Hoopoe – A blog by nhbs – The NHBS Conservation Hub

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

Author interview with Julian Cremona: Seashore Plankton

Julian Cremona sampling plankton using a NHBS plankton net. Image by Julian Cremona.

As an island nation, the shoreline around the British Isles has a special significance for many of us. Whilst we might feel at home combing rockpools or wandering the shoreline, the world of plankton remains far more elusive.

In Seashore Plankton, Julian Cremona, author, educator, and naturalist, reveals the fascinating microscopic life found in our coastal waters. Perfect for naturalists, ecologists, and students, Seashore Plankton is the first practical, shore-based guide to collecting and identifying marine plankton. Packed with over 400 vivid photographs and clear advice on sampling and microscopy, the book opens an unseen world while highlighting the ecological importance—and vulnerability—of these tiny organisms.

Ahead of the publication, we had the opportunity to talk with Julian about the book’s development.

Firstly, can you tell us a little bit about your background and the reasons for writing this book?

I have always had a fascination with biodiversity in all ecosystems, and have been collecting marine and freshwater plankton since the late 1970s. After nearly sixty years of educating people in seashore ecology, I know how important plankton knowledge is to fundamentally understand the complexity of the shore. There are a few good books and papers about identifying offshore planktonic species, but they are scientific works and do not look at collecting, studying, or interactions between organisms. Most importantly, there are none dedicated to the seashore.

Plankton collected directly from the seashore is different from that taken offshore. There is some overlap and so the identification books that exist are useful, but there is nothing out there that is specific. The water lapping over the seashore has a more biodiverse variety of organisms compared to offshore samples. This is because the plankton arrives from three or four different sources: rivers and estuaries, invertebrate larvae released from the seashore, organisms washed by wave action into the plankton and life brought in by wind and tides from the ocean. I felt a whole new approach was needed to make seashore plankton accessible and try to unravel its complexity. In particular, I wanted to describe how to collect samples from the shore rather than a boat, explain how to look at them, and introduce the huge array of organisms found on the shore and how they link with the life that we can more easily observe.

I have written a number of books on the seashore, but this was the most difficult. Part of the problem is that you are writing about creatures that few people have seen or can comprehend, especially because most do not have common names. It is surprising how many people can be expert on seashores but still be unclear on the microscopic plankton that is an essential part of the ecology.

Oriental Shrimp. Image by Julian Cremona.

In the introduction, you discuss how difficult it is for us as terrestrial creatures to understand the ocean as a complex ecosystem. How has your understanding of the seashore as an ecosystem changed throughout your study?

Whenever I stop near the coast and look out at a vast expanse of blue, I invariably think of the trillions of organisms out of our sight, to which most people would not give a thought.

Over the years there have been subtle changes in how I study the seashore. In the last decade or so I have tried to bridge the gap between the organisms we see with the naked eye, like, say, sea anemones, and the microscopic detail of the plankton. For example, small pieces of glass and other materials placed on the shore will quickly become colonised by spores and larvae from the plankton over time. By removing these pieces to observe the developing biofilms under low magnification and photographing changes, it has given me a better insight into the relationship between substrate, tides and the organisms. The change in the first few weeks is amazing with the growth of bacteria, forming long chains, enabling diatoms and protists to begin colonisation. The more I observe, the more I realise how little we understand.

Planula Larva of Sea Anemone. Image by Julian Cremona.

You point out the assumption that specialist or expensive gear is required to observe seashore plankton. How does someone interested in coastal plankton get started?

Collecting from the shore requires different considerations. Trawling from a boat is easier, for one thing. To collect a sample, a large volume of water needs to be filtered for microscopic life, and there are different ways to do that. Buying a good net to pull through the water is the best option, but then finding a suitable place for sampling can be a challenge. All this is covered in the book: where to sample, and how to choose and use the net. An expensive microscope is unnecessary, and the book tries to give some suggestions for observation, but you will need some way of magnifying the creatures found. Most other items you need are inexpensive and may well be in your home already.

I was recently amazed to learn the role that phytoplankton play in oxygen production. What else has the study of plankton revealed about oceanic and planetary systems, and how are plankton linked to human and planetary well-being?

Pleurobranchia Stack. Image by Julian Cremona.

