The Handbook of Western Palearctic Birds arrives at NHBS

After 18 years in preparation, the highly anticipated two-volume Handbook of Western Palearctic Birds is now in stock and available from NHBS. Continue reading for a behind-the-scenes look at the logistics behind the arrival of such an exciting title.

Handbook of Western Palearctic Birds

Due to the incredible popularity of this book, four members of our staff dedicated three entire days to unpacking eight pallets of books, carefully repacking them and dispatching them to our eagerly awaiting customers.

The Handbook of Western Palearctic Birds, just arrived at the NHBS warehouse.

Watch the video below for a behind-the-scenes look at how this all happened.

We still have plenty of copies of the Handbook in stock, so order now and take advantage of our special price.

 

An NHBS field trip – searching for Nightjars

This week a small group of us took a trip to Dartmoor to try and catch a glimpse of Nightjars. As well as getting a chance to see one of the UK’s most elusive birds this was also a great opportunity to field test some of the equipment we sell.

Heading out to Dartmoor in the evening. Image by Oliver Haines.

Nightjars are cryptic, nocturnal birds that arrive in the UK in May to breed before migrating south in September. For the best chance to see these amazing creatures you need to head to heathland, moorland or open woodland on a warm, still evening. If you are early enough in the season you may also get a chance to see the males displaying, showcasing a repertoire of wing claps and churring.

This great selection of equipment meant that we could look out for bats and moths as well as Nightjars. Image by Oliver Haines.

So what did we pack for an evening of Nightjar watching? Our kit bag is below:

Wildlife Equipment Manager Steve sets up the SM4 Acoustic Recorder. Image by Oliver Haines.

Looking for moths using a simple torch and white sheet. Image by Oliver Haines.

At the site we visited we were lucky enough to see 2-3 males displaying and, despite the low light conditions, the binoculars were extremely useful for picking out individuals on branches. We were also able to capture some great audio recordings with the SM4 Acoustic recorder which we deployed for a few hours. A sample audio clip from the SM4 can be found below. The Tascam allowed us to record as we watched the nightjars displaying, giving us the chance to record all parts of the display. During the walk back we started up a couple of the bat detectors and were greeted by a few different species including noctules and pipistrelles.


Images by Oliver Haines and from Nightjars of the World.

What would we take next time?

A parabolic microphone (Telinga PRO-X or Hi-Sound Mono Parabolic Microphone) would have been extremely useful for getting some high-quality recordings. Although the Tascam worked well by itself, a highly directional parabolic microphone would have allowed us to get higher quality recordings and reduce background noise.

The binoculars performed fairly well given the low light conditions but on the next trip I would be really interested in testing a night vision scope such as the Pulsar Digiforce 860RT as a way to try and spot perched nightjars later into the evening.

Nightjar chicks in their nest on the ground. Image by Oliver Haines.

We had a great evening observing these fascinating birds and I highly recommend it. Nightjar populations have been recovering recently but they are still an amber listed species. They are highly sensitive to habitat change and, since they nest on the ground, are particularly vulnerable to disturbance from people and dogs. So if you decide to go and observe the Nightjars displaying this summer please be mindful, stick to paths and keep dogs on leads. More information on Nightjar conservation and identification can be found on the RSPB website.

Handbook of Western Palearctic Birds: Interview with Lars Svensson and Hadoram Shirihai

Handbook of Western Palearctic BirdsThe much anticipated Handbook of Western Palearctic Birds: Passerines has been eighteen years in the making and after extensive research, exhaustive travel and years of dedication, it will finally be available at the end of July 2018. We were lucky enough to catch up with the authors Lars Svensson and Hadoram Shirihai to ask them some questions just weeks before the book is due to be published.

In this exclusive interview, Lars and Hadoram share their ambitions, endeavours and aspirations for this landmark publication.

Eighteen years in the making, The Handbook of Western Palearctic Birds: Passerines is one of the few truly remarkable publishing projects in ornithology. How does this work compare to the Birds of the Western Palearctic series published between 1977 and 1994 by Oxford University Press?

Lars: Let us say that in my case only 15 of these 18 years were spent on the new handbook. I was involved in doing the second edition of the Collins Bird Guide and some other minor projects as well within the time span. But even so, 15 years is a long time for one single book project! Still, if you would ask around among authors behind more ambitious handbooks and group monographs I am sure most would agree that it takes longer than many anticipate to create reference books of this kind. For me, the first edition of the ringers’ guide took at least seven years to create and the Bird Guide about twelve (and then I did not have to paint a single plate; Killian and Dan did that work so excellently!).

The Handbook of Western Palearctic Birds (HWPB) focuses on identification, vocalisations, ageing and sexing, moult, geographical variation and taxonomy, with brief summaries of summer and winter ranges, whereas BWP covers also social pattern and behaviour, breeding biology, population size and food, all in a very detailed and scholarly fashion with local variations and references. You could say that HWPB is tailor-made for the ordinary birdwatcher and twitcher who wants an up-to-date summary of what is known about identification, ageing, sexing and taxonomy of each species. This does not say that it could not be useful also for museum workers and other professionals!

