Hoopoe – A blog by nhbs – The NHBS Conservation Hub

Authors interview with Frances Dipper and Paul Naylor: Coastal Seas

Looking for experts on British shores, the names of Frances Dipper and Paul Naylor quickly come to mind. With their combined lifetimes of experience in marine biology, a collaboration on a book on the wonderful British seashores is sure to be a success. At NHBS, we consider it a privilege to have Coastal Seas in our catalogue – a book that offers deep insight in the state and the wonder of British coastal seas, complemented by awe-inspiring photography.

While celebrating the release of this important book, we were honoured to interview the authors.

Frances Dipper is an independent marine biologist whose career spans over four decades of studying, lecturing, award-winning writing, and scuba diving. Her extensive bibliography reflects her deep knowledge, and she continues to share this through talks in Cambridgeshire and beyond.

Paul Naylor is also a marine biologist, as well as an underwater photographer and filmmaker. He is passionate about sharing his expertise to inspire appreciation and to draw people into the wondrous world of the marine environment.

How did you come to the decision to work together on “Coastal Seas”, and how did you complement each other in the writing of this book?

Frances: as the saying goes ‘two heads are better than one’ and in our case two marine biologists and lifelong divers are as well. When I was invited by Bloomsbury to write this volume, I immediately thought of Paul’s impressive underwater photography and story-telling skills and thought it would be great fun to collaborate on the project.

Paul: It really stemmed from having the same passion for observing and studying the wonders of our coastal seas and, even more importantly, sharing them with as wide an audience as possible. The collaboration worked well because we have similar overall ideas and are long-time friends, but have always worked separately, so we brought very different experiences to the project.

Over the span of your careers, what visible changes have you observed in British coastal seas?

This is a difficult question to answer on a personal basis, because the best way to record changes in the extent or condition of a particular habitat, community or site, is to visit it regularly – not so easy when diving is involved. Additionally, the extent of natural and cyclical changes in marine communities is less well understood than for many terrestrial situations. At particular sites over the years we have both observed increases in the variety and abundance of non-native species, and loss and destruction of long-lived species and habitats such as kelp and maerl. Tracking significant changes (whether good or bad) requires effective monitoring, something that is particularly important within Marine Protected Areas. A clearly visible and positive change from when we both started diving, is the increase in citizen scientist divers; many more eyes out there making records.

Neoturris medusa among kelp – photo by Paul Naylor

As marine biologists with decades of academic experience, which marine developments did you foresee when you started your careers, and which have surprised you the most?

Starting out with cumbersome and uncomfortable diving equipment and unwieldy cameras (our first underwater photography flashguns used bulbs that had to be changed after every shot) we sincerely hoped that things would become easier – as they have – dramatically.

Advances in GPS technology have been hugely helpful, but the rapidity with which it has evolved has indeed been surprising. It has proved really helpful for marine scientists, and for the fishing industry, but in the latter case perhaps too helpful in finding and catching large numbers of fish.

How has photography influenced your work in marine biology and conservation?

Underwater photography can be extremely effective in both gathering information and spreading the word about species and habitats that are largely hidden from view. It is also an effective memory aid as making written notes underwater is never easy. On a specific scale, we find the increasing use of digital photography, including by ‘citizen scientists’ both above and below water, to recognise and track individual animals (from small fish to seals and whales), very exciting. Talking of showcasing a hidden world, we were very grateful for the additional images kindly provided by some award-winning underwater photographers.

What do you see as the most effective ways to get people more involved and aware of the state of marine life?

It starts by showing people what is there through images and information about just what is in that hidden world, as we hope we have achieved with this book. In today’s world, social media is another powerful tool. We think that ‘stories’ about the fascinating and astonishingly complex behaviour of marine animals are particularly good at drawing people into that world. However, as zoologists and photographers, we are a little biased! We also hope that the new natural history GCSE due to be introduced in schools, will include a significant marine element to it. After all, around two thirds of the planet is covered by ocean.

Marine Protected Areas (MPAs) are often established to conserve biodiversity. In your experience, do they deliver real improvements, or are they more symbolic?

They should deliver real improvements, but too many are still ‘paper parks’ with inadequate protection in force. Progress is being made but it is painfully slow, as we describe in Chapter 12 of the book.

Which marine areas around the British Isles do you find particularly interesting, and why?

Ooh so many!

Frances: the Hebridean islands off the west coast of Scotland, which provided many early diving adventures and meetings with so many then new and unfamiliar species (and new whiskeys!); the Isle of Man where I learnt to dive, gained insight into the colourful lives of British wrasses and met ‘Donald the Dolphin’.

Paul: the vibrant and easily observed shallow reef communities of Devon and Cornwall, the Scottish sea lochs and the North Norfolk chalk reef are my particular favourites.

Have you observed examples in our coastal seas of wildlife adapting to human activity, such as fishing, pollution or habitat alteration? If so, what are some of the most striking or surprising adaptations you’ve encountered?

As in the terrestrial environment, there are animals that can and will adapt and flourish, and many others that cannot. On land, foxes have taken to urban living and peregrine falcons use cathedral heights as substitute cliff faces. Ocean residents have far less experience of living alongside us humans, but we have seen some interesting interactions: butterfly blennies and other small fishes living and guarding their eggs inside discarded glass bottles and tin cans; sea urchins and spider crabs decorating themselves with ‘hats’ of plastic and other debris; lone male dolphins ‘befriending’ swimmers and divers; and of course seabirds following fishing boats waiting for discarded catches.

You discuss the “shifting baseline syndrome” and how human activities like trawling and dredging have altered marine habitats. What are some of the most concerning changes you’ve witnessed in your careers, and how can individuals help mitigate these impacts?

