Author Interview – Page 16 – Hoopoe

Naturalist and author Mike Dilger on building a wildlife sanctuary in his garden

Mike Dilger – enthusiastic naturalist, freelance presenter and author of My Garden and Other Animals – on the rewards and challenges of creating a wildlife sanctuary on his doorstep.

You always wanted to own your own nature reserve – do you remember what first stirred your interest in wildlife?

The trite answer I always give to this question is that as I was dropped as a small child! As no other members of my immediate family were interested in wildlife I think my passion for natural history may have been genetic. I have vivid memories of spending hours watching butterflies on a huge buddleia bush in our next-door neighbour’s garden when I was around seven and also wanting to know what all the bird songs were. What really started me off was when I acquired my first pair of binoculars (10 x 50 Prinz from Dixons, for the record) at the age of eight, leading to me learning the calls of all the different birds, starting with the wood pigeon. That was over 30 years ago and I’ve never looked back since!

What were some of the pitfalls and high-points of creating your own garden wildlife sanctuary? Any surprising visitors?

One of the pitfalls of creating an attractive and inviting place for wildlife is that it is impossible to dictate (unlike an immigration officer), as to what comes in. For example, having built compost bins in the hope that grass snakes would take up residence, I was more than a touch dismayed when only rats seemed keen to take advantage of the warm, moist accommodation on offer. I was also keen to provide home for as many nesting birds as possible, but after three sleepless nights, the jackdaws building a nest in our chimney simply had to be evicted before we lost our sanity.

In terms of high points, there were simply too many to recount – you’ll have to read the book to uncover them all! The meadow stood out as a stunning success, and in addition to turning up a wide variety of wild flowers, enabled me to add grassland butterflies, like ringlet and gatekeeper, to my garden tally. The simple of addition of a pond resulted in an incredible six species of damselfly and dragonfly laying their eggs into the water. With plenty of food also permanently on offer for the birds, a grand total of 61 species were recorded visiting the garden throughout the year. With foxes and badgers all regular visitors, the biggest surprise of all was the brief appearance of an otter in the brook at the bottom of the garden, which I was lucky enough to spot early one morning whilst listening to the dawn chorus! (see picture – right)

In many ways the best aspect of turning the garden over to nature was the fact that it was a joint effort with my partner Christina – with the project soon becoming our labour of love. When it finally came to producing the book, I provided the words whilst Christina produced the lovely art-work which can be seen studded throughout.

How is the garden doing now after the interesting weather we have been having this year?

Currently the garden is looking soggy to say the least and to be honest the flower borders are ‘twixt cup and lip’, but the feeders are still being emptied on a daily basis and on a warm day the pond is still a hive of activity. Come the winter I’m looking forward to getting stuck in again and have a list as long as my arm of jobs to undertake… Creating a wildlife garden is one of the best projects I have ever undertaken, and continues to reward us every day, but sometimes it can feel like we’re painting the Forth Bridge – with wildlife gardening you can never stand back and say “finished!”

If anyone is inspired to undertake their own garden wildlife project, what would be your top tips to help them on their way?

Don’t be daunted! You don’t have to be the world’s most practical person to construct a wildlife garden – I certainly wasn’t, and yet am delighted with the results. Size is not important either. With our garden only marginally larger than the Centre Court at Wimbledon, we concentrated on quality (of habitat) rather than quantity.

The single, easiest way to improve your garden for wildlife is to dig a pond. It doesn’t have to be the size of a swimming pool (or even a bath-tub) but you’d be amazed at how it draws in the wildlife. By keeping it free of fish, we were able to provide a home for everything from pond skaters and pond snails to aquatic beetles and dragonflies. Plus the constant supply of freshwater also pulled in the birds too!

It’s also sometimes not about what you do, but what you don’t do. A quiet, unkempt corner, for example, can be worth its weight in gold in providing a refuge for some of the more introverted members of the garden wildlife brigade.

My Garden and Other Animals by Mike Dilger is available now in paperback from NHBS

Wildlife Photographer of the Year winning inspirations, part two: Peter Chadwick on “Taking off”

We are marking the forthcoming publication of the new 2012 portfolio from the annual Wildlife Photographer of the Year exhibition with a mini-series of interviews with some of the category winners from last year.

Next up is Peter Chadwick, who won the Gerald Durrell Award for Endangered Wildlife in 2011 with ‘Taking off’, pictured below.

Your photograph, “Taking off”, won the Gerald Durrell Award for Endangered Wildlife last year. What did it mean to you to win in this category?