There are a few other important differences. We, Hadoram Shirihai and I, decided it was time for a handbook entirely illustrated with photographs. Camera standards had developed significantly in the 90s, and through the internet more and more brilliant bird photographs were shared. The potential was clearly there to portray all species within a large region with all plumages and geographical variation covered in photographs. Secondly, we thought it was a good opportunity to give brief summaries of the various subspecies that were deemed distinct enough to be upheld. Many subspecies in the contemporary handbooks and checklists we thought were extremely subtle or even impossible to separate from neighbouring subspecies, and we set off to independently check the validity of all subspecies in museum collections. Applying the so-called ‘75% rule’ (meaning that at least 3/4 of all individuals should be possible to distinguish based on morphology) we ended up discarding c. 15% of all subspecies as synonyms compared to other handbooks and major checklists.

Hadoram: At least as I see it, BWP was made some 20-30 years ago when it was still possible to squeeze information into one project – on distribution, population estimates, atlas, ecology, seasonal biology, behaviour, voice, and so on, as well as identification and variation (but with generally only very basic illustrations, paintings) – and to be satisfied with it!

With so much new information on identification, vocalisations, ageing and sexing, moult, geographical variation and taxonomy (and in parallel the development of revolutionary digital photography), an updated modern handbook of these issues was needed.

In order to illustrate these issues properly and fully, it required a lot of space, for 5-49 images per species (depending on extent of variation). Just for the Passerines it required two volumes, that includes c 5000 images, made by some 800 photographers! Surely it then becomes the most complete photographic handbook for any region.

 What was the biggest challenge in accomplishing this benchmark work?

Lars: To assemble the many photographs (there are well over 4000 photographs together in the two passerine volumes) and to achieve full coverage of male and female, young and adult, sometimes also in both spring and autumn, plus examples of distinct subspecies, was of course a major challenge. Hadoram was in charge of this and did a great job, and we got good support from our publisher setting up a home page for the project where photographers could see what we still needed photographs of. Thanks to the prolonged production, many gaps (if not all!) were filled during our course.

But the biggest challenge was undoubtedly to manage our goal to independently examine all commonly described subspecies. This led us to visit about 15 different museums with for me sometimes biannual sessions both in Tring and New York (the two largest bird skin collections in the world) with visits also to Paris, Stockholm, Leiden, Berlin, Copenhagen, Moscow, Almaty and Bonn, to name some other places. Hadoram made targeted visits also to the museums in Vienna and Tel Aviv to seek answers to specific questions. Apart from the considerable expenses for these travels that we took on, the main difficulty was to find enough specimens of some rarer subspecies. Our aim was to examine at least 12 specimens of each sex of each named subspecies. We managed this for the vast majority, and sometimes examined series of each sex in three figure numbers, but for a very few we could not reach the minimum level. However, we did our best and we state sample sizes for all taxa in the handbook.

Hadoram: Lars described in his answers very well, the combined efforts with the museum collections work and building the photographic collections and selections for the project.

I may add that the biggest challenge and achievement of this handbook is that it provides to field users masses of new and updated information on variation that is now – 1. available, and – 2. more visible due to improved optics and digital photography. But at the same time, in a balanced approach and focus about what also observers can see and use. In other words, HWPB provides the observer with much new information that he can see and analyse while examining a bird in the field, or when processing their images back home.

You have worked in the field for many years, what would you highlight as the most profound change to the practice of identifying and recording birds? What will be the biggest challenge for ornithologists in years to come?

Lars: Digital photography and the existence of internet and websites for documentation and discussion of bird images are the main changes compared to when I started as a birdwatcher. This has speeded up the exchange of news and knowledge in a remarkable way. True, field-guides and birding journals keep offering better and better advice on tricky identification problems, and optical aids have developed to a much higher standard than say 50 years ago. But the new cameras with stabilised lenses and autofocus have meant a lot and have enabled so-called ‘ordinary’ birders to take excellent photographs. This has broadened the cadre of photographers and multiplied the production of top class images of previously rarely photographed species. Which of course made HWPB possible. The handbook is a wonderful testimony to the high standard of bird photography today, also beyond the ranks of so-called professional photographers.

The biggest challenge in years to come will be to identify the new species, which are nowadays nearly always the result of taxonomic decisions and splits of an existing species containing rather distinct geographical variation. Thus previous subspecies are elevated to full species, and by the very nature of it they are often look-alikes.

Linked to this is the problem of different species concepts when various authorities or published checklists are consulted. Although one universally adopted taxonomic list could seem desirable for facilitated communication and for consistent conservation efforts between countries, differences of opinion have always had the positive effect of generating more research and interest. So taxonomic agreement is recommendable up to a point.

What’s next for you? 

Lars: I have planned for many years now to revise my ringers’ guide and produce a fifth edition of it. It is now taxonomically obsolete, but works quite well as to ageing and sexing if you asked me. Amazingly, this book has been alone on the market for over 40 years, and only got its first challenger the other year. After all, the first edition was published in 1970. Now a lot of the offered advice could be improved or refined, and I have started to spend time at the Ottenby Bird Observatory to sharpen up my eyes and knowledge again.