For decades it has proved extremely difficult to film the habitat destruction caused by commercial seabed trawls and this is something that neither of us has witnessed firsthand, even in a scientific trawling context. This year (2025) has shown the damage up for what it truly is, through ‘Ocean’ – a technically challenging, high-resolution film with David Attenborough. In most places it is impossible to know what seabed communities were like before they were ever trawled – hence the “shifting baseline syndrome” and so the long-term changes are likely to be even more stark than those we see today. What can individuals do? At least question where and how your seafood has been caught (read supermarket labels and press for better information) and support local sustainable fisheries. Support organisations such as WWF, Wildlife Trusts and the Marine Conservation Society who can apply political clout. Encourage and arm the next generation with information (good as well as bad).

While marine habitats have largely remained “wild” compared to terrestrial environments, you mention small restoration projects like kelp and seagrass planting. Could you highlight any successful conservation initiatives you find particularly inspiring?

While habitat restoration can be extremely valuable in the right places and at the right times, recovery and conservation in the sea often means simply stopping damaging activities and letting nature ‘do its thing’. Three inspiring examples of that are Lyme Bay (ambitious co-operation between many partners), Lundy (excellent co-working with local fishers) and Arran (community involvement).

For someone new to snorkelling or diving around the British Isles, what’s one piece of advice you’d give to help them connect with and appreciate the marine environment?

Male cuckoo wrasse – photo by Paul Naylor

Be patient! Wait for the best conditions, and once you are there, move slowly along rather than necessarily trying to cover a lot of ground (so choose a like-minded diving buddy). Animals will be less disturbed and you will be amazed at what you see! In summary stop, look and listen – and practise your buoyancy control.

In a time of over-exploitation of the marine world, how can we change the public mindset toward more sustainable practices?

It’s about showing people what’s been lost, but also what is still there to save, so striking the right balance between some of the shocking facts and figures while avoiding ‘doom and gloom’. A personal plea from us here is to show the recent David Attenborough ‘Ocean’ film (that we have already mentioned), on national free-to-view TV! Perhaps, most of all, we need to stress how everyone will gain from implementing sustainable practices, including industries and those with no involvement with the sea – it’s not just a plea from conservationists.

What can we, as consumers, do with an eye on marine conservation?

Quite a lot, but one of the most important is to make sure that any seafood we buy is sustainably caught (or grown). It’s a difficult issue with varying opinions, but there is good information out there (such as from the Marine Conservation Society and the similarly acronymed Marine Stewardship Council) and we’d say ‘if in doubt, don’t buy’. The latter should apply similarly to ‘single use’ holiday items such as plastic buckets and spades often discarded. Every conversation with shop or restaurant staff, with friends and family (and even local politicians) will help spread the message.

Looking ahead, what gives you hope for the future of marine biodiversity in the British Isles, and what are the biggest challenges we need to address?

The evident ability of natural systems to ‘bounce back’ when we let them has been clearly demonstrated by wonderful examples such as Lyme Bay and Arran that we’ve already mentioned. However these are just small areas and we mustn’t let these successes make us blasé – further damage to habitats and over-fishing continues apace. It remains a huge challenge to get governments to act on scientific advice, but on the positive side there is the ever-growing number of people, both within conservation organisations and independently, professional and unpaid, who are passionate about ‘spreading the word’ about marine biodiversity and making a genuine difference. Best of all, many of them are very much younger than us!

Peacock worms and dahlia anemones – photo by Paul Naylor

Coastal Seas is available as a limited edition signed hardback book, while stocks last, from NHBS here.

Other titles by Frances Dipper can be found here.
Other titles by Paul Naylor can be found here.

Author interview with Sverker Sörlin: Snö – A History

Sverker Sörlin is an author, historian, and science communicator. He is currently Professor of Environmental History at the KTH Royal Institute of Technology in Stockholm.

He has published more than forty books including bestselling literary non-fiction, biographies, academic books and journalism. In 2004, he received the August Award for Non-fiction, Sweden’s pre-eminent literary award, and in 2024 the Inge Jonsson Prize, awarded by ‘The Nine Foundation’ for outstanding non-fiction.

We recently spoke to Sverker about his new book Snö, where he told us what inspired him to write the book, why he loves winter and the message he hoes people will take away.

You seem to have been inspired by and reflective about snow for most of your life. At which point did you decide that it was time that the ‘Angel of History’ and the ‘Snow Angel’ started talking to each other?

Yes, snow has been part of my life since I was a child in the 1950s and 1960s. My professional interest in snow and ice also began a long time ago when I was a PhD student researching the history of glaciology in the 1980s. I then worked both on and in the Arctic for a long time and led the Swedish commission for the International Polar Year 2007-2009.

It was only in the last decade, with the rise of the concept of the ‘Anthropocene’ that my outlook on snow as a ‘vulnerable element’ started to grow. In the current epoch of massive and irreversible human impact on the earthly elements, snow and ice have become, we might say, drawn into history. Snow, ice, water and also wetlands, forests, oceans, deserts, minerals and of course all sorts of life on earth are acquiring more and more ‘agency’ which is often destructive. They get this agency from the ‘human super agency’ that starts moving the entire planet faster, raising temperatures, destroying species, ecosystems and much else. In working on Snö — a History, I started to frame this as a dialogue between two angels, the ‘Angel of History’ and ‘the ‘Snow Angel’. To my knowledge, no one has ever done that so I thought it was about time. I wanted to use these concepts as metaphorical tools to draw attention to complicated matters that would otherwise require a lot of words to explain.

In your view, why is winter ‘the best season of all’, as you describe it?

Well, if you want to get into the world of snow and understand it, winter is of course the season to cherish! My appreciation of winter was also a basic value that I learned and cultivated when I was a child. I loved winter play and winter sports, like ice hockey and especially cross-country skiing. In the latter sport I had a career of sorts until I was around 20 and had to make a choice for my future -should I become a skier aiming high, or should I take university seriously I chose the latter, but it was a tough choice.

Your book weaves together religious, philosophical, and scientific perspectives. Do you ever find it challenging to intersect those attitudes? Is it ever cause for internal conflict?

