Interview – Hoopoe – A blog by nhbs

Author Interview with Dan Bagur: Pine Martens

Offering new insights into how they grow, learn and live, Pine Marten delves deep into the secretive behaviour of one of our rarest and most elusive mammals. Packed with stunning candid images and a library of behaviours and vocalisations, this groundbreaking book provides insight into Pine Marten social interactions, courtship, mating, nesting and kit rearing, feeding and diet, as well as their relationships with other wildlife.

Having spent several years watching and filming Pine Martens in the forests of Austria, Bavaria and Ireland, Dan Bagur has developed an in-depth understanding of their habits and behaviour. He has written or contributed to over 26 books on nature, and his wildlife photography, artwork and articles are published all over the world.

We had the opportunity to speak to Dan about Pine Marten, including his inspiration for the book, his hopes for the future of Pine Martens in the UK and more.

Can you start by sharing how you first came to work with Pine Martens, and what was the journey that led to the publication of this book?

Before answering, I was pleased when my publisher told me that you wanted to interview me. I’m a lifelong admirer of the NHBS. I used to get your catalogues delivered as a teenager back in the early 90s when you were still a mail-order book catalogue – I’ve bought and enjoyed many books from you over the years.

Back to your question. Yes. As a nature lover, I’ve always wanted a house surrounded by wildlife. When I moved to Ireland, it finally became a reality. The first time I viewed the house, I found a Pine Marten scat in the garden! It’s a dream for someone like me to be surrounded by these endangered mammals and I’ve been watching their behaviour ever since. Being so elusive, they represent a significant challenge to the wildlife photographer/filmmaker, it occurred to me that Pine Martens would be one of the toughest land mammals to study in the wild – observing them is so rewarding precisely because it’s so difficult. You must earn every new insight.

Direct observation is the best way to learn; the animals themselves are the primary source after all. It starts with interest but quickly becomes, well, the word that comes to mind whenever I think about exactly how to define it is joy. Joy can be very addictive. It’s hard to let go of that feeling. Being plugged directly into the Pine Martens and their daily lives is exciting.

Pine marten at night — Pine Marten at night. ©Dan Bagur 2025

A long field study enables you to get a much clearer picture of what’s really happening: you get to confirm and reconfirm your initial assumptions, connect to individuals and see their interactions and behaviour over an extended timescale. I’ve been observing wild Pine Martens for over five years now – I’ve spent many thousands of hours following, watching and photographing them. I’ve encountered many individuals and seen them climbing, courting, growling, chattering, hunting, feeding, fleeing, fighting and rearing their young. Every month I learned something new and understood them a little better. It’s a great help too that Pine Martens fit nicely around a full-time job – most of the action takes place at dawn and dusk, or during the night. I got drawn into their world. I often wonder what they’re doing while I’m not with them.

As Pine Marten populations slowly begin recovering, interest in them is growing and I thought that my observations could be of interest to other naturalists. Conservation relies heavily on public sentiment and if people don’t know about Pine Martens, they will be less likely to help them. Introducing this animal to others was something I felt I could do. Hopefully, after reading this book, the reader might offer Pine Martens their much needed support. I put the focus of the book on Pine Marten behaviour. It’s aimed at amateur naturalists or anyone who is interested in learning more about these incredible animals, and contains lots of new information and photographs that will be interesting to those who already know Pine Martens well.

What was the most surprising or exciting thing you learned in the process of writing Pine Marten?

I think it’s exciting that you can still go out into the woods and make new discoveries about British mammals. Although I studied biology at university, and have always worked in conservation related roles, I don’t work with Pine Martens professionally. That’s part of the magic of direct observation – anyone can do it. There are still many new discoveries out there just waiting to be made, all that’s required is consistency and patience.

I think the most surprising things are how vocal Pine Martens can be and how exciting each sighting still is – even after many years watching them. When they show up it’s always an ‘oh wow!’ moment. I still freeze with awe when I see one.

The most fascinating thing is their intelligence. Watching them solve problems and consider their next move, getting to know many individuals and seeing how unique each animal is – their personality and behaviour are highly individual. Often, I could tell who had visited simply by the signs they had left behind. They’re exceptionally charismatic animals. As I explain in the book, they’re also deeply connected with our historic wilderness landscapes, icons from our lost ancient wildwood.

This book has an impressive selection of imagery displaying a range of behaviours, interactions and life stages. How long did these images take to compile and what are some of your most effective strategies for spotting these elusive creatures?

Thanks. Yes, capturing Pine Marten behaviour isn’t easy. For every photo there were many failed attempts, you have to be comfortable in failure with Pine Martens. Over time, patience brings results and consistency is the key. The situation is made especially testing as it’s often at night and it can be very cold. You have to be willing to spend many thousands of hours sitting quietly in the woods and waiting for the occasional glimpse! For this reason, you have to really want to do it. You need to be passionate about understanding them.

I’ve taken over 10,000 photographs of Pine Martens over the last five years. Each year I understood a bit more about when and where I might see some new behaviour. Because they’re so elusive, learning to track them is essential. It’s vital that you wait as close to the right place as possible. It’s a waiting game – many quiet hours watching the forest, followed by a few seconds of heart racing panic as they emerge from the undergrowth and then quickly disappear again. Over time, it’s possible to build up a behavioural picture from many of these fleeting encounters. The harder something is, the greater that feeling of accomplishment.

Aside from sitting and watching, I also use trail cameras and camera traps to enable me to capture as much behaviour as possible. As you say, I’ve included over 200 photographs in the book because I felt that it was important to show the reader the behaviour that was being described. No number of words beats seeing behaviour in a photograph (or series of photographs as is often the case in this book). Young Pine Marten. ©Dan Bagur 2025

Can you tell us more about your new discoveries in Pine Marten behaviour and biology?

I didn’t set out to discover anything new. Initially, I didn’t plan to write a book. I just wanted to watch them and understand as much as possible – I was curious about how they lived their lives and what they got up to. As previously mentioned, I’ve spent over five years sitting quietly and observing wild Pine Marten behaviour. It took many months before I even knew where to wait for them. I love being alone in nature, so even the downtime in the forest has its own magic. My efforts were rewarded much later when I realised that some of my findings were new discoveries, including a new understanding of the function of the famous Pine Marten wiggle, retromingency in Pine Martens, the true cause of the scat curl and the use of the marten maze. I don’t want to give too much away, but they are all described (along with many other aspects of Pine Marten behaviour) in this new book.

Chapter 5 has an extensive library of field recordings. Why did you feel this was important to include and can you tell us about the process of gathering these?

It’s important to record what you’re seeing while watching wild animals, if you don’t then you can’t share your findings with others. Over the last few years, I’ve built up a large collection of film footage, photographs and sound recordings. Few people have ever seen a wild Pine Marten, let alone heard one. Their calls are an important part of what makes them what they are. Pine Martens (like many other Mustelids) make a surprisingly diverse range of calls – they grunt, growl, purr and scream. I felt it was important to include these. They are quickly and easily accessed by scanning QR codes using your phone. I wanted the reader to get as close as possible to Pine Martens via this book.

I realised that the recordings I had built up were unique – the Pine Marten sound library in this book is the most comprehensive yet published. My recordings have been included in the British Library sound collection and have been published in the ground-breaking book Sound Identification of Terrestrial Mammals of Britain & Ireland by Pearce, Middleton, and Newson.

