Interview – Page 4 – Hoopoe

Author Q&A with Illustrator Mike Langman

Mike Langman has been a full-time illustrator specialising in birds since 1992 and has published a total of 85 books, including Park and Garden Birds and the Guide to Ducks, Geese and Swans, with his work also featuring in many UK birdwatching magazines.

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

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

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

How did you get into illustrating nature?

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

What are your favourite mediums for illustrating books?

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

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

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

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

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

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

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

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

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

How has climate change altered your approach to projects?

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

Do you see wildlife human conflict in your work?

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

What bird do you wish you had seen and why?

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

What projects are you working on right now?

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

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

Author Q&A with Hugh Warwick: Cull of the Wild

In Cull of the Wild, author Hugh Warwick investigates the ethical and practical challenges of managing invasive species to increase biodiversity. He explores the complicated history of species control over time, while also combining scientific theory and subtle humour, to explain the many issues conservationists face when trying to protect native species from their non-native rivals.

Hugh Warwick is an ecologist, conservationist and writer who specialises in the study of hedgehogs. He has published three books focusing on this species, however he recently expanded his field of study to include invasive species while writing Cull of the Wild. He has previously written for BBC Wildlife, New Scientist, The Guardian and The Daily Telegraph, is the spokesperson for the Hedgehog Preservation Society, runs courses on both hedgehog conservation, and lectures in creative writing.

Hugh recently took the time to talk to us about his book, including what inspired him to write Cull of the Wild, how he hopes his book will help future conservation methods, and more.

Firstly, what inspired you to write a book on the culling of invasive species?

The very first independent field work I did in 1986 – for the 3rd year project of my degree – took me to North Ronaldsay. My supervisor had a friend who was both the GP and the bird warden on this island, the most northerly in Orkney. He had noted that there seemed to be a correlation between the increase in number of imported hedgehogs (that was the postman’s fault!) and the decrease in breeding success of ground nesting birds – in particular the Arctic Terns. My work was to try and find out how many hedgehogs there were. This turned out to be around 500 – not the 10,000 the Daily Express had reported! The bird observatory organised an airlift to remove the hedgehogs after I had gone and I returned in 1991 to repeat the survey. Since then I have found the collision of ecological study with human concerns really fascinating.

This led me to become involved, rather inevitably, in the Uist hedgehog saga, where the RSPB and Nature Scotland were killing the hedgehogs for the very same reason they had been airlifted from North Ronaldsay. I quickly shifted from reporting on the story for BBC Radio 4, to joining the campaign against the cull, and then doing the research that helped stop it. But while all this was happening, I met a researcher from New Zealand who was telling me that they were killing hedgehogs over there (in the 1860s we sent a load of hogs over to help the colonialists feel more at home) I could see no reason not to kill those hedgehogs.

That apparent contradiction has been spinning in my head ever since and was the springboard for this book.

Close up photograph of a New Zealand Hedgehog walking through long grass. — New Zealand: Hedgehog, by Eli Duke via flickr.

How did you find researching such differing opinions on the subject, and have your preconceived opinions changed over the course of writing this book?

I found this book so very different from all the others I have written. Previous outings have always been with people who are just really pleased to talk – to share their enthusiasm for Beavers or Water Voles or owls. This was the first time where I felt like the initial communication was almost like a job interview – assessing whether I was suitable to talk to. Some people simply refused to talk, others were cagey. I guess I was quite naïve!

The journey of the book is basically one where my head and my heart are in constant debate. I lay out my ‘bunny-hugging’ prejudices at the start. I suppose I was hoping to find that all instances where animals were being killed could be dealt with in other ways.

One of the biggest lessons I learnt, though, was about how people, even ones with whom you have fundamental differences of opinion, share so much common ground. But you will never see that common ground if you charge in at the difference! I love that one of my potentially conflicting interviews ended up with the biggest argument being over who recorded the best version of Sibelius’ 5th Symphony!

In Chapter 1, you discussed that animals are shown to be continually developing to become more like humans – problem solving, making and using tools etc. Do you think this gradual form of humanisation may lead to more equal ‘rights’ between animal species and humans in relation to killing for conservation?