In fact, this hasn’t caused a conflict for me. I also don’t confess to any religious conviction. I use the spiritual mindset to understand what goes on with me and, I assume, many other humans when we stand in front of phenomena in nature and history that are hard to fully fathom or explain. That doesn’t make me less interested in finding more knowledge about the same phenomena. In Snö I write literary non-fiction. My relationship to religion and the spiritual, but also to philosophy and the scientific, is respectful of the internal rationality of these approaches to their various versions of knowledge. I would acknowledge and, if necessary, make it clear, that these versions of ‘knowledge’, or sometimes ‘experience’ come from very different methodologies. As a scholar I subscribe with particular care to the knowledge we call scientific.

You refer to snow as ‘historical’. Could you elaborate on what you mean by this? How does snow carry or reveal history in ways that might not be immediately obvious?

It connects to what I said above on the implications of the Anthropocene. In the past, for example when I went to school and later university in the 1970s and 1980s, we learnt that ‘history’ was a record of the past that related to what humans did and thought. This required, as famously argued by British philosopher R.G. Collingwood in his book The Idea of History (written in the 1930s), a distinction between natural history (marked by aimless events) and the human history of intentional actions. What we experience in our contemporary Anthropocene world is that agency, usually reserved for humans, is increasingly distributed into what I call the ‘elemental’ categories of the world. I listed some of those above and snow is a good example.

When snow and ice (which is old, packed snow) melt in a systematic long-term fashion, it is a result of human agency through global warming. But the implications are considerable in a sequence of steps. For example, irrigation from seasonal melt becomes reduced and irregular. This affects millions of people and households south and east of the Himalayas, near the Andes in South Africa and in other regions. For the same basic reasons, the geography of winter tourism is changing, and ski resorts are closing. Snow drought appears in vast regions. Hydro-electrical production in rivers is disturbed. Extreme weather- including massive unseasonable melting means growing risk of floods. There are other cultural, social and psychological effects wrought by lack of snow and a lack of possible seasonal variations and pastimes and activities. Simply put: this is change and it is part of history since it is born out of human agency, which are to varying degrees intentional. This means it also becomes part of our responsibility, for ourselves, our nations, cities and citizens, and for this thing we used to call nature but which we now often call ‘the environment’ or ‘the planet’- or as we did long ago and now return to calling: the elements. As we speed them up and tweak and dominate them, we make them an intertwined part of our (human) history.

I think it is profound. It is an example of what we now refer to as ‘Anthropocene history’, which is an expansion, or augmentation, of the history we always had. It is, at the same time, a specialisation building on previous sub-specialties such as environmental history, history of science, history of knowledge, history of technology, climate history and a range of knowledge usually connected with geography.

Some argue that climate change is a natural, cyclical process, and therefore not something we should be overly concerned about—even if human activity is accelerating it. How would you respond to this view?

I smile and hope it will finally go away, the sooner the better. It is a long time ago that science left this position. We have known that most, almost all of our contemporary climate change is anthropogenic and stems predominantly from the human burning of fossil fuels. This has been scientific orthodoxy since around 1980 and the scientific ideas behind it date back to the 19th century. I think the only choice is to go by the established science. Anything else is unwise and will make the already severe consequences of climate change only worse and hinder the work to mitigate the change.

There’s growing discussion about how global warming, in the short term, could paradoxically lead to a long-term ice age due to the weakening or collapse of the Atlantic Meridional Overturning Circulation (AMOC). What are your most recent thoughts on this anticipated event?

Not many, really. It is correct that there is growing research into this issue but is quite speculative. The likelihood of it happening is under discussion. I have no other thoughts on this issue than what you can read in any newspaper, unfortunately, including that the risks do not seem big enough, by far, to make immediate action advisable. I am sure the issue will be followed though, so that, if necessary appropriate, preparations could be considered.

In your book you mention the decline of traditional water management systems, such as the acequias in the Sierra Nevada. How do you envision the future of water management?

Oh, that is a big issue. The answer largely depends on how successful we can be in pushing back against climate change. If we can push back, we will be able to hold on better to traditional management methods, like the acequias in southern Spain. These methods are an example of how local traditions have managed to make the most of high elevation snow reservoirs and preserve them until summer and use it economically and sustainably. If we fail to push back against climate change, I fear we will need to use more and more large and heavy-handed infrastructure that is both costly and risky. Big dams are for example vulnerable targets in war. And they are often too costly in developing countries, plus water is so scarce in large regions that dams are not a solution.

Over the decades, you’ve built an extensive body of work. How did the experience of writing Snö differ from your previous books—both in terms of process and personal resonance?

Since it is a more literary work than most of my previous work, it has been a quite different experience. I based much of my work on research I did myself over many years. The challenge was to supplement this body of knowledge with new knowledge and engaging stories that in a sense filled out the gaps, both chronologically and globally. Although quite a bit of this book is centred on the north- especially the European Arctic and the Scandinavian countries- it is quite literally a global history with examples from the Mediterranean world, the European Alps (in particular Switzerland), Russia, the Americas, Antarctica, New Zealand, Australia, Asia, even Africa. It stretches across thousands of years although certainly the two last centuries take up most of the space, and our present time especially since elemental change is now so rapid and the social and political consequences so big.

There is also more history of art and literature built into the narrative that I didn’t work on so much before. Plus, a wealth of new stories that I tell which I didn’t even plan to include; I came across them in my research. One example is a long chapter called ‘Nivea’. It is about the controversial politics of the skin creme (Nivea means snow white before and during Third Reich Germany and the Nazi passion for snow. There are a number of in depth, often fascinating, stories which work as an assemblage in a literary work but may not seem relevant in a scientific journal article. The form offers a more holistic view of the topic that reaches out to a wider readership, I think.

Has the journey of writing Snö led you to any new perspectives or awareness? If so, would you care to share some thoughts?

