Author Q&A with Tim Mackrill: The Osprey

The Osprey book cover.Persecuted mercilessly in Britain, the magnificent Osprey became extinct in the 1890s. However, the return of the species to Scotland in the 1950s was the catalyst for reintroduction programmes elsewhere, and this remarkable raptor is now an increasingly common sight in our skies. This Poyser monograph includes over 150 photographs and details the distribution, migration, foraging ecology, breeding behaviour and population dynamics of this spectacular bird. It also places emphasis on the conservation efforts across the species British and African haunts, the latter of which has only recently been discovered thanks to satellite tagging technology. 

Tim Mackrill holding an Osprey in a field.
© John Wright

Nature conservationist Dr Tim Mackrill completed a PhD on Osprey migration at the University of Leicester and has since worked with the Roy Dennis Wildlife Foundation on various reintroduction projects, including the return of Ospreys and White-tailed Eagles to England. He managed the Rutland Osprey Project for over ten years and is the founder of the Osprey Leadership Foundation, which aims to inspire the next generation of conservation leaders by working with young people who live along the Osprey’s migratory route. 

We recently had the opportunity to speak to Tim about The Osprey, including why he is so captivated by this species, the technological advances that have helped increase our knowledge of them and more.  


Your entire adult life, and indeed much of your childhood, appears to have been spent observing and studying Ospreys. What is it about this species that so captivates you? 

Anyone who has seen an Osprey will vouch for the fact that they are a spectacular bird, particularly if you have been fortunate enough to see one plunge into water to catch a fish. However, it is the species’ migration that I find so captivating. As I write in chapter 6 of The Osprey, whenever I see a newly arrived Osprey perched beside its nest in the spring, I always think it is rather humbling to consider what the bird might have experienced since leaving its wintering site a few weeks earlier: traversing the Sahara, negotiating imposing mountain ranges, crossing areas of open sea. It could even have flown through the night – its path illuminated only by stars and moonlight – with the urge to reclaim its nest a source of great motivation to power its way north. The fact that Ospreys are faithful to the same nest site each year, and that we know them as individuals, makes it even more special to see a familiar bird back home in the spring.  

Osprey catching a fish in the sea.
Adult female Osprey – The Gambia, by John Wright

In the introduction of your book, you mention that there can be few bird species that are as well studied as the Osprey. What technological advancements over the past few decades do you think have been most influential in increasing our knowledge of this species? 

The advances in satellite tracking technology since the 1990s have added greatly to our knowledge of Ospreys. The most recent transmitters are able to log data at very high temporal resolution – as often as once per second in some cases – and this gives some amazing insights into the migratory journeys of individual Ospreys. It has shown how Ospreys are able to adapt their flight according to environmental conditions, and to make very long sea crossings – something that most raptors avoid. It has also demonstrated how experiences on the first migration shape the subsequent migratory habits of individuals, and also how young birds enter the breeding population for the first time.   

Historically, the persecution of Ospreys has been a large problem within Britain. Is this something that is still an issue? 

Fortunately, this is much less of an issue now. Egg collecting was a major threat during the early years of the Osprey recovery in Scotland, but has declined since the introduction of custodial sentences. Historically,  persecution at fishing ponds was a major cause of the population decline of Ospreys in the British Isles, and although the occasional Osprey is still shot, the sight of an Osprey plunging into the water at great speed, and then lifting off a few seconds later with a fish grasped in its talons, is much more likely to excite and inspire people than to create animosity. The success of an Osprey photographic hide at a working trout farm, Horn Mill, in Rutland is testament to that.  

Manaton Bay Osprey Family.
Manaton Bay Family by John Wright.

Ospreys appear to respond well to translocation projects. Is this down to the characteristics of their species, or because we have good quality research and evidence to indicate how best to undertake such projects? 

Translocation has been a key tool in helping the Osprey recover from the negative impacts of historical persecution and DDT. The first Ospreys to be translocated were in the United States in the late 1970s and in Europe, at Rutland Water, in the mid-1990s. As such, a wealth of information on all aspects of the translocation process has been developed and refined over the years, which means that more recent projects are much better informed than earlier ones. However, it is the species’ own breeding biology that is key. Young Ospreys, particularly males, are highly site faithful and usually return to breed close to their natal site. The imprinting process seems to occur after fledging and prior to migration and so, by moving young birds at around five to six weeks, when they are a fortnight from making their first flight, they regard the release site as home, rather than their natal nest. All young Ospreys undertake their first migration alone, and so as long as translocated Ospreys are provided fish after fledging in the way that wild-fledged birds are provisioned by their parents, they migrate as normal. Then, all being well, they return to the release site for the first time at two years of age.  

As a fully piscivorous species, do Ospreys suffer from ingesting water-borne pollutants or plastic waste? 

The Osprey is regarded as something of a sentinel species for environmental contaminant exposure and effects in aquatic ecosystems. It was badly affected by DDT in the United States and some parts of Europe. More recently, research in the United States has identified Polybrominated biphenyl ether (PBDE), flame retardants used in thermoplastics, textiles, polyurethane foams and electronic circuitry, as a potential emerging threat to Ospreys.  

PBDEs have been shown to bioaccumulate and biomagnify up the food chain, but unlike organochlorine pesticides which have declined in aquatic ecosystems in recent decades, PBDEs have increased since the 1970s. Plastic waste is also an issue, particularly in some of the coastal areas where Ospreys overwinter. It is a sad sight to see a wintering Osprey perched on a beach surrounded by ubiquitous plastic pollution.  

Red Kite chasing adult female.
Red Kite chasing adult female by John Wright.

When it comes to the Osprey, where are the gaps in the knowledge? What are the things that you’re still excited to find out about them? 

There are still elements of migration that we do not fully understand. We know that young birds use a process known as vector summation (an inherited programme of distance and direction) on their migration, and that adults become expert navigators as they become more experienced, but we do not know the exact mechanisms for this, though factors such as landscape features may be important. Personally, I like the fact that there is still this mystery around certain aspects of bird migration – it adds to the sense of awe that is created by the remarkable journeys of Ospreys and other species. 

