Author Interview: Patrick Barkham, Wild Child: Coming Home to Nature

In this wonderful new book, Patrick Barkham draws on his own experience as a parent, a forest school volunteer and from his own childhood spent roaming outdoors to explore the positive effects rekindling children’s relationship with nature can have.

Patrick has kindly answered our questions about his new book and provided a limited number of signed bookplates, which will be included with this book on a first come first served basis.

1. What made you decide to write Wild Child

Having children is obviously a life-changing moment for every parent and I found myself suddenly fascinated by children and newly keen to write about them. I was aware of all the anxiety around children being on screens all the time but I hadn’t actually fully considered this historic moment in western child-rearing. We have become an indoor species in the blink of an eye, and I wanted to explore the implications of that, and how we as parents, grandparents, teachers and guardians might give children the gift of more time outdoors. I also wanted to celebrate “ordinary” neighbourhood nature of the kind we can all encounter.

2. What do you see as the main difference between your childhood and your children’s?

I grew up in the countryside in the 1980s and roamed freely with friends on quiet country lanes and the local common. When my twins became eight, it suddenly struck me that they had never been off on their own, in the countryside, without adults in view or close by. What’s more, almost no parent would regard this as strange. In fact, allowing eight-year-olds to roam without adult supervision would be seen as a dereliction of duty, according to the values of modern parenting.

My experience is pretty universal – studies confirm that children’s “home range” has shrank to their private space – their house and garden (if they have one). Childhood is now tightly regulated by adults. This has benefits – it’s never been safer for a child – but also grave drawbacks, including a loss of creativity and a loss of opportunities for children to form their own bonds with wild nature. Our lives are much poorer without intimate relationships with other species. We are also less likely to take action to tackle the biodiversity crisis if we have no direct experience of, and feeling for, other forms of life whether plant, animal or fungi!

3. What do you think children most gain from being close to nature?

Joy, excitement, fun, ceaseless stimulation, sensitivity, companionship, solace, comfort, peace – all the things we get from it too. There’s a huge body of scientific evidence now showing the mental and physical benefits of time in green spaces, and increasing evidence that the more “wild” or biodiverse those spaces, the better they are for us. We need nature, and of course as the dominant species on the planet we need to learn to appreciate, value and protect it.

4. Are you hopeful your children will be part of a new culture where nature is part of everyone’s life, not just seen as a town and country or even a ‘class’ divide?

We have to hope, but I’m also realistic. British society is becoming increasingly urbanised. Traffic – a major and rational obstacle to children playing freely outside – is still growing. Consumption shows little sign of slowing. And yet without any real government backing, there is a newly vibrant movement to add more nature to people’s lives – the rise of the forest school movement for instance. Wildlife charities are doing heroic education work too. But we still need massive, societal changes to reconfigure our species’ relationship with nature. We need a new kind of schooling, new (government) support for urban wild spaces, and far more wildlife-friendly planning rules for new housing.

Just on class – debates about children and nature are seen as a middle-class concern, and they tend to be because poorer families are too focused on putting food on the table. But we need to give all people better access to nature and wild spaces – this is a free source of good health (and occasionally even food) and it benefits poorer people more than the wealthy who can purchase wild experiences.

5. I was fascinated to read how resistance to pathogens can be enhanced by exposure to more biodiversity; can you precis that a little here?

We are only beginning to scientifically understand the influence of billions of micro-organisms, or microbiota on our lives. We have more bacteria in our guts than human cells in our bodies. Most are harmless, some are useful and a few may be dangerous pathogens. Our immune system is rather like a computer with hardware and software but no data. Early in life, it must rapidly collect data from diverse microbial sources, learning which are harmful and which are beneficial. If our body encounters a diverse range of different bacteria, particularly when young, we are more likely to recognise and respond to novel viruses.

This is not the popular but mistaken idea that we’ve become “too clean”. Hygiene is vital for good health. But, rather, urban living does not deliver us the diversity of microbes that we need. So we’re witnessing an explosion of allergies such as hay fever and illnesses related to failing immunity or inappropriate inflammatory responses such as Crohn’s disease.

Studies have shown that people living in “traditional” ways – in the countryside, more closely with animals ­– have fewer such illnesses. Microbiologists’ prescriptions for healthier children include a varied diet including a far wider range of vegetables but also more exposure to diverse green space. Scientists have proven the benefits of exposure to soil organisms in mice but this has yet to be fully explored for humans. It is a fair hypothesis, however, to expect that more biodiverse places contain a wider range of microbiota, and be better for us than manicured monocultures.

6. Although of little comfort to the thousands of people terribly affected by COVID – 19, do you think the forced change of pace and restrictions on movement has presented any opportunities for the appreciation of nature?

For those of us lucky enough to have gardens or easy access to green space, lockdown has been a wonderful moment to enjoy wildlife. Without traffic noise, the spring dawn chorus has been sensational! Lockdown has also revealed that poorer and ethnic minority communities have less access to green space. So this is an incredible moment of revelation and opportunity. Why can’t we have monthly Sundays when we all vow not to use our cars? Why can’t a new generation of urban parks and wild spaces be part of the post-coronavirus settlement, just as National Parks were introduced after the Second World War? We can now see, hear and taste a post-peak oil world, where we consume less, travel less, and live more. It could be so beautiful.

7. Do all your friends and colleagues share your enthusiasm for forest school?

No they don’t, and this is great because it means I have to win them over! Forest School is a concept imported from Denmark in the 1990s, we have a Forest Schools Association charity, and the idea is based around principles of child-led games and education in a woodland setting, with a camp fire. But there is also a growth in other forms of equally good outdoor learning.

All these different kinds of forest school are seen as playing in the woods – nice, but hardly essential to young people’s lives, or equipping them for the global race. It is up to people like me – and hopefully you – to show them some of the evidence that children are more creative, more resilient, with improved concentration and show better attainment in conventional schooling if they are given more free play outside, and in wild spaces.

8. Would you encourage people with the time to get involved with forest school, and if so, how would it benefit them?

I began volunteering at an outdoor nursery where my children went, and I was astounded by how well I felt after a day outdoors. It delivered the kind of sustained high you get after a day walking in the mountains or really hard gardening. Most of us office-workers aren’t familiar with outdoor labour!