And of course there are the non-passerines for HWPB to do as well. I will not be a true retired man for many years to come yet! I am guaranteed an interesting and varied old age!

I also confess to holding a lifelong interest in bird vocalisation, and I do spend time with my Telinga parabolic microphone and recorder trying to obtain missing sounds, or to improve what I already have. A very relaxing way of birding for me, although I cannot help noticing how disturbance from anthropogenic noise is making good recordings harder and harder to achieve.

Then birds are not everything in my life (but much!). I am a keen Bordeaux wine admirer, and I still play some golf. In other words I am not idle. There is not a day in my life that is not full of activities.

Hadoram: Before I get too old…I am now focusing on completing two main projects for the same publisher:

The HWPB Non-Passerines: it will also come in two volumes, but this time around we are inviting a group of expert authors, with the idea to publish one volume every 3 or 4 years.

The Tubenoses Monograph: already more than 20 years in the making. By now I have seen at sea (and often also on land with live birds) all the taxa, including all species and subspecies of albatrosses, petrels, shearwaters and storm petrels of the world (and examined most of the largest collections too). So I am now writing it with my co-author Vincent Bretagnolle and Tim Worfolk (artist) who has already illustrated many of the plates.

Written by two of the world’s most respected ornithologists, this landmark handbook has been highly anticipated for many years and, as of publication, will be the most complete and comprehensive photographic guide to the passerines of the Western Palearctic.

Handbook of Western Palearctic Birds: Passerines (2 Volume Set)

Hardback | #152433
ISBN-13: 9780713645712
Available for pre-order
Due July 2018 
Pre-pub offer £130.00 £150.00

Conservation Volunteering at Ambios Farm and Wildlife Fayre

At NHBS, all members of staff have the opportunity to partake in conservation volunteering days as part of the company’s philanthropic initiative to carry out nature conservation locally. As part of this initiative, I recently chose to volunteer at an event for a cause that is close to my heart nearby in Totnes.

On Friday 8th June, I volunteered at a Farm and Wildlife Fayre run by Ambios, an organisation that provides education and volunteering opportunities in nature conservation in the UK and abroad. Set in the beautiful Sharpham Estate, with the river Dart and rolling hills surrounding the farm, it was the perfect setting to engage others in nature conservation. This place is special to me, as this is where my initial nature conservation training began before I joined NHBS in 2017. Below is a video of the Wildlife Fayre filmed by Ross Gill of Fresh Ground Films.

At the Wildlife Fayre I worked alongside conservation volunteers, knowledgeable experts in the field and the charity, United Response, who provide a range of support services for individuals with physical and learning difficulties. The aim of the event was to get a wider audience of people involved in nature conservation by allowing them to take part in accessible activities that help individuals to get up-close and personal with local wildlife. More than 200 children and young adults from special needs schools and colleges attended, in addition to young families from the local area.

Engaging and educational activities drew in crowds, including bug hunts, bird box making, forest school sessions, green woodworking and plant identification. The air was filled with excitement as children and adults alike rushed around with their newly carved spatulas and bird boxes. Footsteps hurried as groups rushed between activities with freshly picked produce from the farm in their hands.

Photo by Ross Gill of Fresh Ground Films
Photo by Ross Gill of Fresh Ground Films

The farm office was transformed into a wildlife information hub, which hosted an array of interesting finds. Through microscopes you were transported into another world where you could view bumblebees and Garden Chafer Beetles at close range.

Tanks held Palmate Newts hiding amongst curtains of pond weed and field guides lay next to plaster-cast footprints of creatures who had visited the farm. In one corner, a table was covered with flora found locally for anyone wishing to test their plant identification skills. In another, an array of uncommonly seen finds were lined up including the skulls of animals and tightly woven dormouse nests.

Something that really drew me in were the screens in the wildlife information hub which displayed stories of the wild residents of Sharpham, including nest box inhabitants and various small mammals. You could watch a timeline of Blue Tits building their nest and sitting on eggs. Later you saw the chicks being fed, strengthening their wings and finally fledging!

My responsibilities whilst volunteering at the event revolved around providing support and an extra pair of hands. I helped groups to move between activities and demonstrated how to use tools and equipment such as nets and pooters. At NHBS I work as a Wildlife Equipment Specialist, so it was great to be able to show others first-hand how to use the equipment that we have access to every day. It was lovely to see how excited the children got about using the equipment to get closer to nature.

Photo by Ross Gill of Fresh Ground Films

The Farm and Wildlife Fayre was a fantastic success! The event proved to be a brilliant way of captivating young minds and introducing them to the natural world. By partaking in accessible activities, each person felt confident enough to try something new and learnt a great deal along the way.

Photo by Ross Gill of Fresh Ground Films

Ambios Director and Farm Manager said,

“Our farm and wildlife fayre was a huge success – we are delighted! We had nearly 200 people over the day, from all walks of life experiencing what we do at lower sharpham farm, and getting up close and personal with wildlife as well as getting to know our farm animals. Our farming practice aims to prioritise wildlife, and we are delighted to share our work and our story with a wide audience. Our next event will be a barn dance in the late summer, so watch this space!”