My picture of the African Black Oystercatchers taking off from the rock as a wave crashes over them really showcases the harsh yet fragile environment that these birds live in, also highlighting their need for complex social interactions. In the early 1980s their numbers plummeted to around 4500 birds and through conservation efforts the population now stands at around 6000 birds. This makes them a good ambassador for the coastal environment, showing that we can make a positive difference if we choose to. Thus the Gerald Durrell Award for Endangered Wildlife was particularly fitting as it certainly helps me showcase these endangered birds and the marine environment in which they live. As a boy my excitement about the outdoors was certainly enhanced through reading all of Gerald Durrell’s books and it is indeed a great privilege to receive the award in his name.

Could you reveal a bit about the photo and the process of getting the shot?

This particular image was taken on Malgas Island, that is found within the West Coast National Park of South Africa. The island is critical to protecting breeding populations of Cape Gannets, African Penguins, Cape, Bank and Crowned Cormorants and of course the African Black Oystercatcher. The island in fact holds the highest breeding density of African Black Oystercatchers anywhere and breeding space is harshly contested for.

The island can only be reached by boat and weather is often a limiting factor to getting onto and off the island and any trips needs to be planned well in advance. As this is a protected area, special permits are also required. All food and water has to be taken with you and all rubbish obviously has to be removed. Planning for the trip is quite considerable and time consuming but it is an incredible privilege to sit on a small island with thousands of breeding birds.

To obtain this particular image, I had been photographing the birds over three mornings at the same location and saw that they regularly met in the early mornings to strengthen pair bonds, proclaim territories and on occasion squabble with one another. The particular rock where these birds were photographed was the popular meeting point for up to sixteen birds and so I concentrated on this point, waiting several hours for the specific action to happen. In this particular series I took about seven or eight images but over the three days probably took about 75 – 100 images. Patience brings the reward!

And your tips for aspiring wildlife photographers?

I would say the most important aspect is to respect your subject – capture the image without disturbing your subject or manipulating the situation. Have patience and get to know your subject before going anywhere near a camera. Experiment and look at the work of other photographers but do not try to copy them – create your own style that makes you unique. I would say that only 20% of the image is created through technical knowledge of your equipment and 80% through your own creativity.

Peter Chadwick’s websites:

www.peterchadwick.co.za

www.photodestination.co.za/who-are-we

Read part one: Wildlife Photographer of the Year winning inspirations, part one: Steve Mills on “The assassin”.

Read part three: Wildlife Photographer of the Year winning inspirations, part three: Paul Souders on “The grace of giants”.

Pre-order now and save 20% when you buy the Wildlife Photographer of the Year Portfolio 22 book and wall calendar together:

Wildlife Photographer of the Year winning inspirations, part one: Steve Mills on “The assassin”

We are marking the forthcoming publication of the new 2012 portfolio from the annual Wildlife Photographer of the Year exhibition with a mini-series of interviews with some of the category winners from last year.

Our first interviewee is Steve Mills whose 2011 category winning photo, ‘The assassin’, is pictured below.

Your photograph, “The assassin”, won the Wildlife Photographer of the Year 2011, Behaviour: Birds category last year. What draws you to birds as a subject in particular?

For me, all wildlife is wonderful but birds are simply fantastic. For one thing they are so accessible. Close encounters with other wild animals are few and far between. They tend to be secretive creatures of the night, reluctant to be seen. It’s birds that allow us that connection with the natural world. We see them everywhere – in the garden, in the park, above the city etc. My fascination has always been more than simply ‘What bird is that?’ but rather ‘What is it doing?’ and ‘Why is it doing it?’ and I think this lifelong interest in bird behaviour has helped me enormously in my photography.

Could you reveal a bit about the photo and the process of getting the shot?

Following a week of snow cover and sub-zero temperatures in the north-east of England many birds were struggling. Snipe and woodcock, amongst others, had been forced to the coast in the search for unfrozen feeding areas. Most had abandoned any pretence of secrecy and were probing anywhere there was even the tiniest patch of grass sticking up through the snow.

I drove around the lanes near my home looking for a likely spot and came across a tiny patch of exposed grass that would allow me to use the car as a hide with the sun well-positioned. With my 500 lens balanced on the window I settled down to wait. Eventually a snipe appeared and began frantically feeding only a few metres away. This was what I’d hoped for and felt my preparation had been suitably rewarded. What happened next was where the luck came in. As with all good wildlife photography there’s preparation, understanding the behaviour of your subject, some decent kit etc., but overriding all this is whether you get lucky.

The snipe, desperately hungry, showed little regard for its exposed position and within seconds had paid the ultimate price. As I watched the snipe through the camera my left eye caught a movement. A merlin arrived at speed inches above the snow, and hit the snipe talons first. The ensuing struggle lasted only a matter of seconds. After looking up, seemingly straight at me, the merlin gave a series of rapid and violent pecks to the head of the snipe to end the uneven contest. Of the 15 shots I was able to take this image worked best.

Have you any tips for aspiring wildlife photographers?

