Hoopoe – A blog by nhbs – Page 51 – The NHBS Conservation Hub

Editor Interview: Tim Burt, Curious About Nature

Curious About Nature provides a passionate voice in support of fieldwork and its role in ecological research. Comprising a series of chapters written by forty diverse contributors, this inspiring book hopes to encourage both new and seasoned ecologists to pursue outdoor learning and research as often and fully as possible.

Tim Burt (who edited the book alongside Des Thompson), recently took the time to answer some of our questions.

Firstly, could you tell us a little bit about your backgrounds and how you came to be collaborating on this book.

We have both been involved with the Field Studies Council since 2006 when Des joined the Board of Trustees (I have been a trustee since 1982), but we had worked together before then, for example, a conference on the future of the British uplands held in Durham in 1999.

What are your first memories of fieldwork?

As I note in my essay in Curious about Nature, I came under the spell of an inspirational teacher at secondary school, Jim Hanwell. My first memory of fieldwork is being sent to measure the width of the main road outside the school gate to compare with the width of the red line printed on the OS map. Not something that would be done these days given health and safety concerns, but nevertheless I was hooked! Jim’s main influence was in physical geography, geomorphology especially, with many field trips to the Mendips and even an expedition to Spain and Portugal.

Some of the most well-known and respected scientists in history have had an incredibly varied range of interests and passions. Take Darwin, for example, who not only studied plants and animals, but also geology, anthropology, taxidermy and medicine. Do you think that, in modern times, we no longer celebrate or respect the ‘generally curious’ and instead expect people to be much more specialist in their areas of expertise?

Specialist research is inevitable in these very competitive days; departments compete via research assessment rankings and individuals must build their CVs to gain promotion. But in my experience, the best academics retain a breadth of interest; in physical geography this invariably combines fieldwork with other skills back at the department.

You currently hold the positions of President (Tim) and Chairman (Des) of the Field Studies Council and, as such, must both feel passionate about the education of field skills. With increases in health and safety concerns alongside reduced funding for outdoor activities, have you observed a change in child and youth education over the past decades in terms of the amount of fieldwork that takes place?

Health and safety concerns can (and must) be sorted out; it is continued funding that puts field trips at risk. The value of outdoor education is important for all sorts of reasons, not just academic knowledge and understanding. There is a real threat at the moment, with next year’s focus on getting schoolchildren back in the classroom. Senior administrators must be convinced of the value of investing in fieldwork, otherwise it is an easy cost to cut. But at what eventual “cost”?

At NHBS we sell a lot of equipment that is purposely designed to limit the amount of time that researchers and naturalists have to spend in the field – such as motion-activated trail cameras. While these are the preferred choice for many researchers, do you think that there benefits to traditional, observational fieldwork that cannot be replicated by collecting data remotely?

Field equipment has always been necessary, even in the days of clockwork mechanisms and pen-and-ink chart recorders. Today’s digital equipment expands the possibilities, not limits them. But it is still vital to be out in the field, curious about what is happening and what you can see – this is how new ideas are generated. There is no substitute for standing on a hillside, thinking about the landscape in front of you, especially if you happen to be somewhere very different to England like the badlands of southern Utah!

Do you have a favourite fieldwork pioneer (included in the book or not) whose story you find particularly inspiring?

People always think of Charles Darwin as a biologist, but he was equally a geologist on the Beagle, and his geological observations during his circumnavigation of the globe remain fascinating to read, for example, his thoughts about the formation of coral reefs and atolls. He was very much a follower of Charles Lyell in his appreciation of the dynamic nature of the Earth’s surface.

Finally – what are you each working on currently? And do you have plans for further books?

We do have plans for a further book together, an elaboration of Curious about Nature, with a working title In the footsteps of Gilbert White. For my part, I have been drafting chapters for Durham weather and climate since 1841, to be published by OUP. Last year I co-authored a book (with Stephen Burt, no relation) about the weather records at the Radcliffe Observatory in Oxford, so the new book is complementary to that, with much the same structure, but clearly a different regional focus. I ran the Oxford weather station for 10 years and have been in charge of the Durham station since 2000.

Curious About Nature is edited by Tim Burt and Des Thompson and is published by Cambridge University Press. It is available from nhbs.com in paperback and hardback.

The NHBS Guide to UK Bumblebee Identification

Bumblebees are familiar, much-loved animals in Britain. Together with ants and wasps, these winged insects are in the order Hymenoptera. The Latin name Bombus, meaning to buzz or boom, is wholly appropriate for bumblebees, who are frequently heard before they are seen.