One misnomer, that one sees regularly stated, is that every second breath you take is oxygen from phytoplankton. For sure, 50% of the oxygen produced on earth is from phytoplankton but mostly that stays in the sea and is used by the organisms living there. We are still reliant on terrestrial sources of oxygen. The study of plankton and links to our wellbeing is a huge topic and only briefly discussed in the book. If I choose one example, it is probably how common species within marine plankton have an essential role in sequestering carbon and taking it to the bottom of the oceans. So few people in the world realise how important the sea is in determining our weather patterns, and plankton is part of that – a reason why plankton blooms are monitored by NASA from space.

A large portion of the book is devoted to the dizzying array of organisms that can be found within the plankton. Is there a group you find yourself particularly drawn to?

Marine worms, the polychaetes, have species that permanently live in the plankton that I love finding. Huge numbers of other worm species live in sediment or on rocky seashores and liberate amazing larval forms that develop and grow for weeks in the plankton. Some, like the syllids, have a weird sexual reproduction called epitoky where the worm on the shore grows a special new ‘worm’ (called a stolon) on the end of the body that can be male or female. These swim off into the plankton to find a mate and disperse but eventually die as they have no gut. I love the diversity and beauty of the polychaetes. One of the most common larvae found are those of Polydora, which change dramatically over time and are super to watch, with real character.

The final chapter discusses the human induced stressors on the ocean ecosystems and plankton populations, from pollution to climate change. Can you give us an idea of some of the changes, and have you been able to observe any over the course of your study?

The most obvious issue is that of the warming sea along the coast. We can surmise some of the problems, like the increase in jellyfish, but will the synchrony between copepods (important crustaceans as prey for fish) and the organisms they feed on change? We know this is happening on land, for example where nesting insectivorous birds may produce young before the appearance of insect prey. Acidification of the oceans was predicted many decades ago, but already problems are developing where some mollusc larvae are failing to develop shells properly.

In the last few years, we have seen the sea around Milford Haven, where I sample, reach record high temperatures. There are two noticeable long-term anecdotal changes I have noticed in the last decade. One is the increase in ‘gelatinous plankton’, not just jellyfish but also small hydromedusae and siphonophores. The most well-known of the latter is the infamous Portuguese Man-o’-war, but there are also many much smaller, completely transparent (and thus difficult to see) forms, that congregate in huge numbers during the summer. The second observation is in the composition of plankton. While many species occur year after year there are steadily more warm water species appearing as distribution ranges move northwards.

Coronate Larva Poss. Image by Julian Cremona.

And finally, do you have any other projects on the horizon?

As I said at the start, I enjoy observing all ecosystems. One that has always fascinated me is the saltmarsh. These are great breeding grounds for microscopic life. Sometimes this can temporarily appear in marine plankton, and I have been drawn to sampling the surface mud in all areas of the marsh as well as the saltpan pools that vary so much in their salinity. This is an area I am developing and intend to spend more time studying.

Seashore Plankton; A Practical Introduction to Biology and Identification
can be ordered here.

NHBS Ltd. Produces and supplies a variety of plankton nets and accessories, to be used from the shoreside or on open water. Browse our catalogue here to find the net to suit your project.

More books by Julian Cremona:

In the recently released Rocky Shores, Julian Cremona unleashes his passion and expertise on the boulder-strewn shores of the British coastline. Covering the life of rock pools and strandlines, including molluscs, worms, seaweeds, invertebrates, and microbes, this is a must-have for shore lovers.

Seashores An Ecological Guide.
A user-friendly, authoritative reference featuring over 400 color photos of common coastal organisms. It explores key species, their adaptations, and how they survive environmental stresses across diverse habitats like rocky shores, sand and mud, estuaries, salt marshes, sand dunes, shingle, and plankton.

Extreme Close-Up Photography and Focus Stacking
A practical guide to capturing detailed macro shots, from butterfly wings to eyes. It covers affordable techniques for photographing terrestrial, marine, and freshwater subjects, with clear instructions for outdoor and studio settings. Special attention is given to focus stacking, software use and enhancements.

Author interview with Peter Sutton: Field Guide to the Grasshoppers and Allies of Great Britain and Ireland

The Bloomsbury Wildlife Guides series has consistently set the standard for invertebrate identification, combining practical, readable text with meticulous illustrations by Richard Lewington. The latest instalment tackles the grasshoppers and relatives, a diverse and fascinating group undergoing rapid change in Britain. With flawless production quality and clever features such as QR links to audio recordings, this book provides a complete picture of the identification and dynamic lives of these fascinating insects.