You’ve got to be passionate because it can be frustrating. There isn’t an album in the world big enough for all the ‘almost’ photos – those missed through not quite being in the right place, not reacting quickly enough or having crucially misjudged a setting. That happens to everyone and all you can do is to try to learn from these experiences to make you more likely to get the shot next time.

Wildlife, including birds, tends to be timid, so a long lens helps enormously but if you get to know how your subject behaves you can often predict what it will do and position yourself accordingly. For example, large birds always take off into the wind so by positioning yourself well you’ve got more chance of a bird flying towards you initially. Getting to know your subject also increases your chances of getting action shots such as a bird feeding, preening, wing-stretching, interacting with others etc. This type of action can often add punch to a photo.

Whatever camera you’re using, I recommend you make sure you’re completely comfortable with its settings. Make sure you can change them without losing vital moments having to fiddle about trying to find this or that button. Understanding your camera is vital because, in wildlife photography, you often don’t get a second chance.

Use the light to your advantage. If there is bright sunlight try shooting early in the morning or just before dusk when the shadows are less harsh and the bird is lit from a lower angle.

For birds, keep your shutter speed high. This is particularly important for moving or flying birds. To do this you may have to sacrifice depth of field or ISO.

Finally, never think that you have to travel across the country or even further afield to get great shots. My wife and I run a conservation organisation in Greece – Birdwing – and this takes me to spectacular birdwatching sites where I spend days at a time behind a camera, usually in wonderful light. Ironically however, this picture was taken only yards from my house in the north-east of England, which demonstrates something I’ve learned time and again – in wildlife photography you never know what is around the corner and that extra hour in the field can sometimes be richly rewarded.

Steve Mills’s websites:

http://stevemills-birdphotography.com

www.birdwing.eu

Steve is the author of Birdwatching in Northern Greece: A Site Guide – available now from NHBS

Read part two: Wildlife Photographer of the Year winning inspirations, part two: Peter Chadwick on “Taking off”.

Read part three: Wildlife Photographer of the Year winning inspirations, part three: Paul Souders on “The grace of giants”.

Pre-order now and save 20% when you buy the Wildlife Photographer of the Year Portfolio 22 book and wall calendar together:

Mycologist Geoffrey Kibby on childhood discoveries, woodchip mulch, and his long time passion for the genus Russula

Geoffrey Kibby, senior editor of Field Mycology, and author of two recent best-selling photographic keys to fungi – British Boletes and The Genus Agaricus in Britain – talks about how childhood discovery in a woodland wonderland led to a life spent mushrooming…

What first attracted you to the curious world of fungi, and what are your mycological credentials?

I have been mushrooming for over 45 years; as a boy of 13 I was convalescing from some surgery and was staying in a cottage very close to the Queen’s estates at Sandringham in Norfolk. Opposite the cottage was a large area of fenced-in woodland with “Private, property of HM the Queen” on a gate. Like any self-respecting schoolboy I completely ignored the sign and climbed over the fence and into what I can only describe as a wonderland. A damp, mossy conifer wood, dripping with lichens and ferns and with fungi everywhere. I still remember the first fungus I was ever consciously aware of, a beautiful, small and intensely violet toadstool (Laccaria amethystea) and I thought I had never seen anything so amazing, so magical. I soon purchased my first book, the Observer’s Book of Mushrooms, and quickly realised that I needed a bigger book! I have been collecting and writing about them ever since.

For most of that 45 years I have been a member of the British Mycological Society and for the last 12 years have been the Senior Editor of the journal Field Mycology which deals with all aspects of mycology (the study of fungi). For about six years I lived in the USA and was at one time the President of the New Jersey Mycological Association. I have published numerous books on fungi including general field guides as well as more specialist monographs.

Your recent publications on British Boletes and The Genus Agaricus in Britian have become instant bestsellers. Who are they aimed at and what can the reader expect from them?

My specialist books are aimed at the enthusiastic amateur all the way up to the specialist – usually people who realise that the popular field guides are not sufficient to tackle some of the larger or more difficult groups of fungi. I have tried to make them more user-friendly than the traditional identification keys, often using a synoptic system whereby the reader only has to decide on 6 or 7 principal characters before attempting to key out the particular species. My keys include lots of illustrations to aid the reader in making these decisions. In some cases a microscope is required but the techniques needed are not that difficult and of course a microscope opens up a whole new world of wonderment in all areas of natural history, not just in mycology!

Generally, what part do fungi play in the world’s ecosystems?

Without fungi to digest and break down the decaying organic matter in our woods and fields the world would soon be swamped in enormous depths of fallen twigs, leaves and other debris. Most trees are dependent on fungi and form specialised symbiotic relationships with them, they cannot grow well without them and vice versa. Other fungi of course are parasitic and attack other organisms (including ourselves…) and many others have strange life cycles which we scarcely understand at all and this all adds to our fascination with them.