What does the future look like for Pine Martens in the UK? And how can we work to secure a brighter future for this species?

In short, hopeful but worrying! Sadly, much of this is our own doing. Urban sprawl and habitat loss are an obvious problem, climate change, biodiversity decline and a persecution driven genetic bottleneck add to these issues – among others. Apathy is also a big concern. We still prefer the comfort of fool’s paradise over the often-harsh difficulties of reality. We need to get our heads out of the sand – and fast! Reality will inevitably have consequences we are no longer able to hide from – not just for Pine Martens. As Tew et al stated in a 2024 paper on the future of UK woodland biodiversity, a ‘major cultural shift’ is urgently required.

Although it’s important to face our problems and act, it’s also important to remain positive. There is real cause for hope – important work is being done to help Pine Martens. A few of those making a huge difference are Johnny Birks, Jenny MacPherson, Stuart Edmunds and John Martin, but there are many others. When great people come together fantastic things can be accomplished. The UK and Ireland have plans to increase their much-depleted forest cover over the coming years, and Pine Martens are slowly coming back. There are ways we can all contribute by donating or volunteering. Even small acts, like rewilding our own gardens, can collectively have an impact. Writing in 1992, the acclaimed science writer Edward O Wilson stated that ‘The next century will, I believe, be the era of restoration in ecology’. I hope that he’s right – wouldn’t that be a fantastic thing to witness after the global habitat and biodiversity decline of recent years.

Finally, what’s next for you? Will there be more books in your future?

Yes, I hope so! I had a column on rock pool life in the local newspaper while I was at university and I’ve been writing in one form or another ever since. I’m always working on the next project. Writing forces you to read everything and really understand your subject deeply, and that brings its own reward.

I would like to do something with Puffins in the future. I’m inspired to continue spending time out in nature and see what else is waiting to be discovered. Whatever comes next, I will always be grateful for this time with the Pine Martens – so many wonderful memories and experiences. The Pine Martens will remain with me for the rest of my life. Once you get to know a family of Pine Martens there’s no going back. They’re incredible animals and we’re extremely lucky to have them living alongside us.

Pine Marten is available from the NHBS website here.

Q&A with Trine Bregstein: The Riverfly Partnership

The Riverfly Partnership is a collaborative effort between anglers, conservationists, scientists, and water managers to protect the health and quality of our rivers. They use citizen science to monitor riverfly populations, which are sensitive indicators of water quality, and gather data on these fascinating insects to contribute to a better understanding of river ecosystems.

We recently had the opportunity to speak with Trine Bregstein, riverfly partnership development manager, about the work of the Partnership, their citizen science initiatives, the importance of riverflies and more.

Can you give an overview of the Riverfly Partnership, its aims and the work that the group is involved in?

The Riverfly Partnership is a network of organisations supporting projects to assess river health. The aims of the partnership are to protect the water quality of our rivers, further the understanding of riverfly populations, and conserve riverfly habitats. The partnership comprises many individuals and groups, including entomologists, angling clubs, volunteer groups, wildlife charities and Rivers Trusts.

We have data on freshwater invertebrate life dating back to the early 2000s, collected by a dedicated base of citizen scientists that is continuing to grow. Volunteers get to learn about the fascinating world of tiny critters living in their waterways, which are referred to as the canaries of our rivers because they are an important indicator of water quality. The work of Riverfly monitors means pollution incidents are quickly detected and reported, changes in water quality are monitored over time and the impacts of restoration work in and around the river can be tracked.

Can you tell us about the Riverfly Monitoring Initiative?

The Riverfly Monitoring Initiative (RMI) is a citizen science scheme in which trained monitors collect data about the invertebrates living in their local river. Volunteers are trained in the identification of key groups of riverflies, which are invertebrates that spend most of their life cycle living in fresh water. The initiative mainly focuses on the orders Ephemeroptera (also known as up-wing flies or mayflies), Plecoptera (stoneflies) and Trichoptera (caddisflies).

Invertebrate sorting and identification. Credit: Trine Bregstein

On a monthly basis, monitors carry out kick sampling at their site and count the numbers of each group of riverflies they have collected. From these counts, an RMI score is generated. This score is compared to the ‘trigger level’ of the site, which is a number set by the local ecology contact at the statutory body. If the RMI score is below the trigger level, it may be an indication that a pollution event has taken place. Another sample is done to confirm the breach, and then the relevant authorities are informed.

What are the main challenges associated with your work?

The national scale of the project, with various regional hubs coordinating groups of monitors at a local level, means it’s important to make sure things are done consistently across the network. We at the Riverfly Partnership HQ in the Lake District facilitate and try to keep track of what’s going on in all of these separate groups, and make sure training and protocols are standardised around the country to ensure the robustness of the data set. This can prove challenging, particularly as many of our hubs are charities and trusts that may not have consistent funding for citizen science projects, whilst others are volunteer run and rely on people managing to co-ordinate their groups in their spare time.

A group of volunteers standing around the riverside edge during a training day — Ribble training day. Image credit: Trine Bregstein

How did 2024 fare for the Partnership and its work?

2024 was a great year for the Partnership. Our monitors submitted 7,832 surveys to our database over the year – this is up from 6,392 in 2023, which reflects how much the partnership is continuing to grow, with many new monitoring groups set up all over the UK. We also launched a new Riverfly data dashboard for easy viewing of all this data.

Citizen science is of increasing importance in wildlife conservation across the globe. How can we get involved and be proactive in protecting our rivers and riverfly populations?

Riverfly monitoring involves carrying out a survey at your allocated site once per month, usually taking about an hour. As a monitor, you’d be contributing to a trusted, long-term, open-access data set that can be used to track gradual changes in habitat quality, as well as quickly pick up on any major incidents that the statutory body can investigate. Anyone can become a Riverfly monitor – no prior knowledge is required; you just need to have attended a training day led by one of our accredited tutors.

Kick sampling in a river — Gwent Wildlife Trust sampling. Image by Gareth Edge

If you’re interested in becoming a volunteer, e-mail info@riverflies.org and we will link you up to your local co-ordinator. Most training tends to take place in the spring and summer months, but you can register your interest at any time.

Aside from Riverfly monitoring, you can also get involved in the Rivers Trust’s Big River Watch, Earthwatch has the Great UK Water Blitz, The Angling Trust has the WQMN (Water Quality Monitoring Network), ZSL run the Outfall Safari project, and through the CABA and CaSTCo projects other organisations around the UK have been able to cascade this initiative to their volunteers. Check your local Rivers Trust or Wildlife Trust to see what volunteering opportunities they have, for example balsam bashes, riverside clean ups or restoration works like reed bed planting, tree planting and fence building.

Gwent Wildlife Trust members holding certificates following training — Gwent Wildlife Trust training. Image credit: Gareth Edge

There is so much to get involved with, and on a personal level, try look after your own patch. If you’re out walking the dog for example, try to keep them out of the water if they’ve had a recent flea treatment, take a couple of bits of rubbish to the nearest bin (safely, don’t pick up anything potentially dangerous) and know who to call if you spot something untoward – the EA/SEPA/NRW/NIEA for pollution, your local council for fly tipping and don’t forget to report sewage and water leakage problems to your local water company too, they all have helplines or online reporting options.

What projects will the Riverfly Partnership be working on next?