I still volunteer most weeks at the forest school session run by my local state primary school (despite financial challenges, many state schools are now offering pupils some forest schooling). Children are the nicest workmates – they are so honest and enthusiastic, and they respond to the outside almost universally with something like unconfined joy.

In three years volunteering at forest schools I have honestly only twice encountered seriously unhappy children, and that’s usually because they aren’t wearing enough and are cold. I would urge anyone with time on their hands to give it a try – what’s more important than educating our children? And I think you will love it!

9. I like the ‘Things to Do with Children Outdoors’ appendix at the back of the book; was there one or two favourite pastimes that were the most accessible and rewarding that you could recommend?

I’d just like to declare a basic principle: children don’t need leading, or teaching – what they most require is for us adults to facilitate free play outdoors. They need to experience wildlife themselves, without too many rules, without too much moralising, without being told “don’t touch – it’s rare/delicate/about to become extinct”. Obviously a bit of guidance is good but let them choose their own adventure. And they will.

Apart from that, my children love different things. I enjoy going nest-hunting and butterfly-hunting with Esme, collecting shells and conkers with Milly and making dens with Ted. As we play outside, we keep an eye on what’s happening around us, and something exciting – the flash of a sparrowhawk, the scuttle of a rabbit – always unfolds.

10. Are you working on any new projects you can tell us about?

I am very excited to be writing the official biography of Roger Deakin, the nature writer and author of Waterlog and Wildwood. Most of us writers lead incredibly boring lives but Roger didn’t. I’m also researching a book for a TV series about wildlife and editing an anthology of British nature writing called The Wild Isles, which will be published next spring. It has been agonising having to choose between so many gorgeous and important pieces of writing!

Wild Child: Coming Home to Nature
Hardback,  May 2020,  £13.99 £16.99

Patrick Barkham draws on his own experience as a parent and a forest school volunteer to explore the relationship between children and nature.

 

Patrick Barkham was born in 1975 in Norfolk and educated at Cambridge University. His first book, The Butterfly Isles, was shortlisted for the 2011 Royal Society of Literature Ondaatje prize. His next book Badgerlands, was hailed by Chris Packham as “a must read for all Britain’s naturalists” and was shortlisted for both the 2014 RSL Ondaatje Prize and the inaugural Wainwright Prize for Nature and Travel Writing.

Browse more writing from Patrick Barkham at NHBS

Author Interview: Matthew Oates, His Imperial Majesty: A Natural History of the Purple Emperor

Matthew Oates has spent fifty years trying to unravel the ‘Emperor’s’ secrets and with His Imperial Majesty: A Natural History of the Purple Emperor,  due to be published in June, he has written an accessible account of one of Britain’s most beloved butterflies; the majestic Purple Emperor.

 

Matthew Oates has taken time to answer our questions about his book and about the beautiful and elusive butterfly, that if lucky enough, we can glimpse through fissures in its tree top world

 

  1. You describe the Purple Emperor as the most ‘cherished prize’ among Victorian butterfly collectors, while you personally have chosen to devote much of your life to studying this species. What is it about this butterfly that makes it so alluring?

This butterfly is all about mystique. It exists within a different dimension to us, but one which we desire to experience and understand. It is a unique being, capable of doing anything – which means it is unpredictable and utterly captivating. Make no mistake, the Purple Emperor is addictive – but this is a positive addiction, which provides depth of experience tinged with great humour. No one forgets their first Purple Emperor, the experience leaves you wanting more.

2. How has our understanding of the Purple Emperor changed in the half century since your first encounter with ‘his imperial majesty’?

Much of our so-called knowledge was actually mythology and assumption. Oh, the power of assumption, even in ecology! So much of what was considered true, and real, has proven to be utterly wrong; not least because the Purple Emperor, and nature more generally, continually moves the goalposts. Nothing is ever static in nature, perhaps especially with insects.

3. You tell of some of the remarkable lengths that butterfly enthusiasts have gone to in pursuit of the Purple Emperor. What is the most unusual technique you have used when searching for this species?

There is a long history of extreme endeavour here. This is the one butterfly the Victorian collectors most assiduously sought, to form the centrepiece of their precious collections. The Purple Emperor has generated some of the most extreme eccentric behaviour in human history. Collectors used to obtain specimens of this canopy-dwelling butterfly by means of the ‘high net’, a butterfly net attached to a pole often ten metres long. There is a long history of baiting Purple Emperors too, exploiting the male’s attraction to festering messes – the juices of dung, offal, and worse. I helped develop the practice of baiting for Purple Emperors using (relatively inoffensive) shrimp paste, and also pioneered The Emperor’s Breakfast (as shown on TV, several times).

4. It is heartening to read of a species whose populations are on the increase. Can the story of the Purple Emperor offer any lessons for the conservation of other wildlife in Britain?

Yes, definitely! This is proving to be a highly mobile species with good powers of colonisation and, in consequence, recovery. It is becoming a suburban species, and is certainly not the ancient forest inhabitant we once thought it was. Above all, the Purple Emperor is a good news story, at a time of horrific loss and adverse change. It provides hope at a time when we need hope.

5. What do you plan next in your studies of the Purple Emperor? Are there mysteries that you are still hoping to solve?

The journey is by no means over. My book is merely the launching pad towards proper ecological understanding. I sincerely hope it generates the necessary detailed scientific research, and have suggested areas where that need to be conducted. I’ve merely done the spade work. My job now is to help landowners and others to give this magnificent butterfly the future it deserves.

His Imperial Majesty: A Natural History of the Purple Emperor
Hardback,  June 2020,  £13.99 £16.99

Matthew Oates has spent fifty years observing and researching this beautiful and elusive butterfly.

 

Browse all our books covering Butterflies & Moths (Lepidoptera)

Greenery: An interview with Tim Dee

Tim Dee is a naturalist, radio producer, and author of Fourfields, The Running Sky and Landfill. His latest book, Greenery, is a poetic hymn to spring time, a masterpiece of nature writing that is deeply informed and profoundly beautiful.

Between the winter and the summer solstice in Europe, spring moves north at about the speed of swallow flight. That is also close to human walking pace. In the light of these happy coincidences, Greenery recounts how Tim Dee travels with the season and its migratory birds, out of Africa from their wintering quarters in South Africa, through their staging places in Chad and Ethiopia, across the colossal and incomprehensible Sahara, and on into Europe. Tim Dee has answered questions about this remarkable journey.