We’re in fungi season now – to what extent are there annual changes in the fungi ‘populations’ throughought the UK, and is there any way in which fungi acts as an indicator of wider environmental changes?

In recent years there have been enormous ‘invasions’ of new fungi and as the climate has changed we have seen corresponding changes in the way fungi behave and fruit. Our penchant for covering the world in woodchip mulch has paved the way for numerous exotic species to come into the country. Some species have spread to every British county, using this newly invented habitat, within 5 years of their first discovery, an amazing colonisation by any standard.

Increased annual temperatures are affecting the way in which fungi fruit; species which formerly fruited only in the autumn are now often fruiting twice a year in both spring and autumn. Others which were specialists in fruiting only in the spring, such as the common and deliciously edible morel have been appearing as late as November or even January!

Do you have a favourite mushroom?

Almost an impossible question to answer, but I certainly have favourite groups. The boletes have been a favourite since my childhood as they are for many other mycologists. Their large size and often bright, exotic colours are very appealing and they are relatively easy to identify also, hence my recent book on the subject. I also have a long time passion for the genus Russula, a sometimes very difficult group with around 170 species in Britain, often of very bright colours once again and very common everywhere. I am putting the finishing touches to my ‘magnum opus’ on that group as I write this.

Can you describe a particularly interesting species, or feature of a species of a mushroom found in the UK?

Many fungi form associations with other fungi, some of which we are still in the process of discovering. Many boletes for example, particularly in the genus Suillus form associations with a group of fungi called Gomphidius. Each species of bolete seems to latch onto a particular species of Gomphidius, very specific, and we don’t really know what is going on, although the best guess is that one partner is sort of hitching a ride on the other, tapping into its associate’s ability to obtain nutrient from the particular conifer with which it grows, without having to do the work itself.

There is some great photography in the keys – I guess a mushroom is a perfect still subject for the nature photographer – is photography a hobby of yours that has grown from your work?

I have been photographing for as long as I can remember and using fungi as subjects was a natural extension of this. I now teach digital photography and the use of Photoshop to enhance and edit photographs as part of adult education courses at local colleges. Fungi are ideal subjects since they don’t run away or even sway in the breeze as wild flowers do, and of course their strange shapes and colours are wonderful subjects to try and capture.

I went mushroom hunting recently and always ended up way off a positive identification. Given the dangers of mistaken-identity, what advice would you give the amateur fungi hunter?

Start small: learn to recognise the basic groups where possible, that is half the battle. Go on as many guided mushroom walks as possible and learn from experts in the field – there is no substitute for that. Field guides can only take you so far and cannot show you all the many variations that fungi are capable of. My favourite saying is that “mushrooms don’t read the books!” Meaning that they don’t always conform in size and appearance to the illustrations in the book, they vary enormously as they age. Get as many books as you can afford, each will offer some extra information and pictures that another might lack. Finally, never, ever eat a fungus you are not confident of. All mushrooms can be eaten once but sometimes not twice……the history of mushrooming is filled with people who have eaten and become very sick or even died from making an error in identification.

On which cautionary note…

Geoffrey Kibby’s keys are available now from NHBS:

British Boletes: With Keys to Species

The Genus Agaricus in Britain

The Norfolk Cranes’ Story: an interview with John Buxton and Chris Durdin

Horsey Estate, in Norfolk, has, since 1979, been home to a colony of resident, and eventually breeding, Common Cranes. John Buxton has been resident on the estate a little longer, and was perhaps the perfect host to his surprise new neighbours…

What a fascinating story – how did you feel when you first heard that there were cranes resident in Norfolk, on the Horsey Estate? What do you think attracted them to the site?

In October ’79 I was delighted when Frank Starling, the grazing tenant, had reported he had just seen “the 2 biggest bloody herons” on the marshes on which he grazed his cattle. The attraction to the cranes was a combination of a quiet, undisturbed area of wetland and a plentiful supply of food in the form of unharvested potatoes. Both sites were within the Horsey Estate area.

How did the writing of the book come about? What brought you two together and why now?

For the first few years I tried to keep the presence and nesting activity as quiet as possible but I felt the story would have to come out eventually. I was worried that inaccuracies would begin to creep in because various interested people were longing to report facts as they saw them. I wrote down careful notes about the cranes’ activities and as I learnt more about them and their habits I realised that at some stage in the future, I should recall the true story as it happened. Chris Durdin was given a sabbatical period while still employed by the RSPB in 2009 to gather and write down the facts as told by me from my notes and diaries I had kept about the cranes over the last 20 years. The work became delayed for various reasons but finally, in 2011, it simply had to be completed.

The first part of the book follows the cranes and their efforts (sometimes exhausting!) to breed year by year from 1979 to 2010. How was 2011 for them?