Finally, what’s keeping you occupied day-to-day at the moment? And do you have plans for further books? 

One of the most exciting projects I am involved with at present, through my work with the Roy Dennis Wildlife Foundation, is the reintroduction of White-tailed Eagles to southern England. The first pair bred successfully last year and it has been exciting and encouraging to see how the birds are fitting into southern England. Like Ospreys, they take fish from the South Coast estuaries and so there is a wealth of suitable habitat for them. The fact that there are now breeding Ospreys and White-tailed Eagles back on the South Coast of England is very exciting and testament to what a positive, proactive approach to conservation can achieve. I love writing and so I definitely have plans for future books.  

A few years ago I also set-up a charity, the Osprey Leadership Foundation (OLF), which works to inspire and enable young conservation leaders. I feel very privileged to have had Roy Dennis, who wrote the foreword for The Osprey, as a friend and mentor for many years, and I hope the work of OLF will help the next generation of conservationists to follow the lead of people like Roy to undertake bold and ambitious projects for nature recovery – we certainly need it. 


The Osprey book cover.

The Osprey is available to order from our online bookstore.

Author Q&A with Illustrator Mike Langman

Photograph of Mike Langman, nature illustrator, on a coastal path wearing a checked shirt, cap and with a camera around his neck.Mike Langman has been a full-time illustrator specialising in birds since 1992 and has published a total of 85 books, including Park and Garden Birds and the Guide to Ducks, Geese and Swans, with his work also featuring in many UK birdwatching magazines. 

Mike worked for the RSPB at their headquarters in Bedfordshire for nine years after finishing his education at Middlesex Art College in 1983, and his illustrations have been published in most of the RSPB’s quarterly Nature’s Home magazines, on nearly every RSPB reserve, on identification cards, in murals in information centre, and in other outlets across Britain and Europe.

Fulmar sketch by Mike Langman.
Fulmar sketch by Mike Langman.

He has been an avid birdwatcher from the age of ten and particularly enjoys birdwatching around his local area in the South West, especially Berry Head in Devon, with his knowledge and expertise regularly sought by local organisations. Mike is also a voluntary art editor for Devon Birds, his local bird society, where he has previously held a number of roles in numerous years between 1994 and 2010. 

Mike recently took the time out of his busy schedule to answer our questions about his career in illustration, which mediums he uses to create his drawings and more. 


How did you get into illustrating nature?  

A love of nature started with walks with my parents and visits to my grandparents one set keen on birds and the other owned a farm where I could (more or less) have free range to explore. Drawing wildlife came from copying pictures I saw in books of wildlife that excited me, initially big cats but as I watched birds in gardens and countryside I would copy pictures from books of them too. 

What are your favourite mediums for illustrating books?  

Most of my published work is a mixture of watercolour for its freshness and clarity, but to speed up the process I (like many other published artists) use gouache too, this being opaque pale paint that can be put on top of darker watercolour to create feather edges and highlights etc. A watercolour purist uses the white of the paper to shine through pale areas!   

Mike Langman's pencil and watercolour double page illustrations with annotations of a Warbler.
Warbler field sketch by Mike Langman.

How do you approach illustrating a bird you’ve perhaps never seen in real life?  

I use whatever I can get my hands on, googling photos or videos (better for capturing character), but I still use skins (dead crudely stuffed birds) held in museums like Tring or even Exeter and Torquay. 

How do you record a birds behaviours, and have you seen any unusual behaviours from a common bird? 

Yes, as a birder I’m always looking for not just unusual species but behaviours too an inquisitive mind leads to a better understanding of the species and I do illustrate behaviour in published work when required to.  

What has been your favourite bird to illustrate that you keep coming back to?  

That’s a tricky one, but I love seabirds and warblers. I suppose if I had to choose one its the Firecrest for its character and colour a truly stunning tiny bird. But, I must not forget our south Devon speciality, the Cirl Bunting, and, and I could go on!   

Cirl Bunting field sketch in pencil and watercolour by Mike Langman.
Cirl Bunting field sketch by Mike Langman.

How has climate change altered your approach to projects? 

I do a huge amount of illustration work from home but I do travel a bit too (although much more locally based than I used to be). At home I’m trying to be as carbon neutral as possible with solar panels, storage batteries, good house insulation and, last year, buying an electric car. When I do travel abroad I do as much wildlife watching as possible visiting reserves and hiring guides which will help maintain some of the very important and often not so important biologically rich areas. 

Do you see wildlife human conflict in your work? 

Not so much in the publishing world, but as part of my secondary job as a wildlife guide here in Devon, running walks, tours and cruises, I have witnessed some terrible scenes. Dolphins caught in nets, seals with plastic rings and fishing gear snagged around their necks, jet skis harassing dolphins, fishermen throwing rocks at seals and even fishermen having ‘fun’ catching gulls with baited hooks. Away from the sea we have hedges cut by land owners at the wrong times of year, and housing developments on green land around Torbay in areas I used to watch wildlife...

What bird do you wish you had seen and why? 

Pretty much every bird I haven’t seen but I know that’s not a good thing, practically and in terms of harm to my carbon footprint, and inevitably it’s just not possible. So, I keep it local and look for anything that provides me with a challenge to find, identify and share with others. For more than 30 years I’ve wanted to find a Hume’s Warbler (a small and very rare eastern Siberian migrant) at my local lakes at Clennon Valley in Paignton (where I volunteer as part of the friends group). In December 2023 I did a double take when I heard one calling, ‘Che-wee, Che-wee’. Eventually after what seemed like an eternity I located and watched it, sketched it and shared the sightings immediately with others. The bird stayed around for over a week. I guess I need a new goal now… 

What projects are you working on right now? 