For those who don’t know, you have published three other major titles on green spaces and birds- Landfill, The Running Sky, and Four Fields. Following from these, how did the idea to travel with spring and its migratory birds come about? And how does Greenery differ from your previous books?

My last book was Landfill, a sort of junkyard travel-guide to the gulls that now thrive on our waste and in the middle of our towns and cities. Inevitably it was dirty and messy and botched: modern nature is like that. It has to find ways and means to live alongside us – we who are the most-botched species of all. I admire the gulls and I was fascinated by the gullers – watchers of gulls – who spend time in wretched places like landfill sites in order to connect with their quarry, but afterwards I needed some fresher air to live in and some wilder life to watch, and so the spring, which has always been my favoured season, appealed, and most especially some witnessing of the movement of passage migrant birds that make the European spring for birdwatchers. When I discovered that spring moves north through Europe at somewhere between the speed a swallows flies at and the speed we might walk at (about 4 km an hour), I knew that I had to try to follow the birds and the season for as long and as far as I could. So, I start with barn swallows in the European midwinter in midsummer South Africa and I end with the same species, who knows perhaps even the same individuals, in midsummer arctic Norway. Who wouldn’t want to have as much spring as possible?

By travelling north you poetically write about the birds that come and go; from observing redstarts in Lake Lagano, Ethiopia, to enjoying the dawn chorus in a reedbed in Somerset. What can be learned from birds in migration, and how is migration changing for them?

Studying and thinking about migration tugs at our notions of home. Migratory animals carry their homes with them. Yet, when I first saw barn swallows in South Africa I couldn’t see them as anything but away from their home. In fact, of course, they were perfectly at home: they were meant to be there and able to be fully alive there. Ever since migration has been observed, birdwatchers have ceaselessly wondered where the birds have come from, where they are going, how they know where to go and how they know how to live at the other end of the world. Migration has always intrigued – Homer makes poetry from it, Aristotle discusses it, the Bible and the Koran make parables for life from it. Nowadays we know more and more of its facts – know for example that a migrant redstart may literally return to the same tree in sub-Saharan Africa in its wintertime just as it flies to the same oak in a wooded coombe in Exmoor every spring of its life; but we also begin to understand (and face up to) how much our activities are tugging at the world’s time and making migration and a bird’s swapping of one tree for another harder and harder. This is what phenological mismatch is all about: the unseasonal time that our activities are creating.

You explore time and movement in this book. In a very fast-paced world, where few have the time to slow down and connect to the seasons, how has journeying with spring changed you? Was there anything specific you were looking for and anything you found?

To try to have more spring has been my mantra, to go looking for signs of new life even before a calendar year has ended, like a mistle thrush singing in November and thereby meaning therefore to have spring again, or rooks visiting their old nests each day from the autumn onwards with a literal view to their future; and to travel when possible both south from Britain to Mediterranean Europe where spring arrives earlier and then north towards the Arctic Europe where spring lasts longer. Hearing a pied flycatcher still singing in northern Norway when the same species are silent in their British breeding woods feels like a life-bonus, feels like more of life, which can only be good. We are only given one springtime in our own lives but the return of the season and the cyclical round or rondure of the natural year is a marvellous tonic and corrective to the linearity of our one-direction journey. Again, who would say no to that – to a bit of time travel and season stretch in order to stay with the season of becoming and of re-energy. Greenery is an anagram of re-energy: I was thrilled to discover that.

Pied flycatcher, Ficedula hypoleuca, single male singing on branch, Powys, Wales, April 2012

When most people think of spring they think of new life, new beginnings, however you eloquently write “spring means more to me with every year that passes and takes me deeper into my own autumn.” Could you elaborate more on this, what does springtime mean to you?

There’s that lyric to a song: you don’t know what you’ve got ‘til its gone…. And I think as we get older the morning of life, the world’s morning as D H Lawrence called spring, feels more and more poignant and uplifting. We are headed only one way but, hey presto, here are new shoots, and green beginnings once more, and then a chiffchaff, fetching an echo out of a wood, as Gilbert White noticed them doing in Eighteenth Century Selborne in Hampshire. My eyesight has got worse, my hearing is half-baffled, I move increasingly with a wobble, but the injection of new birds from the south, the heavenly racket of their song, and seeing them at home in their new places is a forever tonic, like an effervescing vitamin C tablet, or a pick-me-up, or a fillip – life is worth living among those that are living it most, and spring visiting birds are the most alive – active, mobile, purposeful, committed – things that I know.

As you explore life and death, love and grief through springtime, is there anything in particular you would like for people to take away from this book?

I think we all spend a lot of time ignoring time, shut away from the weather, heating our lives, conditioning our air, eating strawberries out of season, yet I know that we all, almost all of us at least, notice the spring, want it, anticipate it, lift our faces to the first splash of sun after grey skies, talk about snowdrops, look out for the first swifts, and so on… We are reminded of spring by spring itself coming around, it schools us in life and growth, in beginnings and becomings; and in my book I just want to underline that reminder and encourage us all to take in what can be taken in, and to keep in step with the passing of time and so live happily in time and on time too. Look at the birds that do that so well; I have done that and it has helped me live.

Tim Dee has been a birdwatcher for most of his life and written about them for twenty years.  As well as Greenery, he is the author of LandfillThe Running Sky and Four Fields and is the editor of Ground Works.

 

Greenery

Hardback | Oct 2018 | ISBN-13: 9781908213624   £15.99 £18.99

 

 

 

 

The Accidental Countryside: interview with author Stephen Moss

Stephen Moss is a naturalist, broadcaster, television producer and author. He is the original producer of the BAFTA award-winning series Springwatch and has worked with David Attenborough, Chris Packham, Alan Titchmarsh, and other leading naturalists. Passionate about communicating the wonders of nature, he also lectures in Nature and Travel Writing at Bath Spa University. Originally from London, he lives with his family on the Somerset Levels and is President of the Somerset Wildlife Trust.

In The Accidental Countryside: Hidden Havens for Britain’s Wildlife, Stephen writes about the secret places, that are often overlooked when it comes to protecting habitats and wildlife. Stephen has given his time to sign copies and answer our questions about these vital habitats in our hidden corners. 

 

What inspired you to write about the ‘hidden havens’ for Britain’s Wildlife?