I would not look at this as humanisation – that is slipping back into the human exceptionalism that got us into this mess. Currently the degrees of cruelty we deliver to wildlife is arbitrary, based in large part on language and on the names we give them, even different members of the same species.

We need to recognise that these animals being killed experience pain, joy, fear and hope. If the realisation that different species have the capacity to do human-like things is enough to get this recognised, then that is some progress.

I have been gently eased away from the concept of ‘rights’ for animals and towards a desire to see cruelty minimised. Rights are important and I see their value – but here, I feel the best outcomes will emerge from a utilitarian desire to maximise good and minimise bad. Though that requires we have the idea that these animals, most of whom are simply in the wrong place at the wrong time, are individuals and can suffer.

A close up of a Red Squirrel stood on its hind legs on a rock eating a nut it's holding in it's front paws. — Red Squirrel, by Caroline Legg via flickr.

You must have visited many places and spoken to many different people about different species while you were writing this book. Were there any particularly memorable moments or experiences that that have stayed with you?

I did not get to some of the places in this book – time, Covid, money and a desire to minimise flying all conspired to keep the exotic interviews on Zoom. But the adventures I did have were all special.

Heading out along the coastline of South Ronaldsay, Orkney, with Spud – the most handsome labrador I have ever met – was magical. The wind blew, the surf crumped in from the Atlantic, and Spud, well, he followed his nose and we followed him as he tracked down evidence of Stoats.

The Stoat story is so important – it is about speed and trying catch this problem early – they were only found in 2011. But more than the practical, it is also about the buy-in of the local population. If the public are not onside, the conservationists can give up now. So it is about education and communication as much as it is about deciding which traps to use and where to site them.

A close up of a stoat climbing over a dark, wet, mossy log. — Stoat (Mustela erminsea) by big-ashb, via flickr.

In what way do you hope that Cull of the Wild will help future animal conservation efforts?

The overarching message I hope people get from Cull of the Wild is that ecology is both fascinating and VERY challenging when it is part of a conflict. Ecology is not given the level of respect that it should receive. It is always sidelined – economics and politics hog the headlines – yet both of those are but subsets of the wider ecosystem. Without a healthy ecosystem we are on a downward slope to disaster. So, I hope that people will read this book, maybe because they are outraged at the killing, and will then come away realising that ecology is very complex and should be treated with great respect.

I also hope that this book will convince people who hold very firm opinions – opinions that are often amplified by the bubbles in which we tend to linger – that people with differing views may well share many of the same values as themselves. And that to begin discussion at the common ground is the foundation of progress. Argument should not be about winning, but about making things better. Remember, it is quite possible that some of the things you know are wrong. A friend of mine turned up at a conference recently with a t-shirt saying ‘Don’t believe everything you think’. We should be humble enough to recognise we might be wrong.

Are you currently working on any other projects that you can tell us about?

As I write this, the lovely people at the publishers Graffeg are hoping I will stop promoting Cull of the Wild and finish the two books I owe them: one on bats and the other on nocturnal nature. I have another narrative nonfiction brewing – about as different to this book as imaginable. Something which will hopefully bring laughter into our love of nature.

Cull of the Wild is available to order from our online bookstore.

Author Q&A with Chantal Lyons: Groundbreakers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Groundbreakers is available from our online bookstore.

Author Q&A with Robert Wolton: Hedges

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

Robert is an ecological consultant and writer specialising in the management of farmland and associated habitats for wildlife. He is a former hedgerow specialist for Natural England, the founder, chair, editor and lead author of the Devon Hedge Group, has been involved in Hedgelink since it began, and has written a number of reports and articles specialising in hedges.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hedges is available to order from our bookstore.

British Wildlife Collection: interview with series editor Katy Roper

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Even in children’s tales, the wolf invariably represents a character of fear, violence and threat. Do you think these types of stories have a significant role to play in the development of our feelings towards wolves as adults?

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

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

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

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

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

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

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

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

Finally, what is occupying your time this winter? Do you have plans for more books?