I’ve just finished the 3rd edition of the Helm Field Guide to the birds of the Middle East and painted its new cover too, which I’m very proud of. I’m also working on some wood etching images (my work completed on the computer!) for Greenspace designs for the Lower Otter Restoration Project.


Mike Langman's most recent project, the illustration for the cover of Helm's Birds of the Middle East, featuring a watercolour painting of a Eurasian Eagle-Owl stood in a rocky crag.

A collection of books illustrated by Mike Langman can be found in our bookstore here. 

Author Q&A with Chantal Lyons: Groundbreakers

Groundbreakers jacket showing a wild boar drawing on top of a green background.Big, messy and mysterious – crossing paths with a Wild Boar can conjure fear and joy in equal measure. In Groundbreakers, Chantal Lyons gets up close and personal with this complex and intelligent species in the Forest of Dean, and investigates the people across Britain and beyond who celebrate the presence of these animals – or want them gone. From Toulouse and Barcelona where they are growing in number and boldness, to the woods of Kent and Sussex where they are fading away, to Inverness-shire where rewilders welcome them, join Chantal on a journey of discovery as she reveals what it might take for us to coexist with the magnificent Wild Boar. 

Chantal Lyons, author or Groundbreakers, stood against a tree.Chantal Lyons is a naturalist, writer and science communicator. Having grown up in the tidy countryside of Kent, her encounters with the growing rewilding movement opened her eyes to the potential for restoring nature in Britain, and inspired her to study the relations between people and Wild Boar in the Forest of Dean. She currently lives in Cheltenham, never too far from the boar. 

Chantal recently took time out of her busy schedule to tell us about her first experience with a Wild Boar, her hopes and fears for the future of their populations in Britain, and more.


First of all, could you tell us a little bit about yourself and what led you to writing a book about Wild Boar in Britain? 

Up until my mid-twenties I spent all my writing time churning out unpublishable fantasy and sci-fi novels, alongside a zig-zagging career in the charity sector. The journey to Groundbreakers was perhaps a ponderous one – it started when I went to the Forest of Dean in summer 2014 to research a Masters dissertation in environmental social science. The Forest of Dean was, and still is, one of the few places in the country where Wild Boar have returned since their extirpation from Britain around 700 years ago. I wanted to find out from local residents what it was like to suddenly find yourself living alongside a big, wild, and utterly unfamiliar creature. What I discovered from those interviews astounded me, and I was sure that some established nature writer would soon publish a book about the return of boar to Britain and what this meant for us. No one did. After seven years, I decided to send off a proposal to a publisher who I’d encountered on Twitter, and it snowballed from there. 

Could you tell us about your first real life experience with a Wild Boar? 

It was a long time in coming! While I was in the Forest of Dean doing the Masters research, I used every spare moment to explore the woods on my own, often following locals’ leads. It always came to nothing. The boar seem to be like cats – you seem to be more likely to meet them the less you want to. But eventually, at the tail end of summer, I went to a spot where I’d heard from someone that a sounder (a family group of boar, which is always led by a matriarch) had been foraging each evening. I heard them softly calling to each other, then there was a rustling in the bracken, and an adult stepped out onto the path to get a look at me. We stared at each other for about two seconds, she gave a belching alarm call, and then she vanished with her family.  

Wild boar and 7 piglets lead down on a rocky bank in the Yorkshire Dales.
Wild boar at Bolton Castle in Yorkshire Dales National Park, by HarshLight via flickr.

I appreciated the ways in which you speak about rewilding, in particular the importance of nuance and accepting the unknown. Do you think that uncertainties about the best way to undergo reintroduction projects and their expected outcomes are a significant hindrance to their implementation? 

I have heard many a time from rewilding practitioners that the inherent uncertainties in rewilding can make it especially challenging to gain funding, given that projects aimed at restoring nature have traditionally been expected to be able to set clear targets and end-goals. But beyond practicalities like money, I think the bigger challenge is the attitude that reintroducing species for rewilding purposes is too big an unknown, and therefore too big a risk. Of course we should aim to conduct as much scientific research and gather as much knowledge as possible, but we are running out of time to reverse the haemorrhaging of our biodiversity in Britain and globally. To me, it beggars belief that we seem quite happy to continue doing all kinds of things that we know are massively damaging the environment, but reintroducing species? Why, that’s a step too far! 

Close up image of two wild boar walking through mud with their snouts and feet covered in wet mud.
Wild boar, by Marieke IJsendoorn-Kuijpers, via flickr.

One part of the book that particularly resonated with me was in ‘The Risks of Being Alive’ where you speak about how, for most modern humans, ‘nothing matters more in life than eliminating all risk to it – even at the cost of happiness’. What do you think it would take for humans to accept more wildness into their lives? 

Maybe it’s a cliché to say this, but I think it hugely helps to engage children with nature from a young age, and to continue doing so as they grow up. That of course means ensuring that everyone can access nature. 

Beyond that, the question of how to convince people to accept more wildness is an incredibly tricky one, especially in a place like Britain which suffers so badly from ‘ecological tidiness disorder’ (as Benedict Macdonald puts it in Rebirding). The problem is that most of us have not made the connection between our tidy sterilised surroundings and the loss of nature. There is a lack of understanding that the majestically bare plains of Dartmoor or our rolling green fields mean an absence of life; and that you need all manner of species, including big ones, to ensure healthy ecosystems. I didn’t realise this for years. But once you know, you can’t stop wanting to bang the drum. 

What are your biggest hopes and worst fears for the future of Wild Boar populations in Britain? 

I want the planned, country-wide reintroduction of Wild Boar to become accepted both politically and societally. In the meantime, I hope that the few boar we do have are allowed to thrive. That means more oversight of people carrying out legal shooting of them on their land, and – in the case of the Forest of Dean population – better censusing methods to ensure they are not over-culled (though some culling will always be needed, as the boar currently lack other predators). 