We recently had the pleasure of speaking to author Peter Sutton about the story behind the book, changes in the British fauna, and what readers can expect from the new guide.

How long have you been studying these insects and what first led you to take an interest in them?

I have been studying this group of insects since I began to catch grasshoppers half a century ago at the age of seven, on a dry grass verge that ran alongside a railway line in West Sussex. I was drawn to them by their song, their amazing ability to jump and fly, and the bright orange-red abdomen of the males. This led, in a bramble thicket at the same site, to my first sighting of bush-crickets, and then on to learning about all of the British species when I found Dr David Ragge’s Grasshoppers, Crickets and Cockroaches of the British Isles at Crawley Town library. It was this authoritative and fascinating text that informed all future journeys to the New Forest, the Isle of Purbeck, Chesil Beach, and anywhere else that was likely to reveal the orthopteran riches of these islands.

How did the new field guide come about?

I first had conversations with Andrew Branson who floated the idea of a field guide almost 20 years ago. At the time, this potential project was put on hold because there was a lot of activity by other writers who were working on publications about the Orthoptera. However, it soon became clear that there was a genuine requirement for a publication that covered all of the orthopteroid insects including the earwigs, stick-insects, cockroaches and mantids. Björn Beckmann and I were busy working on an updated distribution atlas when we got the call from Bloomsbury saying that Richard Lewington had agreed to illustrate a field guide for this group of insects. With a bit of further negotiation, we arranged for the field guide to include distribution maps for all of the native species, as well as naturalised species that had established viable outdoor colonies, and with this agreed format, the project went ahead.

Can you give us a taste of what’s covered within the species accounts and elsewhere in the guide?

The 65 species accounts have the following format: a detailed Description of adults highlighting key identification features; Measurements (total length, wing length, ovipositor/cerci length, eggs/ootheca size); Variation (colour and pattern forms/wing length; Similar species; Lifecycle and habits including colour-coded phenology charts; a description of Song including a visual representation (sonogram) and a QR code that allows the reader to hear the song when scanned using mobile phone technology; Habitat and distribution (including, the 48 for native and outdoor naturalised species, a small generalised map in the account and a detailed 10km square map in the appendix); Conservation (for species that have IUCN threat status); and details of How to find this species. These accounts also include illustrations of male and female adults and where useful, nymphs, as well as additional photographs of adults, nymphs, and varieties.

A comprehensive and well-illustrated Introduction (over 300 photographs have been used to illustrate this field guide) is followed by chapters on Studying and recording orthopteroid insects, and a Regional guides section written by county and regional recorders, which provides an assessment of species that are likely to be found in Great Britain and Ireland, including the Channel Islands, Isles of Scilly, and the Isle of Man.

An illustrated ‘At-a-glance’ guide and key to the orders provide a helpful starting point to begin the process of identification, followed by detailed identification keys in the introduction to each order of insects, which include many useful labelled diagrams and photographs.

At the end of the book is an assessment of Potential new orthopteroid species, a comprehensive Checklist, a list of Useful resources, and a Glossary of terms, followed by the detailed Distribution maps.

One of the many standout features of this guide is the beautiful artwork by Richard Lewington. With such a varied group of insects, how did you decide what to include in the illustrations?

Richard, as with all of the field guides that he has worked on, has done a spectacular job of illustrating this group of insects and the field guide contains more than 180 artworks. As a rule, adult males and females are illustrated for each species profile, unless they are all but indistinguishable e.g. American Cockroach, or parthenogenetic e.g. stick-insects and Surinam Cockroach.

Other significant colour forms (notably brown forms of otherwise green bush-crickets) have been included, and key features, such as the dorsal view of the head and pronotum of grasshoppers, and the cerci of earwigs, have been provided in colour. Key identification features also appear in the species profiles and illustrated keys as monochrome labelled diagrams.

This is the first book since Marshall & Haes’ 1988 Grasshoppers and Allied Insects of Great Britain and Ireland to cover all orthopteroid insects in Britain and Ireland. What’s changed for these insects in the 30+ intervening years?