I’ve always been fascinated by these forgotten and secret places, that are often overlooked when it comes to protecting habitats and wildlife. As I say in the book, I first got my passion for the natural world by visiting the gravel pits near my suburban home; today I live near the Avalon Marshes in Somerset, another post-industrial habitat, created from disused peat diggings. During my career at the BBC Natural History Unit, I often filmed at these edgeland locations, as they harbour such a range of interesting wildlife, and are often more accessible to people than classic nature reserves in the countryside. 

Of all the places you visited, which habitat surprised you the most regarding its biodiversity?

That’s a tricky one, as I think they all surprised me in some way or another. The Avalon Marshes is probably the most packed with wildlife – three species of egrets, marsh harriers, bitterns and the famous starling murmurations on winter evenings – but I also loved the Montiaghs (in rural Northern Ireland, where peat was dug by hand), Parc Slip in South Wales (a former open-cast coal mine) and best of all, Canvey Wick in Essex, Britain’s first brownfield nature reserve, and a paradise for invertebrates including rare dragonflies and damselflies.

Avalon Marshes

Your book features exceptional and inspirational people that have found ways to make the most unlikely places wildlife friendly. Is it possible to highlight just one project that has succeeded against the odds?

Again, the Avalon Marshes stands out: once the peat had been removed, we were left with an ugly, scarred and wildlife-free landscape, which it was suggested could be used as a landfill site for Bristol’s domestic waste. Thanks to a local campaign, they were instead turned into nature reserves; thirty years later this is one of the best places for wildlife in the whole of the UK. Others include Canvey Wick, which again could have fallen to the developers; the roadside verges of Blandford Forum in Dorset, which are now awash with wildflowers and butterflies each summer; and the RSPB’s Window on Wildlife at Belfast Docks, home to breeding Arctic Terns.

A Murmuration of Starlings

Is there one habitat that you think hasn’t reached its wildlife friendly potential?

That’s easy! The rest of the ‘official’ countryside – the 70% of the UK that is used for farming. Of course we need to produce food, but not at the expense of wildlife, which is what is happening on the vast majority of farms at the moment. Some visionary farmers are working with conservationists to buck the trend – for instance, the Marlborough Downs Nature Improvement Project in Wiltshire – but most are simply fulfilling the consumer and supermarkets’ demands for cheap food, whatever the cost to the environment. 

You have been writing for many years and unfortunately, wildlife has suffered a substantial decline over the last few decades. Has your recent experience writing The Accidental Countryside left you more optimistic or more pessimistic regarding the future of wildlife in the UK?

I’d love to live in a country where the sites I feature in The Accidental Countryside are not important because the wider countryside has been transformed into a haven for wildlife. But I’m not holding my breath, despite the things we hear from the government. Now, more than ever, we need to understand that a healthy, wildlife-filled environment is not some ‘bolt-on extra’ to our lives, but essential – to the health and well-being of nature, of ourselves, and of course for the planet as a whole. So I have to be optimistic: there is no other choice!

Are there any books or projects that you are currently working on that you can tell us about?

Yes, I am just about to deliver the third in my series of ‘Bird Biographies’ for Square Peg (Part of Penguin Random House). Following bestselling books on the Robin and the Wren, I am now writing about that classic sign of spring and summer, the Swallow. I am a late convert to Swallows – only since I moved from London to rural Somerset in middle age have I grown to appreciate this classic bird of the British countryside. Writing this book, I have also grown to appreciate that the swallow is, as the writer Collingwood Ingram once noted, “beyond doubt the best known, and certainly the best loved, species in the world.”

 

The Accidental Countryside: Hidden Havens for Britain’s Wildlife                              Hardback,  published February 2020           £13.99 £16.99

 

 

Also by Stephen Moss: 

The Wren: A Biography                                                           Hardback,  published November 2018                                    £12.99 

 

Mrs Moreau’s Warbler                                                                                  Paperback,  published April 2019                                                  £7.99 £9.99

 

Wonderland: A Year of Britain’s Wildlife, Day by Day                    Paperback,  published April 2018                                                             £9.99 £12.99

 

Wild Hares and Hummingbirds: The Natural History of an English Village                                                                                 Paperback,  published September 2012                                                   £7.50 £9.99

 

  

Author Interview: Mike Potts, Untangling the Knot, Belugas & Bears: My Natural World on Film

Film-maker Mike Potts.

Mike Potts’ career as a wildlife cameraman took him to many of the world’s most spectacular locations and involved filming with Sir David Attenborough.

Mike has signed copies and answered questions about his new book, Untangling the Knot, Belugas & Bears: My Natural World on Film, giving readers the chance to travel with him and share his incredible experiences.

 

Mike on location with Sir David Attenborough.

What made you pursue a career as a wildlife cameraman?                         From an early age I developed an interest in natural history and photography, particularly of birds. I was fortunate in being able to turn a passionate hobby into a profession from early beginnings with the RSPB  Film Unit.

How did you manage a work-life balance when your work took you far away for significantly long periods?

My wife, although working herself, was able to run things at home in my absence.

 

Mike signing copies of his new book

Today, there is GPS and the internet: 30 years ago that technology wasn’t as advanced. What difficulties did that present and how were they overcome? (I’m trying not to say, did you ever get ‘lost’?)

In the early years of my career, before mobile phones, we would often be out of contact for many days, or weeks, when out in the field camping. On some trips, we did have the use of the early satellite phones, so at least there was some contact. Having a local biologist that was familiar with the terrain was essential, otherwise getting lost was a real possibility. It did happen in Australia when I was lost on my own in a tropical forest for several hours, quite scary!

Walruses at Round Island, Alaska

Was there one exceptional location you filmed in that stood out from all the rest?

Alaska particularly has many special memories. I spent over a year there working on three 50 minute programmes. If I had to choose one location, it would be the McNeil River in SE Alaska; here brown bears gather in summer to feed on salmon moving upriver to spawn. Sometimes, over 50 bears can be seen in the river, and standing shoulder to shoulder use various different techniques to capture the fish that are so essential to put on fat for their winter hibernation.

What does ‘Untangling the Knot’ in the title of your book refer to?

Some years ago I worked on a film called ‘Untangling the Knot’, which was about the bird, the Red Knot. It has a long migration from its wintering grounds in South America to breeding grounds in the high Arctic of Canada. So ‘Untangling the Knot’ was the story of the feeding habits, complex migration routes, and remote breeding areas of these great travellers.