What am I most afraid of? That very soon, a disease called African Swine Fever (ASF) which burns through pig populations like wildfire will make its way into Britain. Since Brexit, border controls on pork imports have been so lax that experts think it’s only a matter of time before ASF reaches us. Forestry England is primed to wipe out every last boar in the Forest of Dean if the disease is ever detected in the population. And once they’re gone, it seems very unlikely that they would ever be reintroduced (legally or illegally) again. We will miss a miraculous chance to kickstart the landscape-scale restoration of nature in Britain.  

Wild Boar piglets running across the road in a national park park with the sun out.
Wild Boar Sus Scrofa, by Björn, via flickr.

Finally, what is occupying your time at the moment? Are there plans for further books in the pipeline? 

I work full-time as a science communicator, which does narrow my research and writing windows! But I am currently working on a proposal for book number two. It’s intended to be something of an evolution of Groundbreakers, picking up a thread that often emerged during my research interviews with people, but which I couldn’t possibly have fitted into this first book…  


Groundbreakers book jacket showing a wild boar drawing on a faded green background with yellow test and a signed copy bubble in blue.Groundbreakers is available from our online bookstore.

 

Author Q&A with Robert Wolton: Hedges

Hedges book cover showing a drawing of hedge and farmers fields.In Hedges, Robert Wolton brings together decades of research and personal experiences from his farm in Devon to explore the ecology, biology, nature conservation and wider environmental values of the hedges in the British Isles. Containing over 300 photographs and figures, this latest addition to the British Wildlife Collection offers a detailed commentary on hedges and their importance in our landscape.

Robert Wolton portrait, showing him from the chest upwards, stood wearing a brown hat, coat and bag with an old tree in the background.Robert is an ecological consultant and writer specialising in the management of farmland and associated habitats for wildlife. He is a former hedgerow specialist for Natural England, the founder, chair, editor and lead author of the Devon Hedge Group, has been involved in Hedgelink since it began, and has written a number of reports and articles specialising in hedges.


Firstly, can you tell us a little bit about yourself and how you came to be contributing to the British Wildlife Collection with a book on hedges? 

I’ve had a life-long interest in natural history, even as  a schoolboy I was a very keen birdwatcher. Later, at university, I trained as a zoologist with a strong interest in mammals, although subsequently I have been more involved with insects, especially moths and flies. It was perhaps inevitable that I should pursue a career in nature conservation. My passion for hedges was awakened when we bought a small farm in the heart of Devon, my wife, Paula, looking after the cattle and sheep while I went to the office. Initially it was the flower-filled meadows that drew me to the land, but I soon realised that the many thick hedges, full of different trees and shrubs, were glorious and just as special, particularly when I discovered that those small spherical nests I kept finding were made by Hazel Dormice. At that time, 30 years ago, hedges were very under-appreciated in the nature conservation world – there was a gap waiting to be filled and I was able to persuade my bosses in English Nature to allow me to become a part-time national hedge specialist, a role I continued to fill after the organisation morphed into Natural England. Partial retirement gave me the opportunity to write a book on my beloved hedges. I’d always dreamt of having a volume in the British Wildlife Collection, much admiring the series, so when Bloomsbury offered me the chance I jumped at it. 

Robert Wolton, author of Hedges, photographed stood by a large pile of thin trees being used to construct a man-made hedge.
Robert Wolton making a hedge.

I tend to think of hedges as being man-made. But is there such a thing as a natural hedge? And if so, how do these come about? 

Most hedges in Britain and Ireland are indeed man-made. Some, though, have grown up naturally along fence lines and ditches – these are termed spontaneous hedges and I think they are becoming more frequent, especially along the sides of roads and railway lines. Trees and shrubs, their seeds carried by wind, birds and mammals, can colonise strips of rough grassland remarkably quickly, often protected to begin with by brambles. It does not take many years before there’s at least a proto-hedge present, and after a decade or two it may be difficult to tell it was not planted. Another way hedges have come into being is through strips of woodland being left when land is cleared for agriculture. These are called ghost hedges. Their origin is often given away by the presence of unexpectedly high numbers of trees and herbs characteristic of ancient woodland because they have poor dispersal abilities.  

I particularly enjoyed the chapter in your book on the origins and history of hedges. Do you think that the study of hedges can give us an insight into the natural and social history of our country? 

Without a doubt. Throughout our countryside, away from the open moors and fens, the pattern of fields, as defined by hedges and sometimes drystone walls, allows the history of the landscape to be read, often going back centuries, even sometimes millennia. We are so fortunate in these islands still to have this landscape continuity – it has been lost over much of continental Europe. In places like Dartmoor, which I can see from our farm, layer upon layer of history can be unpicked through studying the networks of field boundaries, most of which are banked hedges. Some can be traced back to the Bronze Age, 3,500 years ago. This may be exceptional, but even so, most of the hedges in Britain, and many in Ireland, probably date back to Medieval times. They are a hugely important part of our cultural heritage. We love our hedges. This is evident not just in the countryside, but across our villages, towns and cities, in our gardens and parks. Hedge topiary is, after all, a national pastime! 

Farmland hedge leading towards a forest at the end of a farm track along the right-hand side of a field.
Hedge, by Damien Walmsley via Flickr.

As you describe early on in the book, there are many different types of hedge, from those that consist of just a single species to very diverse multi-species ones, even ones that have been allowed to mature into lines of trees. Is there a type of hedge that is best for the surrounding wildlife and environment and that we should be trying to replicate or maintain as much as possible?  

If you put me on the spot, I’ll answer this question by saying that thick, dense, bushy hedges are the best for wildlife, preferably with margins full of tussocky grasses and wildflowers. But really we should be thinking about what networks of hedges look like, because there’s no such thing as a perfect hedge. Different birds, mammals and insects like different conditions, and in any case you can’t keep a hedge in the same state for ever, however carefully you manage it. Basically, the trees and shrubs are always trying to reach maturity, and as they do so gaps develops beneath their canopies and between them. That’s when laying or coppicing are needed, to rejuvenate the hedge and make it more dense and bushy. A lot more research needs to be done on this, but probably, from a wildlife point of view, at least half of all the hedges in a network, say that covering a decent-sized farm, should be in this condition. On the other hand, from a climate perspective, where we need to capture as much carbon as quickly as possible, tall hedges with many mature trees are best. You can see there are tensions here, all part of the challenge of managing hedges well. Who said it was easy?   