Well, some such perspectives are presented above. All in all, I have been acutely more aware in writing this book how important snow is. Even more than I was before. It is fundamental to the water balance of the planet and to water supplies in vast regions, particularly as it functions as a holder, or a parking place for ‘slow water’. When water doesn’t slow down properly during winter and spring much of it goes away useless and can create disaster downstream. No new glaciers are being formed. The old are melting. Snow cover gets thinner and stays fewer days for every decade. We will have a planet of rapid water streams but less water security, in some areas drastically so. That has been a revelation to me.

What is the core message or insight you hope readers will take away from Snö?

First of all, I really hope that the reader appreciates this as a reading experience. Experience is unique for every reader, based on the reader’s own background, perception and imaginative powers. This is something I cherish and respect. Still, if the reader will see and take to heart some of the core ideas in the book that I have presented briefly in these answers, it is a bonus. Snow may seem a marginal thing to people in most parts of the world. But it is bigger, and more central than you might think.

Do you see enough reasons to remain hopeful for the future of the planet?

Yes, of course! Most things these days, including climate change, don’t go the right way but I am always confident. It is a better idea to retain hope and work for the better. It at least makes you feel better to work toward the good than to become cynical and opt out. Reading good, rewarding and fascinating books is to me a good part of such work.

This Week in Biodiversity News – 1st December 2025

Cop 30

Cop 30 has ended in Belem, Brazil. A last-minute deal was struck, however, the final decision text decidedly omitted any mention of ‘fossil fuels’ or their ‘phaseout’. Having taken place in an atmosphere of geopolitical turmoil and among credible fears that debates would collapse entirely, the fact that a decision was reached at all has been welcomed as a success for multilateralism in some quarters. The UN chief climate envoy Simon Stiell described the outcome, with some optimism, as evidence that ‘climate cooperation is alive and kicking’. Whilst, for now, multilateralism has maintained a shaky hold, COP 30 closed with a flawed deal and, crucially, without a roadmap for a global transition away from fossil fuels.

From carbon sink to carbon source

The planet’s three main rainforest regions, the South American Amazon, south-east Asia and Africa now all contribute to climate breakdown. The alarming study published in Scientific Reports shows a gradual shift since 2010, in all three regions, from carbon sink to carbon source. The shift can be accounted for by human activity, including deforestation to make space for food production, infrastructure projects and mining.

From a British perspective, prime minister Keir Starmer has announced that the UK will not contribute to the Tropical Forests Forever Facility (TFFF), a flagship fund which aims to raise $125bn for the protection of existing tropical forests, such as those in the aforementioned regions.

Europe’s hidden land fill sites

Thousands of landfill sites across Europe are situated in floodplains and pose a threat to drinking water as well as freshwater ecosystems if waste is released into rivers and soils. More than 61,000 landfill sites have been identified as a potential risk with 28% located in areas vulnerable to flooding. Roughly 90% of European landfill sites predate pollution control regulations (such as landfill linings which prevent leaching) posing a significant risk to wildlife and people.

Search for German Hairy Snail

Known for the fine hairs that run along its shell, the fingernail-sized German Hairy Snail Pseudotrichia rubiginosa is believed to be one of the most endangered molluscs in the UK. It was not recorded in Britain until 1982 but fossilised remains indicate that it may have been here since the last ice age. In a coordinated effort, led by Citizen Zoo and Zoological Society of London (ZSL), more than 100 volunteers have conducted a search for the snail and a consequent series of surveys which will help to identify how habitat restoration, pollution management and the potential for translocation could boost the species.

German Hairy Snail Pseudotrichia rubiginosa © Roman Hural CC BY-SA 4.0

Supplier interview with Ria Painter-Coates: Founder and illustrator at Button and Squirt

NHBS is excited to be working with Button and Squirt – a company with a strong focus and commitment to environmental education for children. Specialising in creating nature-themed educational games, Button and Squirt has a wide range of unique and engaging fact cards, activity books and other products.

Ria is the founder and illustrator at Button and Squirt and designs all the illustrations for the Amazing Animals range. We recently had the opportunity to speak to her about the company, product range and her plans for the future.

You can browse our range of Button and Squirt books, journals and games here.

Firstly, can you tell us a little about yourself and what inspired you to create Button and Squirt?

Throughout my life, I have loved two things: art and nature. During my childhood, I was never without a sketchbook and would always be found drawing or painting, and I was obsessed with the natural world, with a particular love for the ocean or, rather, the creatures that live in it. At school, I had wanted to pursue a nature-based career, but I was told that wasn’t possible and that I should focus on graphics instead. I lost contact with nature for a while, but then when I had my first child, Dexter, I was naturally drawn back to it and wanted to share my love of the natural world with him. It became clear, as soon as he could show interest in something, that his passion was nature; he loved being outside, and he was mesmerised by animals. I had the idea for the first set of cards one day while we were playing. He would always be telling us about animals he had heard of and asking me to draw pictures and tell him more about them, and I saw how he learnt best through fun and interactive activities. Card games were always a winner, so I brought all of that together to create Amazing Animals Fact Cards Set One – it was the perfect way to combine the things I loved.

You have a wide range of educational products on offer, from animal fact cards to activity books. Why do you think it is important to teach children about the natural environment?

Sadly, the planet is in a bad place right now, and we need as many people as possible fighting for it and for every creature that calls Earth home. I really believe that conservation cannot succeed without children being a part of it, and there is no way they are going to care about something they don’t know about. It is so incredibly important to introduce them to the amazing animals that we share the planet with, teach them about why they are important and help them to fall in love with nature so they will want to do their part to protect it for the future. I have always tried to have a focus on unusual animals and used fun facts as a way of getting kids interested. It’s amazing the impact that a really crazy fact can have on a kid. You will see on my products the words ‘learn, love, protect’, and that’s exactly what I hope my range can help kids to do: learn about nature, fall in love with it, and protect it for the future.

One thing that struck me when looking at your range was how you manage to ensure that your illustrations are anatomically correct, while remaining charming and characterful. Do you have a favourite animal to portray?