In a relatively short period of time, we have moved from what was an essentially stable fauna, where new species were recorded as a result of more rigorous field work e.g. Heath Grasshopper, and taxonomic inspection e.g. Cepero’s Groundhopper, to a more dynamic situation where new species have, and are likely to continue to become, naturalised through climate induced migration e.g. Large Cone-head, and human-assisted introduction e.g. the Garden and Variable cockroaches. In all, ten new species have become successfully naturalised in Britain since the first species, the Southern Oak Bush-cricket, arrived in England in 2002, and three new species have been added to the Irish list, representing significant increases to the British and Irish fauna.

Another remarkable change, which had already shown signs of beginning when Marshall & Haes was published, has been the spectacular climate-linked spread of certain species (e.g. Roesel’s Bush-cricket, Long-winged Cone-head, Slender Groundhopper) across England, Wales, and for the Short-winged Cone-head, Scotland, and possibly Ireland. Conversely, there is tangible evidence to show that the Common Green Grasshopper, and possibly the Common Groundhopper, have experienced range contractions as drier conditions no longer cater for the hygrophilous requirements of their eggs.

There are many other points of interest. Many of the species that were introduced in imported food, such as the Cuban Cockroach, are no longer seen as biosecurity measures have improved, whereas the less regulated horticultural trade appears to continue to import alien species with worrying regularity, and has undoubtedly been the source of the recently naturalised Garden Cockroach and Variable Cockroach populations that are now well-established at sites across England. Improvements in pest control, together with more efficient heating systems, have also successfully eradicated once familiar species like the Oriental Cockroach, and of particular note has been the disappearance of the House-cricket, whose populations have additionally been lost through its susceptibility to the Cricket Paralysis Virus (CPV).

From your experience as the lead on the recording scheme for Orthoptera and allied insects, how has interest in these insects developed over the years and how do you hope the book will contribute in the future?

There is no doubt that the rise of the internet has played a major role in popularising the orthopteroid insects. It has facilitated the establishment of recording groups and allowed them to communicate rapidly with each other to share details of their finds, such as the important evidence of breeding for the Praying Mantis in the New Forest and the Isle of Wight this year. It also allows knowledgeable members of the group to rapidly confirm the identification of species. Record submission to the Recording Scheme is now easier, notably through iRecord, and the development of the mobile phone Grasshopper App means that species can be identified more easily in the field using illustrations of key identification features and song recordings.

In this context, the main contribution of this field guide is to provide information that will allow species that were previously not found in Britain and Ireland to be correctly identified. This is particularly the case for species like the two sickle-bearing bush-crickets and the newly naturalised cockroaches, for which there was previously very little information to work with.

As to role that this field guide will play in the future, as per the reasons provided in the Introduction, there is no better time to study the grasshoppers and allies. It is hoped that this comprehensive, technically useful, and aesthetically pleasing guide will inspire a new generation of enthusiasts to study this remarkable and often spectacular group of insects.

Author interview with Kate Bradbury: Wildlife Gardening for Everyone and Everything

Kate Bradbury is an award-winning writer specialising in wildlife gardening. She is the author of One Garden Against the World and The Bumblebee Flies Anyway, edits the wildlife pages for BBC Gardeners’ World Magazine, and writes for the Country Diary column in The Guardian. Beyond her writing, Kate has also appeared on TV, with her garden and work featured on BBC’s Springwatch, Autumnwatch, and Gardeners’ World.

With the release of a fresh new edition of Wildlife Gardening for Everyone and Everything – an inspiring and practical guide to making the most of your wildlife gardening projects – we had the perfect excuse to catch up with Kate.

What triggered your passion for wildlife gardening?

I think it was always there… I have always been a gardener, but in 2005 a bumblebee made a nest in an old duvet in my ex’s back yard, and the neighbours complained, and we had to move it. I got in touch with Bumblebee Conservation Trust and learned how to do so safely, and my journey to grow plants for wildlife began!

What inspired you to release a new edition of Wildlife Gardening for Everyone and Everything? Could you highlight the most important updates or changes since its previous edition in 2019?

The thing about wildlife gardening is that it’s based on science and ecology, so any updates in what scientists and ecologists know about wildlife and the habitats we create for them, must be reflected in the advice on how to go about creating habitats – we want the best for wildlife after all!
Two important differences include what we feed to hedgehogs, as mealworms, peanuts and sunflower seeds are now thought to be bad for them, and the new debate about whether we should be feeding birds at all: I explore the pros and cons in the book.