A dusty track running in a straight line with hedges on both sides and tall, narrow, straight trees behind the left hand hedge.
Into the Distance, by Dave S via Flickr.

As both a farmer and an ecologist, I’m sure you are more attuned than many to the conflicting needs of making a living from the land and managing hedges for the benefit of wildlife and conservation. Do you think financial incentives are the only way to encourage landowners and farmers to both plant more and maintain existing hedges? 

Financial incentives like government grants will always be important to landowners and farmers because good hedges benefit society at large just as much as those who own and manage them. Things like plentiful wildlife, carbon capture, reduced risk of homes flooding and beautiful landscapes rarely bring in any income to offset costs, let alone profit – it is right that they are supported from the public purse.  

Still, hedges can be of direct financial value to farmers through serving as living fences, preventing the loss of soil or providing logs and wood chips for heating. They can also increase crop yields through boosting numbers of pollinators and the predators of pests. To some extent, these direct benefits to farm businesses have been forgotten in recent decades in the drive for increased food production regardless of environmental cost, but they are now being appreciated much more as new ways of working the land, such as regenerative farming, catch on.  

And we should not overlook the fact that more and more landowners and farmers are prepared to bear at least some of the costs of good hedge management simply because they gain huge satisfaction from healthy hedges and all the wildlife they contain. The pleasure of seeing a covey of Partridges or a charm of Goldfinches, or hearing the purring song of the Turtle Dove, cannot be priced. 

A narrow, windy track going through a high sided hedge into the distance in a circle.
by Oli Haines.

Finally, how did you find the experience of writing this book, and will there be other publications from you on the horizon? 

This is my first ‘big’ book, and I was apprehensive to say the least when I started writing it, in 2022. But with a lot of encouragement from my wife and friends I soon got into the swing of things. Challenging for sure but personally most rewarding – exploring new facets, checking information and trying to find the best way to pass on my enthusiasm for the subject. Above all, it felt good to share knowledge collected over many years. Bloomsbury’s support was invaluable, there’s no way I could have self-published. As to whether there are more books in me, I’m not sure. Perhaps one on hedges in gardens? There again, I have a passion for wet woodland, another habitat that’s been much neglected. It’s all too soon to say. 


Hedges book cover showing a drawing of hedge and farmers fields.Hedges is available to order from our bookstore.

 

British Wildlife Collection: interview with series editor Katy Roper

The British Wildlife Collection is a series of beautifully presented books on all aspects of British natural history. Since the series began in 2012, it has covered such diverse topics as mushrooms, meadows and mountain flowers, and books have been written by some of Britain’s finest writers and experts in their field. Filled with beautiful images, these wide-ranging and well-researched titles are a joy for any naturalist who is passionate about British wildlife and landscapes.

Photograph of three British Wildlife books - Butterflies, Meadows and Hedges, stood in a line on a wooden bench with trees, grass and blue skies behind.

Katy Roper is a Senior Commissioning Editor at Bloomsbury Publishing and is responsible for the British Wildlife Collection. She recently took some time to chat with us about this excellent series; how it began, what makes it stand out from others of its kind and what we can expect from the collection over the next year. Keep reading for the full conversation with Katy, and browse the full British Wildlife Collection at nhbs.com.


 

Firstly, could you tell us a little bit about yourself; what you do and what your involvement is with the British Wildlife Collection?

I’m a Senior Commissioning Editor in the wildlife team at Bloomsbury Publishing. The British Wildlife Collection is one of the lists I’m lucky enough to look after; I’m responsible for signing up new books with authors and then seeing them through to the point at which they go off to the printer. Being immersed in these books means that I’m always learning something new: from the surprising fact that saltmarsh occurs as far inland as Staffordshire, through to how to successfully use a pooter to collect ants (without inhaling live insects!).

Published in 2012, the first title in the series was Mushrooms by Peter Marren. Could you tell us more about how the British Wildlife Collection initially came about?

Yes, the series was conceived by Andrew Branson who founded and, for 25 years, ran the publication of the excellent British Wildlife magazine. I believe that Andrew’s intention was to produce a series of seminal books that would capture the essence of the magazine in terms of being informative, well-written and thought-provoking whilst providing the author the space to explore their chosen subject in detail and develop the overall narrative.

For anyone unfamiliar with the books from this collection, how would you describe them and who do you consider to be their intended audience?

The series covers all aspects of British natural history and we encourage our authors to cover elements of ecology, history, management, conservation and culture; in other words, to explore the human relationship with their particular subject. The books are written in a way that we hope appeals to a wide readership, from academics and conservation professionals through to enthusiastic amateur naturalists and people who simply want to know more about the British countryside and its inhabitants.

All the books in the series are incredibly well-researched and comprehensive. How long does it typically take to go from conception to publication for a single title?

It varies depending on the author and their other commitments, but I’d say it typically takes around three years from the date the contract is signed until the book hits the shelves. I think our record for the shortest time is 13 months (I won’t tell you the longest!).

The books are beautifully produced and printed and, without exception, are authored by the most well-respected experts in their field. It is no surprise that they have rapidly become collectors’ items for so many British naturalists. What do you think makes these monographs stand out from others of their type?

The series is relatively new and is still evolving, but our ultimate aim is to build an indispensable reference source on all aspects of our wildlife by commissioning some of our finest writers and leading experts to write accessible and engaging books that are then carefully designed to incorporate hundreds of carefully chosen photographs and illustrations to bring the text to life. We hope that our readers come away from them, as one reviewer put it, ‘better-informed than ever, but also hugely entertained’. Oh, and they each feature a beautiful specially commissioned cover artwork by the peerless Carry Akroyd.