Keeping an eye on brambles and purple flowering plants – both of which are particularly popular with bees – can be very productive when out on an insect hunt or daily stroll. At first glance, bumblebees may all look very similar, but take a closer look and a range of colours and stripe patterns can be spotted.

There are 24 species of bumblebee found in Britain. Seven of these are particularly widespread so are aptly named the ‘Big 7’ by the Bumblebee Conservation Trust. Due to this prevalence, these seven species are a great place to start when learning to identify bees.

The colouration of the different species is the easiest way to identify bumblebees; particularly the colour of the tail and the number and colour of stripes. In our guide we have sorted the seven species by tail colour (or overall colour for the common carder) so that easily confused species can be directly compared.

Bumblebees with white or buff tails

White-tailed bumblebee by OldManDancing via Flickr

White-tailed bumblebee – Bombus lucorum

Tail: As expected from the name, this bumblebee has a pure white tail.

Banding: Two bands of bright yellow, often described as lemon-yellow.

Other: Males of this species can be identified by the presence of additional yellow hairs on their faces.

Buff-tailed bumblebee by Jonas Myrenås via Flickr

Buff-tailed bumblebee – Bombus terrestris

Tail: Named for the orangey beige, or “buff” tail of their queen. Males and workers of this species have white tails and so are very challenging to distinguish from the white-tailed bumblebee. In some males, a thin band of yellow/buff can be seen at the top of the tail, which is absent in the white-tailed species.

Banding: Has two bands of yellow, similar to the white-tailed species. The bands on a buff-tailed bumblebee are often more of an orange-yellow than seen on the white-tailed bumblebee – although these can fade later in the season.

Garden bumblebee by gailhampshire via Flickr

Garden bumblebee – Bombus hortorum

Tail: Bright white tail that tends to go further up the body than the lucorum species.

Banding: Has three stripes of yellow unlike the other species with white tails. Although, this can sometimes appear as one band around the “collar” and another wider one around the “waist”/midriff.

Other: The garden bumblebee has an incredibly long tongue, the longest of any of our species in the UK. At up to 2cm, its tongue is the same length as its entire body. This impressive adaptation allows these bees to reach the nectar in deep flowers such as foxgloves.

Tree bumblebee by Orangeaurochs via Flickr

Tree bumblebee – Bombus hypnorum

Tail: White.

Banding: The tree bumblebee has an entirely ginger-brown thorax, with a black abdomen. This colouration makes it the most distinct of the pale tailed bumblebee species.

Other: Unlike the other six species, these bees like to nest in trees and are commonly found in bird nest boxes. The tree bumblebee is a fairly new addition to the UK, with the first individuals recorded in 2001.

Bumblebees with red tails

Male (left) and female (right) Red-tailed bumblebees by Donald Hobern and S. Rae via Flickr

Red-tailed bumblebee – Bombus lapidarius

Tail: Very bright red or dark orange tail that is difficult to miss.

Banding: Unique in that the females have no banding, they are just jet black other than the tail. The smaller males, however, have two slim yellow bands and yellow facial hairs.

Early bumblebee by Gertjan van Noord via Flickr

Early bumblebee – Bombus pratorum

Tail: Has an orange-red tail. However it is generally smaller and less bright than in the lapidarius species.

Banding: The early bumblebee has two yellow stripes on males and females.

Other: Smaller and fluffier in appearance than the lapidarius species.

Bumblebees with ginger bodies

Common carder bee – Bombus pascuorum

The common carder is similar in colour to the tree bumblebee – orangey brown. However, with this species the colour continues across its entire body and tail. Some individuals have darker bands across their abdomens, especially later in the season as the orange begins to fade

Other: There are two other species of carder bee in the UK that are orange all over, however, the common carder is the most often seen across Britain.

Find out more

If this guide has piqued your curiosity in bumblebees we recommend the following products so that you too can get outside, identifying species and learning more about these important pollinators…

FSC Guide to Bees of Britain
#171559

This lightweight fold-out guide shows a variety of bee species, including the ones mentioned above and will provide a useful reminder of their identification features when out in the field. Also includes additional information such as UK distribution.

Field Guide to the Bees of Great Britain and Ireland
#245313

The ultimate guide – this book provides a comprehensive introduction to the ecology of bees and details of all 275 species found in Great Britain and Ireland.

Bumblebees: An Introduction
#241722

This Bumblebee Conservation Trust book fills that gap by introducing these charismatic species to a wider audience. Written by Trust staff, it covers bumblebee biology and also has an essential identification guide to all UK bumblebee species, packed with over 250 colour photographs

Bumblebees of Europe and Neighbouring Regions
#255136

This guide is the third volume in a series on Hymenoptera of Europe. After a short introduction to this order of insects, the book provides a wealth of information on the bumblebees of Europe, northern Africa, the Caucasus and the Middle East, covering the most recent scientific advances.