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

Explore other titles by Derek Gow here.

Author interview with Edward Bent: Plant-Life: A Walk with Nature

This adventurous and versatile book explores the wonders of our relationship with plants and our involvement with nature. Full of information on botanical science, ecological and environmental factors, artistic appreciation and philosophical reflection, Plant-Life offers a more holistic view of nature than in other books within this field. The text is supported by detailed images, diagrams and tables which provide a framework of understanding for the critical and questioning mind needed to approach biodiversity and climate change.

Author Edward Bent’s career was founded on a Botany degree from the University of Hull, followed by many years of experience spent working across different sectors, including research, marketing and education. After moving to Italy, he became a self-employed consultant and writer with many of his articles published in leading international publications, as well as a founding director of UK plant breeding company Floranova Ltd. While producing a series of botanical art compositions exploring spatial relationships in plant communities, Edward was inspired to research and write this book as a way of reflecting on his understanding of plants and the ways of nature.

Edward recently took the time out of his busy schedule to talk to us about the inspiration behind his book, why he chose to write in a journalistic style, other projects he’s currently working on, and more.

In the first chapter it says that you have always wanted to explore the beauty of plants and flowers and to share an appreciation of their world with others. How did you first develop this fascination and love of botany?

From an early age I liked to draw and paint plants and flowers to express an artistic temperament and reveal what I thought to be aesthetically pleasing. This extended to outdoor landscapes. At secondary school, I studied botany at ‘O’ and ‘A’ levels, followed by a degree course at University. During these scientific studies, significant periods of practical work allowed greater awareness of the beauty of plants and flowers and led me to make drawings. This same awareness continued through research and teaching, in parallel with a scientific frame of mind. I refer later to the influence of realising botanical compositions of wildflower communities while retaining a botanical coherence.

A dichotomous key was one of the first methods used to identify different plant species and variants through a hand lens before pictorial guides were developed. How do you think this early identification technique has affected the ways in which we observe and identify plants in the present day?

Pictorial guides to identify plant species represent a very useful shortcut, but, in many cases, just a few characteristics such as flower type, colour and leaf shape are sufficient to get the answer. While most guides also carry some detailed written descriptions, this is not commonly referred to except for professional reasons or uncertainty. The methodology of using a dichotomous key not only requires more time, but also attentive observation of far more plant characteristics. This helps develop powers of observation, or a trained eye, and better understanding of taxonomy, while providing an enjoyable sense of investigation. I believe that pictorial guides were developed to speed up the process of identification and to provide ordinary people, not just botanists, with an easier-to-use instrument.

I really enjoyed how Plant-Life touched on the relationship between botany and other disciplines such as art, poetry, maths and bio-economics. What inspired you to investigate these relationships throughout the book?

Firstly, reading Keith Critchlow’s book (see my answer to your question six), but also because of the impressions perceived of the beauty of spatial relationships in natural plant communities, through observation and realising the botanical compositions from pressed plant material. The aspect of bio-economics relates to the common denominator of chaos and complexity. Some years ago, I had also written another book that had prepared my mind to be more receptive to these relationships, and gave rise to my logo/trademark WOW – Walk on the Wild side.

When walking in the country, I always sought the big picture, since nature – of which we are part – is more than just the science. The concept of ‘Art of nature and Nature of art’ also came through in my research, strengthening the wish to break down perceived barriers between science, art and indeed philosophy. Scientific methodology works through separation, not only between different disciplines but also within them, while an examination of nature demands a more holistic approach.

What inspired you to write in a holistic, journalistic style rather than the more traditional, academic style that many ecology books demonstrate?

I think a holistic style is essential to understanding the ways of nature. It involved a strong desire to engage in artistic appreciation and philosophical/spiritual reflection on the perceived beauty of plants and wildflowers in their natural habitats. That is something I have, as long as I can remember, ‘taken aboard’ with a mixture of interest, observation and empathy. The artwork involved in the realisation of a series of botanical compositions also inspired the book and gave rise to logo, N-ART-URA – The Culture of Biodiversity.