Finally, are you able to give us any information as to what subjects we can expect to be covered in the next year or so, or is this a closely guarded secret?

Hedges by Robert Wolton is coming out in February this year, and beyond that we’re excited to be welcoming Peter Marren back to the series with a book entitled Rare Plants. He’ll be followed by Trevor Dines with Urban Plants and David Goode with Bogs.


All books in the British Wildlife Collection are available from nhbs.com. Please contact our customer services team if you would like to set up a standing order for this series – this will ensure that you automatically receive each new title as soon as it is published.

Meet the new Song Meter 2 ultrasonic and acoustic recorders

Wildlife Acoustics are renowned for their attention to customer feedback which they use to refine their products and ensure they are of the highest quality.  It also means their products are some of the easiest and most flexible to use which makes them favourites with researchers around the world.

The latest additions to their range are the second-generation Song Meter Mini 2, Mini Bat 2 and Micro 2. In this blog you’ll find out exactly what’s new in these improved models and which of the original excellent features have been retained.

What’s new?

Increased battery life

• The Mini 2 with AA batteries will now record for up to 625 hours (when using 8 x AA batteries). This is more than twice the amount of the original Song Meter Mini.

• The Mini 2 with Lithium-ion batteries offers up to an incredible 1,565 hours of recording time, making it ideal for use in difficult to access locations.

• The Micro 2 will now record for up to 240 hours with just 4 x AA batteries – a huge 33% increase over the original Micro.

 

Improved weatherproofing

All Song Meter units are now tested to IP67 standards. This means that, not only are they protected against typical weather conditions, they can also be dropped into water up to a meter deep for 30 minutes without any water ingress. Perfect for the toughest conditions in the field.

New hinged enclosure

The casing has been completely redesigned so that the lid is hinged to the body and opens using a simple latched mechanism. With purposely designed holes to fit cable locks and/or padlocks, you can leave your equipment unattended, safe in the knowledge that your recorder is secure and cannot be accessed by anyone else.

New tripod mount

Further flexibility in siting has been achieved by the addition of a standard tripod mount. The Mini 2 and Micro 2 can now be quickly and easily attached to any item that has a standard tripod connector.

What has stayed the same?

All the Song Meter second-generation recorders still include a low-noise microphone that produces high-quality sound files. The same companion app, available for iOS and Android, is used to programme the recorders, ensuring that you can quickly and easily update them with your existing recording schedules. Finally, all recorders come with the same 2-year warranty, offering you peace of mind when you buy.

Head to nhbs.com to see the full range of Song Meter 2 recorders and associated accessories, or contact our customer services team for advice on choosing the product that’s right for you.

Author Q&A with Derek Gow: Hunt for the Shadow Wolf

Renowned rewilder Derek Gow has a dream: that one day we will see the return of the wolf to Britain. As Derek worked to reintroduce the beaver, he began to hear stories of the wolf. With increasing curiosity, Derek started to piece together fragments of information, stories and artefacts to reveal a shadowy creature that first walked proud through these lands and then was hunted to extinction as coexistence turned to fear, hatred and domination.

With bitingly funny but also tender stories, Hunt for the Shadow Wolf is Derek’s quest to uncover the true nature of this creature because, as we seek to heal our landscape, we must reconcile our relationship with it. Before we can even begin to bring the wolf back, we need to understand it.

Derek recently took time out of his busy schedule to talk to us about Hunt for the Shadow Wolf, including how his fascination with the wolf began, what role it could play in Britain’s landscape and more.


As well as being packed with personal stories and fascinating snippets of wolf biology and behaviour, Hunt for the Shadow Wolf is an incredibly well-researched history of the wolf, told through the myths and legends that abound throughout our lands. How and when did your fascination with the wolf and its history in Britain begin? 

Hunt for the Shadow Wolf Chapter 3 sketch. if a wolf baring its teeth in a graveyard.

My personal interest in the wolf story began early. I remember quite clearly my grandmother, who was a slight, erect, sprightly soul, telling both myself and my bored brother on a long car journey to Dundee the story about a place called wolf clyde which was near to where we lived in the Scottish borders at that time where the last wolf in Scotland was killed. It was just nonsense about a woman with children being attacked by the wolf which she brained in response with a pancake griddle, but nevertheless it began a slow smoking interest in the old myths which given the opportunity I was keen to explore further.  

Why do you think that an understanding of the historical culture, myths and legends surrounding a species has relevance to its conservation and role in our ecosystems today? 

A factual understanding of the history of this much maligned species in Britain is very important as the lies we made up in the darkness of our ignorance to try to twist the cultural character of the wolf into one of loathing and repulsion still sway the responses of a phenomenal number of individuals and organisations to this day. Despite the very best of our advanced understandings of what wolves are and what they do, this toxic taint is still bubbling strongly.  

Hunt for the Shadow Wolf Chapter 6 sketch of a wolf baring its teeth at a woman who has a sword in her hand and is trying to protect her sheep from an attack.Even in children’s tales, the wolf invariably represents a character of fear, violence and threat. Do you think these types of stories have a significant role to play in the development of our feelings towards wolves as adults? 

Absolutely as they reflect only the darkness in the minds of the adults who wrote them and by so doing chose to corrupt a bad reputation without thinking into an even darker evil to infect the minds of the young. Nowadays it’s gratifying to see in so many good environmental centres throughout Europe, within the wolves expanding range, more understanding and compassionate explanations about both their history and the reality of living with them.

Britain is in a unique position compared to mainland Europe in that wolves will never be able to repopulate of their own accord. Do you think that a reintroduction project will ever occur, and what are the key challenges that stand in its way? 

I think we should reintroduce the wolf and prepare the way for even more of our lost beasts. Farming has had it all its own way without balance of any sort. If a species gets in our way, we kill it. It’s what we are doing to badgers right now. In the past we inflicted so much heartbreakingly visible cruelty. Now, we destroy on a scale that’s colossal without thinking about the smallest of creatures and those tinier still that inhabit the soil. It’s a viciously unnecessary process.