Opticron Hand Lens
#210081

A hand lens is an essential part of your naturalist kit. We offer many different magnifications and options to suit all budgets.

Hand-Held Magnifier
#202230

The size of this magnifier and its non-slip plastic handle makes it particularly suitable for use by families and children.

NHBS In the Field – NHBS Moth Trap

This moth trap is the first to be designed by and built at NHBS. It is built on the Skinner trap principle of a bulb suspended above a box, with sloping flaps descending from two sides to funnel moths into the body of the trap. The trap is very lightweight and portable and has been tested and approved by Butterfly Conservation. One unique feature of this trap is that it is clad entirely in white nylon material which amplifies the light level emitted from the single 20W blacklight bulb included in the kit. The trap electrics are supported by a stainless steel frame that is attached to the container walls, and the trap comes with a 4.5m power lead with a standard UK plug. When fully assembled the trap measures approximately 30cm wide x 30cm deep x 50cm tall and weighs around 2kg; much lighter than the typical solid plastic assemblies of other Skinner traps.

The moth trap was tucked away in a sheltered corner of a town centre garden.

How we tested

I placed the trap in my small town centre garden for two nights in early July, checking first for favourable conditions (namely little to no chance of rain). Cloud cover can be good for moth catching, especially around a full moon. Moth species vary widely in their activity, some arriving at traps during dusk (such as crepuscular or day flyers) and some arriving well into the night. As such I put the trap out at around 9:30pm on both occasions while the day was fading and when the wind was low. I also made sure I wasn’t running the trap on two consecutive nights as I don’t have space to disperse trapped moths widely in the morning and I didn’t want to trap the same individuals two nights in a row. The trap was left on through the night in the corner of my garden, tucked out of view of my immediate neighbours, where it would also utilise the white walls of my house to maximise the light and landing space.

This Buff Ermine and Nut Tree Tussock were two of the moths trapped.

What we found

On both nights I found lots of moths inside the trap, as well as some specimens resting on the outside walls due to the white nylon coating; they remained there quite peacefully to ID. I also found that it was worth looking around the trap in the morning, as many species are attracted by the light and will land on nearby walls and foliage. The catch and retention rate seemed good for the conditions and I found this trap simple to run and fun to explore in the morning! The species found are listed below.

Species recorded

Nut-tree Tussock (Colocasia coryli)
Riband Wave (Idaea aversata)
Heart and Dart (Agrotis exclamationis)
Scorched Carpet (Ligdia adustata)
Marbled Minor (Oligia strigilis)
Buff Ermine (Spilosoma lutea)
Triple-spotted Clay (Xestia ditrapezium)
Grass Veneer (Chrysoteuchia culmella)
Common Plume (Emmelina monodactyla)
Uncertain (actual name – not me being unsure! – Hoplodrina octogenaria)
Bee Moth (Aphomia sociella)
Mottled Rustic (Caradrina morpheus)
Dwarf Cream Wave (Idaea fuscovenosa)
Eudonia lacustrata
Scoparia Sp.
Caddis fly Sp.
Summer Chafer Beetle (Amphimallon solstitiale)

Our opinion

The NHBS moth trap is both lightweight and sturdy and is a breeze to set up. Simply attach the base to the walls of the trap using the Velcro strips, ensuring all of the velcro fixings are on the outside of the trap. Put some empty egg boxes inside the trap to give visiting moths some good nooks to safely rest in once inside (though some will just hang on the walls). Then slot the metal frames onto the lid of the box and rest the funnel slopes on them. The electrics slot into corresponding holes on either side of the metal frame. When disassembling the trap, always check around the framework for any hidden moths.

This is a great trap: competitively priced, bright, compact and neat and comes with a handy carry bag. It’s a perfect starting place if you’re just embarking on moth trapping for the first time and also great if you are travelling or plan to try trapping in a few places, as it really does pack down nicely.

The NHBS Moth Trap is available through the NHBS website.

To view our full range of moth traps, visit www.nhbs.com. If you have any questions on moth trapping or would like some advice on the trap for you then please contact us via email at customer.services@nhbs.com or phone on 01803 865913.