This is really kind, thank you so much. The balance of cute with identifiable is something I have really worked hard on for my illustrations. I always knew that I needed the animals to be cute to have the right appeal, but that I also wanted them to be able to identify the animal from my illustration – there’s not much point teaching them about an animal but showing them an abstract image which then means they wouldn’t be able to ID it in real life. As for a favourite animal to draw, even though I moan about feathers a lot, it’s going to have to be some of my favourite feathered friends, the vultures – I always absolutely love drawing them! I always have a soft spot for the less loved animals, and there’s something about drawing vultures and focusing in on how beautiful they actually are that really brings me joy. However, I will also say that when I have been drawing lots of furry and feathered creatures, there’s also a lot of joy to be had in doing something like a shark – nice and smooth and a lovely break from all those feathers.

I saw that 5% from every sale is donated to various wildlife and conservation charities. Why do you feel this is important, and which charities do you support?

Since I first started this, I knew I wanted to be able to donate to wildlife charities in some way from my work. I want to be able to show kids that I am not just talking about them doing their bit, I am doing my bit too. So, I donate 5% from all sales on my website to various different charities via work for good. So far, I have supported the Cheetah Conservation Fund, Whale and Dolphin Conservation and Rewilding Britain. It is such an amazing feeling to know that something I created is helping in a tiny way to support these amazing organisations.

Do you have any new products on the horizon that you can tell us about?

I am always drawing new animals and working on new collections. Recently I have been focusing a lot on native wildlife, and trying to shine a light on the amazing animals we have living right here in the UK. As part of that I have been expanding the British range, and I am hoping to add a wetlands collection soon, with a set of ID cards, and matching colouring book in the same style as the bug and coastline cards, as well as an amphibian fact and activity book and a nature journal. It is proving to be a really fun range to work on, and I can’t wait to bring it all to life.

Our staff favourites of 2025

Every year at NHBS, a wonderful variety of books and equipment passes through our offices and warehouse, moving from desks and shelves before heading out in parcels to our valued customers. Along the way, we inevitably end up being tempted to buy some of these items for ourselves, while others become thoughtful presents for friends and family. Here, our team shares the books and products we’re most excited to gift our loved ones this year.

European Bird ID Guide

I really like this ID guide because it’s detailed, with stunning illustrations, and helpful notes on behaviour and plumage. It’s a great gift for the birder in the family – or yourself!

Simon, Customer Service Manager

Tawny Owl Decoration

I bought this beautiful owl decoration as a gift for a family member who has a passion for owls. I know she will find the information on the back interesting and it will be a treasured addition to her collection of all things owl-related.

Fiona, Finance Manager

Spypoint Force-24 Trail Camera

I like the Spypoint Force-24 Trail Camera because the picture quality has been really clear, both day and night. I thought the setup was simple, and the battery life was impressive. A great trail camera that’s perfect for keeping an eye on wildlife.

Mark, Product and Purchasing Manager

Nightfox

Night vision aids have become increasingly popular tools for wildlife surveying in recent years and a real standout addition to our range this year has been the Nightfox Whisker Night Vision Binoculars.

Designed with the professional ecologist in mind but with a price point accessible to naturalists and wildlife enthusiasts, the Nightfox Whisker is incredibly easy to use and produces crisp clear images that can be saved to the included 32gb memory card and viewed through the built-in colour screen. Featuring a 57° field of view and an adjustable digital zoom, the Whisker is an ideal companion for any nocturnal wildlife viewing adventures.

Johnny, Senior Wildlife Equipment Specialist

Giant Butterfly Garden

This past season, I’ve loved using the Giant Butterfly Garden – and I can’t wait to do it all again next year. It’s a truly magical experience: watching tiny caterpillars grow tenfold before they pupate, and then witnessing their transformation into Painted Lady butterflies. The moment they emerge is pure wonder. The kit includes clear instructions and fascinating facts about Painted Ladies, making it easy and educational. The Butterfly Garden also comes in a standard size with five caterpillars and as a school kit with 33 caterpillars.

Daniel, Product and Purchasing Technical Advisor

Woolie

My choice this year is Woolie the sheep, a ceramic sheep with nesting wool. Filled with top-notch natural sheep’s wool, Woolie provides important nesting materials for your feathered friends. Its appealing design and frost-resistant construction make it a great addition to any bird lover’s garden.

Laura, Product and Purchasing Technical Advisor

The Penguin Book of Penguins

A book that pays homage to the non-flying bird in a tuxedo! This book brings together many observations and information about the penguin, produced by the husband-and-wife team of Peter and Lisa Fretwell. Written by a one of the British Antarctic Survey’s leading scientists, it’s a book that makes you feel good, and you can’t help smiling as you read it, turning a page and finding one of Lisa’s hand drawings!

Simon, Purchasing Coordinator

Num’axes Bird Feeder Camera

The thing I love most about the Num’axes Bird Feeder Camera is that it is so easy to set up and install. With an integral battery and built-in solar panels it means you can pop it up anywhere with ease. The image quality is fantastic and I know my daughter will delight in seeing the close-up footage of the birds feeding as well as some interesting nighttime shots of other garden visitors – a brilliant piece of kit to connect with nature!

Gemma, Managing Director

Raising Hare

Raising Hare is a delightful journey through the difficulties of Covid lockdown, remembering the connection many people found with nature. The unusual partnering of a London professional and a wild hare plays out beautifully.

Elle, Marketing Coordinator

Angela Harding Seasonal Quartet

This beautiful box set brings together the four volumes of renowned illustrator Angela Harding’s Seasonal Quartet. Angela Harding is one of the UK’s leading artists whose work features on many beautiful book covers and greetings cards. These seasonal books are a joy to pore over, lavishly decorated and thoughtfully curated.