Photo by Ross Gill of Fresh Ground Films

It was great to be involved and I love to think that if this event has inspired just one person to appreciate and protect nature a little further, then it was all worth it!

Stay tuned for more volunteer event posts from my colleagues at NHBS as they embark on their own conservation volunteering days.

To find out more about NHBS’s approach to philanthropic work, please follow this link. For more information about the work that Ambios does, please follow this link.

Start to Identify Grasses: An Interview With Faith Anstey

Faith Anstey is the author of the Pocket Guide to Wildflower Families and Flowers in the Field: How to Find, Identify and Enjoy Wild Flowers.  In her latest book, Start to Identify Grasses, Faith turns her attention to grasses.

Faith Anstey
Pocket Guide to Wildflower Families
Start to Identify Grasses

 

 

Faith has coined the word ‘kleidophobia’ to mean ‘a fear of keys’, and it surely applies to many enthusiasts who would like to become more proficient at identifying plants, but are put off by the complexity of the customary botanical system of keys. So she has developed new ways of approaching ID that keep those daunting keys to a minimum.

To mark her new book and to encourage more people to discover the botanical wonders around them, we asked Faith a few questions about her writing and her life-long passion for botany.

What makes your books different from the usual field guides?

My books are not field guides at all. A field guide gives you a list of plant names, with pictures and descriptions, sometimes with a brief introduction. My books are all introduction: to field botany in general, to plant families and to grasses (maybe sedges and rushes next year . . .). A beginner armed only with a field guide has either to work their way from scratch through complicated keys, or to play snap: plant in one hand, book in the other; turn the pages until you find a picture that matches – ‘snap!’ By contrast, my books lead you into plant identification by logical routes, showing you where to look and what to look for. Their aim is to show you how to do ID for yourself.

What field guides would you recommend to use with your own guides?

Collins Wild Flower Guide

My personal favourite for beginners and improvers is the Collins Wildflower Guide (2016). This covers the whole range of wild plants including grasses, sedges and so on. It has keys that are well-organised and relatively easy to follow, and the ‘pics and scrips’ are accurate and helpful. Of course, Stace (3rd edition) is the botanists’ bible but it is rather daunting for beginners. I am also a great fan of Marjorie Blamey’s paintings in, for example, Wild Flowers of Britain & Ireland. For more detailed help with grasses & co, Francis Rose’s Colour Identification Guide has excellent keys and illustrations, suitable for most levels of experience.

What would be your best advice to anybody wishing to take their first steps towards identifying plants?

If you possibly can, go on a workshop for a day, a weekend or even a whole week. Having a real live person giving enthusiastic teaching, someone to answer all your questions and fresh plants to study is the best thing you can do. Look for a local botany or natural history group you can join, and go on their field meetings. When you get even a little more serious about your study, join Plantlife and/or the Botanical Society of Britain & Ireland. Identiplant is a very good online course but it is not really suitable for absolute beginners. Be a bit careful with apps and websites: some are incredibly complex, some seem to be aimed at five-year-olds, others are just inaccurate and misleading. The best ID websites I am aware of are run by the BSBI, the Natural History Museum and The Open University.

What are the easiest mistakes a beginner can make when trying to identify plants?

The most common mistake is to look only at the ‘flower’ – the showy bit with colourful petals – to try and identify it. To really pin it down, you need to study the whole plant: how the flowers are arranged, characteristics of the leaves and stem, how and where the plant is growing, and even what time of year it is. So long as there is plenty, please don’t be afraid to pick some to take home and study. The general rule on public land is: if there are 20 of the plant in question you can pick one, if 40, two and so on. Try to take the complete plant from ground level up – but don’t uproot it: that’s how the Victorians brought so many species to their knees. Photographs can be a big help, but remember to take several: whole plant, close-up of the flower, details of a leaf and so on.

What is the main threat to the diversity of wild flowers and grasses and what can be done to mitigate any decline?

The main threat is not people picking a few to study, or even simply to enjoy at home. Climate change is, of course, a threat in one sense, but I believe we shouldn’t necessarily dread the rise of ‘aliens’ from warmer climates which are now able to establish themselves here. Every plant in Britain was once an alien, after the last Ice Age ended, and I would rather learn to live with change than blindly try to turn the clock back. There may be a few exceptions like Japanese Knotweed, but their evils are often exaggerated and some natives like bracken can be equally invasive. The real problem we face is habitat loss: to house-building and industry, land drainage, vast monocultural fields without headlands, destruction of ancient forests and so on. And this is an area where watchfulness and action really can make a difference.

Have you ever had any bad or unusual experiences while out identifying plants?

Well, I nearly drowned once. I was botanising on my own in Glen Lyon, beside the rushing ‘white water’ of the River Lyon. There were plenty of large rocks above the water level that I thought I could use as stepping stones across the river. But I lost my footing on a slippery rock and was instantly immersed in the icy torrent. Luckily I was obeying the three-holds rule and my two hands were still clinging firmly to rocks. I quickly realised that, with heavy boots on, if I didn’t get up on a rock fairly soon I was likely to be swept to my doom. No good screaming either: the roar of the water would make that a fruitless exercise. Twice I heaved on my arms and failed to get clear of the water, but on the third try I managed to haul myself out and eventually get back to the bank. The first thing I examined was the sodden notebook in my waterlogged pocket, but my botanical notes were still legible, so it was a happy ending!