 

If someone was inspired to pursue a career filming wildlife, what advice would you give them to get started?

When I started my filming career in 1978 everything was shot on film, which was expensive, as was the equipment to shoot it with. The only way to prove your ability was to shoot a sequence and try to get it seen by wildlife producers at the BBC Natural History Unit or the RSPB film Unit. There were not any wildlife film courses back then. Now there are many more people interested in becoming wildlife cameramen, so the competition is great. What advice would I give? One advantage now with the proliferation of video cameras at low cost is that it is possible to go out and shoot a sequence at no great expense. Choose a subject that you have good knowledge of and try to shoot it differently from what has been done before, then get it seen by someone within the business. If you have access to a scarce or unusual subject, even better, especially if it is on your doorstep (always check licence requirements). You can of course try and get a placement on a ‘wildlife film making’ course but that doesn’t mean a job at the end of it. Virtually all cameramen are freelance, so work is never guaranteed. Good luck.

Can you recall any one moment or experience in your career that encapsulates all that being a wildlife cameraman involved?

I think the most rewarding experience was filming Birds of Paradise in New Guinea. Sitting in my tiny mosquito-filled hide in the pitch-black, 150 feet off the ground, I wondered quite what I was doing there. Then as the dawn began to break and the chorus of tropical birds started I knew why. Shortly afterwards as the first Greater Birds of Paradise appeared the excitement was overpowering. Several males with their golden plumes were bouncing around just 60 feet in front of me, courting the growing number of females nearby. This made all the 3.00 am starts, the long walks through the forest and the exhausting tree climbing worthwhile.

What are your current plans and are there any future projects you can tell us about?

I am now retired from filming, and although I have been trying to get a film off the ground on the Albatross, it is difficult to get the substantial funding for these projects. For the last 2 years I have been writing the book and having exhibitions of my photographic work.

 

Untangling the Knot, Belugas & Bears: My Natural World on Film
Paperback,  published February 2020              £16.95 £20.95

Mike has spent more than 30 years as a wildlife cameraman. A highlight of that career was filming the Birds of Paradise and Bowerbirds with David Attenborough.

 

Further reading…

Journeys in the Wild: The Secret Life of a Cameraman
Hardback,  published August 2019,

£13.99 £16.99

Gavin’s book, Journeys in the Wild, is available from NHBS and you can read more about his life as a cameraman in our blog post from last year.

Bone Building Books: an interview with author Lee Post

We recently became aware of a fantastic series of manuals that give readers instructions on how to clean, prepare, and articulate animal skeletons. We caught up with the author, Lee Post, a self-professed bone man, to ask him more about these guides and his work.

Hello Lee, thanks for the opportunity to ask you some questions. How does one become a bone builder? Was this always something you were interested in or did you fall into this more or less by accident?

Project Orca and the team of students and retired folks that help build it. © Lee Post

As a child, growing up, I was a classic nature nerd. My room looked more like a Victorian curio cabinet than some place someone might actually sleep. Anything related to the animal kingdom was something I was interested in collecting. The ultimate treasures were bones and skulls. But I had never thought about articulating anything myself. My passion for articulating skeletons grew out of a move to a small town in Alaska that had a very progressive little natural history museum. I had a part-time job in the winter and volunteered the rest of my time at this museum. I was given an opportunity to research and articulate a 17 foot Stejnegers Beaked Whale the staff had collected and cleaned. That was my first winter project. My research into how to articulate that skeleton came to a lot of dead ends and some questionable advice. I could find nothing in print on building whale skeletons. With a background in bicycle mechanics and carpentry, and a lot of suggestions from local craftsmen and women, I got that skeleton together, and from then on I never stopped working with bones. Collecting, cleaning, building, illustrating, curating. It was being in the right place at the right time under the right circumstances. In other words, a total accident.

What made you decide to write manuals on constructing and articulating skeletons?

For years I’d been cleaning and articulating a skeleton or two each year. This led to a 3-year Pratt Museum, Homer High School collaborative project, in which I worked at the school with all kinds of interested students. We articulated a 41 foot long sperm whale in the school, and the

Gray whale project. © Lee Post

following year students worked on about a dozen other skeleton projects, ranging from sea otters to a moose, to porpoises, to a porcupine. The exhibited work they did in their school was open to the public over the following couple of summers. Teachers and educators from lots of places that saw those exhibits wanted to know how they could do similar projects with their students. I had kept a notebook on almost every skeleton I worked on and from those made some crude, hand-lettered, illustrated manuals on how to prepare and build animal skeletons. My day job was working in a bookstore, and there were no books in print on working with bones. This was 20 years ago. Later, an intersection of those hand-printed, photocopied notes, and me, and a talented lady (now my wife) who knew how to do desktop publishing, resulted in the birth of the Bone Building Books about 15 years ago.

Who buys these guides? Do you find that they are used by museum curators, or mostly by individual naturalists? And what has the feedback been?

The manuals were originally written for teachers and students who wanted to do a museum quality skeleton on a limited budget, with materials they

Lee petting a sea lion done by a group of students and docents at a Marine Life center. © Lee Post

should be able to find even in a small town. Over the years, the manuals have been enlarged and corrected and improved each time I have worked on that type of skeleton. I’m always trying different materials and testing new techniques. Today they are used by everyone from teachers to museum workers, to home hobbyists to University projects with students. The other group of people who were getting these were bone collectors and zoo archaeologists who really just wanted to look at the pictures. They had no interest in the articles or in building a skeleton. And the manuals didn’t even have a centerfold. The feedback has been very enthusiastic. For many hobbyists and home naturalists who have wanted to get accurate information on how to prepare the bones and build the skeletons, these have been their bibles. When people get stuck, they often e-mail me. That’s often a clue I didn’t explain something well enough, and the next revision will try to remedy that.

What advice do you have for aspiring bone builders?

Don’t plan on doing this for a career. You would likely starve. But if this is your interest and passion, there is enough information out there these days that you should definitely pursue that interest. There are no skeleton police. There are no university degrees in this. Many of the best skeleton articulations of land mammals are being done by home hobbyists. You too could be doing that.

A deer that a high school student collected and assembled. © Lee Post

From the short video clip of Indie Alaska that I saw, it seems you teach courses to students. Do you also offer workshops for museum professionals?