What are the key tricks to get people excited about wildlife gardening?

Passion is the only way in, and it’s not a trick! It will make you happy and lead to a lifetime of loving, and being fulfilled by wildlife. But, if you need convincing that creating homes for bugs etc. is important, focus on hedgehogs or birds, or butterflies – something that you really connect with. Cater for that one species or group and see where it takes you.

What key advice would you give to a beginner wildlife gardener?

Just enjoy it! Don’t make too many compromises, remember it’s your garden too. That way you can create wildlife habitats while still caring for a garden that works for you, too – that’s the key to long term relationships with the species you share your garden with.

From your experience, what are the main challenges people face when creating a wildlife-friendly garden, and how can they overcome these challenges?

A lot of people worry about having a messy garden, or that they will attract rats, or that they just won’t do it right and will somehow harm the wildlife they’re hoping to attract. But, really, if you focus on relaxing, having fun and perhaps concentrating on one or two species, you can’t go wrong. Wildlife gardening is a journey, see what works for you!

Since you began promoting wildlife gardening, what changes have you observed in the public’s attitude towards it?

It’s been huge, actually. When I first started writing about bees and creating habitats, there was a lot of pushback, especially on elements like letting areas of grass grow long or growing native plants. Now there’s a much greater awareness of the needs of our wildlife and a greater desire to help the cause. It’s been really lovely to witness.

What are some of the biggest misunderstandings about wildlife gardening? Additionally, could you share some of the most common mistakes you’ve seen people make?

There’s a thing about messy gardens that irritates me – first the idea that wildlife gardens have to be messy but then the concept of messiness in itself. The best wildlife gardens mimic the natural processes of the woodland edge, so feature habitat piles including log and leaf piles, open compost heaps, native plants and a source of water, and aren’t pruned or cut back too much. Is that messy? I don’t think so!

How concerned should we be about invasive plants and animals in our gardens? What criteria can we use to tell which species help our wildlife gardens and which might cause harm?

I wouldn’t get too caught up in fear over invasive plants and animals (usually insects). Just avoid buying invasive plants (There are lists to browse online.) and get in with creating habitats! That’s the main thing.

Are there any memorable success stories you can share where wildlife gardening has made a real difference to local ecosystems?

Every habitat you create is a success story, but I’m especially happy to have the Garden Tiger moth, which has declined by around 96% in the south-east in the last 40 years, breeding in my garden. That feels like a big win.

Wildlife Gardening for Everyone and Everything can be ordered here.

Other books by Kate Bradbury
available from NHBS:

One Garden Against the World
In Search of Hope in a Changing Climate

RHS The Tree in My Garden
Choose One Tree, Plant It – and Change the World

RHS How to Create a Wildlife Pond
Plan, Dig, and Enjoy a Natural Pond in Your Own Back Garden

The Bumblebee Flies Anyway
A Memoir of Love, Loss and Muddy Hands

The Wildlife Gardener
Create wildlife habitats in your very own garden

Book review: The Secret Lives of Dinosaurs

***** Beautifully presented

Back in 2021, palaeontologist Dean Lomax impressed me with Locked in Time, a popular science book that looked at the behaviour of extinct animals as revealed by a selection of extraordinary fossils. Showing that there is more to be said on the topic, he now returns with The Secret Lives of Dinosaurs, which features another tranche of remarkable fossils. More than just a sequel, this book improves on its predecessor in several respects.

Since the publication of Locked in Time, there have been several other popular books on trace fossils and the behaviour of extinct animals. I reviewed Michael J. Benton’s introductory guide Dinosaur Behavior and David Hone’s excellent Uncovering Dinosaur Behavior, while Jean Le Loeuff’s What Did Dinosaurs Think About? is on my radar. Anthony J. Martin, whose 2014 book on trace fossils, Dinosaurs Without Bones, merits mention in this context, returned in 2023 with Life Sculpted to look at trace fossils of bioerosion. Collectively, these books show what else you can do with this topic, so I was curious to see what tack Lomax would take this time.