Oli, Graphic Designer

Woolly Mammoth in a Tin

For my staff pick I have chosen the Woolly Mammoth in a Tin. The whole range from Apples to Pears are great little gifts and should keep my seven-year-old busy over Christmas. I think the T-rex will be the next one needed in our collection.

Jess, Purchasing Coordinator

Amazing British Nature Pairs Cards

These beautifully illustrated matching pair cards feature a wide range of British wildlife. They’ve become a firm favourite at home, though my six-year-old daughter almost always wins!

Steve, Head of Product and Purchasing

If you’re looking for further inspiration in the run up to Christmas, you’ll find hundreds of ideas in our Great Gifts for Nature Lovers collection – browse the full range here.

Supplier interview with Ferne Glannan-MacRae: Founder and illustrator at Ferne Creative

As a self-taught nature illustrator, Ferne Glannan-MacRae brings the intricacies of British species to life using Procreate on iPad. Her designs are inspired by a love for the environment and, in particular, British wildlife.

With a background in the design industry and a degree in wildlife photography, Ferne uses intricate line work and natural colour palettes to create products that celebrate the beauty of the natural world.

We recently spoke to Ferne about her company, Ferne Creative, where she told us why the business started, how she decides which species to include in her collections, which charities she supports through her work and what new products she has on the horizon.

You can browse the range from Ferne Creative available from us here.

Firstly, can you tell us a little about yourself and what inspired you to start Ferne Creative?

I have been drawing since I could hold a pencil, with many artists in my family. I actually studied Marine and Natural History Photography at university, but after my Masters degree I worked as a designer in the printing industry. I always knew that I would hate office work and during lockdown I started painting again and ventured into digital illustration. It was after people online started enjoying my work that I turned it into a business and decided to leave my job. My business is split in two – my product-based business, which focuses on species I want to draw and things to make for nature lovers, and the other commission-based work for charities, nature reserves and other wildlife organisations.

You have such a wide range of products on offer, with so many species featured. How do you choose which species would work on which product?

I often find that choosing what to draw is really hard, so I focus on species I would like to see – a manifestation list. I have started to create collections based on what other people are likely to try and find at nature reserves around the UK, such as Ospreys and puffins. As for which species suits which product, really I go with the flow of what product I want to focus on at that time based on what has been popular.

I love how you manage to ensure that the illustrations are true to life, and each animal or plant looks as it would in nature. Is this important to you and do you have a favourite species to portray?

I have always been a bit of a perfectionist, which I am trying to escape, but I do want all the species to have that sense of accuracy even if I am leaning away from 100% realism at times. My audience is nature lovers and they will notice and care if I miss something important from a drawing (I did get contacted about a ladybird with a missing spot before!). In terms of my favourite species to draw, I have found over time – and as will be clear from my products – that I love drawing birds! In particular, I love all the textures and patterns in their plumage.

You donate a percentage of sales from selected products to various wildlife and conservation charities. Which charities do you support?

I currently have two dedicated products from which I donate a percentage of sales. The first is my Hedgehog enamel pin, which started after my own experience with an injured Hedgehog and the desire to give back. The backing card that the pin comes on is a mini booklet with information to help people in similar situations with injured hogs and tips on who to call. In the past I donated to Secret World Wildlife Rescue, and now I rotate my donations to different Hedgehog-specific hospitals. My other product is an iron-on patch of a Scottish Wildcat. A portion of sales from these are donated to Saving Wildcats, a project aiming to help one of our rarest species through breeding programmes, releases and monitoring.

Do you have any new products on the horizon that you can tell us about?

After the launch of my bird of prey educational colouring book I have had my sights set on making a seabird version and there have been requests for one on butterflies. I love making these, with facts about the species, but I have been working on some simplified colouring books for younger children too.

A Spotlight on the Deadly Mushrooms of Britain

The UK boasts a rich and diverse fungal kingdom, from spongy puffballs to otherworldly slime moulds and foul-smelling stinkhorns – among these edible treasures lurk several deadly species, capable of causing serious illness and even death. In this blog, we will explore some of the most notorious poisonous mushrooms in the UK.

This blog is for educational purposes only and should not be considered a definitive guide to mushroom identification. Always consult with a professional before consuming any wild mushrooms.

Fly Agaric (Amanita muscaria), also known as Fly Amanita

Commonly depicted in fairy tales, artwork and film, Fly Agaric is a familiar image that comes to mind when one thinks of fungi.

Identification: These common mushrooms are most readily identified by their contrasting bright red (or in some cases, orange) cap and white flesh. The cap can reach 20cm across, is initially hemispherical in shape before opening flat as the mushroom matures and is often accompanied by white spots or ‘warts’ that can be washed off with rain – a remnant of the ‘egg’ covering. On the underside, the gills are closely packed together and are not joined at the stipe – a brittle, bright white stalk. The stipe features a large white skirt that may have yellowed edges, and at its base is a bulbous volva (a cup-like structure) covered with shaggy, scaled rings. Spores are oval and white. Fly Agaric are widely distributed across heathland and moorland from August to December, and show a preference for light soils among birch, pine or spruce trees with which they form mycorrhizal associations.

Toxicity: Reported symptoms of Fly Agaric poisoning can vary greatly, but primarily, this mushroom causes hallucinations, psychosis, diarrhoea and digestive upset. It can be mistaken for the Blusher (Amanita rubescens), an Amanita which has a similar shape, and a pale red-brown cap with cream spots.

Fungi fact: This species was traditionally used as an insecticide – where the name Fly Agaric originated. Ibotenic acid within the toadstool attracts flies and subsequently kills them, which led to its use as a medieval fly trap, where it would be broken up and sprinkled into milk. It has also been used in Siberian civilisations, where it has been consumed for religious and recreational purposes for millennia.

Panthercap (Amanita pantherina)

The Panthercap is another distinctive member of the Amanita family, and is strikingly similar to its vibrant cousin, Fly Agaric.