A wolf that a 6th grade class in Alaska cleaned and articulated as part of a week-long class project. © Lee Post

Many of my favorite projects have been done with groups of interns and docents in museums and marine-life centers. On occasion, the paid staff have joined in, but usually, the staff has too much other work to be able to take the time off to do much hands-on work building a large skeleton. My favorite projects are when I have an enthusiastic group of volunteers and an organization with someone who wants to organize a large skeleton build project. Then, I get to teach and be the foreman and boss around the volunteers, who get the thrill of working with real bones and being part of a team that builds a world-class skeleton.

Are there any particularly challenging skeletons you worked on, or any particular animal skeletons you would still love to tackle?

I’m still sorting out sea turtle skeletons. They have very unusual bones. I’ll be trying to figure out a crocodile skeleton soon. I’m always interested in working on new marine mammal species. They are the animals I have the most experience with.

You have now written nine guides to specific animals and animal groups, plus a general reference book, the Bone Builder’s Notebook. Are there plans to write any more guides?

I’m doing a lot of illustration work on bird bones. I can imagine these might

A lynx skeleton. © Lee Post

one day get compiled into some type of identification guide to bird bones. I’m also getting more and more requests for information on articulating reptiles. I live in Alaska, and there is a serious lack of reptiles in my area. However, I’ll be working on some large reptiles in Mexico in the near future, and I never know when I’ll get so inspired that I might try to write something useful on how those bones fit together.

 

You can discover the complete selection of Bone Building Books on the NHBS website

           

 

Red Sixty Seven: A Collection of Words and Art Inspired by Britain’s Most Vulnerable Birds

Red Sixty Seven features our most vulnerable bird species, beautifully illustrated by some amazing wildlife artists. All of the publishers profits from the sale of this book will be donated to BTO and RSPB to further their work on red listed birds.

Contributors include Chris Packham, Ann Cleeves, David Lindo,  and Patrick Barkham.

This book should not exist.

In an ideal world this book, and the official Red List of the most vulnerable birds in the UK it is based on, would not be needed. But the world is far from ideal and our bird populations are declining at an alarming rate. In the past few years alone the once widespread Wryneck has ceased breeding in the UK altogether and has dropped off the list completely. Which species will be next?

Editor, Kit Jewitt has taken some time to answer a few questions about the Red Sixty Seven book project and the list itself.

Hen Harrier: Jane Smith

Of all the birds on the Red List which do you think is most vulnerable?

If I had to choose one, it would be the Hen Harrier. Not only do they have to deal with all of the natural challenges they face, they also have to contend with persecution from criminals within the grouse shooting industry, which evidence now suggests is the main cause of their decline in numbers. The fact that 72% of tagged Hen Harriers are confirmed or considered likely to have been illegally killed is a national disgrace. However, in terms of the recent rate of decline I would also suggest Turtle Dove is a species of highest concern.

Herring Gull: Crow Artist

Many people will be surprised to see herring gull on the list, could you expand on how this seemingly ubiquitous bird has made the list?

Herring Gull populations in coastal areas have dropped by over 50% in my lifetime. This is largely due to the lack of food at coastal sites, with overfishing of UK coastal waters and warming seas caused by climate change likely to be the main reasons for the reduced amount of food available to gulls and other seabirds. They are adaptable, intelligent birds though, so moving to inland areas, or areas where humans create waste for them to eat has been a way for some populations to survive.

Merlin: Natalie Toms

Have any birds managed to move away from the Red List to Amber over the last year or so, and which birds are the most recent additions?

Nineteen species were added to the red list for the first time when it was last updated in 2015, and one species, Merlin, moved back onto the list. Breeding seabirds, such as Puffin, Kittiwake and Shag are now included, and with the additions of species such as Woodcock, Nightingale and Pied Flycatcher there are now more woodland birds on the list than any other habitat. Two species, Bittern and Nightjar, have moved from the red to amber lists thanks to the creation and management of suitable habitat, stimulated by species action plans.

White Fronted Goose: Szabolcs Kokay

We know how we as individuals can help garden birds, but the list contains a high proportion of iconic water birds. How can we as individuals help preserve the many waders and ducks that are on the list?

Many projects being conducted by BTO, RSPB WWT and others help waders, seabirds and ducks, so fundraising for these is vitally important. My main motivation behind the Red Sixty Seven project was to do something to help these declining birds, by spreading the word and raising money for conservationists on the ground. By highlighting the red list far and wide, more people will care and will then hopefully start their own fundraising for BTO’s Operation Wader or Curlew appeal, or WWTs Black-tailed Godwits appeal, or whichever scheme chimes with them. I can’t run marathons or undertake extreme endurance like my friend Jonny Rankin, who has raised over £19,000 for Turtle Doves, so I had to think of a different way of fundraising!

Corncrake: Robert Vaughan

Farmland bird species also make up a large part of the list. Can you see any hope for securing the future of our most rapidly declining farmland species?

The change in farming and land management practices over the last 40 years, including the use of pesticides and changes in crops grown have ultimately reduced the amount of appropriate habitat, and food sources for our farmland birds. Post Brexit, there is an opportunity for the government to make changes to policy to help our farmland wildlife. I just hope they take full advantage of it.

Lesser Redpole: John Threlfall

We love the idea of using the power of beautiful words and paintings to deliver a conservation message. Do you think that engaging the reader emotionally can result in more concrete conservation actions being taken?

I hope so! As well as raising funds for crucial work to help red-listed species, I hope Red Sixty Seven brings the list and the plight of these birds to a wider audience, inspiring other people to take action themselves, whatever that might be. The artwork and stories within the book bring home the message in a very accessible way, and you are left under no illusion that we must do something. There is a poignant sting in the tale at the end of the book; an ‘In Memoriam’ section devoted to the birds we have lost as breeding species in recent years. This book is a call-to-arms.

All of the publisher’s profits from the sale of this book will be donated to BTO and RSPB to further their work on red listed birds.

Red Sixty Seven: A Collection of Words and Art Inspired by Britain’s Most Vulnerable Birds
Hardback,  published February 2020              £19.99

Red Sixty Seven is 67 love letters to our most vulnerable species, each beautifully illustrated by some of the best wildlife artists around.

 

The Vegetative Key to the British Flora: an interview with author John Poland

With re-written keys, additional species, phenology and  many new identification characters, this second edition of The Vegetative Key to the British Flora will be an essential tool for anyone wishing to identify plants when no flowers or fruits are available.