We have a scheme called ‘Extended Riverfly’, which is a more advanced version of Riverfly monitoring that experienced monitors can move on to. It involves identifying and counting 33 groups of invertebrates, rather than the eight in the Riverfly Monitoring Initiative. It’s a fairly new scheme, currently only operating in certain parts of the country, but we recently held an event at which many Riverfly trainers upskilled to become extended trainers, so we’re looking forward to rolling out this project to many more groups in the coming year.

Extended training at the natural history museum — Extended training at the Natural History Museum. Image Credit: Trine Bregstein

We’re also working on our ‘Targets and Triggers’ project, which has been developed with partners at the Environment Agency, the Scottish Environment Protection Agency, Buglife and CaSTCo. We’re aiming to devise a standard, and relatively easy, method for trigger levels to be set, making it easier for statutory bodies to engage with Riverfly monitoring without it being too much of a drain on their limited resources. Through gathering extra data about each monitoring site and running these through a predictive model, we plan to come up with not just trigger levels, but expand the initiative so that sites also have a ‘target level’ – the maximum RMI score that we would expect to see at a site, which gives a goal for habitat improvement projects to aim for.

The Riverfly Partnership Approved Kit is a complete kit suitable for water quality monitoring. The Riverfly Partnership receives £5 from the sale of this kit to help them continue their fantastic conservation work.

Please see the Riverfly Partnership website for more information on how to get involved.

Interview with Matthew Kirkland: Founder of Chirpity – Identifying Birds by Sound

Chirpity is an easy-to-use, accessible app developed to aid the successful identification of bird calls within acoustic recordings. It is the ideal software solution for anyone interested in identifying bird vocalizations, whether you’re a dedicated Nocmig enthusiast or a professional bioacoustic researcher, and streamlines the often tedious process of reviewing audio recordings to quickly and accurately detect avian sounds. It features an array of intuitive features to assist with identification, including call review, tagging and background analysis.

We recently had the opportunity to speak to founder Matthew Kirkland about the software, including how he became interested in both nature and apps, why he developed Chirpity, its uses, capabilities and more.

Firstly, could you tell us a little about yourself and how you became interested in both the natural world, and app development?

I got the nature bug as a kid from my grandparents. I would spend the summer holidays in Northumberland with them and they were both outdoorsy types. We’d visit nature reserves where my grandad would point out the birds, and my nan would know the flowers – and often have a story about their names and medicinal uses, plants like speedwell and eyebright. Nonetheless, it was the birds that really ignited my passion. I think I thought I was better at bird ID than I really was, because looking back at my childhood field notes, I recorded some pretty outlandish sightings!

Now I’m a little bit more grown up andI would say I’ve become quite adept at identifying birds by sight, or ‘jizz’ (general impression, size and shape). However, one area that still befuddles me is bird song. My grandad was deaf – he piloted catalinas (flying boats) in WWII and the engine noise affected his hearing ever after. He couldn’t put me on to bird song or calls as a way to find the species around you, and I never learned the calls. Not deterred by this, after reading an account of a local birder’s Nocmig records (calls made by flying nocturnal migrants) on our local WhatsApp group, I decided to plug a cheap mic into my iPhone, and leave it recording out of my bedroom window overnight one April evening – just to see what it might pick up.

The next day, I downloaded the file onto my PC and opened it up in the sound software Audacity. This allows you to view a spectrogram of the audio, and with this view, you can scroll through the night’s recording to see the sounds. Bird calls show up as specific shapes in this view: they have a signature squiggle. After perhaps an hour of scrolling I came across something that looked like this:

What was it? I had no idea! So I sent a clip of the sound to the WhatsApp group. The county Bird recorder came back with the message ‘It’s a Whimbrel’. Well, that had me hooked! I live in suburban Luton, 50 miles from the sea at least, so having a Whimbrel over the house was astonishing.

What followed over the next weeks and months was a series of ‘What’s this?’ submissions to the newly created county Nocmig group on WhatsApp.

All the while, I was thinking there had to be a better way to sift through hours of audio. I had a computer background of sorts: I’d worked for BBC Online as a web developer many years ago. I had also completed a Masters’ degree in cognitive science back at uni and retained an interest in artificial intelligence ever since. In part because of this, I’d heard of BirdNET – which is AI software trained to recognise bird vocalisations. It comes from the same group at Cornell University that do the Merlin App. I got this to work on my audio files with reasonable results: I could open a terminal on my computer and type a command for BirdNET that would scan the file and spit out a list of bird detections at specified times in the audio. I could then go back to Audacity and see whether the predictions were correct. When they were, it was amazing, but all too often they weren’t.

For those unfamiliar with Chirpity, can you give an overview of its purpose, uses and capabilities, and explain what you were hoping to achieve in developing this application?

Well, to be honest, my initial experience with BirdNET for Nocmig was somewhat tedious. Chirpity is the result of an effort to make Nocmig simple and enjoyable – even for people who couldn’t tell if they heard a Moorhen or a motorbike!

The application lets you drop your audio recordings into it, you hit ‘Analyse’ and it scans for birds. Whenever it finds a call or song, you’ll see the result appear in a table and you can click on it, play the clip or edit the record.

Since AI Bird ID isn’t perfect by any means, there are dubious identifications. Chirpity manages this in three ways:

You can restrict the reported species to those likely at your location, either by using an automatically generated ‘Local Birds’ list or a ‘Custom’ list with only the species you have selected.

You can compare the predicted species with examples that have been uploaded and vetted by experts on the Xeno-Canto website.

It’s also really easy and quick to delete, correct or annotate results before you save them to your personal archive – a database of records you can revisit, view and replay.

There is an option to view charts of the species you’ve recorded, so you can see when the peak passage is in the year and when to be on the lookout for Redwings, Common Scoters, Tree Pipits –species which are regular night migrants over most of the country. Here’s an example showing my Redwing records in 2022:

I’ve been lucky enough to pick up Stone-curlew too on several occasions, with this astonishing record being the best of them:

stone curlew spectrogram — Stone curlew spectrogram, audio below.

As you can see, with Chirpity you can adapt the visualisation and export clips from your recordings.

However, Chirpity isn’t just for Nocmig – many of its users are recording in the field with remote field recorders, like Song Meters you sell. With external power, some of these recorders can be rigged to run 24/7 for periods of up to a month before their audio is retrieved from the SD card. These researchers use Chirpity to review the audio, check the results and export their findings either as a spreadsheet or in an eBird Record format.

It really stood out to me that Chirpity is incredibly accessible in comparison to its desktop counterparts. Was accessibility a key driver for you?

Absolutely! There are two key thoughts I have in mind when thinking about Chirpity’s development:

What’s the best way to make this feature easy to understand and use?
Is there a way it can be delightful?

All the settings have a help icon next to them so you can read what they do, and there are lots of keyboard shortcuts to speed things up once you get used to the application. And for non-English speakers, the interface can be displayed in any one of 11 different languages!

What challenges did you face when developing this application, and how did you overcome these?

Well, one thing I have learned is that software isn’t soft, it’s hard! There are so many challenges I’ve had to overcome, it’s difficult to know where to start. For its users, the one I am most pleased to have resolved is getting an insight into how people actually use the application, where they struggle and what doesn’t work. Most of Chirpity’s users aren’t technical people, they won’t report a bug – they just think they messed up. I now have a system that shows me, anonymously, what people do with the application, if it has errors and if so, what someone did to cause it. That means I can fix it! Another challenge has been managing updates. The application is available for Windows, Mac and Linux computers, so I was very pleased to find a solution that packages each version, tests it and alerts users to the update automatically. Finally, training a call recognition model that has good results in real world use – like the Nocmig model included with Chirpity – is really hard. It took me about a year to make it effective – I had to learn the AI platform from scratch but even so, most of the time was spent preparing the 500,000 or so examples in the training data!