Identification: This poisonous toadstool is not particularly common in Britain, but can be found from July to November in broadleaved woodland, where it forms ectomycorrhizal relationships with beech and oak trees. It can grow up to 14cm in height, with a cap width of around 12cm for mature specimens. The cap itself flattens with age, appears dark brown to slightly red in colour, and is usually covered with thick white ‘warts’ or spots. Underneath the cap, the crowded white gills are free from the stipe and produce white spores that are broadly ovate in shape. The white stipe typically appears smoother towards the top and shaggier under the skirt, which is generally smooth and white. The flesh inside the stipe and cap is hollow and white.

Toxicity: Panthercaps toxins can result in suppression of the central nervous system, involuntary muscle movement, hallucinations, gastrointestinal upset and an increased heart rate. These toadstools may be mistaken for the Blusher, as well as the Grey Spotted Amanita (Amanita excelsa) which can be distinguished by striations on the upper surface of the skirt.

Funeral Bell (Galerina marginata)

Funeral bell mushroom — Image by Andre De Kesel via Flickr

A highly toxic little brown mushroom, the Funeral Bell can quite easily be mistaken for other edible species. It can be found fruiting in clusters on woodchips, dead rotted wood and coniferous/deciduous tree stumps from August to November.

Identification: Funeral Bells can grow up to 7cm in height, with a cap diameter of approximately 6cm. The cap can be pale yellow or brown in colour, or orange in some cases, and the edges are usually lighter than the centre. Pale tan to red/brown gills on the underside of the cap are relatively crowded and are broadly attached to the stipe, occasionally running down it slightly. The fibrous stipe can be found in varying colours, from pale tan to dark brown, which depends largely on maturity, and it has a small membranous skirt, with pale, thin flesh that darkens as the fruit matures. Spores are brown in colour.

Toxicity: Funeral Bells have the same toxins as Death Caps and Destroying Angels – when ingested, these compounds cause gastrointestinal upset within 24 hours, before suddenly resolving. Symptoms return shortly after this and quickly progress into organ failure and eventual death. The Funeral Bell can be easily mistaken for other little brown mushrooms and has been mistaken for Velvet Shank in the past – easily distinguished by a black velvety stem and the absence of a skirt.

Fungi fact: One single mushroom contains enough toxin to kill an adult human.

Deadly Webcap (Cortinarius rubellus)

Although rare in the UK, Deadly Webcaps can be found in coniferous pine and spruce woodland, growing among heather or bilberry from August to November.

Identification: On average, these mushrooms grow to 8cm in height, with a cap width of up to 6cm. Young caps start with a convex shape, before maturing into an umbonate form with a raised and slightly pointed centre. The cap colour can range from reddish brown to orange and the surface may appear hairy or scaly. On the underside, gills can be orange, brown or red, often appearing paler on immature toadstools, and spore prints of this species are typically rusty brown. The gills themselves are fairly widely spaced and emarginate, joined to the stipe with a slight notch and younger specimens may have a pale, slightly orange, cortina (or veil with a cobweb-like structure) that cover them. The stipe can vary in colour and has a slightly bulbous lower half, tapering towards the base.

Toxicity: Following ingestion, symptoms can take up to two weeks to develop, manifesting as digestive upset and interruptions of the central nervous system, soon followed by kidney and liver failure.

Fungi fact: Deadly Webcaps are reported to have a scent reminiscent of radish.

Death Cap (Amanita phalloides)

Death Caps are fairly common in broadleaved and mixed deciduous woodland with oak and beech trees, where they can be found in widely spaced groups from July to November.

Identification: On average, these mushrooms grow to around 15cm in height. They begin with a convex cap that flattens as it matures and can be olive yellow to green-bronze in colour – depending on the age of the fruit, a white cap may also be observed. The cap is often darker in the middle and has radiating fibres that give a streaked appearance. Underneath, the gills are broadly spaced and are free of the stipe, appearing white, cream or pink in colour, which changes as the fungus matures. The stalk is generally off-white in colour with a clearly striated skirt and an obvious deep volva. Death Cap spores are white and elliptical in shape.

Toxicity: Death Cap poisoning starts with gastrointestinal symptoms several hours after ingestion. These symptoms can last for days before a brief recovery, after which the liver and kidneys fail resulting in death in most cases. This deadly mushroom can easily be mistaken for a number of edible varieties but can easily be distinguished by a sickly-sweet smell.

Fungi fact: Death Caps have caused the most fatalities from mushroom poisoning in the UK and are known as the world’s most deadly fungus. It has been used as a murder weapon for millennia, and there is no known antidote to its toxins.

Destroying Angel (Amanita virosa)

Destroying Angels are relatively uncommon in the UK but can be found in broadleaved and mixed deciduous woodland, especially those with Birch trees, from July to November.

Identification: Destroying Angels stand up to 14cm in height, with a cap width of 11cm. They are pure white in colour and start with a convex cap, before maturing to a conical shape and eventually lying flat. Underneath, the white gills are crowded and free of the stem, which has fibrous skin and a bulbous volva at the base. Destroying Angels have a skirt on the upper half of the stipe, which is fragile and may be missing or small in size – it is not striated and is also white in colour. The flesh inside the mushroom is pure white, and the spores are white globose. It is has an unpleasant sickly-sweet smell.

Toxicity: Symptoms – vomiting, diarrhoea and abdominal pain – begin several hours after ingestion and can last for several days before easing into a false recovery and eventual organ failure. Destroying Angels may be mistaken for edible Wood Mushrooms (Agaricus silbicola), which can be distinguished by the smell of aniseed and brown spores.

Fungi fact: Small mammals, including rabbits and squirrels, are known to consume Destroying Angels with no ill effect.

This Week in Biodiversity News – 3rd November 2025

Green space lost in Europe

The Green to Grey Project, a cross-border collaborative project of journalists and scientists, has revealed the scale of nature lost to urban development across Europe. Conducted using a combination of satellite imagery, on-the-ground reporting and artificial intelligence, the unprecedented study has revealed that undeveloped land is disappearing up to one and a half times faster across Europe than was previously estimated. Their findings show that the UK has seen 604 sq km of green areas lost to development between 2018 and 2023. It ranks fifth worst of all European countries for green space lost.