2011 was a fairly unsuccessful breeding summer for the cranes at Horsey, one pair definitely hatched young by my observations of their activity from a fixed hide at 200 metres. I could not see the young in fast growing reed but could observe the parents by their tall necks showing above those reeds. I was aware also that the young only survived a few days and I witnessed a male marsh harrier, which had nested only 50 yards away from the cranes’ nest, carrying a small gold creature as prey, which he took to feed his young. Another pair of cranes in a different site within the Horsey Estate also failed to raise any young.

What was it like revisiting the history of the years from 1979 – particularly going back through all the notebooks?

It was quite revealing to catch up with my notes, which acted usefully as a reminder of the facts over 30 years. Thanks to Chris Durdin’s patience, we finally achieved the publishing of the book.

Grus grus, the Common Crane, at Horsey — Grus grus, the Common or Eurasian Crane, at Horsey

The Norfolk cranes are grus grus, or Common Crane, and the book is full of observations on crane behaviour. The word ‘tenacity’ is used in the book to describe these birds and their endless attempts at sucessful breeding. How would you sum up the typical crane personality?

Like all individuals of a species, cranes vary in personality, I have observed particular traits in quite a few individuals, which I had got to know fairly intimately from fixed hides. The females are undoubtedly the best parents, with remarkable tenacity and sense of duty at the incubation and subsequent caring for chicks. The males are usually less reliable in their duties. Incubation is normally shared but I have seen many examples of the male going walkabout when he should be sitting on the eggs. This can be fatal if we have late frosts in May. One particular pair have only hatched young once in 4 years of nesting attempts.

What has been the cranes’ legacy in terms of their effect on your life experience, personally and professionally?

The cranes establishing themselves in Broadland, after a break of 400 years, is a major event in UK bird conservation. It has kept me extremely busy, looking after them for 30 years and although my son, Robin, since 2000 is now the lessee of the Horsey Estate from the National Trust, I am acting as his reserve warden. A job which he would never have had time to undertake as a busy, self-employed land agent. My present age is 83 and I am extremely lucky to be able to both physically cope with wardening the Horsey reserve and still enthusiastically enjoy photographing wildlife in high definition video and digital imaging with a still camera.
As far as I am personally concerned, with a wonderful wife and family around as backup, I am as fully occupied as I have ever been, doing things I enjoy with great enthusiasm.

I am hugely relieved that the book has been published at last and deeply grateful to Chris in particular, and among others, Nick Upton, for his invaluable contribution and chapter about cranes in Europe.

Chris Durdin worked for the RSPB for 30 years and was in the Norwich office while the cranes were establishing themselves…

Chris, how did you become involved with the cranes?

Not long after I arrived at the RSPB’s Norwich office, I was told in confidence about the nesting cranes and asked to help in several ways, including some shifts watching a nest in the spring of 1982. Regular contact with John continued, but it wasn’t hands-on as he and Bridget looked after the RSPB contract wardens who helped at Horsey for several years.

You were in charge for a time of deflecting public and media interest in the cranes at the RSPB office – what was it like trying to keep the cranes secret?

It helped that there was a rumour in the birdwatching world that the cranes had escaped from captivity, so on that basis they didn’t really count as wild birds. We didn’t discourage that perception, which lessened the pressure and risk of disturbance to nesting birds in spring and summer. They were fairly easy to see in autumn and winter from the coast road, so it was easy enough to encourage birdwatchers to look then. Of course there were well-informed birdwatchers and media, especially after juvenile cranes that were clearly recently fledged started to appear. Those in the know seemed to accept the need for care with this privileged information, though naturally some keener media were referred to John, who batted queries into the long grass.

How does the Norfolk Cranes’ story fit in the context of current conservation issues and efforts in the UK today, and how could organisations and government best serve the potential future of cranes in the UK?

We can start by remembering that they disappeared from the UK as breeding birds some 400 years ago due to a combination of hunting and wetland loss. So no hunting and lots of big wetlands are obvious messages – all the British birds are on large, protected wetlands, mostly nature reserves. That this includes a re-created wetland at RSPB Lakenheath Fen is particularly encouraging. Cranes are big, talismanic birds, and we hope they are an easy-to-grasp way of showing the value of wetland protection and creation to the public and to Government. Cranes have a preference for large, undisturbed wetlands, so they are also a reminder of the value of large-scale habitat protection and restoration.

So, can we expect our skies to be full of cranes in the near future?

No, but they should be a more familiar part of the scene in small numbers in a few areas. It’s taken more than 30 years to go from their natural re-colonisation at Horsey to about a dozen pairs in Eastern England, so we all need great patience. An exception to that is if you’re lucky enough to live where the process is being speeded up in SW England, where cranes are being reintroduced in Somerset. While we hope the spread will accelerate, probably boosted by more immigrants from the expanding – in both numbers and range – European population, cranes will probably never be common, given their preference for large wetlands.