A journalistic style in communicating information in straightforward language was obligatory after analysing big data – scientific papers, news releases, books etc – to make the writing more accessible to a wider and multi-level readership. This mission and ability stems from teaching and years of writing feature articles for the horticultural trade press and a few books. Equally, easier, pre-digested science would be unable to deal with some of the concepts and information presented in my book.

Do you think our plant life will reach a point where species will consistently be able to adapt to, and thrive within, the ever-changing environment that human activities have created?

Much depends on the timeframe. Our destruction of ecosystems can be total or partial (leaving intact corridors) and usually happens very quickly, whereas the process of plant adaptation is gradual and long drawn out. The protection and conservation of large areas of wilderness are fundamental to securing the absence of damaging human activities. Despite this, nature is programmed to fill any ecological voids that occur.

The so-called ‘generalist’ plant species adapt far more quickly to new environmental challenges, as opposed to more specialist species adapted to precise habitats, such as alpine flora . The latter have a much smaller gene pool when needing to adapt to new conditions, rendering them more vulnerable to extinction. So, the generalist species will adapt more quicky and spread more widely throughout areas of ecological disruption and damage caused by human activity.

Species distributions will become increasingly alike between different geographical areas and continents, caused by human activities – travel and transport, for example. There will be new opportunities for hybridisation, mutation and a few new species or sub-species. In a few cases, plant breeding and genetic manipulation in agricultural and horticultural crops, can ‘escape’, potentially affecting wild species from which crops were developed.

How did you develop your Holistic Notion diagram and what can this teach us about the relationship between nature and human emotions?

This diagram is central to my book and needs further development. The publication The Hidden Geometry of Nature (Floris Books) by the late Keith Critchlow was inspirational and highly informative in providing links to further thought and research. I highly recommend this important book to students and teachers of botany to give the subject a wider context.

The human mind reasons and analyses, whereas the human heart brings natural phenomena together, connecting with natural beauty; something that is impracticable in scientific study, because scientific methodology invariably needs to be separate. The Holistic Notion diagram seeks to present mathematical principles lying behind nature and the universe that translate to specific aspects of ‘being’, the substance of what we are and what we see. In holism, emotions and intuition are as important as the science in terms of understanding. Emotions stem from our interest and perception of form and substance, engendering a feeling of continuity and gratitude.

You briefly touched on the role of computers and artificial intelligence in creating ecological models that can be used to analyse data and potentially assist in the recovery of our environment. How important do you think these technologies will be in this process?

I believe that artificial intelligence and computer power will be very important in realising ecological models because of the huge amount of data and number of variables involved. What is less certain is the success of these instruments in terms of conservation or rewilding, because the whole picture can never be pinned down to one moment in time. Plant-life and nature are in constant evolution, even more so with the dramatic effects of climate change. I define nature as working through dynamic instability, choosing complementary interdependence as the means. So, recovery will depend on the progressive ‘load’ of environmental challenges on plant communities, the biosphere and the Earth system itself, caused by climate change. Just how can artificial intelligence predict these events?

Do you have any current projects in progress that you can share with us?
I am seeking ways to complete my NARTURA project by printing and publishing a series of nine botanical compositions, because earlier samples were well-received and complement the book. It requires, a printer, marketing, and distribution located in the UK. Living in Italy makes this more difficult, although I do have digital samples and plenty of ideas.

Edward Bent’s book Plant-Life, a Walk with Nature was privately published and is available on the NHBS website at Plant-Life: A Walk with Nature | NHBS Good Reads

Author Q&A with David Seamer: A Beginners Guide to Freshwater Microscopic Life

A Beginners Guide to Freshwater Microscopic Life is a practical, spiral-bound guide written by David Seamer which offers a fantastic introduction to the multitude of microscopic organisms found in freshwater. For those with a more specific interest, An Illustrated Guide to the Freshwater Protozoa provides an extensive review of taxonomic information and detailed descriptions of 400 genera of Amoebae, Flagellata and Ciliata, all of which have a worldwide distribution.