Given your active presence in both bird and software forums and your engagement with users, could you share which Chirpity project has been the most personally rewarding for you?

Well, I’m really quite proud of the fact that the County bird recorder that identified that Whimbrel at the start of this journey now uses Chirpity for his own Nocmig analysis! I’m also amazed that it’s taken off so widely on the international stage. I have a map of Chirpity user’s locations, it amazes me that it’s got this much traction when it’s been less than a year since I put the first version out to the public (and I don’t do any paid advertising):

Technology is constantly being updated and improved – what future developments can we expect for Chirpity?

There isn’t what you might call a roadmap for new features – things move and change too quickly. I will keep to the vision – simple and delightful to use. The folks at Cornell (the BirdNET people) are teasing a big update for this year, and we’re in touch over ensuring that update will work with Chirpity when it lands.

I’d like to add a self-learning element to the application, so it remembers and adapts to corrections – though this is a challenge that is yet to be overcome!

I’ve recently added a “Buy Me a Coffee” link for donations. With sufficient funding, I’ll be able to pay for a digital signature, which will clear the hurdles when installing unsigned software and allow automatic updates for Mac users. That funding will also help me cover the cost of training better Nocmig models and well, drink more coffee, right?

Are you working on any other projects that we can hear about?

Honestly – this is plenty to be getting on with! Although, I’d quite like a version of Chirpity that works like ChatGPT – where you give it a file and can say “What birds are in this? How do you know? Let me listen to the Stone-curlew you found…That’s great! Send it to my socials”

Find out more and download Chirpity today here.

Author interview with Susan Young: Night Vision and Daylight Camera Systems for Wildlife

This comprehensive guide describes how wildlife can be monitored and recorded in a non-intrusive way using well-developed and reliable technology. Detailing key techniques for capturing high-quality footage of a range of species, from nocturnal mammals to elusive birds, this practical resource is ideal for both professional ecologists and amateur naturalists alike who are seeking to enhance their understanding of the natural world.

Susan Young is a photographer and writer based in South Devon, who has a wealth of experience in wildlife photography. She has authored several books, including CCTV for Wildlife Monitoring and Wildlife Photography Fieldcraft, and is currently carrying out research with Natural England, the Woodland Trust and Mammal Society on the use of remote cameras for wildlife monitoring.

We recently spoke to Susan about her latest book, where she explained how she first started working with visual systems, how ecological and wildlife-watching camera systems differentiate, and more.

Firstly, could you share a little bit about yourself and your background working with visual systems?

My background is in physics and engineering, but I have had a keen interest in wildlife from a very early age. Since moving to Devon some years ago, I developed my interest in photography and wrote several books on various technical topics. I used trail cameras before they became ‘famous’ and finding some aspects frustrating, moved to bird box cameras – I then became interested in using security cameras with separate recorders as they had more useful features.

In 2015/2016 I started as a volunteer with Natural England and the Woodland Trust where I was encouraged to develop my ideas for portable CCTV systems, which led to the discovery of three calls of Barbastelle Bats not previously recognised. Further work with dormice, otters, deer, small mammals and birds showed just how well the systems performed, being much richer in features than trail cameras and much less expensive than thermal systems.

Your previous book, CCTV for Wildlife Monitoring was published in 2016. What inspired you to revisit the topic for a second book, and what advancements or changes does your latest title encompass?

My book in 2016 was more of an introduction to CCTV technology, which was just taking off and becoming more readily available. Since then, the technology has advanced dramatically, with HD cameras giving very high-quality images, and recorders becoming available with solid state drives making them very portable.

There are many other features not found in other visual systems – in particular, security recorders have inbuilt video analysis which can be controlled by the user, greatly reducing the amount of video data to analyse. My book has detailed step-by-step instructions for all aspects of the night vision camera systems with the aim of flattening the learning curve.

Night Vision systems are commonly associated with ecological research and wildlife watching, how do the camera systems you describe differentiate from them?

The systems I describe have a raft of features, as described above, making analysis much easier. They can also be left outside unattended and are particularly useful for remote areas. They are also relatively low cost and portable.

Why did you feel that it was important to include a section on public engagement and education in this book?

Public engagement is important for raising awareness of the plight of our wildlife, as well as for attracting funding. High-quality videos from security camera systems, particularly of protected or rarely seen species, have proven successful. My book gives step-by-step instructions to encourage the use of this technology without the need for costly specialists.

Regarding schools, introducing children to technology at an early age makes use of the systems less daunting in later life.

Have you come across any emerging or under-utilised applications for this technology that you believe hold potential?

Many of the applications I have developed using my camera systems are new and I believe hold great potential. Because the systems can be set up and left for long periods, it means little or no disturbance to wildlife – for example monitoring breeding birds of prey in remote habitats, observing dormice behaviour in dormouse boxes, or surveying bats in hazardous environments.

Have you encountered any particularly memorable or exciting wildlife captures? Can you share any highlights from your experience?

On the conservation front, discovering new Barbastelle calls was very exciting, as was viewing previously unseen dormouse behaviour. On the naturalist level, filming four young Fallow Deer running round and round my rural garden in play was very heart-warming.

Finally, what’s next for you?

I am planning some research using my systems for small mammals which are often under-recorded. I am also producing educational material for the Mammal Society.

Night Vision and Daylight Camera Systems for Wildlife is available here.

Interview with WILDGuides Publisher Rob Still

The award-winning WILDGuides collection is a series of comprehensive and practical natural history titles. Ranging from photographic field guides covering the wildlife of Britain, Ireland and Europe, to visitor guides and reference works on wildlife across the world, this authoritative, easy-to-use series contains some of the best identification guides to date.

Robert Still is the co-founder and publishing director of WILDGuides, and has contributed to more than sixty titles in the series. In his spare time, he is a prolific natural history author, ecologist and graphic artist. We recently had the opportunity to speak to Rob about the WILDGuides collection, including how each volume is produced, which titles are due to be published over the next few years and more.

Firstly, can you tell us about the history of WILDGuides and how the collection came to be?

I (Rob) had been working as a designer, using photoshop and producing somewhat rudimentary montages and cutouts for adverts since 1991. When the programme’s features really took off in the late 90s, my thought was whether these new capabilities could be used to produce ‘best birding’ moments, such as idealised scenes of multiple tanagers in the same tree, or a Sueda bush chock full of vagrant Phylloscopus.

From there, it was a short transition to figuring out if the technology could be used for field guides – hence the birth of WILDGuides, which started with a guide to Galápagos wildlife by Andy Swash published in 2000, followed relatively quickly by Whales and Dolphins of the European Atlantic (2001) and Britain’s Butterflies (2002) – this covered a relatively small number of species and all were easy to cut out. Britain’s Dragonflies (2004) followed and was the first book written by Andy prior to the expansion into the other taxa groups as seen today, alongside multiple evolutions/editions of the first titles.

For anyone unfamiliar with the collection, how would you describe them, and who are they intended for?