Author Interview: Andrew G. Duff, Beetles of Britain and Ireland Vol 3

In our latest Q&A we talk to Andrew Duff, keen naturalist and author of the new book Beetles of Britain and Ireland Volume 3, which joins a monumental 4-volume identification guide to to the adult Coleoptera of the Republic of Ireland, the United Kingdom of Great Britain & Northern Ireland, and the British Crown Dependency of the Isle of Man. By bringing together reliable modern keys and using the latest taxonomic arrangement and nomenclature, it is hoped that budding coleopterists will more quickly learn how to identify beetles and gain added confidence in their identifications.

Andrew has taken his time to answer our questions about his book and about the fascinating world of beetles.

Aside from the most conspicuous species, beetles seldom seem to attract as much attention as some other insect orders. What is it that has drawn you to study this group?

My initial attraction to beetles was by coming across some of the larger and more colourful species, as you might expect. The first occasion was in about the late 1970s. I was out birdwatching with my oldest and best friend, the Ruislip naturalist Mike Grigson, when he found a species of dor beetle. These are large black beetles, often found wandering in the open on heaths and moors. They have the most striking metallic blue undersides. Picking one up, Mike said to me: “beetles are really beautiful ”, and I can still picture him saying it. The next occasion was when I was assistant warden at the Asham Wood reserve on the Mendip Hills in Somerset, in the summer of 1982. The warden, Jim Kemp, was an expert mycologist with a side interest in beetles. One day we were on the reserve and he pointed out a black-and-yellow longhorn beetle sat on an umbel. I thought it was very exotic-looking, every bit as worthy of a naturalist’s attention as butterflies and orchids! So I resolved to find out more about the beetles found in Asham Wood. Bristol Reference Library had a copy of Norman Joy’s Practical Handbook of British Beetles and it was obvious that I needed to buy it. Once I had my own copy of ‘Joy’, there was no stopping me. I started finding beetles and was able to identify most of them. The more you study beetles, the more you realise that all of them have their own special kind of beauty, and this is what ultimately led me to become a coleopterist. That, and the intellectual challenge of identifying small brown beetles, are what continue to inspire me.

What motivated you to write and publish Beetles of Britain and Ireland?

Joy’s Practical Handbook of British Beetles was the standard beetle identification guide for at least two generations of British coleopterists, ever since its publication in 1932. Joy’s book provided concise keys to every British beetle in a handy two-volume set, one volume of text and one of line drawings. The trouble with this idea is that the keys were oversimplified and misleading because of all the detail that wasn’t included. By the 1980s ‘Joy’ was already long past its ‘best before date’. Talk started about somebody producing a successor set of volumes and the late Peter Skidmore made a start—after his death I was fortunate to obtain his draft keys and drawings, and in particular have made much use of his drawings in my book. Peter Hodge and Richard Jones then published New British Beetles: species not in Joy’s practical handbook (BENHS, 1995). This was a fantastic achievement because it brought together in one place a list of the species not included in ‘Joy’, as well as notice of recent changes in nomenclature and of some errors in his keys. But it was still only a stop-gap measure.

By around 2008 still nothing had been produced by anyone else. I reckoned it might be achievable and began to discuss with other coleopterists the idea of writing a new series of volumes. The turning point was a discussion with Mark Telfer at a BENHS Annual Exhibition in London. My main concern was over the use of previously published drawings in scientific papers, but Mark reassured me that provided the drawings were properly credited and that the book was clearly an original work in its text and design then it should not fall foul of any copyright issues. By 2010 I’d already made a start on Beetles of Britain and Ireland and in the summer of that year took early retirement so that I could work on it more or less full time. My own professional background is as a technical author in the world of IT and from the 1980s onwards I’d had extensive experience of what used to be grandly called desktop publishing, what we would now call simply word processing! I’d decided to go down the self-publishing route so that I could ensure the production values matched what I thought coleopterists would want: a book which was laid out clearly and would stand up to a lot of wear. It’s really for others to judge whether my volumes meet the needs and expectations of most coleopterists, but so far I’ve been pleasantly surprised at how well they’ve been received.

How did production of this book compare to the previous volumes in the series? Was it difficult to bring together information on so many families exhibiting such a diversity of life histories?