David Seamer looking at the camera smiling while sat at a table with a pencil in his hand and a large white microscope on his left and a partially complete drawing of a microorganism on his right. In 1993, David Seamer bought an old school bus and converted it into a mobile home and laboratory. He spent the next 20 years travelling around south-east Australia and Tasmania collecting, cataloguing and drawing the biodiversity of the micro-world. David has now settled in a county town in Australia where he has access to a great range of environments from semidesert springs to alpine ponds and lakes and continues to sketch, study and identify microscopic life.

David took the time out of his busy schedule to discuss how he first got into studying microscopic life, the biggest challenges he’s had to overcome while creating these books and more.

Can you tell us about how you first developed an interest in studying microscopic life?

Ever since I was a small child, the natural world has fascinated me and my bedroom became a study place for caterpillars, tadpoles, lizards, insects of any description and anything else that I could keep in jars, boxes or old abandoned aquariums. But it wasn’t until I was about 15 and in high school that I discovered the micro-world, during a double biology lesson in which the teacher was using amoebas collected from a local pond as examples of an animal cell. While I was drawing an amoeba I noticed other ‘wigglers’ and drew them as well. After the lesson I approached the teacher and asked what these other things were. He pointed to a copy of Ward and Whipple’s Freshwater Biology and once I opened it and saw drawings of what I had seen, I was instantly hooked. I saved my money from a couple of lawn mowing jobs to buy my first microscope and it has become a lifelong passion ever since.

Which techniques would you advise a beginner in this field of study to use?

My advice to beginners is to be aware that these organisms are real creatures and should be treated with the same respect as any other animal. Collect your samples and examine them as soon as possible. Ideally, they should still be alive for once dead many of them decompose and break down very quickly. Preserved specimens often change shape and distort so live is always best. A good microscope is essential and the use of a measuring slide or an eye-piece micrometer, as well as phase contrast, is of great help. There are thousands of species so don’t try and identify organisms to that level. Genus or even family are as far down as one should go to start with.

I found it really fascinating looking at your illustrations of microbes and the incredible detail you’ve included. Can you explain the process of drawing from live microscopic observations and the challenges of this method?

Drawing from life requires patience and lots of it. Starting with basic measurements to get proportions is the first step. This illustration (see above) is fairly typical of my technique. I draw the initial outline and basic details in 2B pencil and then when I am satisfied that all is correct, I use various grades of felt tipped pens to complete the drawing. Of course one must have knowledge of the subject so as to point out specific identification pointers.

What does your essential field kit include?

My basic field kit apart from my wellington or gumboots, comprises a 30µm plankton net as seen in this photo, a basting pipette for mud surface collection, several numbered, wide–mouth jars with screw on lids, and a notebook for the recording of date, location, temperature and any other variable details – all packing into a large knapsack type bag in case a bit of a hike is involved.

What’s the biggest challenge you’ve had to overcome while creating these books?

The biggest challenge one faces is reference material. It is essential to get not only the identification correct, but also the internal structure of these tiny organisms. Because taxonomy is constantly changing and developing, keeping up with name changes can be a challenge. While the internet can be invaluable, it is full of incorrect information and one must be very cautious when using it.

When I started out, I was constantly frustrated by not only the lack of availability of reference material on this subject but also the language. So many books were written by scientists for scientists, or were so simple that they were pretty well useless, that finally I decided to write a number of comparatively comprehensive but simple guides aimed at the amateur, student and enthusiast. These guides have proved quite popular and have currently been despatched to 50 countries around the world.

How have environmental changes as a result of climate change affected the distribution of and variation in microorganism species?

Environmental changes resulting from climate change affect the distribution and variation of microorganisms in very subtle ways. Whilst many species are incredibly robust, others are very delicate and can easily be affected by things like water temperature. Some protists need very specific environmental conditions in order to exist. Freshwater is a fluid (no pun intended) environment and every change has its ramifications. For example, droughts can obviously dry out ponds, streams and even small lakes as well as change the oxygen levels and pH of water bodies and this can result in a change in biodiversity. Likewise, floods will have the same effect with an increase in additional nutrients such as nitrates and phosphates from farmers’ paddocks causing algal blooms.