The books are intended for anyone who wants to put a name to something they encounter in the field. I would describe them as a guided, primarily photographic pathway that hopefully helps in that process.

Each work in the collection is a passion project of dedicated scientists, conservationists, and researchers. How long does it take to produce a title from start to finish and what kind of work goes into creating them?

It varies a great deal. Some have taken a good 10 years from concept to fruition, others have taken just a couple of years. However, a title typically requires a couple of photography seasons, as a significant number of the images in each book are commissioned and the specific image requirements often don’t come to light until the design process is underway.

How do you decide what makes a good subject for WILDGuides? What are you looking for when creating new volumes?

A good subject is really any group or taxa within a defined region – WILDGuides is looking to work with any experienced specialists to present that group in the WILDGuides way.

One of the strengths of the WILDGuide collection is the use of a unique ‘roadmap’ for each published topic, allowing users to navigate identification, and the book itself. Can you elaborate on the process of these roadmaps, and why you feel they are so important for these guides?

Sure, it is a relatively straightforward process insofar as it is simply the production of an identification pathway from start to finish. This is slightly disingenuous, as on occasion, it can be harder than one might think to unequivocally achieve this. It requires a team that really knows the subject being prepared, who is able to combine their field experience to focus on what really matters in the identification.

Their importance to the guide, I believe, is that they are an amalgamation of this ‘hands-on’ experience and so the pathway is both realistic and pragmatic.

Can you speak on the process of updating editions in the collection?

Obviously, nature is dynamic and lists of taxa within a region change. New, reliable field identification features come to light, improvements are suggested by our users and the exponential rise in available images means that there is now a good chance that better pictures (in terms of quality and showing the key identification points) become available. Consequently, we keep an update file covering all of these areas, and will update these editions when the time is right to do so.

What can we expect from the collection over the next couple of years? Are you able to share any new titles that are on the way?

Yes, the existing collection should improve over the coming years with the feedback and new images mentioned. WILDGuides is also looking to expand the series into other taxa not already covered to match the increasing diversity of species groups that people are looking at, with the hope that more accurate records are sent to organisations managing citizen science databases.

On the near horizon are updates to Britain’s Spiders and, at some stage, Britain’s Birds as well as new titles covering Britain’s Trees, Birds of East Africa and Birds of Madagascar, each in the style of Europe’s Birds. Further down the track we are looking at gaps, particularly in Britain’s series, that are relatively obvious to spot – so if any reader of this piece wants to be a potential part of that expansion, we’d love to hear from you!

Explore the full WILDGuide collection here

Author interview with Richard Lewington: Pocket Guide to British Spiders

Featuring 130 of the most common and readily available spider species, Pocket Guide to British Spiders is the ideal companion for both beginners and more experienced enthusiasts alike. Detailing identifying features, webs, egg cocoons and behaviour, these accounts are interspersed with beautifully illustrated spreads showing similarities and differences at a glance, making this introductory guide the perfect companion for use in the field.

Richard Lewington is a renowned wildlife illustrator, whose beautifully detailed drawings feature in a wide array of identification guides including The Butterflies of Britain and Ireland, Field Guide to the Moths of Great Britain and Ireland, and Field Guide to the Bees of Great Britain and Ireland. In 1999, he was awarded Butterfly Conservation’s Marsh Award for the promotion of Lepidoptera conservation, as well as the Zoological Society of London’s Stamford Raffles Award for contribution to zoology in 2010.

We recently had the opportunity to speak to Richard about his latest book, including how he first became an author, why he chose to focus on arachnids and which techniques he uses to create these stunning illustrations.

Firstly, can you tell us a little bit about yourself, and how you first became an author and illustrator?

I became a freelance wildlife illustrator soon after leaving art college in the 1970s. I’ve always had an interest in the natural world, particularly butterflies and moths, so invertebrates were the subjects I concentrated on right from the start. I’ve always worked in collaboration with various experts, until about 25 years ago, when I wrote and illustrated my first book How to Identify Butterflies. Since then, I’ve written and illustrated five books, though most of the books I work on are collaborations with authors with specialist knowledge of the subjects.

Pocket Guide to British Spiders is your 29th identification guide published since 1979. What inspired you to focus on arachnids for this book, and how did you choose which of the 680 British species to include?

I’ve had an interest in spiders for many years and have a collection of paintings, some of which I did about 50 years ago. I thought they would form the basis of a pocket guide, and I added more illustrations in the last few years to go with those I already had. The aim was to include common, well-known and easily identifiable species – about 130 in total. As many spiders are very small and similar to each other, it is necessary to examine them through a microscope to identify many of them, which is the next step up for those who want to study them in greater detail.

I was surprised to learn about the somewhat limited conservation efforts being undertaken to protect endangered spider species across Britain. What are the largest threats to spiders, and how can we protect these vital invertebrates in the future?

As with much of the natural world, spiders are under threat from habitat loss and pollution, but because they don’t have the same appeal as some other groups, they receive less attention. However, they are just as important, helping to keep the balance in ecological systems by eating and being eaten by a vast number of other creatures. Gardens are becoming more important, and we can all help spider well-being by not being too tidy in the garden to encourage a good variety of mini habitats in which they can live.

Pocket Guide to British Spiders includes a vast amount of detail on nomenclature, structure, anatomy, mythology, identifying features and more. What was the most interesting thing you learned while researching this book?

Probably their diversity. They vary hugely in size, shape and colouring, and can be found in every habitat from mountain tops to beneath the surface of water. Many also occur throughout the year when many other invertebrates are dormant.

Having illustrated many guides throughout your career, can you give us an overview of the techniques you use to create such detailed works of art, and explain how your painting style has evolved over time?

I start by doing a detailed, measured drawing on layout paper. This is transferred to watercolour paper and, using Designers’ Gouache paints, I apply washes, gradually building the colour intensity and the effect of light and shadow. Details such as textures and highlights are added to give a three-dimensional appearance. More recently, I’ve been scanning the artwork before sending it to the publishers, so that I can adjust, enhance and touch-up the images using a tablet and image enhancing software.

What were the most difficult aspects of illustrating spiders, given their intricate and often microscopic features?

Spiders can’t be preserved in museum collections like butterflies and beetles, as they have soft bodies which shrivel after death, so working from live specimens or from detailed photographs are the best options. This means going into the countryside to find specimens and asking other spider enthusiasts to help. I like to take my own macro photographs from the exact angle to avoid any distortion, I can then work using the photos and the live specimen, observing it under my microscope. It’s also necessary to have a good knowledge, so that the subjects can be correctly identified, as some are very similar.

Finally, what’s taking up your time at the moment? Are you planning to write or illustrate any more books over the coming years?

My next book will be a field guide to Orthoptera, which I completed several years ago but has been long delayed. After that I shall be working on a project about my work as a wildlife illustrator, concentrating mainly on British moths, butterflies and their caterpillars.

Pocket Guide to British Spiders is available from our online bookstore.

Author interview with James Shipman: Identifying Bats of Britain and Ireland

Packed with insider information, Identifying Bats of Britain and Ireland offers expert guidance on how to identify bats in the hand for beginners and field ecologists alike. Filling a gap between introductory books and more technical volumes, this humorous guide uses detailed images, diagrams and tables to communicate, in simple terms, the fundamentals of bat ecology, survey equipment, techniques required when training for a bat licence and the key features that distinguish one species from another.