Author John Poland has taken time to answer a few question about the making of this eagerly waited update.

 

John Poland at Hazelslack, Silverdale

Could you tell us a little about your background and how you got interested in botany?

I grew up in urban Lancashire but luckily nature and ‘weeds’ are everywhere. The Lake District was a weekend camping haunt as a child so my curiosity of the natural world never disappeared.
I think the i-spy/Find 50 books that adorned bookshops at the time fostered this interest as I was always hunting for the rarities, sometimes even successfully! Later, local natural history societies and national societies such as the BSBI and Wild Flower Society were great at mentoring and developing more advanced ID skills.
My day job is in ecological consultancy which combines a passion for the natural world with protecting it for others to enjoy. Botany doesn’t always get the prominence it deserves but it plays such an important role in our environment.

Why did you consider producing a second edition of The Vegetative Key to the British Flora and how long has it been in preparation?

The second edition was started the day the first edition was in my hands in 2009! It was a good first attempt, but there is always much to learn and many diagnostic characters were overlooked. This volume aims to correct this by evolving a more definitive ID guide based on 10 years of extensive testing by many botanists. Writing The Field Key to Winter Twigs gave me a new perspective on key-designing concepts so some of these have been applied to the new Veg Key to make it easier for users.

Can you advise on the best ways to use this book?

Always read the keys and never try to pre-empt a question! In this edition, every key has been revised to make ID easier and more accurate.

What kit or equipment can you recommend to aid identification of plants in the vegetative state?

It’s mostly very basic (and inexpensive). A x20 hand lens is best in the field and an x15 LED magnifier is great when working indoors. A measuring loupe is a handy tool and easier to use than a microscrope for fine measurements.

Is there one easy mistake that can be made when identifying plants in their vegetative state?

Perhaps overlooking hair type or presence/absence of latex and stomata. These need careful interpretation but it gets much easier with practice, honest! The key works using obvious characters to start with before getting down to the nitty-gritty. I try to give both simple and technical characters to give the user confidence of getting a correct answer.

Have you got any future projects planned that you can tell us about?

There is always plenty to do in botany. I’m already working on including the entire British Flora. Neophytes are hitching a ride all the time and hortal plants constantly jumping over the garden wall. Perhaps a book on evergreen trees and shrubs would be useful for winter botany but I’m only on the bare bones of that key at the moment…

 

The Vegetative Key to the British Flora: A New Approach to Plant Identification
Paperback,  published January 2020                £24.99 

The second edition of this go-to identification guide is much revised, with re-written keys, additional species, phenology, and many new identification characters.

 

The Field Key to Winter Twigs: A Guide to Native and Planted Deciduous Trees, Shrubs and Woody Climbers (Xylophytes) found in the British Isles
Paperback,  published November 2019             £19.99

A unique identification guide to winter twigs, allowing for rapid species identification.

 

Author Interview: Lukas Jenni & Raffael Winkler, Moult and Ageing of European Passerines

The legendary Moult and Ageing of European Passerines returns in a completely revised second edition. This is the must-have reference for bird ringers, ornithologists, and anyone fascinated by feathers.

Bloomsbury’s publisher, Jim Martin has asked the authors Lukas Jenni and Raffael Winkler to share their thoughts about this eagerly awaited second edition.

 

How did the two of you first come to be interested in ageing birds?

Back in the seventies, Raffael was collecting data on skull pneumatization of live birds at the ringing station Col de Bretolet in the Swiss Alps as part of his PhD thesis, and Lukas was a young birder and wannabe ringer. We met at the Basel Ornithological Society, and began to collaborate. At that time ‘skulling’ was a new ageing method; we found as we worked that several plumage ageing criteria were either unreliable or simply wrong. We then started to record more precisely the extent of the post-juvenile moult.

What drove you to keep up your work in counting the moulted and unmoulted feathers of thousands of birds?

We were both fascinated by the large variation in the extent of moult we found, both between species and between individual birds of a species. We wanted to discover the reasons for this variability. And we also wanted to tackle the ‘either/or’ criteria that prevailed for ageing birds at the time – for example, tail feathers might be recorded as either pointed or rounded, but if a young bird had moulted some tail feathers they would have some of each. Ringers were using fixed ‘recipes’ for ageing that did not account for the moult process and its variability.

When did you decide to collate your findings into a book?

Lukas became head of the Swiss Ringing Scheme in 1979, and we both held many ageing courses for ringers, and produced numerous fact-sheets for them. The basis of these was Lars Svensson’s famous Identification Guide to European Passerines; each new edition of this formidable work was eagerly awaited. However, we realised that explaining verbalised differences – for example, such as between buffish-grey and greyish-buff – was a little difficult. It was much easier to teach ringers with the help of wing preparations and skins from the Natural History Museum, Basel. Finally, we decided to take photographs of these elements, with a view to producing a guide to ageing. This eventually became the first edition of Moult and Ageing of European Passerines, which was published in 1994.

The new second edition is publishing in January 2020. This book is more than an ageing guide. What made you develop the sections on moult strategies?

During our work on moult, we realised how complex the moults of passerines are and how incomplete our understanding of moult still is. We felt that a full review is needed for two reasons. First to demonstrate how important moult is in the life of a bird and how moult interacts with other events of the annual cycle. Second to enhance the understanding of the plumage ageing criteria, and to enable ringers to discover new ones.

This will be expanded on in your follow-up book, The Biology of Moult in Birds, which will be coming out in the summer. For Moult and Ageing, how did you take the many excellent photographs of the wings of live birds?

We developed a simple system of a camera with a ring-flash mounted on a tripod, and put the wing of the bird on an oblique grey board, fixed at the wrist with double-sided adhesive tape (we should add that the birds were completely unharmed by the process). This sounds simple, but the tedious part was to put all the feathers and feather vanes in a perfect order, one that satisfied our sense of aesthetic perfection! We then realised that we needed help, and we employed several people over the years to operate as ‘feather beautician’ and photographer.

Physically, it’s quite a big book, and not easy to use in the field. What was the thinking behind that?

We pondered for a long time about this. We finally decided on such a large format so that the reader can see many photographs on one page for direct comparison. A smaller format would have entailed smaller photographs, or continuously turning pages, or both.