Eurasischer Wolf sniffing a moss covered rock, taken by C Bruck.
Eurasischer Wolf (Canis Lupus) by C. Brück

What role do you think the wolf could have in healing the landscapes of our currently denuded Britain? 

I think they would both move deer considerably and by doing so disrupt their grazing patterns for the betterment of forest understory regeneration. I think they would make those that keep sheep consider their worth and then, if these animals are of value, protect them better. I think their very presence, wild but unthreatening, would more than that of any other creature enable all of us now living on this island to establish, if we wished to do so, our relationship with the natural world.  

As well as travelling widely to locations where wolves live in the wild, you have also had the incredible experience of hand-rearing wolves in a wildlife centre. What is your most memorable first-hand experience with a wolf or wolf pack? 

Naida, one of my tame cubs, ate my car keys. I only had one set and had to wait for what seemed an eternity for them to pass through her before picking my way through her enormous turds to get them back.

Title page for Hunt for the Shadow Wolf showing a map of Great Britain with different wolf locations labelled across the country.Finally, what is occupying your time this winter? Do you have plans for more books? 

Lots of things. The last of bits of farming feeding my cows. Dog walks and avoiding the rain. Trying to develop a foundation to help us breed even more threatened British species for reintroductions. And books? Well, on long dark evenings I have been researching the intriguing history of the European Bison. not the bits of sadness that brought the species to its knees in the early 20th century, but the complicated individuals who for a time held its future in the palms of their hands. Great characters like the 11th Duke of Bedford, who assembled breeding herds of threatened species on his Woburn estate, and tyrants like Hermann Goering, who used slave labour to create vast parks within which he hunted. It’s an intriguing slant that’s little known but it saved the species for a time when the world for them has become a better place where they can roam in peace, a range that is vast. There might be a book in that!! 


Explore other titles by Derek Gow here.

Top 10 Bird Boxes for Walls and Fences

Vivara Pro WoodStone House Martin NestWelcome to the second in a series of three posts designed to help you choose the best bird box for your garden or other outdoor space.

This article includes a list of our top 10 bird boxes for positioning on a wall or fence. The first and third posts cover the best options for installing on a tree in a garden, park or woodland and for building into a new build or development.

For each box we have provided a quick guide to the material that it is made from, the dimensions, and the species that the box is suitable for. Follow the links provided for more information about the box, including pricing and availability, or contact our customer services team for more advice.


NHBS Wooden Bird Nest Box1. NHBS Wooden Bird Nest Box

• Made from: Softwood (FSC)
• Dimensions: 245 x 135 x 185mm
• Suitable for: Great Tits, Blue Tits, Coal Tits, Marsh Tits, Crested Tits

 

Vivara Pro WoodStone House Sparrow Nest Box (Double Chamber)2. Vivara Pro WoodStone House Sparrow Nest Box (Double Chamber)

• Made from: Woodstone
• Dimensions: 160 x 290 x 210mm
• Suitable for: House Sparrows, Redstart, Spotted Flycatchers

 

Dual Chamber Sparrow Terrace3. Dual Chamber Sparrow Terrace

• Made from: Woodstone
• Dimensions: 360 x 220 x 180mm
• Suitable for: House Sparrows

 

Vivara Pro WoodStone Swift Nest Box4. Vivara Pro WoodStone Swift Nest Box

• Made from: Woodstone
• Dimensions: 245 x 380 x 265mm
• Suitable for: Swifts

 

House Martin Nests (Double Entrance)5. House Martin Nests (Double Entrance)

• Made from: Woodstone and plywood
• Dimensions: 115 x 160 x 380mm
• Suitable for: House Martins

 

 

FSC Wooden Swift Box6. FSC Wooden Swift Box

• Made from: Softwood (FSC)
• Dimensions: 210 x 430 x 210mm
• Suitable for: Swifts

 

Eco Barn Owl Nest Box7. Eco Barn Owl Nest Box

• Made from: Recycled plastic and FSC timber
• Dimensions: 670 x 660 x 530mm
• Suitable for: Barn Owls

 

Ceramic Swallow Bowl8. Ceramic Swallow Bowl

• Made from: Ceramic and FSC timber
• Dimensions: 125 x 202 x 125mm
• Suitable for: Swallows

 

Eco Small Bird Box9. Eco Small Bird Box

• Made from: Recycled plastic and FSC oriented strand board
• Dimensions: 260 x 170 x 170mm
• Blue Tits, Coal Tits, Marsh Tits, Great Tits, Crested Tits, Tree Sparrows, House Sparrows, Nuthatches and Pied Flycatchers (species depend on entrance hole size).

 

Vivara Pro Seville 32mm WoodStone Nest Box10. Vivara Pro Seville 32mm WoodStone Nest Box

• Made from: Woodstone
• Dimensions: 310 x 200 x 200mm
• Suitable for: Coal Tits, Blue Tits, Marsh Tits, Crested Tits, Redstart, Nuthatches, Pied Flycatchers, House Sparrows, Tree Sparrows

Browse our full range of nest boxes for external walls and fences.


The full range of nest boxes can be found in our online shop, as well as a useful nest box price list which can be downloaded as a pdf.

 

Top 10 Bird Boxes for New Builds and Developments

Vivara Pro House Sparrow Nest BoxThis is the final post in a three part series, designed to help you choose from our bestselling bird boxes. All of the boxes listed below are suitable for building into the masonry of a new build or development.

The previous two posts provide suggestions of boxes suitable for positioning on a tree in a garden, park or woodland, and for siting on a wall or fence.

For each box we have provided a quick guide to the material that it is made from, the box dimensions and the species that it is suitable for. Follow the links provided for full descriptions, pricing and availability, or contact our customer services team to chat about finding the box that’s right for your needs.