As this is the third volume to have been completed I’d already learnt a lot about the best way to collate all of the material and summarise it, while trying to make as few mistakes as possible. The previous two volumes (vols. 1 and 4) were written in a rather erratic fashion, so that at any one time some sections would be more or less complete while others would not even have been started. This time I was determined to be more disciplined by starting with the first family, completing a draft which included the family introduction, keys to genera and species, and all of the line art illustrations, before going on the next family and doing the same again. In a way, having many families was an advantage because it meant I could use a ‘divide-and-rule’ strategy by breaking down a fauna of 1088 species into 69 smaller chunks. The fact that there are so many families in this volume didn’t generate any special problems, indeed families with only a few species like the stag beetles, glow-worms and net-winged beetles are relatively straightforward to document. But some of the family introductions were a challenge, insofar as some families are poorly defined taxonomically and hard to characterise in a way which would be accessible to amateur coleopterists. For example the darkling beetles (Tenebrionidae) exhibit a bewildering diversity which makes it well nigh impossible to say why a particular species is or is not assigned to this family. I made extensive use of the two-volume American Beetles (Arnett et al., 2002), which contains succinct summaries of nearly all of our beetle families, and this made my job a lot easier. But at the end of the day, the family diagnoses are not as important as the keys to genera and species. Most coleopterists won’t be coming to a particular family chapter as a result of methodically working through the key to families in volume 1. I imagine that in most cases people start by comparing their beetle with the colour plates, getting a shrewd idea as to what family it belongs to, and then going straight to the keys to genera and species. Picture-matching will always have its place in natural history, and I hope that Udo Schmidt’s 473 colour photos in this volume will be put to good use.

This volume covers some of our most familiar beetles – the ladybirds and chafers, for example. What advice would you give to anyone seeking to extend their interest beyond these well-known families to the more ‘obscure’ groups?

I would say that it largely depends on what kind of naturalist you are. What I mean by this is that there are two main ways of studying beetles, and you have to decide which path is right for you. On the one hand, many naturalists take photographs of beetles and by using the Internet or an expert validation service such as iRecord (www.brc.ac.uk/irecord/) they can usually achieve reliable identifications, at least to genus level, for medium-sized and large beetles. Some spectacular finds of beetles new to Britain have been found by general naturalists posting their images on the Internet, a very recent example being the flower-visiting chafer Valgus hemipterus, first posted to iRecord in April 2019 and already given the full works treatment in my volume 3. The problems start as soon as you try to identify smaller and more obscure beetles, because most of them are simply not identifiable from photographs. It’s not their small size and lack of bright colour patterns as such, so much as the need to view the underside, or the fore legs from a particular angle, or the head from the front, or the body orthogonally from directly above to ascertain the precise shape, which makes field photography impractical as a way to identify small beetles. So what you need to do is to go down the second path and start a beetle collection. This enables you to examine your specimen with a bright light source under a good stereomicroscope, turn it over to examine the underside, stretch out its legs to look for the pattern of teeth and spines, straighten it to measure its length and width, and if you’re feeling brave dissect out the genitalia which often provide the only definitive way to arrive at a species identification. Many naturalists balk at the thought of collecting beetles, but I would argue that the scientific value of having a comprehensive species list for a site outweighs any squeamishness I might feel about taking an insect’s life. In any case, my guilt is assuaged by the fact that insects are being eaten in their trillions every day, everywhere, by all manner of insectivorous animals and plants, so that the additional negative effect of my collection on beetle populations is vanishingly small.

Could you tell us a little about the process of compiling keys for the identification of the more challenging species? Were you able to draw upon the existing literature, or did you have to create them from scratch?

Some of the genera treated in this volume have been giving problems for coleopterists ever since the scientific study of beetles began. These are genera with a number of very similar, small and plain species that appear to have few distinguishing features. Nine genera in particular stand out for me as being conventionally ‘difficult’: Contacyphon, Dryops, Cryptophagus, Atomaria, Epuraea, Carpophilus, Meligethes, Corticaria and Mordellistena. It was always going to be a challenge for me to provide workable keys to these ‘nightmare nine’ genera, but I was keen to give it a go. It helps that I take a perverse interest in very difficult identification challenges, so I was motivated to come up with keys which would work. Fortunately I was able to pull together information from a variety of different sources until I had draft keys which could be put out for testing. The testing went through a number of iterations and by reworking the keys—for example adding my own illustrations, simplfying or reorganising couplets, or adding new couplets to account for ambiguous characters—they were gradually improved until I was happy with them. A second source of difficulty concerned the aphodiine group of dung beetles. The formerly very specious genus Aphodius was recently broken up into 27 smaller genera, and our leading dung beetle expert, Darren Mann, recommended to me that we should adopt the new taxonomy. This meant that I needed to construct a completely new key to genera, and that took a great deal of time and effort searching for characters. Incidentally I’d like to pay special thanks to Steve Lane and Mark Telfer for their advice and help with these difficult genera; I owe them both a great deal for their encouragement and support. The keys to challenging genera in this volume will certainly not be the last word on the subject, but I believe they are an improvement on previous keys.

When gathering information on habitat and biology of the various families, did you notice any glaring omissions? Are there any families that could particularly benefit from further study?