James Shipman is an ecologist and bat enthusiast who loves to inspire and motivate future bat workers. He works as a senior ecologist and is involved in numerous bat-related projects. In 2016 he was recognised with the Bat Conservation Trust’s Pete Guest Award for outstanding contribution to bat conservation.

We recently chatted with James about his inspiration for the book, which challenges he faced when constructing a detailed identification guide and more.

Can you tell us a little about yourself, your history of working with bats, and why you chose to write this book?

Originally I planned to work as a game ranger in South Africa, but after returning to the UK, I studied zoology, met my wife and fell into landscaping as my first career and passion. A roofer and a builder both mentioned that I may ‘like’ working with bats, as I’m an animal person, so I explored the idea of them as a hobby!

After a few events I was gripped, and I have now volunteered with bats for nearly 15 years with the intention to install passion, enthusiasm and fun into everything bat-related for volunteers and professionals! Within this time I have helped to train over 50-75 individuals (could be more, I don’t count!) and after nearly 20 years in the landscaping sector, I now work in ecology as a professional.

During my years of training, I found that the more serious and technical books available out there made it hard to learn, and that digestible guidance that was fun, relatable and easy to work with would be beneficial! A lot of my trainees suggested the idea for the book originally, and other bat authors with Pelagic mentioned to the publishers that I would bring a nice approach to ID for ecologists – so here we are.

You have taken a relatable, and oftentimes humorous, approach in the way Identifying Bats of Britain and Ireland was written. Why did you feel this was important, and with that in mind who is this book designed for?

Who said science, research and volunteering can’t be fun! If you enjoy what you do, it’s more fun and you usually get more out of it!

I thought it was important to bring my open, welcoming personality to bats and volunteering into the book, as well as an understanding of how hard it can be to learn in the world of ecology.

Public opinion of bats is often contested, and their associations with rabies and vampirism contribute to this negative perception. This guide contains a section on the myths and rumours of bats – why did you feel it was important to debunk these misconceptions?

Well spotted! It’s one of my favourite parts of any walk, talk, training or even in the book itself. Bats have such a negative view through media – whether it’s Halloween, Covid or other diseases, the positives (not just bats but anything in life) are very rarely talked about! So let’s try and win one for the bats – 2,000 less mosquito bites a night is a good seller!

This guide also features vagrants and species that are extremely rare in the UK. How did you navigate writing about species that you may not have met? And did you find it challenging to construct identification guidance for these scarcer species?

Fortunately I have handled and seen these species abroad in my years of volunteering and training (which I will touch more on in your last question), and I have even been lucky to handle one or two of these in the UK too!

The hardest part of it all was trying to address the elephant in the room (or maybe I should say vagrant in the sky!). I believe there are now 21 species found in the UK – some of these are not proven residents, but are not far off – plus a few others that I chose not to include at the time of publication as records were too scarce!

Were there any other challenges that you came across in the process of writing this book?

As previously mentioned, mental health is important in all areas of life, and I felt that slight delays in finishing this book were due to anxiety of judgement on the final product. However, many close friends and ex-trainees assured me that more positives will come of this work than negatives.

The book is aimed at any level of bat worker and should taken with a light hearted approach. It’s important to address these things when discussing books and publishing – it’s a hard process, and without friends, family and a decent publisher (plus the bats) you can sometimes feel isolated. Luckily, I had the best support from all of the above!

What’s your advice for those just getting started in this field?

Well I could say read the book (haha), there are some good sections about starting out with bats. In short, don’t give up, persist, find bat workers who are open, friendly and passionate with no judgement (they are out there, I’m one of them), and most importantly have fun!

Finally, what’s next for you? Do you have plans for more books in the future?

Um… a break! It’s harder than I ever imagined. However, I would love to eventually write a similar book for bats of Europe! But it may take a while to compile some new jokes!

Identifying Bats of Britain and Ireland is available from our online bookstore here.

Author interview with Peter Marren: Rare Plants

Featuring hundreds of stunning photographs, the 14th volume in the British Wildlife Collection explores the meaning of rarity in our changing world and climate. It discusses the importance of these species in our landscape, provides an overview of different conservation techniques, examines the justifications for intervening in the life of a wild species and more.

Peter Marren is a natural history writer and conservationist whose wildlife-centred writing portfolio includes newspaper journalism, obituaries, book reviews and humorous opinion pieces. He was a regular contributor to British Wildlife magazine for 33 years and is the author of more than 20 books, including Bugs Britannica, After They’re Gone, and Mushrooms – the first title in the British Wildlife Collection series.

We recently chatted with Peter about Rare Plants, where we discussed how he first became interested in botany, why he chose to focus on rare species, what inspired him to return to the British Wildlife Collection and more.

Firstly, can you tell us a little bit about yourself, and how you became interested in botany?

I have been interested in wild flowers since boyhood. I was lucky enough to have had a rural childhood, but my first serious attempt to track down rarities was during my gap year when I tried to find every British species of orchid. I failed.

What I love about flowers is that they evoke so much about our surroundings, the colour and texture of the landscape, its land-use and history, and its seasonality. Rare flowers in particular express the fine tuning of nature, and their presence suggests that here we are standing in a special place – one that, for whatever reason, has changed less, has perhaps preserved more of its naturalness, more stability. They are also wonderful in themselves. Orchids, for instance, trick and confuse insects into doing their bidding. Our alpine flowers are living links with the Ice Age. Bluebells have a scent that is impossible to reproduce chemically. These are some of the reasons why I love field botany.

Your first contribution to the British Wildlife Collection was the first monograph in the series, Mushrooms, which was published in 2012. What inspired you to return to this renowned series for the 14th volume?

I returned to the series because Katy, who edits the titles, asked me to! In the 1990s I wrote a book in association with Plantlife and the then English Nature, titled Britain’s Rare Flowers (1999). The rights are now owned by Bloomsbury, who publish the British Wildlife Collection, and she suggested that I revise the book for the series. It didn’t take long for a revision to turn into a completely new book, and I broadened the scope from angiosperms to wild plants in general, including pteridophytes, bryophytes and algae, and to Ireland as well as Great Britain – hence, Rare Plants. I dedicated it to my old friend, the plant photographer Bob Gibbons and his partner Libby, and half the 300-odd images are his.

Cottonweed (Achillea maritima) by Liam Lysaght, via flickr.

Why did you decide to focus on rare plant species for this book?

I concentrated on rarities partly because they are the focus of conservation efforts, and partly because they are the highlight of any excursion (as botanical trips are known). Rare plants have more ‘geography’. If only you knew enough, you could probably place yourself exactly where you are in the landscape without recourse to a map simply by looking at the plants. Britain is that kind of place: intimate, complex, infinitely varied. Above that, there’s the eternal thrill of tracking down a rarity, whether it’s a flower, or a bird, or a Ming vase. If you love plants, then setting your eye for the first time on an elusive species you have long known about and pictured in your mind is a moment to savour. As I hope I communicated in my book, Chasing the Ghost.

This is an incredibly well-researched and detailed book that covers all aspects of Britain and Ireland’s flora, from the uniqueness of some species and details on why plants become rare, to their role and representation within our culture. What was the most interesting aspect of researching this book?