Schwegler 1SP Sparrow TerraceSchwegler 1SP Sparrow Terrace

• Made from: Woodcrete
• Dimensions: 245 x 430 x 200mm
• Suitable for: House Sparrows, Tree Sparrows

 

Vivara Pro WoodStone House Sparrow Nest Box (Double Chamber)Vivara Pro WoodStone House Sparrow Nest Box (Double Chamber)

• Made from: WoodStone
• Dimensions: 160 x 290 x 210mm
• Suitable for: House Sparrows, Tree Sparrows

 

Dual Chamber Sparrow TerraceDual Chamber Sparrow Terrace

• Made from: Wood-concrete
• Dimensions: 260 x 220 x 180mm
• Suitable for: House Sparrows

PRO UK Rendered Build-in Swift BoxPRO UK Rendered Build-in Swift Box

• Made from: WoodStone
• Dimensions: 140 x 440 x 150mm
• Suitable for: Swifts

Manthorpe Swift BrickManthorpe Swift Brick

• Made from: PVC and polypropylene
• Dimensions: 347 x 200 x 153mm
• Suitable for: Swifts

 

Woodstone Build-in Open Nest BoxWoodstone Build-in Open Nest Box

• Made from: Woodstone
• Dimensions: 180 x 220 x 180mm
• Suitable for: Robins, wagtails and black redstarts

 

WoodStone Build-in Swift Nest Box DeepWoodstone Build-in Swift Nest Box Deep

• Made from: WoodStone
• Dimensions: 180 x 420 x 155mm
• Suitable for: Swifts

 

Schwegler Brick Nest Box: Type 24Schwegler Brick Nest Box: Type 24

• Made from: Woodcrete
• Dimensions: 235 x 180 x 180mm
• Suitable for: Great Tits, Blue Tits, Marsh Tits, Coal Tits, Crested Tits, Redstart, Nuthatches, Tree Sparrows and House Sparrows

Orlando Swift BoxOrlando Swift Box

• Made from: Wood concrete
• Dimensions: 350 x 220 x 180mm
• Suitable for: Swifts, House Sparrows, Starlings

Starling Box - Smooth Brick

Starling Box – Smooth Brick

• Made from: Concrete and brick
• Dimensions: 215 x 215 x 150mm
• Suitable for: Starlings, Tree Sparrows, Blue Tits, and Great Tits

Browse our full range of build-in nest boxes.


The full range of nest boxes can be found in our online shop, as well as a useful nest box price list which can be downloaded as a pdf.

 

Top 10 Bird Boxes for Trees and Woodland

So, you have the perfect space in mind for a bird box but don’t know which one to buy? No problem – this is the first in a series of three posts designed to help you make the right choice.

This article includes a list of our top 10 bird boxes for positioning on a tree in a garden, park or woodland. The following two articles will cover the best bird boxes for positioning on a wall or fence and for building into a new build or development.

For each box we have provided a quick guide to the material that it is made from, the dimensions of the box and the species that it is suitable for. Follow the links for more information about each item, or contact us to speak to one of our customer services advisors who can provide you with help in choosing the right product.


Schwegler 1B Nest Box1. Schwegler 1B Nest Box

• Made from: Woodcrete
• Dimensions: 230 x 160 x 160mm
• Suitable for: Blue Tits, Coal Tits, Marsh Tits, Crested Tits, Great Tits, Nuthatches, Tree Sparrows, House Sparrows, Redstart (species depend on entrance size and shape).

 

NHBS Wooden Bird Nest Box2. NHBS Wooden Bird Nest Box

• Made from: Softwood (FSC)
• Dimensions: 245 x 135 x 185mm
• Suitable for: Blue Tits, Coal Tits, Marsh Tits, Crested Tits (species depend on entrance size).

 

Vivara Pro Barcelona WoodStone Open Nest Box3. Vivara Pro Barcelona WoodStone Open Nest Box

• Made from: Woodstone
• Dimensions: 240 x 190 x 175mm
• Suitable for: Wrens, Robins, Spotted Flycatchers, Pied and Grey Wagtails, Song Thrushes and Blackbirds.

Brecon FSC Nest Box4. Brecon FSC Nest Box

• Made from: Wood (FSC)
• Dimensions: 200 x 160 x 270mm
• Suitable for: Great tits, House Sparrows and Nuthatches.

 

Treecreeper FSC Nest Box5. Treecreeper FSC Nest Box

• Made from: Softwood (FSC)
• Dimensions: 130 x 350 x 125mm
• Suitable for: Treecreepers.

 

 

Small Bird Nest Box6. Small Bird Nest Box

• Made from: Plywood
• Dimensions: 300 x 130 x 150mm
• Suitable for: Blue Tits, Coal Tits, Marsh Tits, Treecreepers, Tree Sparrows, Great Tits, Crested Tits, Nuthatches and Pied Flycatchers (species depends on entrance size).

 

Schwegler 3S Starling Nest Box

7. Schwegler 3S Starling Nest Box

• Made from: Woodcrete
• Dimensions: 280 x 190 x 200mm
• Suitable for: Starlings and overnight shelter for Woodpeckers.

 

8. Starling Nest BoxStarling Nest Box

• Made from: Exterior grade plywood
• Dimensions: 510 x 160 x 180mm
• Suitable for: Starlings.

 

2GR Schwegler Nest Box9. 2GR Schwegler Nest Box

• Made from: Woodcrete
• Dimensions: 510 x 160 x 180mm
• Suitable for: Nuthatches, Redstart, Tree Sparrows, House Sparrows, Pied Flycatchers, Blue Tits, Marsh Tits, Great Tits (species depends on entrance size).

Blackbird FSC Nest Box10. Blackbird FSC Nest Box

• Made from: Softwood (FSC)
• Dimensions: 185 x 250 x 215mm
• Suitable for: Tree Sparrows, Great Tits, Blue Tits, Crested Tits, Pied Flycatchers.

 

Browse our full range of nest boxes for trees and woodland.


The full range of NHBS bird boxes can be found in our online shop, as well as a useful nest box price list which can be downloaded as a pdf.