Undeniably, The Secret Lives of Dinosaurs has all the appearances of being Locked in Time II. It follows the same formula: previously, we got 50 case studies under five subject headings; now we get another 49 case studies under eleven headings. Furthermore, in his introduction, Lomax adds that “You might even consider this a sort of sequel” (p. 1). Finally, when I interviewed Lomax back in 2021, he mentioned originally wanting to discuss 100 fossils but having to cut his selection in half. One fossil he regretted having to omit was the arthropod Aquilonifer spinosus, nicknamed the kite runner, that was found with its offspring tethered to its body by long filaments. That fossil here appears in chapter 3 as “Tethered Toddlers”. However, calling this book a mere sequel would be doing it a disservice: this is more than a compilation of the leftovers that missed the cut last time.

For starters, we can establish that the three strong points I highlighted last time are all still in effect. First, Lomax reiterates that not all interpretations of certain behaviours are uncontested. Though we have interesting evidence of swimming tracks made by small theropods, sauropod swimming tracks are more controversial, while palaeontologists continue to discuss whether the rocks swallowed by marine reptiles (gastroliths) acted as ballast or digestive aids. Second, Lomax continues to shine a light on the inner workings of palaeontology. When an excavator bucket cuts right through an elasmosaur fossil, he brushes this aside with a casual “These things happen” (p. 240). Several case studies show how certain fossil discoveries play out over decades of intermittent study and attempts to relocate historic dig sites. Third, Lomax continues to mix entertaining popular science writing that has lost none of its enthusiasm with gentle education. He still defines terminology on first use and continues to stress the relevance of studying animal behaviour today to understand animals of the past.

More importantly, The Secret Lives of Dinosaurs improves on its predecessor in several respects, most noticeably in its lush presentation. The publisher has thrown its full weight behind this book, printing it in colour on thicker paper stock. It is thus noticeably heavier than Locked in Time, even after accounting for its extra 54 pages. Bob Nicholls’s excellent artwork—and there is a lot of it—really pops this time around, while the numerous photos and illustrations of fossils are crisp and informative. One outstanding example of how this is put to good use is the section on the fossil evidence for caudal autotomy, i.e. the voluntary amputation of one’s tail, shown by many small reptiles today as a defence against predators. Page 117 shows two colour photos of a lizard fossil under visible and UV light, the latter revealing a regenerated, cartilaginous tail invisible to the naked eye. Another change is that all entries are slightly longer, increasing from an average of 4–5 pages to 5–7 pages. On several occasions, Lomax uses this to detail the chain of reasoning by which scientists eliminate competing explanations to arrive at their conclusions. How do you tell apart stomach contents from fossil embryos when a species is a known cannibal? Have we found evidence of ammonite eggs, or did another cephalopod repurpose empty ammonite shells? And how do you conclude that a combined trackway is evidence of two giant millipedes mating?

Finally, I think that more of the same, when done well, is not a bad thing. On that note, Lomax has again curated a collection of truly exceptional fossils. Though at least two case studies were discussed in Uncovering Dinosaur Behavior and that giant Tyrannosaurus rex turd featured in King Tyrant, much here was new to me. Never mind the title, this is about much more than just dinosaurs. Lomax jokes how one of the best ways of surviving in the fossil record is being eaten, as evidenced by descriptions of a new lizard and a new beetle species from respectively Microraptor stomach contents and coprolites from (likely) Silesaurus. And while the present often informs the past, sometimes the past reveals something about biology today, such as the discovery of an amber-encased fossil of a tiny springtail hitching a ride on a mayfly. Conventional wisdom had it that springtails spread via oceanic currents or aerial plankton; now we can add phoresy (the act of attaching oneself to a host organism to catch a free ride) to that list. Or take the footprint on a coprolite, showing that crocodilians, too, sometimes stepped in it. Or the scars on a plant leaf that, according to one team of researchers, exactly match those made by zombified ants today when they clamp their jaws down on a leaf vein just before dying and sprouting a fungus from their head. Yep, an unusual example of fossilised evidence of ant-fungal parasitism! It is hard to pick favourites with such a remarkable list of fossils.

How Lomax got Slash from Guns N’ Roses (!) to provide a blurb for the book? I am sure there is an interesting story here, but his praise, placed prominently on the cover, is one that I can echo. If you liked Locked in Time, this book is a no-brainer, improving on the execution of the concept. If you would like a novel kind of popular palaeontology book, whether for yourself or for somebody else, this book also comes highly recommended.