Faith’s new book Start to Identify Grasses is available now from NHBS

Start to Identify Grasses
Paperback | May 2018
£3.50

 

 

 

Also by Faith Anstey…

Pocket Guide to Wildflower Families
Paperback | January 2016
£5.99

 

 

Flowers in the Field: How to Find, Identify and Enjoy Wild Flowers
Paperback | May 2010
£12.99

 

 

Great offers on further reading for improvers and experts alike…

Collins Wild Flower Guide: The Most Complete Guide to the Wild Flowers of Britain and Ireland
Paperback | 2016 | £18.99 £24.99
Hardback | 2016 | £29.99 £39.99

 

 

Wild Flowers of Britain and Ireland
Paperback | May 2013
£13.99 £18.99

 

 

 

New Flora of the British Isles
Paperback | 2010
£59.99

 

 

 

Colour Identification Guide to the Grasses, Sedges, Rushes and Ferns of the British Isles and North-Western Europe
Paperback | 1989
£39.99 £49.99

 

 

Faith Anstey in Ardnamurchan, Scotland

Enjoy your time in the field discovering and identifying the wild plants around you…

 

 

Please note that all prices stated in this blog post are correct at the time of publishing but are subject to change at any time. 

National Insect Week 2018

National Insect Week is organised by the Royal Entomological Society and occurs every two years. In 2018 it takes place from 18th to 24th June.

National Insect Week 2018

Following the shocking news in 2017 which revealed recent drastic declines in insect numbers, insect and invertebrate biodiversity has never been more critical. National Insect Week aims to inspire people of all ages and backgrounds to learn more about insects and the vital roles they play in almost every ecosystem on earth.

To celebrate National Insect Week hundreds of events will be occurring throughout the UK, ranging from Bioblitz days, insects walks, workshops and even the chance to dine out on edible insects. Take a look at the interactive map on the official National Insect Week website to see what’s happening where you live. Or why not organise your own event? Don’t forget to submit the details on the website though so that it can be added to the map!

New to the world of insects?

Why not get started by watching the following videos from the Royal Entomological Society. They provide a brief introduction to the various groups of insects and explain why they are so vitally important to life on earth. If you’re eager to learn more then you can read about all of the main orders of insects here.

Ready to start finding and observing insects outside?

At NHBS we sell a huge range of insect identification guides as well as butterfly and sweep nets, moth traps, handheld magnifiers, bug pots and all the other accessories you need to start identifying insects in the field. Follow the links below to visit the shopping pages on our website.

Guides to Butterfies and Moths
Guides to Bees, Ants and Wasps
Guides to Beetles (Coleoptera)
Guides to Flies (Diptera)
Moth Traps

 

 

 

 

 

 

 

 

 

 

 

 

 

Insect Nets and Beating Trays

 

 

 

 

 

 

Hand Lenses and Microscopes
Bug Pots

 

 

 

 

 

 

 

 

 

Listening In The Field: Thoughts on Field Recording

Separating the Signals From the Noise
Image from Wild Soundscapes: Discovering the Voice of the Natural World

 

 

 

 

 

NHBS equipment team member Johnny Mitchell, developed a keen interest in sound design and field recording whilst studying contemporary music. He continues to be fascinated by the technical challenges of field recording and its use for ecologists. With the recent publication of Joeri Bruyninckx’s Listening In The Field, interest around this subject continues to grow, so Johnny has provided some thoughts about the art of wildlife sound recording along with some excellent book recommendations.

‘In its broadest sense, field recording is the act of capturing sound outside of a traditional recording studio environment.

We live, it seems, in a culture that values vision and image above all other senses. In our increasingly noisy society, and as the cacophony of human-induced noise increases around us, it can be easy to forget the value of simply listening as a way to engage with the natural world.

One of the most evocative and earliest examples of field recording can be can found in the BBC recordings of Cellist Beatrice Harrison who, whilst playing in the garden at her home in Oxted, Surrey, noticed that the nightingales in the woods around her responded to, and even echoed, the notes of her cello. Broadcast just two years after the Birth of BBC radio in the early 1920’s, it was the first time that wildlife had been broadcast over live radio in the UK, and it proved to be so popular that the recordings were repeated every spring for the following 12 years.

Listening In The Field: Recording and the Science of Birdsong
Hardback | May 2018
£26.99

 

 

Advances in high-quality, portable audio equipment have led to a fascinating cross-pollination between artists, musicians and scientists. In his new book, Listening in the Field, Joeri Bruyninckx traces the development of field recording and its use in field ornithology. Drawing on expertise from experimental music to serious science, it provides a thorough and wide-ranging investigation into the power of sound and listening.

Anyone looking for further reading on the subject would do well to look to the work of Bernie Krause; in particular The Great Animal Orchestra and Wild Soundscapes.