Les coquelicots by Dmitry Djouce, via flickr. — by Dmitry Djouce, via flickr.

Fisheries (mis)management

Gross mismanagement of UK fish populations including Cod, Herring and Mackerel has continued despite promises from some politicians during the Brexit campaign that leaving the European Union would provide an opportunity to stabilise fish stocks. A new report from Oceana UK shows that of 105 stocks assessed, only 41% can be considered healthy (meaning they were not overfished to an extent that they could not repopulate) 27% are ‘critically low’ and 25% are being overexploited. Some species, such as North Sea Cod, have been classified as both critically low and still overexploited. Oceana UK has called for a governmental strategy that ends overfishing by the end of 2026.

COP 30 in Brazil

Cop 30, the UN’s climate change summit, will take place in Belém, Brazil. The region is home to the Amazon rainforest, a vital and biodiverse ecosystem which stores billions of tonnes of carbon and still faces catastrophic deforestation (which Brazil’s president Luiz Inácio Lula da Silva has vowed to stop). The 30th UN summit is touted to be the most significant since the Paris Agreement was negotiated in 2015 as countries are obliged to prepare, communicate and maintain their five yearly national climate plans, or Nationally Determined Contributions (NDCS). Taking place in an atmosphere of intense geopolitical turmoil and escalating ecological devastation, the summit will encounter its biggest challenge yet, as the very fabric of global efforts to mitigate climate change threatens to unravel.

A stalemate for marine conservation in Antarctica

The 44th Commission for the Conservation of Antarctic Marine Living Resources (CCAMLR), an international body composed of 26 countries and the European Union, has ended in a stalemate. At the heart of this year’s debate was a conflict between the long-proposed designation of an Antarctic Marine Protected Area (MPA), (supported by most members) and a Norwegian proposal to double the scale of industrial krill fishing in the region. Bjørn Krafft, a scientist at the Norwegian Institute of Marine Research and scientific representative for the Norwegian delegation to CCAMLR argued that their ‘proposal is science-driven and developed within Norway’s broader commitment to sustainable fisheries management’. The proposal was opposed by a coalition of nations led by Chile, Argentina, The European Union and New Zealand, who argued that Norwegian research failed to sufficiently consider the impact that even current levels of krill fishing have on predators including seals, whales and penguins. No new designations were adopted.

Ocean Conservation Trust: National Seagrass Nursery Launch

I recently had the opportunity to attend the official launch of the UK’s National Seagrass Nursery, held by the Ocean Conservation Trust (OCT) as part of its Blue Meadows project. Based on the River Dart, in Devon, the National Seagrass Nursery spans 400 square metres, making it the largest of its kind in the UK. This exciting launch event brought together a variety of national and local stakeholders, all with a vested interest in safeguarding and restoring our seagrass meadows.

Seagrass plays a vital role in marine ecosystems, with a single hectare capable of supporting 80,000 fish and 100 million small invertebrates. These marine meadows are also important carbon stores, absorbing carbon up to 35 times more efficiently than tropical rainforests. Unfortunately, since the 1930s the UK has lost around 90% of its seagrass beds, with the decline driven by a combination of disturbance, disease and pollution.

The OCT’s Blue Meadows project is working to combat this decline, aiming to protect 10% of all UK seagrass meadows and restore 50ha of seagrass over the next decade. The National Seagrass Nursery is a key component of realising these ambitions, and I was lucky enough to enjoy a guided tour of the facility.

In recent years, the OCT has developed a two-pronged approach to subtidal seagrass restoration, using hydro marine seeding and seagrass mat technology in combination. Reflecting this dual approach, the nursery is divided into two sections. One side of the facility is dedicated to processing seagrass seeds that have been harvested from donor sites along the coast of the South West. These seeds are stored in large tanks and, over time, the organic matter that holds them against the flowering stem rots away, allowing the seeds to sink to the bottom. Some of these seeds will be planted directly into the seabed using the HMS OCToPUS, an innovative injection device reminiscent of a large caulking gun. Others will be taken to the other side of the nursery and planted into sand on hessian mats. These mats are then placed into shallow tanks of fresh seawater, which is pumped in from the nearby estuary. Here, they will grow into plantlets, and after 4–6 months they will be ready for planting into the seabed. The mats are then taken to the chosen restoration site and carefully pegged in place by divers.

Despite the innovative facilities and technology on display at this event, what I was most impressed by was the knowledge and dedication of the team. OCT and its supporters have worked incredibly hard and have already seen some early success with 208ha of seagrass currently protected and 3ha restored. The launch of the National Seagrass Nursery represents an exciting step in UK seagrass restoration, and I am looking forward to seeing what the future holds for this initiative. You can learn more about the Blue Meadows project here.

An interview with the British Mycological Society: A celebration of all things Fungi

UK Fungus Day is an annual celebration of all things fungi, organised by the British Mycological Society. The day invites people to get involved and learn more about the world of fungi through interactive events, online resources and institutions. We were lucky to speak to Professor Mark Ramsdale, about what makes UK Fungus Day and UK mycology so important.

Mark is chair of the BMS Fungal Education and Outreach Committee and head of training at the Medical Research Council Centre for Medical Mycology at the University of Exeter.

Can you tell us how the British Mycological Society began and what its mission is today?

The British Mycological Society was first active in the late 1800s, when small groups of naturalists began organising “forays among the funguses” to explore and record fungi. What began as a shared passion soon became a learned society, dedicated to advancing fungal biology, supporting research, and encouraging collaboration between scientists and enthusiasts. Today, the BMS is a community for professional and amateur mycologists and enthusiasts. It is one of the major mycological societies in the world, committed to promoting cutting-edge scientific research, fungal conservation and species recording and the provision of educational resources.