replacement for other survey methods.

Bat emergence through a Thermal Master DV2. Footage by Grounded Trees Ecology.

Nightfox Whisker Night Vision Binoculars

Although not a thermal imaging device, the Nightfox Whisker offers an effective way to locate bats and observe bat flight, thanks to its wide 57° field of view. Significantly more affordable than thermal cameras, it can be a welcome addition to your survey equipment. However, like the Thermal Master, we do not recommend relying on this device as a standalone method for bat surveys.

Highly recommended reading!

The right literature will equip you with the knowledge needed to use thermal imaging technology effectively, ethically, and confidently, ultimately optimising your bat survey experience and the quality of data collected.

We recommend the following books to learn more about thermal imaging and its using in wildlife surveys.

Thermal Imaging for Wildlife Applications: A Practical Guide to a Technical Subject

Including guidance on applying thermal imaging to bats, this book combines academic research, field protocols, and practical expertise in a clear, accessible handbook. It covers technology fundamentals, methods, equipment, and applications across bats, terrestrial mammals, marine mammals, and birds.

Read our Q&A with the author, Kayleigh Fawcett Williams

Bat Surveys for Professional Ecologists: Good Practice Guidelines

Updated with new content on night vision aids and other key topics, the 4th edition of reflects the latest evidence and best practices, including sections on biosecurity, tree surveys, and auto-identification for bat-call analysis.

Bat Conservation Trust members enjoy a 20% discount on this essential resource.

Read some of our other blogs on thermal imaging here:

Thermal Imaging For Ecologists

Top 5: Thermal Scopes