David Seamer has privately published his collection, two of which are available at www.nhbs.com/david-seamer

Author Q&A with Michelle Sole: Antarctica: A Bird’s-eye View

This stunning photographic book, written in collaboration with penguinologist Dr Tom Hart, offers a unique view of Antarctica from above and captures the wonders of this magical place, from vast icebergs to penguin colonies in their thousands. Each chapter includes an array of incredible captioned images, taken from both land and air, and describes the resident wildlife and conservation efforts in this remote area.

Michelle Sole grew up living between the rolling hills of England and the alpine wilds of Andorra. In 2011 she moved to South Africa, spending the following six years working as a Safari Guide and nurturing her passion for photography, before becoming a photography guide on expedition ships in Antarctica and the Arctic where she continues to challenge her photography in extreme conditions today. Michelle’s thrill for adventure, nature and the outdoors is evident throughout her photography and writing, and since her career began her work has been published worldwide in papers including Africa Geographic and The Daily Mail.

Michelle recently took the time out of her Antarctica expedition to Snow Hill Island to talk to us about the inspiration behind the book, the challenges she faced photographing such a challenging environment and more.

You began getting into photography when you moved to South Africa in
2011. What encouraged you to take the leap from the sunny African
plains to Antarctica, and how does photography compare from one
environment to another?

I worked as safari guide in South Africa and one of my guests just so
happened to be the president of a polar expedition company and he offered
me a job! The opportunity was too good to pass up and in 2017 I started
working as a photography guide in Antarctica and the Arctic regions.

The photography varies drastically between Africa and Antarctica. In Africa
you are often hiding from the sun and in Antarctica the elements are against
you. The light in Antarctica is a lot harsher than in Africa and photographing black and white penguins on bright white snow takes some practice.

What was it that inspired you to create this book and capture Antarctica
from the sky rather than focusing solely on more conventional, land-
based photography?

I was approached by Dr Tom Hart from Oxford University to collaborate and
make this book. Tom had over 40,000 drone images from penguin and seal
surveys. These are used to try and gather population trends across different
locations in Antarctica and the Southern Ocean. I had a similar number of
images from the ground and a collection from helicopters. The aerial shots really add a different dimension and together with the images from the ground tell a grander and more unique story of the landscapes and wildlife of this remarkable place.

Did you face any significant challenges that you had to overcome while
taking photographs in such a remote, harsh and often unpredictable
environment?

Yes! The weather in Antarctica can be brutal. Some days you are battered by
the winds and you can’t feel your finger tips, or you could be in a snow storm with snow collecting on the top of your camera as you shoot. I always carry a towel in my bag to protect my gear. Salt water takes a major toll on photographic equipment and throughout the years I’ve tried to salvage numerous cameras, sadly they didn’t all survive. On top of that, I am often photographing from an unsteady platform – a zodiac (a type of rigid inflatable boat) that I am driving on the ocean.

Were you concerned over any possible impacts on the wildlife
that you photographed even though you used drones to capture some images?

Special permission was given to the researchers from the Penguin Watch
team to fly drones for scientific purposes to conduct penguin and seal surveys. The drones were flown at a non disturbance height. This is evident in the aerial wildlife photographs by the behaviour of the animals – the seals continue to sleep and the penguins continue to walk on their highways without so much as looking at the drone.

I was really surprised to see such a wide variety of habitats and species
in your photographs as I, like many, often think of Antarctica and the
surrounding areas as enormous ice-shelves rather than steaming
volcanoes and vibrant pumice rocks. Was there anything that took you
by surprise while you were out taking photographs for this book?

At the time of putting together this book I had six years of experience in Antarctica, so I was familiar with many of the different landscapes. However, on my first trip to Antarctica, like many others visiting for the first time, I was taken aback by the variety of landscapes on the seventh continent. As a guide in this environment, this initial wonder and surprise is something that I see in other people experiencing this for the first time on nearly every trip.

Are you currently planning to undertake any other photography projects
next year that we can hear a sneak-preview about?