In The Great Animal Orchestra, Krause, a former musician/composer and now leading expert in soundscape ecology, details his experiences in over 40 years of collecting wild soundscapes and explores what these can tell us about the health of various biomes.

 

Wild Soundscapes offers the reader both a philosophical guide and practical handbook- it is a highly readable and invaluable guide into the many techniques and different types of audio equipment available to anyone making their first forays into the field.

 

Krause encourages us to take a widescreen view of the soundscape as a whole rather than focusing on single species. Whilst listening to his recorded sounds and visualising them using spectograms, Krause also developed his ‘niche hypothesis’ – discovering that many creatures have developed temporal and frequency niches in which to communicate. What we would perceive as a chaotic web of sound is, he argues, highly ordered, and organisms in a soundscape structure their vocalisations over both frequency and time.

Tragically, over half of the soundscapes in Krause’s archive have either been dramatically altered by human activity or silenced altogether. However, as interest and technology advance it is fair to say that we are coming to understand and value the natural soundscape around us and our effect upon it’.

Field Recording Equipment

At NHBS you will find a great range of microphones, recorders and accessories for field recording.

Hi-Sound Mono Parabolic Microphone
H2a Hydrophone

 

 

 

 

 

 

 

Sennheiser MKH 416-P48 U3 Microphone
Basic Stereo Hydrophone

 

 

 
Tascam DR-05 Handheld Recorder
Tascam DR-40 Handheld Recorder
Further reading:

The Sound Approach to Birding: A Guide to Understanding Bird Sound
Hardback | Dec 2006
£29.95

 

In The Field: The Art of Field Recording
Hardback | May 2018
£11.99

 

 

Further listening:

Browse our range of wildlife audio CDs and listen to the sounds of the Amazon, the pure voice of the nightingale or the frog calls of Madagascar.  Find the full list here.

 

Enjoy being in the field, there really is plenty to listen to.

 

Please note that prices stated in this blog post are correct at the time of publishing and are subject to change at any time.

 

Field Studies Council: Publisher of the Month

 

The Field Studies Council (FSC) is the NHBS Publisher of the Month for June.

 

The FSC publish six diverse, thoroughly researched and constantly expanding series, all of which are geared towards helping naturalists identify and monitor the plants and animals they are interested in.

These include Royal Entomological Society Handbooks, AIDGAP Guides, Fold-out Identification Charts and Chart Packs, Synopses of the British Fauna and Biological Records Centre Atlases.

RES Handbooks
AIDGAP Guides
Wildlife Packs

 

 

 

 

 

Synopses of the British Fauna
Fold-Out Identification Charts
BRC Atlases

 

 

 

 

 

 

Fold-Out Identification Charts

The FSC’s range of compact identification charts are designed to assist nature enthusiasts with identifying and naming the fauna and flora they find. The first fold-out identification chart, The Woodland Name Trail was produced in 1994 and, since then, these guides have become the FSC’s best-selling publications.

What makes FSC’s Fold-Out Identification charts stand out are the beautiful and accurate illustrations. Many are illustrated by some of the world’s finest wildlife artists including Richard Lewington, Lizzie Harper, Chris Shields and Mike Langman.

The top five FSC guides at NHBS are:

Guide to British Bats
Butterflies of Britain
Guide to Bees of Britain
Freshwater Name Trail
Garden Bugs and Beasties

 

 

 

 

In 2018, the FSC has added three new fold-out identification charts to their extensive selection:

Longhorn Beetles of Britain
Guide to Rushes
Winter Coastal Birds

 

 

 

 

More recently, the FSC have gathered together some of their most popular fold-out charts into Wildlife Packs. Each pack consists of three or more related charts, together with a card-sized magnifier.

AIDGAP guides

In 1976 The ‘AIDGAP’ (Aids to Identification in Difficult Groups of Animals and Plants) project was started, with the aim of producing user-friendly and reliable field guides which would make identification achievable for those with little taxonomic training.

The most recent addition to the AIDGAP series is an updated edition of the Key to the Earthworms of the UK and Ireland, originally published in 2012.

Paperback | April 2018
£9.99

 

Browse all  AIDGAP Guides

 

 

 

RES Handbooks for the Identification of British Insects

In 2004 FSC started working with the Royal Entomological Society to publish their Handbook series. The aim of these handbooks is to provide illustrated identification keys to the insects of Britain, together with concise morphological, biological and distributional information. These comprehensive books are primarily aimed at experienced users.

The latest addition to this series is RES Handbook, Volume 7, Part 4: The Banchine Wasps (Ichneumonidae: Banchinae) of the British Isles

Paperback | July 2017
£29.99

 

Browse all RES Handbooks for the Identification of British Insects

 

 

 

Synopses of the British Fauna

In 1991 FSC formed a partnership with the Linnean Society of London to publish their Synopses of the British Fauna series. The first Synopses FSC published was Volume 49,  Woodlice and since then, 60 additional volumes have been published.

The latest addition to this series is SBF Volume 61: Marine Gastropods 2: Littorinimorpha and Other, Unassigned, Caenogastropoda

Paperback | October 2017
£56.99

 

Browse all Synopses of the British Fauna

BRC Atlases

The FSC also publishes Atlases on behalf of the Biological Records Centre (part of the Centre for Ecology and Hydrology). Suitable for more experienced users, these Atlases map the distribution of records within Great Britain and Ireland for named groups of animals.