How do you think this book will be received?

We were really surprised at the reception for the first edition, how quickly it sold out, and the enormous price second-hand copies went on to fetch. We therefore decided to do a second edition long ago, but it has taken us many years of research, and so has materialised only now. We thoroughly revised the first part of the book about the moult strategies, we’ve included a schematic table of the moults of all European passerines and added pictorial schemes of the various moult strategies, and we have also added 16 new species to the species accounts. The book was printed in Switzerland, so we could supervise the printing. We are glad that the quality of the photographs is now ’pretty good’ (complying with English understatement) or ‘phenomenal’ (following American usage), and we hope that readers will feel the same.

Thank you Lukas and Raffael, and good luck with the new book.

Jim Martin: Bloomsbury Publishing

 

 

 

Moult and Ageing of European Passerines
Hardback,  published 9th January 2020,  *£82.99 £94.99

A brand-new, completely revised second edition of Jenni and Winkler’s classic guide, updated and improved for the next generation of ringers and professional ornithologists.

 

 

*Offer price is only valid for a limited period

 

The History of a Ray Society Publication: ‘The Handbook of the Bees of the British Isles.

 

In October 2018, the Handbook of the Bees of the British Isles – ‘Bees’ -was published by the Ray Society. This book is a thorough, authoritative account of the current state of knowledge of bee fauna. It is the culmination of more than forty years of study by George Else, a now-retired entomologist at the Natural History Museum London (NHM) and Mike Edwards, a professional ecologist, along with many other naturalists and professionals over the years.

The Handbook of the Bees of the British Isles, Volume 1 and 2

Here, along with quotes from the authors – Nick Evans, Mike Edwards and George Else, we recount the challenging production of ‘Bees’ from when it began in the 1970s to its publication in 2018.

“Many years of study, preparation and collaboration lie behind the production of major and definitive works. This history of ‘Bees’ gives an insight into the production of a major monograph as well as a case study of the problems and setbacks for other similar projects.”

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The idea for a handbook of the bees of the British Isles was first conceived in the 1970s when at the time, there were few works dealing with British bee species. Initially, the brief was to produce a Royal Entomological Society (RES) Handbook using revised and updated keys.

“The initial brief (as suggested by Paul Freeman, the then Keeper of Entomology [at NHM]) was to take earlier keys, add further information to these and publish as a Royal Entomological Society of London (RES) handbook.  However, as the work developed it became clear that it would not fit into the format of a typical RES Handbook.”

Originally, the publication of the Handbook of Bees of the British Isles was set for 1989. However, after problems identifying species and researching their biology, the deadline was missed. At this point, the NHMand the RES stepped away from the project but thankfully, ‘Bees’ was picked up by The Ray Society in 1994.

“The Ray Society, a registered charity, was founded in 1844 by George Johnson to make available works which, although being valuable scientifically, would not otherwise be published as they would not be commercially viable. This meant that the Ray Society was able to take on this type of work and tolerate the problems involved. The project was accepted by the Ray Society and the sole author at that time, George Else, and other collaborators, in particular, Mike Edwards, whose involvement had started in 1974, continued to work on The Handbook of the Bees of the British Isles.”

Page 354 – Handbook of the Bees of the British Isles

As research for ‘Bees’ was initially conducted before the internet, progress was slow. Literature had to be sourced and studied in person and the examination of museum collections required travelling across the country. The creation of the Bees, Wasps and Ants Recording Scheme in 1977 and the reciprocal society (BWARS) in 1995 coordinated the focus of professional and amateur bee workers, thus assisting in the research for ‘Bees’.

 

With research developing, the time to illustrate key features began.

Bumble bee – Handbook of the Bees of the British Isles

“The work involved the production of many figures featuring bee genitalia and other anatomical features. In the early stages of ‘Bees’, the only available method for producing these was as line drawings. These had to be produced to a high standard providing illustrations of the key characteristics for identification.”

Peter Skidmore, a former entomologist at Doncaster Museum was able to produce drawings for the handbook regularly to a high standard. After Skidmore’s passing in 2009, the production of illustrations stagnated until technological advances were made in the 1980s.

“Focus-stacked images (automontage) were taken, using Helicon Remote and Helicon Focus software with a Canon D5 v3 camera on a Leica M7.5 binocular microscope. However, learning how to achieve a good image took time and practice; three years working mostly on Sundays.”

Key from the Handbook of the Bees of the Britsh Isles

Keys were developed and produced in parallel to the images and illustrations, informing their creation. It was intended for ‘Bees’ to be accessible to naturalists as well as specialists so the keys were later submitted to the public domain for development and feedback.

However, the production of ‘Bees’ wasn’t without its obstacles, two external events further slowed the progress.

 

“The first was a major and definitive revision of world bee genera undertaken by Charles D. Michener -The Bees of the World published by The John Hopkins University Press, Baltimore and London […] finally published in 2000.”

This revision had to be incorporated into ‘Bees’ to ensure accuracy. This delayed publication until Michener’s study had been published in the early 2000s.

“The second event was the planning and move of the Museum’s [NHM] Entomology Department staff and collections from the Entomology Building to a new building in South Kensington. The decanting of the entomological collections from the old building prior to its demolition was in summer 2005 and their move into the new building was completed in 2009.”

During this time, the collections were unavailable and Else, along with his colleagues at the NHM had to help with the move, delaying ‘Bees’ significantly.

In early 2000, work began on designing and constructing ‘Bees’, now a two-volume set. Ten years later, the Ray Society became actively involved in the production of ‘Bees’. Eventually, the Handbook of the Bees of the British Isles was ready for publication in 2018 and was launched at the Amateur Entomologists’ Society fair on 6th October of that year.

Launch of the Handbook of the Bees of the British Isles – Oct 2018

“The Handbook of the Bees of the British Isles represents the culmination of over 35 years of work and, as this account records, was a collaborative project involving a wide range and number of contributors, both specialist and non-specialist, professional and amateur.”

The Handbook of the Bees of the British Isles is the result of a wide range of sources and extensive contributions and collaborations from experts and naturalists alike; it is consequently a definitive work on the bee fauna of the British Isles and we are grateful for contributions from Nick Evans, Mike Edwards and George Else to assist us in celebrating the anniversary of this great work here on the NHBS Hoopoe.

We currently have special offers with up to 50% off on a selection of Ray Society titles.