As I write this I am currently onboard an expedition ship south bound to the most northerly Emperor Penguin colony in the world –Snow Hill Island,
Antarctica. I also work in the Arctic each summer and spend a significant
amount of time out in Africa. Although I have no current plans to produce
books on these areas, my photography portfolio continues to grow.

Antarctica: A Bird’s-Eye View has been privately published by author Michelle Sole and is available at www.nhbs.com/Antarctica: A Bird’s-Eye View.

25% of profits from the sale of this book is donated to Penguin Watch.

You can also visit Michelle’s website and follow her adventures on Facebook, Instagram and Twitter.

The Seal Project: Q&A with founder Sarah Greenslade

The Seal Project is an environmental conservation charity based in Brixham, Devon, which monitors, surveys and manages the welfare of seals on and around the South West coast, particularly Torbay and South Hams. Alongside seal conservation, the charity also focuses on engaging, involving and educating the community on the importance of protecting our ocean wildlife through presentations, talks, assemblies in educational settings, workshops and public events. Sarah Greenslade spent many years working as a key member of the British Divers Marine Life Rescue before establishing The Seal Project in January 2019.

Sarah, founder of The Seal Project, took time out of her busy schedule to answer our questions on the amazing work of The Seal Project, the effects of climate change on the local seal population, the importance of raising awareness, and how the current pupping season is going.

What is the Seal Project and where are you based?

The Seal Project is a small conservation charity based in Brixham that monitors the Grey seals in South Devon – mostly around Brixham, but we now also monitor the coast between Dawlish and Prawle Point, including the River Dart. The charity was born out of a need to protect the seals seen locally, many of which are animals we know individually from all around our stretch of coastline.

How did you get into seal conservation?

The story began when I encountered a Common Seal Pup stuck in Brixham’s Shoalstone seawater pool – who do you call at 5.30 in the morning? Myself and my best friend had no idea. The RSPCA don’t wake up that early and we had no clue what to do, but we knew that leaving the pup where it was wasn’t an option as people were walking dogs and the seal was clearly in the wrong place. My partner Lee (now a trustee of The Seal Project) suggested wrapping it up in something and putting it back in the sea. We had no hoodies or coats, so my friends partner was called and he brought down their most luxurious fleecey blanket off their sofa (as you do!) The seal, who had been swimming in the pool, came out and literally stopped at my feet. I scooped up the pup in the blanket as if it was a sleeping child and it never struggled once. We never touched it as we carried it over the rocks to the sea and let it free. As soon as we released it, another seal appeared – knowing what I know now that was most likely its mum – and off they went. The pup had clearly come in on a high tide and got stranded and the mum couldn’t get through the railings. If that was a grey seal it would have been abandoned there and then but Common seals are more devoted mums, and I hope to see this seal as an adult at some point.

After this, I became a Marine Mammal Medic for the British Divers Marine Life Rescue (BDMLR), which sends medics to call outs for marine life in distress, mostly seals, dolphins and whales. My first call out was to a ‘speared’ seal which quite literally resembled a tv ariel in the sea. She was eventually sighted locally without the spear attached, however it seems that every seal has some kind of back wound. She, like all seals, has unique identifying marks including their individual fingerprints and fur patterns, in this case a specific ‘W’ shape to the right-hand side of her head. I knew I had a photo showing that she was alive and well, and that resighting along with later identification of an animal known by the Seal Research Trust (Cornwall Seal Group Research Trust), with whom we share all our data, are what first sparked my interest in using photos to identify individual seals. After providing the identification I spent two weeks getting called out to every seal sighting in search of the previously speared individual, and it’s all gone a bit mad since then!

We are at the end of October, which is around the time Seals finish pupping. What has it been like in the Torbay area for pups this year?

I’ll be honest, it has not at all been as expected. Three of our known mums have not been seen for ages, and a first-time mum has been identified as a seal we know which we didn’t expect to be pupping just yet. The strange summer/autumn weather also means people are now using the coastline with their watercraft year-round and paddleboards and kayaks are now easily affordable too, so people are everywhere. Pupping seals who once had the coastline to themselves once September kicked in are now finding they don’t have these spaces to themselves, and as such pups are born or washed up in busy locations. This often results in a call out to BDMLR (as has just happened on the day I’m writing this).