Some of the families treated in this volume are well understood, in terms of their identification, ecology and distribution in Britain and Ireland. The scarab beetle family-group, jewel beetles, click beetle family-group, glow-worms, soldier beetles, ladybirds, oil beetles and cardinal beetles are all popular groups and have been reasonably well studied, while the ladybirds have received a huge amount of attention! But that accounts for just 13 of the 69 families treated in volume 3, and the remaining 56 families are in general much less well known. Modern identification keys in English already existed for some of the other families but for most the information is very basic. I would say that the biggest gap in our understanding concerns the synanthropic and stored-product beetles. Not only do amateur coleopterists rarely come across these species, but the information that has been gathered (mostly by food hygiene inspectors) has not been made publicly available. In a few cases it’s not even clear which country a species has been found in, and all we know is that it has been found at some time, somewhere in Britain. I would like to think that this group will one day be much better documented.

A particular favourite of mine are the silken fungus beetles (Cryptophagidae). This family contains two of the ‘nightmare nine’ genera: Cryptophagus with 35 species and Atomaria with 44 species. I’ve tried hard to produce workable new keys for these two genera, but their identification is never going to be easy and it will be necessary to validate records for a long time to come. But I hope that at least this family will begin to benefit from a greater level of interest, on the back of my new keys.

There will be one more volume to come before this monumental series is complete – are you able to provide an estimation as to when that will come to fruition?

Volume 2 covers just one huge family: the rove beetles (Staphylinidae). This has been left until last for two good reasons. Firstly, the subfamily Aleocharinae, and in particular the hundreds of species in the tribe Athetini, are so poorly understood that it’s just not clear where the generic limits are drawn. This means I will have my work cut out trying to construct a new key to Aleocharinae genera. Preferably the key won’t involve dissecting out the mouthparts and examining them under a compound microscope, as we are expected to do now! Secondly, it has to be admitted that rove beetles are not the most exciting to look at. As publisher as well as lead author of my series of volumes it was always going to be difficult to sell a book which didn’t contain a lot of colourful plates. My plan all along, then, was to leave the rove beetles until last, in the hope that people would buy the book in order to complete their set! Volume 2 has already been started, and Udo has been working hard on the colour plates, but there is still a mountain to climb to complete the Athetini keys and illustrations to my satisfaction. My best estimate currently is that it will be published no later than 2024. Once that is done, and if I still have my wits about me, I suppose I’ll have to think about revised editions of the earlier volumes!

Beetles of Britain and Ireland: Volume 3 Geotrupidae to Scraptiidae

By: Andrew G.Duff
Hardback | Due July 2020| £109.00

Browse the rest of the Beetles of Britain and Ireland series on the NHBS website

All prices correct at the time of this article’s publication.

The NHBS Guide to Pond Dipping

For many naturalists, some of the most exciting encounters with wildlife as a child were around the edge of a pond, with a net in hand and a sampling tray filled with murky water. It is an excellent activity for children of all ages and is a great way to introduce them to a wide range of plants, insects and amphibians. It offers the opportunity to learn about food chains and food webs as well as discovering some of the amazing insect transformations during their lifecycles. For school groups, a pond dipping trip will satisfy many of the criteria for learning about life processes and living things, and it can also be used to provide inspiration for art, maths or English projects. Younger children will enjoy drawing or painting pictures of the creatures they find, as well as writing stories about their experiences.

Don’t forget that pond dipping isn’t just for children. For adults feeling out of touch with nature, it is an ideal way to reconnect. Ponds, pools and small lakes are also an integral part of our ecosystems and surveying the plant and animal diversity within them is an important way of assessing their health. If you are interested in volunteering as a pond surveyor, take a look at the Freshwater Habitats Trust website for more information.

What you need:

• White tray – Rummage through your recycling bin for an old ice cream tub or place a sheet of white paper in the bottom of a baking tin. Our heavy-duty sampling trays come in three sizes and are sturdy enough to be carried full of water.
• Net – For younger children a small aquarium net is ideal. For adults and older children, a larger pond net will allow you to reach further into the pond.
• Collecting pots – Although it’s perfectly fine to observe your catch directly in the tray, individual pots, particularly those with a magnifying lid, are helpful for looking more closely at individual specimens.
• Field guide – A guide to freshwater animals will help you to identify the species that you find in your pond. You’ll find a few of our favourites at the bottom of this post.

When and where to go:

May to August are the best months for pond dipping as this is when most creatures will be active and breeding. Any body of still water is suitable for studying, but make sure that you have permission to access the area and that the bank of the pond provides safe access to the water. Ponds with a variety of vegetation and open water are likely to support a high diversity of species.