Browse all BRC Atlases

 

 

 

In Preparation

New FSC publications to look out for in 2018 include:

Two new RES Handbooks – Ichneumonid Wasps. and Beetle larvae. Also expected soon is a Water Beetle Atlas for the BRC.

Fold-Out Charts – A new chart covering Invasive Plants is in the early stages of production, whilst the Butterflies Chart is currently being updated to include the Large Blue, Long Tailed Blue, Wood White and the Cryptic Wood WhiteA second edition of The Caterpillar Chart is also being considered, along with a Field Signs Guide.

 

The Field Study Council (FSC) is an environmental education charity providing informative and enjoyable opportunities for people of all ages and abilities to discover, explore, and understand the environment.

Their Mission is to bring environmental understanding to all, and their Vision is inspiring environmental understanding through first-hand experience.

*We have no detailed information regarding titles that are ‘in preparation,’ however, you can place a pre-publication order by contacting customer.services@nhbs.com

Please note that pricing in this blog post is correct at the time of publishing (June 2018) and is subject to change at any time.

 

NatureBureau: Publisher of the Month

NatureBureau are the NHBS Publisher of the Month for May.

Publishing under the imprint of Pisces Publications, they are renowned for beautifully designed, internationally important handbooks and atlases as well as highly localised UK field guides.

Find out more about NatureBureau’s distinguished list of past publications, as well as their upcoming books in this post.

High Standards in Design

NatureBureau’s creative director, Peter Creed; a keen amateur naturalist and photographer with a background in art, was disappointed with the design of many wildlife books and set about creating a new standard in wildlife publishing.  The ground-breaking A Comprehensive Guide to Insects of Britain & Ireland (2014) bore witness to Peter’s endeavours and set a new benchmark in style and content.

As well as exceptional production standards, NatureBureau’s well researched and informative content keeps them in high regard with natural history and wildlife enthusiasts, and their books have become treasured and well-used additions to many libraries.

Local, National and International Guides

Working with authors who are passionate about the flora and fauna of their own county, NatureBureau have produced a range of local interest hardbacks, all illustrated with beautiful photography. In 2017 they published both The Butterflies of Sussex and The Bees of Norfolk, followed in 2018 by The Flora of Sussex.

They recently partnered their bestselling A Comprehensive Guide to Insects of Britain & Ireland with A Photographic Guide to Insects of Southern Europe & the Mediterranean. Both books are currently on offer, for a limited time, in our Spring Sale.

Pocket Guides

Their popular series of photographic pocket guides for beginners use non-technical language and include high-quality photos to make identification in the field as simple as possible. Just published for summer 2018 is A Guide to Finding Bees in Berkshire, Buckinghamshire and Oxfordshire.

 

 

 

 

Celebrating 30 years

As NatureBureau approach their 30th year, they are continuing to expand their range of titles by publishing  The Nature of the Malverns: An Ancient Landscape Steeped in Wildlife and Oxfordshire’s Threatened Plants: A Register of Rare and Scarce Species.

Other books currently in preparation* and expected over the next few years include:

Atlas of Britain & Ireland’s Larger Moths (for Butterfly Conservation) – in preparation for publication early 2019
Life cycles of the British and Irish Butterflies (author Peter Eeles) – in preparation for publishing late 2019/early 2020
The Bumblebee Book (author Nick Owens) – in preparation for publishing in late 2019
Moths of the West Midlands – in preparation for publishing later 2019

Also, building on the success of their two best-selling insect guides, A Comprehensive Guide to Insects of Britain & Ireland [2014] and A Photographic Guide to Insects of Southern Europe and the Mediterranean [2017] NatureBureau are now planning a companion volume of non-insect terrestrial invertebrates: ‘Spiders and Other Mini-Beasts’.

*We have no detailed information regarding titles that are ‘in preparation,’ however, you can place a pre-publication order by contacting customer.services@nhbs.com

NatureBureau also offer ecology services alongside a unique graphic design and print management department for nature-related publications. Their clients range from local wildlife trusts to international NGOs.

Curlew Moon: An interview with Mary Colwell

Mary Colwell is an award-winning writer and producer who is well-known for her work with BBC Radio producing programmes on natural history and environmental issues; including their Natural Histories, Shared Planet and Saving Species series.

Her new book, Curlew Moon, documents her 500-mile journey from the west coast of Ireland to the east of England to raise awareness and funds for the Curlew, now one of the UK’s most threatened birds. Part travel diary and part natural history, the book is also a beautiful exploration of the way in which the Curlew appears in local myths, culture and language.

We were delighted to chat with Mary about the book and about her fight to save the UK Curlew population before it’s too late.

Curlew MoonI guess I’ll start with the obvious question – why Curlews? What is it about them that captivates you and has made you dedicate so much time and energy to raising awareness for their conservation?