If you’d like to see skies full of cranes, the answer is to go where they form flocks in several parts of Europe. One of the best places to go is Extremadura in Spain where up to 100,000 cranes over-winter. I will be there with Honeyguide Wildlife Holidays in February 2012!

“This tiny bundle of energy in my hand…”: John Altringham talks to the Hoopoe about bats

John Altringham, author of Bats: From Evolution to Conservation, discusses the appeal of bats, what they are, and how we should think about their conservation needs.

How did you first become interested in studying bats?

I was taken to a Natterer’s bat roost, almost 30 years ago now, and saw my first bat close up. I was a research scientist in biomechanics – trying to understand evolution’s engineering problems and solutions. This tiny bundle of energy in my hand was an engineering marvel I’d never really thought about, so I went away and read about bats. However, I didn’t read just about flight and echolocation, the subjects that came immediately to mind. As a zoologist and conservationist, I read more and more widely and became increasingly fascinated. Bats became an important ‘extra-curricular’ activity, but it was many years before they displaced biomechanics in my work. However, the seeds were most definitely sown during that very first encounter.

We all know what bats are, but – what exactly is a bat?

A bat is the only flying mammal and one of nature’s few echolocators. With these ‘skills’ it has evolved and radiated into the most diverse, the most widespread and the second most speciose group of mammals on the planet. A bat is a small mammal with the lifestyle of its much bigger cousins. It lives a long time, but only produces one baby a year. It lives within often complex social units, exhibiting complex behaviours, and makes use of the landscape on a grandiose scale through the seasons. It shows a bewildering range of ways that an animal can makes its way in the world. It is an important cog in many ecosystems, as predator, pollinator, seed disperser. Its contributions to the human economies of the world are only now being determined and appreciated. Likewise its value as an indicator of the planet’s health. It is a source of endless fascination, study and appreciation.

Why do you think there is such popular interest at this time in bat detection and conservation, and what can we learn from studying their ecology?

I really think that bats sell themselves. The formation of the bat conservation movement, some knowledgeable and enthusiastic activists and some cracking documentary footage are the catalysts in the bat conservation movement – the bats themselves do the rest, if we just show the world something of them.

Bats are also surprisingly accessible. It is relatively easy, even in suburban areas, to see and hear bats, sometimes at fairly close quarters – you can’t say that about many wild mammals. They often live in close proximity to humans, you don’t have to be particularly stealthy, and they just get on with life while you watch – they have a lot to offer the casual naturalist. However, there are plenty of challenges for the more dedicated naturalist.

The need for conservation is pretty self-evident. Bats need large home ranges in connected landscapes, they rely on threatened habitats for both roosting and feeding and they are slow to recover from population setbacks. However, there are modest things we can do to help them, from practical conservation to education, which encourages widespread involvement – and success fuels further effort. Conservation needs passion and commitment – bats appear to have the charisma to generate them.

Conservation gets a big chapter in the book – it is the focus of a large and growing proportion of ecological research. There has been a lot of bridge building between research ecologists and conservation practitioners in recent years, but we still have some way to go. I’ve tried to highlight some of the issues in this chapter – evidence-based conservation is the future!

What can we learn from bats? Where do I start?! Science is all about understanding how the natural world works. Everything we learn, from the ecology of individual species to the general processes that govern the way ecosystems function, comes from the study of appropriate ‘models’. The sheer diversity of bats means that they offer useful models to study all sorts of things – just look at the topics I cover in the book.

How do you see the future for bats?

I have no idea what the future holds, for bats or the rest of biodiversity. I do think bats are among the more vulnerable animals, so looking after bats is a good way to protect other animals and plants that share their habitats. We have a growing knowledge about what we are doing wrong to our environment and what we need to do to begin to put things right. However, there is a lack of will among politicians and the ‘captains’ of commerce and industry to provide the conditions and the resources to do it. Lots of talking the talk, little walking the walk. Conservation will always be a compromise – but the balance point is far from the right place. Too many people still think of conservation in terms of what we sacrifice to achieve it, not what we gain from it. We need more objective science in conservation, alongside the passion and hard work. They provide the evidence that forces people to act and they help us to decide how to use most effectively the limited resources we have at our disposal.

NHBS stock an extensive range of bat conservation equipment, supplying a range of customers from ecological consultants needing bulk stock for a construction project, to amateur naturalists keen to investigate their local bat population and do their bit for conservation.

Browse our range of bat detection equipment

Browse our range of bat boxes

NHBS Customer Services will happily discuss your needs and advise you on the best purchase for your project.

Phone: +44(0) 1803 865913

Email: customer.services@nhbs.co.uk

Life with Birds – an interview with author Malcolm Smith

New from Whittles Publishing, Malcolm Smith’s Life with Birds: A Story of Mutual Exploitation zips around the world picking up sublime and ridiculous, sobering and frivolous facts from all its corners. Truly bulging with bird-lore, this makes for an engrossing read for all ornithology enthusiasts.