What I enjoyed most when researching Rare Plants (and it was quite an enjoyable book generally) was the impressive new work on apomictic plants, that is, the ones that do without sex and so perpetuate minute differences. It helps that whitebeams and hawkweeds are not only beautiful in themselves, but tend to grow in beautiful landscapes. I was also enthralled by all the activity in the world of mosses and liverworts, mapping them in the same detail as ‘higher’ plants and getting them onto the conservation agenda. Some species have incredibly narrow niches, confined to lead mining spoil or lime kilns, or china-clay pits. Both are the work of relatively small groups of specialists who combine biological know-how with the ability to communicate to wider audiences – and to take brilliant photographs. I could say the same about lichens, but they aren’t really plants. So someone else will have to do them.

Eyebright by Donald Macauley, via flickr.

In the first chapter of the book, you discuss the IUCN’s criteria and red list. How accurate do you think this assessment is, and are there any disadvantages to using this method of classification to determine the rarity, and future protection, of any given species?

The IUCN criteria are only as good as current knowledge allows. Conservationists love to list and pigeon-hole; it creates a kind of order. But, in a rapidly changing world, the vulnerability of species is itself changing. Government and officialdom haven’t yet caught up with climate change and its implications for our flora. I think the most endangered plants are now our northern and arctic-alpine species, especially those that need long, cold winters with plenty of snow. It isn’t outright habitat destruction so much as the subtle consequences of a warmer but wetter and windier climate. The other problem with pigeon-holing is that it is boring. It creates the idea of fragile ‘things’, like pieces of china, and diverts our eyes from the marvels of the living plant with its ability to meld with its habitat, compete with its neighbours, and find necessary partnerships to survive.

The same idea of plants as passive ‘things’ has led well-meaning conservationists to substitute gardening for conservation. Plant conservation is under-funded and, alas, also under-expertised. Academic botany is in decline (count the university courses – not many).

Lady's-Slipper Orchid - Cypripedium calceolus by Bjorn S, via flickr. — Lady’s-Slipper Orchid – Cypripedium calceolus by Bjorn S, via flickr.

Finally, what’s taking up your time at the moment? Are you planning on working on any future volumes in the British Wildlife Collection?

I doubt I’ll be writing any more books for this series. They take a long time and I’m getting on a bit! Besides, these are hard times for writers who aren’t footballers or chefs, or others who have become famous from constant exposure in the media. While the natural history bookshelf has never been more bountiful, some of us are working for less than the minimum wage! I’ve recently finished a book (my 27^th, I think) about the world’s most noxious plants called The Devil’s Garden, which was fun, and I hope will be fun to read. I love plants that defend themselves with alchemy, vicious thorns and stings, horrific poisons, or play mind-games with their pollinators; in short those with a wicked reputation. They provide an antidote to the idea of plants as passive and compliant.

Vivat flores!

(Long live the flowers)

Rare Plants is available from our online bookstore here.

Interview with Charlotte Mead: The Wildwood Trust

The Wildwood Trust was established in 2002 and is one of the UK’s leading conservation and rewilding trust. The charity aims to push the boundaries of conservation by working alongside nature to fight the biodiversity crisis and halt species extinction using nature-based solutions. Alongside their conservation projects, volunteering opportunities and memberships, they also offer a host of educational courses and workshops across both of their sites.

Wildwood Devon is home to numerous native bat species, and over the last two years, they have been working alongside Devon Bat Conservation and Research Group to create, assist and monitor secure bat roosting sites for the breeding season to support endangered bat populations. In mid-2023, NHBS donated 10 general-purpose bat boxes to support this project. A year later, we had the opportunity to talk to The Wildwood Trust about the results from their first annual species survey on this site, how our donation has aided the project’s success, discuss their goals for the next five years and more.

Firstly, can you tell us about The Wildwood Trust and how the charity began?

Established in 2002, The Wildwood Trust is a native species conservation charity formed to push the boundaries of innovative conservation and rewilding. The charity began after it was decided that a small zoo could be instrumental in educating Kent locals about British wildlife – the zoo was subsequently renamed Wildwood Discovery Park and soon became The Wildwood Trust. Since then, the park has grown and changed, and the Trust has taken on a second site on the Escot Estate in Devon. We recently rebranded and the sites are now known as Wildwood Kent and Wildwood Devon, both working under The Wildwood Trust.

We work with nature to fight the biodiversity crisis, to halt the extinction of species and to create resilient habitats in which nature thrives. Wildwood’s experience and expertise in working with native species means we can work effectively across the UK in many projects, focussing on nature-based solutions to reinstate native species populations and recreate truly wild spaces.

Rewilding, through the reintroduction of keystone species, is the most powerful tool we have. These reintroduced animals alter their landscape by creating the space and complexity for hundreds of other species to thrive.

Which species are you hoping to encourage to the area with the installation of our bat boxes?

We have a number of resident species on site, including Brown Long-eared Bat (Plecotus auritus), Common Pipistrelle (Pipistrellus pipistrellus), Daubenton’s Bat (Myotis daubentonii), Noctule (Nyctalus noctula), Soprano Pipistrelle (Pipistrellus pygmaeus) and Whiskered Bat (Myotis mystacinus). With the addition of the Schwegler 2F Bat Boxes supplied by NHBS, we are hoping to attract a wider range of species, including Barbastelle (Barbastella barbastellus) and Nathusius’ Pipistrelle (Pipistrellus nathusii).

We have since completed our first bat box check and are pleased to see that our resident bats have taken to the boxes, and we have found pipistrelle droppings in multiple boxes. We were also lucky enough to find a female Common Pipistrelle in one of the boxes.

Breeding projects are a key element of the work you do. Why are these programmes so important and do you have a favourite success story that you can share with us?

Breeding projects are incredibly useful for a number of reasons, from maintaining genetic diversity within the population all the way through to providing an alternative to translocations. We work with a number of organisations and charities, who are also involved in captive breeding groups, to maintain high standards of husbandry and welfare to provide a healthy, genetically diverse captive population that can assist in future conservation projects.

I couldn’t possibly choose a favourite as Wildwood has bred and reintroduced many species, including Water Voles as part of development mitigation work and Hazel Dormice into suitable areas of former range. However, the memorable reintroduction of Red Squirrels to Anglesey was a successful project and re-established an iconic species after significant declines following the introduction of Grey Squirrels. We have also joined forces with other major captive breeding collections to implement a national captive breeding group which can assist in any future conservation projects.

How is Wildwood working to combat the effects of climate change?

Many of our rewilding projects aim to facilitate the restoration of native habitats, often through reinstating lost species. A good example of this would be our flagship wilding project ‘Blean Bison’ in Canterbury. Launched in 2019 with Kent Wildlife Trust, the project looked to promote stronger habitats by restoring natural processes and aimed to bring transformational change through a controlled trial with European Bison. To combat climate change, the project is aiming to restore 600 hectares of ancient woodland, a vital natural carbon store that can hold around 30% of the world’s carbon.

What does the Wildwood Trust hope to achieve in the next five years?

Wildwood will continue to be a leader in the field of native species conservation. We will continue to deliver our mission to protect, conserve and rewild British wildlife by building long-term and sustainable partnerships with like-minded organisations. Through collaborative working, we can maximise our impact and bring resilience to our native ecosystems.

Are there any other conservation projects that you’re working on that you can tell us about?

We are proud to be a collaborative organisation and, with like-minded conservation partners, we are now working towards the conservation and reintroduction of several species across Britain, including wildcats, Red-billed Chough and White-clawed Crayfish to name a few.