International Day of Women and Girls in Science 2026: Interview with Dr Antje Steinfurth

To celebrate International Day of Women and Girls in STEM we chatted with Dr Antje Steinfurth, Conservation Scientist at the RSPB.

Antje has been studying Penguins for over two decades and is the RSPB’s resident expert on these birds. Antje currently focuses on the UK Overseas Territory of Tristan da Cunha, a very remote, volcanic island in the South Atlantic which is a haven for many globally rare animals and plants, including shearwater species and an endemic albatross. Antje’s penguin expertise is helping to protect one of the islands’ most charismatic but threatened species, the Northern Rockhopper.

We had the pleasure of asking Antje a few questions about her extraordinary career and the importance of International Day of Women and Girls in Science.

Can you share a bit about your background and what inspired you to pursue a career in conservation science?

I have always been drawn to nature and wildlife, which led me to study Biology at the University of Göttingen in Germany. Wanting to focus more on marine ecology, I later moved to Kiel University, where I completed my Diploma in Biology and, subsequently, a PhD in Marine Zoology.

Increasing awareness of the threats facing biodiversity motivated me to use science not just to understand wildlife, but to actively help protect it. After albatrosses, penguins are the second most threatened family of seabirds, with currently ten of the 19 species being of global conservation concern. During my Diploma studies, I worked on the foraging behaviour of Magellanic Penguins in Argentina. What I didn’t realise at the time was that penguins would accompany me throughout my professional life – literally leading me from the equator to Antarctica.

Supported by a German Academic Exchange Service (DAAD) scholarship, my doctoral research took me to the Galápagos Islands, where I spent two and a half years studying the marine ecology and conservation of the endangered, endemic Galápagos Penguin. After completing my PhD, I was a visiting scientist at the University of Bristol, contributing to an international, interdisciplinary project on African Penguins, another banded species now listed as Critically Endangered.

I then took up a postdoctoral position at the University of Cape Town, working on a range of seabird conservation projects and joining the South African National Antarctic Programme. Through this work, the sub-Antarctic islands became a second home. A project on the endangered Northern Rockhopper Penguins eventually led me to Tristan da Cunha, the world’s most remote inhabited island, which has been my ‘home away from home’ since 2012.

Since 2017, I have been based in Cambridge, UK, working as a scientist at the Royal Society for the Protection of Birds (RSPB) where I continued my work on Northern Rockhopper Penguins and now lead the science and monitoring programme for threatened seabird species on Gough Island.

Science alone cannot save threatened species, but it provides a powerful tool to transform data into practical and hopefully long-lasting conservation outcomes.

What does your current role at the RSPB involve?

I work as a Conservation Scientist with the Royal Society for the Protection of Birds (RSPB) in the UK. My research focuses on the UK Overseas Territory of Tristan da Cunha in the central South Atlantic, where I collaborate closely with local partners and the community to support the sustainable protection and management of globally important habitats and species.

Embedded within the Gough Island Restoration Programme, I lead the long-term science and monitoring programme on Gough Island, supporting efforts to restore one of the world’s most important seabird breeding sites.

I am also, unofficially, RSPB’s ‘penguinologist in residence’. With more than two decades of experience in penguin research, I work closely with the Tristan Conservation Department to help protect one of the islands’ most charismatic yet endangered species, the Northern Rockhopper Penguin.

More broadly, my work aims to improve understanding of the processes that shape species distributions, demography, and population dynamics, in order to inform effective conservation strategies. From 2020 to 2022, I also served as RSPB Project Manager for the UK Seabirds Count, coordinating RSPB’s delivery of this national monitoring programme.

Is there a female role model in the conservation sector who has influenced you, and what makes her inspiring to you?

For many women of my generation, figures like Jane Goodall and Dian Fossey have been important role models. They challenged expectations, broke barriers, and pursued their passions with remarkable curiosity, courage and dedication. Their commitment to species and habitat conservation, often in the face of significant obstacles, has been deeply inspiring. Jane Goodall, in particular, has always reminded me that hope is essential, and that believing change is possible is just as important today as it ever was.

Despite progress, gender bias in STEM still exists. I feel fortunate to work in a field that attracts a more balanced mix of genders and to be surrounded by inspiring women and supportive colleagues of all genders. Being part of an organisation with visible female leadership and a genuinely inclusive culture has been crucial in shaping my confidence, career progression, and sense of belonging in STEM.