What to do:

Half fill a tray or bucket with water from the pond and set aside. Do the same with your collecting pots and/or magnifying pots (if using).
Use a net to dip into the pond. Sweeping in a figure of eight will ensure that you retain the catch. Areas around the edge of the pond, especially near vegetation, tend to be the most productive. Take care not to scoop up mud from the bottom of the pond, as this will clog up your net and make it difficult to see what you have caught.
Gently turn the net inside out into the tray. Once everything has settled, you should be able to view a fascinating selection of pond-dwelling creatures. A pipette can be used to transfer individual specimens to a magnifying pot for a closer look.
Use a guide such as the Freshwater Name Trail or the FSC What’s in your Pond pack to identify the creatures found. For adults or older children, a more in-depth guide such as Ponds and Small Lakes or the Bloomsbury Concise Pond Wildlife Guide will cover a greater range of species.
When you have finished, make sure to return all water and inhabitants to the pond. Trays, pots and nets should be rinsed and dried thoroughly before storage.

Pond dipping equipment and books:

At NHBS we stock both individual and class-sized pond dipping kits. These contain nets, trays, pots, magnifier and pipettes, as well as the excellent (and waterproof!) Freshwater Name Trail which will help you to identify the key animals found in UK ponds. Or why not choose from our top 10 list of equipment and books for pond dipping:

1. Pond Net
Made at our workshop in Devon, the Pond Net is a high quality, lightweight net with a removable bag for cleaning. The bag is made from woven 1mm mesh which is ideal for pond life. Also available in a telescopic version.

2. FSC Wildlife Pack: Ponds
Find out the names of the insects, plants and birds that you see with this wildlife pack. Features three of the FSC’s popular fold-out charts: Dragonflies and Damselflies, Freshwater Name Trail (classic pond dipping guide) and Commoner Water Plants (from lilypads to water mint). Also includes a card-sized magnifier.

3. Heavy-duty Sampling Trays
These strong white trays are ideal for pond dipping as they are robust and stable enough to be carried when full of water. Available in three sizes.

4. Bug Pots (Set of 10)
This set of ten Bug Pots is perfect for pond dipping, as well as general nature studies. Each pot has a 2.5x magnifying lid and a measurement grid of 5mm squares on the base. They are ideal for storing and observing specimens.

5. Freshwater Life: Britain and Northern Europe

A beautifully illustrated guide to the wide variety of species found in rivers, streams, lakes and ponds in Britain and Europe. Freshwater Life describes and illustrates over 900 species of plant and animal visible with the naked eye. An easy-to-use key guides the user quickly to the correct species without using complex terminology.

6. Economy Telescopic Pond Net
With an aluminium telescopic handle and knotless fine mesh net bag, this pond net will not harm specimens and is guaranteed not to run if holed. Not suitable for heavy-duty use.

7. Ponds and Small Lakes: Microorganisms and Freshwater Ecology

Suitable for adults and older children, this book introduces some of the less familiar and microscopic species found in ponds such as diatoms, desmids and rotifers. Along with excellent photographs, the book provides useful identification keys so that readers can identify, explore and study this microscopic world.

8. Pipettes
Small pipettes are extremely handy for sorting through and picking up tiny creatures found when pond dipping. They can also be used to transfer samples to microscope slides to look at the microscopic specimens found.

9. 125ml Collecting Pots
These sampling containers are made from see-through rigid polystyrene and have secure screw-on lids. They are recommended for liquids and so are ideal for keeping specimens when pond dipping or rock pooling. Available either singly or in packs of 10, 30 or 100.

10. Bloomsbury Concise Pond Wildlife Guide

This concise guide is packed with information on more than 190 species of animal and plant that inhabit ponds, pools and small lakes in northern Europe. Among the fascinating animals featured are freshwater sponges, hydras, water bears, worms, leeches, water snails, dragonflies and damselflies, frogs and toads, bats, fish, birds, water voles and otter.

Creating your own pond:

During the lockdown imposed by Covid-19, the UK and many other countries have seen a rapid growth of interest in nature, especially found in gardens. It is widely considered that the best way to encourage and benefit wildlife in your garden is by adding a pond. There are many books to help in this process, such as Making Wildlife Ponds, The Wildlife Pond Book, or The Pond Book by Pond Conservation.

Palace of Palms: Tropical Dreams and the Making of Kew: an Interview With Kate Teltscher

Daringly innovative when it opened in 1848, the Palm House in Kew Gardens remains one of the most beautiful glass buildings in the world today

In Palace of Palms, Kate Teltscher tells the extraordinary story of its creation and of the Victorians’ obsession with the palms that filled it: a story of breathtaking ambition and scientific discovery and, crucially, of the remarkable men whose vision it was.