Part of the national captive breeding programme, the wildcats at Wildwood are involved in the creation of a genetically viable captive population. Our wildcat breeding programme has been hugely successful and in 2020 we announced our collaborative work to restore the European Wildcat to Britain.
As a keystone species, the conservation of White-clawed Crayfish is important for several reasons. The only native crayfish species found in the UK, these crustaceans play a key role in the food chain and are an important indicator species for freshwater health. White-clawed Crayfish are threatened by invasive Signal Crayfish, so our work to support the breeding of these animals through establishing a Devon crayfish hatchery is important in ensuring their survival.
For over 200 years the Red-billed Chough has been missing from Kent, so we have partnered with Kent Wildlife Trust to reintroduce these birds to the cliffs of Dover. The project has now reached its second year of reintroductions, and there are now 19 birds established in the area.

We are always looking for more projects to get involved with so please do get in touch if you think we can help!

Q&A with Dr Rebecca Farley-Brown: Head of Field Studies Council Publications

The Field Studies Council has been educating the public on Britain’s natural environment for 70 years, and its publications have played a vital part in making nature more accessible. Three generations of wildlife enthusiasts and conservation professionals have learned about the UK’s plants and animals through Field Studies Council courses and honed their skills with Field Studies Council publications.

The Field Studies Council has published an impressive range of handy fold-out charts, as well as a large series of AIDGAP Guides, which are aimed at non-specialists and are intended to assist with the identification of difficult groups of plants and animals. Their back catalogue also includes a selection of more specialised titles, such as the Royal Entomological Society Handbooks on British Insects, and wildlife distribution atlases produced for the Centre for Ecology and Hydrology’s Biological Records Centre.

We recently had the opportunity to speak with Dr Rebecca Farley-Brown, Head of Publications at the Field Studies Council, about the many courses they run, how they develop their identification guides, their exciting new projects for the New Year and more.

Can you tell us a little bit about yourself and what your role within the Field Studies Council entails?

Dr Rebecca Farley-Brown, Head of Field Studies Council Publications

My role within the Field Studies Council is Head of Publications, based in our warehouse in Telford. I started out in academic research and lecturing before moving to Field Studies Council in 2000. As well as business and product development, I manage the postal sales team that processes orders for our retailers as well as our e-commerce shop. It’s a busy role – every year we mail out over 145,000 guides and aim to publish at least four new ones. We also develop commissioned guides to support citizen science projects.

Developing identification guides is a key part of what we do – for those that take the first step of peering into the garden in search of butterflies and bees on flowerheads, through to guides for enthusiasts, fieldworkers and scientists. I am lucky to have a job which can make a difference, and successful identification is fundamental to survey work and biological recording – if we can’t name it, we can’t protect it.

Founded in 1943, Field Studies Council aims to facilitate an array of opportunities for people to learn about nature, which includes field or outdoor educational classes, residential and day centres, natural history courses and more. How large is your operation and what can be expected from one of your courses?

We have a network of 11 residential field centres and seven day centres across the UK, where we welcome over 100,000 learners from schools, colleges and universities every year. There is no substitute for first-hand experiences in nature, and our charity gives learners a special opportunity to see and explore natural landscapes for themselves. There are wider benefits too – being outdoors is good for mental health and wellbeing.

Our teams provide over 200 natural history courses a year, taking place online or in stunning locations. Whether you’re learning online at a pace that suits you, or in-person gaining practical hands-on experience, all of our courses are led by expert tutors who have a wealth of knowledge, and participants often leave feeling very inspired.

Natural history course participants learning how to identify dragonflies and damselflies

There is always a large demand for professional skills courses from those within the environmental job sector, including topics like habitat surveying, protected species, and understanding Biodiversity Net Gain. Alongside this, we get a lot of enthusiasts and students who are looking to improve identification skills for biological recording and knowledge to further their careers. As an example, our two-and-a-half day ‘Bats: Ecology, Surveying, and Conservation’ course will see you explore areas around our field centre in Shrewsbury. It offers hands-on experience with equipment such as bat detectors, where you will complete a bat survey and analyse the results. Plus, if you’re staying with us overnight, you can have a chilled catch-up with other like-minded people in the evening.

The charity has been creating Field Studies Council identification guides for many years, with a catalogue of over 200 guides to date. These resources cover a vast range of topics from plants and fungi to mammals and insects – can you share with us how you decide which subjects to focus on?

We try to keep an overview of what guides we have, where there are gaps and what needs updating. We had fungi marked as a potential area for a few years, but struggled to find an author until we started working with fungi expert Geoffrey Kibby in 2023, and we now have three WildID guides to distinctive fungi which have been really popular this autumn.

We also think about levels – people need different types of guides depending on their knowledge and experience. Someone starting to look at local wildlife might be happy to know they have found a grasshopper, whereas the enthusiasts and recorders will want to identify it to species level.

That being said, some keys are a challenge to develop and might not make it through to publication. We like to thoroughly test our guides with a range of people, including experts in the subject to make sure they are accurate and useful.

Two wildlife watchers using a Field Studies Council WildID Bird guide in a local field — From beginners to experts, we make guides suitable for all skill levels.

Each guide is beautifully produced and printed, featuring numerous detailed illustrations to aid reliable identification. What process do you go through when selecting an expert illustrator for each guide?

We’re lucky to have good working relationships with several artists, so we have a regular group we tend to use, some of whom are experts in their field too. Sometimes we can reuse existing artwork such as Richard Lewington’s butterflies and dragonflies – the detail on these is exquisite and so accurate, even down to wing venation.

Other times we might need to commission new illustrations, and it is always good to see these develop. Lizzie Harper does many of our plant illustrations, and we recently worked with her on the Waterside Plants WildID guide. Once we have decided on the species and the features that need illustrating, Lizzie will produce sketches that the final artwork will be based on – it’s always an exciting moment when these arrive!

Suddenly you can start to visualise the finished guide. This is the time to check the details. Are any modifications needed? Are there particular features, such as hairs, that need to be brought out in the final painting? All of this is discussed, and then we sit back and wait for the finished artwork to arrive. Lizzie has a lovely blog on her website, which gives an insight into how she develops her artwork.

fungi WildID guide next to a mushroom on the floor — Our selection of new fungi WildID guides feature beautiful illustrations and have been very popular this autumn.

What are some of the challenges that the charity has faced over the past few years, and what are your hopes for the future of the Field Studies Council going forward?

One of the biggest challenges was COVID-19 – lockdown meant that our field centres were closed, and the majority of staff were placed on furlough. But it was also an opportunity, and sales of the wildlife guides flourished as more people had time to spend outdoors exploring.

During this period, we also developed a couple of online natural history courses. These proved extremely popular, and over time we’ve increased our range to over 44 topics which we run every year. Feedback on these showed that it was a fantastic way for people to learn about nature from their own home, especially with time restrictions or accessibility constraints.

We hope to continue to increase the variety of online training we offer; while improving accessibility, we will also be mirroring these topics in our practical field-based courses to offer progression routes.

With 2025 just around the corner, are there any exciting new projects on the horizon that we can hear about?

We are always working on new guides. Some are still a few years away from completion, but a guide to raptors in flight is nearly finished and an AIDGAP guide to micro ladybirds and another fungi guide are planned for 2025. We also have a sedges guide in development, which will hopefully be progressing to the layout stage next year.

We’re also thinking about beetles, and working on another introductory guide series to common wildlife that we hope to launch in the spring.