What’s your background in the bird world, and how did you first become interested in avian-human mutual relations?

I think I’ve always noticed bird/human interactions wherever I’ve been – though probably more subconsciously – until I began to think about compiling and organizing them into chapters for the book.

It’s been part of a life-long interest in birds combined with a training as a biologist, though with very limited time to pursue these interests personally when I was Chief Scientist at the Countryside Council for Wales.

From a 10ft high Jackdaw nest at Eton college and the silvery bird trills of Vivaldi’s Flute Concerto in D ‘The Goldfinch’, to the 1,728 word vocabulary of Puck, the world’s most literate budgerigar, it seems there is no bird fact left out. Have you always been an intrepid collector?

Quite the contrary, there are probably just as many examples of bird/human interactions left out of my book! I’ve tried to include examples of all the major ones and many of the more unusual, bizarre and intriguing. But I had to be selective! It would be quite possible to write a whole book on birds inspiring literature and art for example but I particularly wanted to weave an interesting story using a whole range of examples to show how widespread our links are with birds.

While parts of the book have a more light-hearted, even irreverent approach, you do take a serious look at exploitation. How do you see our relationship with birds as we move through these challenging and changing times?

I think most people will continue to be oblivious to birds, almost forgetting that they eat them regularly, make use of their feathers, see them every day on their homes and in their streets, and hear them almost constantly.

I’m pretty sure that more species will take to city life, mostly causing no problems to people. But I think I have probably underestimated the future impact of city gulls – which are taking over from city pigeons – and are likely to cause more and more summer-time injuries by attacking people. Local Authorities will soon be wishing that their docile city pigeons were back! If we don’t want a growing gull problem, we need to keep our streets very much cleaner and food discard-free, something we seem to find impossible.

Human greed knows seemingly few boundaries and it’s easy to get depressed when you witness the illegal wild bird trade first hand. Unless some of the worst offending countries start acting on their international responsibilities, it’s set to continue apace.

You have plenty of interesting stories to tell – are there any bird encounters/tales featured in this book that particularly stand out for you?

Many stand out, particularly those where I had personal experience such as a Parsi funeral or collecting eiderdown from nests. But one story that does stand out particularly is that of Honeyguides leading African tribesmen to wild bee nests. I was able to gather it from a N’dorobo tribesman in northern Kenya via an Italian ornithologist working there who translated his words for me! And next week I join them both in the isolated Mathews forested mountains in Kenya. So I will be able to follow Honeyguides with Robet Lentaaya, the tribesman concerned. It’s a practice that’s dying out.

What was special, too, was the information that he can follow three different Honeyguide species, each with a different call and different response call back from the tribesman. I can’t find any mention of that anywhere in the literature!

If a reader were to take one thing away from the experience of reading Life with Birds, what would you like that to be?

That our lives and theirs remain very strongly bound together, more closely than most people would ever imagine, even in our supposedly advanced western society.

Discoveries of the Census of Marine Life – an interview with author Paul Snelgrove

Could you describe, for those who may not be aware, the Census of Marine Life?

The Census of Marine Life has been a 10 year program involving 2700 scientists from more than 80 countries around the world, focused on understanding the diversity, distribution, and abundance of life in the global oceans. The Census studied oceans past, oceans present, and oceans future, and found the ocean is richer, more connected, and changing more than we had realized.

How have you been involved in the project?

About 4 years ago, the Census leaders realized that a concerted effort was needed to bring together the many different elements of the project to produce a single coherent view of life in the ocean. They therefore asked me to Chair a group that would bring together Census results for a wide range of audiences, including the general public. One of the outputs of that effort is the book “Discoveries of the Census of Marine Life: Making Ocean Life Count”, which I wrote over the last year. It brings together over 1100 published scientific papers into a single story of the Census of Marine Life.

What does marine science hope to take forward from the knowledge gained from the project?

Knowledge of life in the oceans can help us sustain that life by making us better stewards and managers. In the past, our exploitation of life in the oceans has often proved unsustainable and with indirect and negative consequences to many species other than those targeted by our activities. We know that we have caused many changes, and that we must do better if we are to sustain a rich, healthy ocean environment that many believe is essential to productive fisheries and indeed for life on Earth. Globally, scientists now realize the rich diversity of life in the oceans is important and that by conserving species we can also improve the probability that we can sustain healthy oceans. Knowing where they move and congregate can help us identify areas that should be prioritized for protection. Ignorance has not been bliss for ocean life in the past, and we must do better.

Tell us about the book – what can a reader expect?

The book explains how the Census came about, what it discovered about life in the ocean, and why the information is important. The book includes many colour pictures illustrating the new species and diverse environments we studied, from the shoreline to the abyss. It explains how scientific data is collected, and what it tells us. In short, it tells the story of the Census from start to finish.