Being based in a tourist area, what challenges do the seals and The Seal Project face?

That’s a good question. Hand feeding is probably our biggest problem. When we first started, our mentor and amazing friend Sue Sayer MBE thought that us starting a Brixham-based project would have a negative response as this is a major fishing port and some believe that seals ‘eat all the fish.’ But bar the odd comment, and a tiny number of incidents involving fishing and tripper boats hand feeding seals, we have experienced very few problems with the commercial operators in Brixham.

As a tourist area another big problem is angling-line entanglements. Our Breakwater is a busy area for novice anglers and they tend to feed the seals in an attempt to make them go away – clearly that doesn’t work. Also, some seals are sadly too habituated and get caught in angling line regularly. With adult seals there is nothing that we can do about this, and they have to be left to themselves until the hooks rust or fall out. Stones are also often thrown at seals to make them go away, and the animals are uncommon at a couple of locations where more ‘commercial’ land angling takes place.

Our biggest challenge is lack of awareness. We spend so much of our time trying to raise awareness and get the message out there which requires help from the local authorities and the tourist boats, but this doesn’t seem to be happening and it’s frustrating for us. We should all be working together, and the amazing local wildlife – including seals – should be respected and appreciated. Without our incredible wildlife many tourist boats would just be ferry services.

What projects or research have you been carrying out or got planned for the future?

We monitor and record all seals, sightings, dates and locations to try to build up a big picture of the seal population around our coastline. We now know many seals well and have been gathering data since 2016/2017. Matching our seals to individuals from Cornwall is difficult as there are very few other locations on the south cost carrying out monitoring in this way. Therefore, unless an image of a seal happens to be shared on social media or passed onto us from a private group, our records are mostly limited to the confines of our study area.

We do however have sightings of seals which have been released in Cornwall or seen in north Cornwall. We would love to be able to find out where else our seals have been seen and to build a better picture of their travels. Given that we do have Cornish seals visiting our area, we’d like to know if they behave differently to the individuals normally resident in Devon; my Cornish surveys show that the seals there are much more skittish than the individuals we see in Brixham, which tend to be relaxed and show little concern around the noise and traffic of this major fishing port. We do also have a couple of students planning research, but as of yet nothing is confirmed. Our data is not in the best shape and every sighting of each seal takes time to document – identifying one seal can take seconds or hours, and as this is all done by eye the catalogue is a minefield to get involved in!

How has climate change impacted the local seal community?

At this time, I can’t say for sure. My biggest concern is the fact that seal pups, born with white fluffy coats to be camouflaged in snow, are increasingly being born in hot September sunshine, and therefore once abandoned they are at a greater risk of dehydration due to being on sunny warm beaches when it should be much cooler. This year, numbers of seals appear to have been increasing unusually slowly as we head towards the winter months, but we’re yet to reach peak winter season to be able to confirm whether numbers will remain low. Our only other concern at this time is for the three mums who we’ve not yet seen pup this year, as they’ve been so predictable for the past few years.

Do you have a success story you’d like to share with us?

‘Easter Bunny’ is one of my favourite seals and can still be seen today resting around the local area. We first encountered him in 2020 as a juvenile seal entangled in industrial strength plastic. He vanished and we feared the worst, however a week later, on Easter Sunday, he was back in the same haul out spot on a girder in the marina, freed from the plastic. At the time of our first sighting, he appeared to have a bunny shape on his right-hand side (alongside a letter ‘A’), but this time the bunny seems to have disappeared with the ‘A’ is clearly visible. He reappeared regularly over the coming years, often seen for a few days and until the last several months always in the same spot, before disappearing for a few days and coming back again. We have seen him elsewhere a number of times, and last winter he was seen socialising with two ‘tagged’ seals (former rescued seals with plastic rear flipper tags for identification), so we look forward to seeing if they return to the area soon too.

You can find out more about The Seal Project and the work they do via their website or by following them on Facebook, Instagram and Twitter.