That’s perhaps the most difficult question. I honestly don’t know why Curlews in particular, other than I love the way they look, how they sound and where they live. Those calls over wetland and meadow or over mountain slopes are soul-grabbing. W S Graham described the Curlew’s call as a ‘love-weep’ a melancholic, yearning, beautiful sound. I grew up in the Staffordshire Moorlands and back then, in the 70s, they were common, so perhaps they infiltrated my brain! What I found on the walk is that many people feel the same. To know them is to love them. And over the last few years, as I became aware of what was happening not out on the savannah or in a rainforest, but right here under our noses, I decided to try to help. A contract with the BBC Natural History unit came to an end and the next day I started to plan the walk.

Curlew MoonWhere I live in North Wales, on the banks of the Menai Straights, the sight and sound of curlew are very common. Living somewhere like this, you could easily believe that they are both abundant and thriving here in the UK. Do you think that this, along with a lack of understanding of their complete natural history (e.g. the types of habitat they require to breed, food sources and predator pressures) contributes to masking the problems they face?

For sure that is the case. The UK and Ireland population of Curlew are boosted by winter visitors. From August to March as many as 150,000 Curlews rest up and feed ready for the breeding season. But come the warmer months most disappear back to N Germany, Scandinavia or Finland, leaving our own breeding birds thinly scattered. Also, as Curlew don’t breed until they are at least 2 years old, juveniles may well spend all year on the coast. The story of loss is in the fields and meadows. A Curlew’s life is complicated, and we are only just getting to grips with that. It needs whole landscapes to feed, roost, nest and over-winter. They bind the coast to the mountains and country to country. It’s hard to understand, but worth the effort. They really are fascinating.

Curlew MoonPoetry features heavily in the book and I absolutely loved how you explore the myriad ways in which the curlew features in the myths, legends and cultures of the areas you passed through. (I am currently in the process of moving to Clynnog Fawr so I was particularly thrilled with the tale of St. Beuno!). Why did you choose to style the book in this way rather than writing a more prosaic natural history and travel diary?

I think being a producer on Radio 4’s Natural Histories for two series deepened my understanding of just how much the life around us has contributed to art, literature, poetry, science, folklore and spirituality. For all of our time as humans on earth we have looked at the natural world and forged connections. We still do that today. Part of the reason for the walk was to discover how curlews have inspired us. I had known about the lovely story of St Beuno and the Curlew for a long time – enchanted by it – so I knew there must be more out there. And there certainly is!

Particularly at a time where it seems that we are encouraged to value wildlife primarily for how it can benefit us, and ‘ecosystem services’ type approaches aim to put a monetary value on our wild spaces and creatures, do you think the arts have an important role in highlighting and championing those species that might otherwise fade away without notice?

Yes of course, anything that helps us to re-engage with nature is vital, be that through arts or science or economics. People are complicated – each of us has so many facets, rolled into one being. We are consumers, parents, children, lovers, friends. We are both rational and irrational, emotional and calculating, loving and full of division. Spiritual, religious, atheist, agnostic, often all at the same time. The arts understand this complexity and great art touches all those facets. The role of the arts in our lives is incalculable, so it isn’t surprising it doesn’t appear on a financial spreadsheet. I’m not sure I could write a straight natural history of any animal, bird or plant. I will always want to delve into its connection to our lives.

Curlew MoonWith any conservation work, it can sometimes feel as though you are swimming against the tide, with every move forward followed by two moves back. Especially with a species such as the Curlew, where there seem to be so many challenges to overcome, how do you maintain the hope required to keep fighting and how do you prevent yourself from succumbing to despair?

I touch on this a bit in the book – in the section where I walk though the middle of England with a friend who is an ex- Dominican friar, a gay activist and a writer, Mark Dowd.  He helped put my feelings into context. This wasn’t a walk that will necessarily produce tangible proof of more Curlews on the ground within 5 years. Rather it is in the realm of hope –  that something good will emerge at some point. It was a walk of trust, that if you put yourself on the line, people will respond. And so I didn’t walk with the aim that there would be a 20% increase in curlews in the UK and Ireland by 2020 (although that would be great), rather it was underpinned by a hope that people will be more aware of what needs to be done and will act on it. The series of workshops I organised with help from so many good people also gave me hope. We may fail, we may yet lose curlews from large areas, but, as David Attenborough once said, “As long as I can look into the eyes of my grandchildren and say I honestly did what I could, then that is all I can do.” I agree with that.

My final question is of a more practical nature, as I’m fascinated by people who take time out of their lives to undertake challenging journeys. Are you a seasoned long-distance walker or is this the first walk of this length you have undertaken? How did you prepare for it, both physically and mentally?

I used to do a lot of walking, but then children came along and life changed. So for 20 years I didn’t do much. But determination takes you a long way – and going to the gym. I just felt ready for the challenge and was so sure it was the right thing to do. But I did suffer from blisters! Still, a small price to pay and a good excuse to buy new boots for my most recent long distance walk – 230 miles through the Sierra Nevada in California along the John Muir Trail. That was tough, it made 500 miles along footpaths look like a stroll in the park.

Curlew Moon by Mary Colwell is published by William Collins and is available from NHBS. You can read more about Mary and her work at www.curlewmedia.com.

Signed copies of the book are available while stocks last.