One woman I especially want to highlight is Juliet Vickery, now CEO of the BTO. When I joined the RSPB, she was Head of the International Section in the Conservation Science Department and later became my line manager. She has been an invaluable mentor and a true inspiration, in both leadership and pursuing a career in conservation science with scientific rigor, care and compassion.

She is a true champion for women in STEM, advocating for equality, supporting career development, and creating opportunities for others to thrive. I am deeply grateful for her guidance, support, and unwavering commitment to fostering an inclusive and empowering environment.

Conservation volunteering with the Dartmoor Preservation Association

NHBS colleague Dan took a refreshing break from the office to volunteer with the Dartmoor Preservation Association. – Read below to find out what he got up to and what he learned.

Page 357 of Dartmoor 365, a unique compendium of Dartmoor by John Hayward, evokes a tranquil scene of early human settlement amidst the wild moorland that is now High House Waste – a place where remnants of a Bronze Age settlement, including a farmstead and field systems, still endure to this day.

A beard lichen covered tree by an old field boundary on High House Waste. Image by Daniel Moonen

Wedged between two streams, High House Waste’s ecological value is as fascinating as its archaeology.
The northern area consists of dry grass and heathland on granite, while the southern slopes feature wet mires on metamorphosed slate. One can find species such as white beak-sedge, bell heather, bilberry, cotton grass, bog asphodel, and sphagnum mosses. The fauna includes meadow pipits, Dartford warblers, common lizards, field voles, weasels, and various flutter-bys.
You may now better understand why an employee of NHBS would eagerly spend a volunteering day with the Dartmoor Preservation Association (DPA) at such a remarkable site.

This would be my second date with the DPA, an organisation I knew would lead me to a special place.
Led by DPA’s chief executive, Tom Usher, the day’s work party embarked on a grafting session to clear gorse from the ancient remains. High House Waste lies a substantial walk from the nearest parking spot along a farm track. Its remoteness aids preservation from visitor pressure and adds to its sense of moorland wilderness.
Though the gorse may offer some resistance with its prickles, it is a joy to work on the moor in the company of beard-lichen-draped trees and with expansive views stretching across the moor.

Left unchecked, gorse would quickly take over and obscure the site’s historical treasures. Included in our work party was an ecologist, as DPA regularly engages such experts to monitor the species residing on its grounds. DPA owns four sites on Dartmoor, all purposefully purchased to protect them from threats like industrial development or to impose conditions more respectful of the land’s ecological, historical, and cultural values.
Defending the natural beauty and cultural heritage of Dartmoor has been the DPA’s mission since 1883. Their website details a timeline of actions, testifying to their ongoing work in planning vigilance, access support, surveys, land management, and conservation both on DPA land and beyond.

View on farmstead remains at High House Waste. Image by Daniel Moonen

As the day’s work drew to a close, the quiet moorland around High House Waste stood testament to the delicate balance between nature and history. Through the careful stewardship of organisations like the Dartmoor Preservation Association, these ancient sites continue to breathe life into our understanding of the past while safeguarding the moor’s wild beauty for generations to come.

Some fungal and lepidopteran wildlife around High House Waste. Images by Daniel Moonen.

Volunteering here is more than clearing gorse – it’s participation in guardianship, a chance to connect with the land’s stories and to contribute to a living legacy. In the vastness of Dartmoor’s wilderness, one finds not only remnants of Bronze Age lives but also a call to cherish and protect the natural and cultural treasures that define this remarkable landscape.

Inspiring reads:

Rock Idols: A Guide to Dartmoor in 28 Tors
A journey through Dartmoor’s ancient tors—where geology, legend, and wild beauty converge to inspire awe and adventure.

Dartmoor
Complete your New Naturalist collection with HarperCollins’ facsimile: Dartmoor—England’s loneliest wilderness, a timeless wildscape of history, mystery, and natural wonder.

OS Explorer Map OL28: Dartmoor
The essential, most detailed companion for every explorer of Dartmoor.

Read our other useful blogs on nest boxes:

Seashore Plankton; A Practical Introduction to Biology and Identification can be ordered here.

More books by Julian Cremona:

Seashore Plankton; A Practical Introduction to Biology and Identification
can be ordered here.