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Visit the official Census of Marine Life website

The Skeptical Environmentalist is back with Smart Solutions to Climate Change

Bjørn Lomborg shot to fame with The Skeptical Environmentalist in 2001, a book which generated a great deal of interest from scientists and the media alike. The debate which followed focused on Lomborg’s general assertion that much of what environmentalists claimed was not nearly as bad as they reported. From pollution to public health, and the extinction of biodiversity to climate change, Lomborg offered analysis to show a better than feared picture. Several books since (e.g. The Lomborg Deception) have taken Lomborg to task over his methods and choice of data, and much has been made, particularly by the climate deniers, of his dismissive coverage of global warming.

Well… following on from The Skeptical Environmentalist, and his later book Cool It, he’s back to answer his critics with a new edited book on our response to climate change. Smart Solutions to Climate Change takes catastrophic climate change as a starting point. “I am saying what I have always said” says Lomborg, “that the climate is a real and important, man-made problem, but that we are handling it badly”. A panel of authors (economists – including three Nobel laureates) examine a range of policy and technology responses to climate change and suggest we change emphasis – shifting away from a Kyoto/Copenhagen focus on reducing emissions, and instead invest $100 billion in new technology funded by a carbon tax.

This is an in-depth and fairly technical read, but thought provoking and accessible. No matter what your views on Lomborg, he is now addressing what many see as a looming reality – that we are not making anywhere near enough progress in responding to climate change, and that even building on what’s already been started will not fix the problem.

Shooting in the Wild – Chris Palmer’s appeal to wildlife film makers

What inspired you to enter the world of wildlife film, and what was the first film you ever made?

What inspired me was a desire to use film to advance the cause of conservation. I was frantically seeking fresh and innovative ways to promote environmental protection. The first film I ever made was on the California Condor with Robert Redford.

Shooting in the Wild is a scrupulously diplomatic survey of the history and ethics of wildlife film making – what is the hardest ethical puzzle you have had to confront in your experience making films?

You forgot to say that the book is full of fascinating stories! The hardest ethical puzzle I confronted was the desire to get close to wild animals while knowing it was wrong to harass them in that way.

As a conservationist, what do you believe a good wildlife film should do? What are the limits?

A good wildlife film should inspire the viewer to love nature more deeply and to encourage action of some kind to promote conservation. And it should do this without harassing animals or deceiving the audience with staging or manipulation. There are no limits.

The tale of someone like Howard Hall and his “extraordinary patience” resulting in fascinating footage and industry recognition for his first film is inspiring – perhaps the overly enthusiastic “claws and jaws” approach hides a more intriguing diversity of behaviour in the animal kingdom?

I’m not a cinematographer like Howard, but the behavior of wild animals goes far beyond copulation and predation, and is often intriguing and unpredictable. The “claws and jaws” approach does wildlife a disservice and is highly disrespectful of the natural world.

You recount some classic stories of misadventure – Timothy Treadwell and Steve Irwin come to mind – have you personally found yourself in any close animal encounters you were glad to have got out of? What is your most memorable animal encounter?

Swimming with humpback whales in Hawaii and walking near Kodiak bears in Alaska come to mind, but remember, we always work closely with biologists and so are never in any danger unless we do something stupid or careless. I’ve never felt threatened.

And what about memorable human encounters? You have worked with a huge variety of people and you mention some of these in the book …

“Shooting in the Wild” contains many memorable stories about film stars and other celebrities. I encourage readers to get hold of my book and enjoy them!

You talk about how social media is bringing wildlife filmmaking directly to people and engaging them in action on the ground. How does this new phenomenon play into the ethical concerns that are raised in the book?

One way is that everybody is a filmmaker now because everyone has a camera on their cell phone. Millions of people with cameras are edging closer and closer to wild animals to try to capture a career-enhancing shot. This upsurge in people stalking animals in order to get pictures is not good news for wild animals, who for the most part just want to be left alone.

What drives you to make this effort, at this time, to bring your industry to account? Are you optimistic that your conscientious approach will become standard?

What drives me is the deteriorating state of television. Recently I saw Bear Grylls on Animal Planet gratuitously and cruelly kill a large lizard by swinging it against a tree by its tail, and then plunging a knife into its neck.

Are you currently working on any interesting projects?

We’re producing three giant screen IMAX films on climate change, humpback whales, and the oceans. I’m also working with Rob Whitehair and Bruce Weide on a film about wolves.

How can people find out more about the questions raised in the book?

By writing to me and requesting the companion Study Guide. My e-mail address is palmer@american.edu. Another way is by asking to be put on my mailing list so you receive periodic e-mails about our various projects. Again, people should feel free to e-mail me about that. Also, every Tuesday night in Washington DC at American University where I teach we have events related to wildlife and environmental films which are free and open to the public.

Buy a copy of Shooting in the Wild