Cultural historian and author, Kate Teltscher kindly took some time to answer our questions about her new book.

Can you tell us something about your background and what motivated you to write Palace of Palms?

I’ve visited Kew since my childhood and have always loved the Palm House. It’s such a magnificent building, and just astounds you, the moment that you enter the Gardens. It’s so sleek and elegant, and modern-looking. As soon as you push open the door, the heat hits you, and you’re inside this tropical world. The architecture and plants combine to form this astonishing spectacle. The whole Gardens are landscaped around the Palm House, and the three long vistas at the back mean that you’re always catching sight of the Palm House as you walk the grounds. I wanted to find out why the Palm House was at the centre of Kew. Why was it the first building to be commissioned when Kew became a public institution? As a cultural historian, I was interested in the story that the Palm House could tell about Britain and botany, about palms and empire. And then in the course of my research I became fascinated by the characters that I discovered: the ambitious first Director, the self-taught engineer, and the surly yet devoted Curator.

The historical period in your book has been described as ‘The Golden Age of Botany.’ Do you think this description is justified?

The period certainly saw the birth of modern botany and many plant collecting expeditions, but the idea of a ‘golden age’ seems outdated now. The phrase tends to obscure or gild botany’s connection with commerce and empire. From its very foundation as a public garden, Kew had close links with colonial gardens across the empire. John Lindley, the botanist who wrote a government report on Kew, proposed that the colonies would offer up their natural resources to Britain to aid ‘the mother country in every thing that is useful in the vegetable kingdom’. Kew was seen as the co-ordinating hub of a network of colonial gardens in India, Australia, the Indian Ocean and the West Indies, that would exchange information and plants across the globe. Transplanting medicinal plants, economic and food crops across continents, Kew engineered environmental and social change worldwide.

Why were palms so important to the Victorians?

The Victorians inherited the great Swedish botanist Carl Linnaeus’ notion that palms were the ‘princes of the vegetable kingdom’. They were regarded as the noblest of all plants, far surpassing all European vegetation. For the public educator, Charles Knight, they combined ‘the highest imaginable beauty with the utmost imaginable utility’. They provided every necessity of life: food, drink, oil, clothes, shelter, weapons, tools and books. They were so bountiful that Linnaeus imagined that early humanity had subsisted entirely on palms. As Chambers’s Edinburgh Journal put it: the question is not ‘What do they afford us? But what is there that they do not?’

Your book is full of intrigue, exploration and innovation. During your research was there one fact or event that stood out as been particularly remarkable?

I was particularly struck by the change in status of palm oil between the 1840s and today. Industrial chemists had recently discovered the properties of palm oil that would, in our own time, make it one of the most ubiquitous of vegetable oils. In the nineteenth century, palm oil was used as axle grease on the railways and, combined with coconut oil, as a constituent of soap and candles. The oil palm grew in the areas of West Africa previously dominated by the slave trade. The trade in palm oil, it was argued, was the most effective means to combat human trafficking. In contrast to current fears that palm oil production is a major cause of deforestation and involves child and forced labour, the Victorians viewed palm oil as an ethical product, with unlimited manufacturing possibilities.

How do you envisage the future of the Palm House, the finest surviving Victorian glass and iron building in the world?

I understand from Aimée Felton, the architect who compiled a report on the Palm House, that despite the constant humidity of the interior, the actual structure is in reasonably good shape. These days, I guess, the Palm House does not look so big. Some of the tallest palms can never reach maturity because the Palm House roof is not high enough; they have to be cut down so that they don’t break through the glass. Obviously modern plant houses, like the Eden Project biospheres or the Norman Foster-designed Great Glass House at the National Botanic Garden of Wales may be larger or wider. But what I find interesting is that these plant houses, like the Palm House, are daring, experimental structures. The Palm House really functioned as the model for glasshouses across the globe throughout the nineteenth century: in Copenhagen, Adelaide, Brussels, San Francisco, Vienna and New York. From a contemporary point of view, the Palm House is often seen as a forerunner of twentieth-century modernism. It offers a perfect union of form and function, with its clean lines and organic shape. In recent years, the Palm House has provided the inspiration for one of London’s current icons: the London Eye. I expect that it will go on inspiring architects and engineers for years to come!

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

I’m hoping to work more with Kew, in particular a project to digitise an early record book that documents all the plants that were received and sent out from Kew at the end of the eighteenth century. Since Kew was the first point of entry for many plants into Britain, and also sent plants to colonial botanic gardens all over the world, this record book is central to our understanding of the circulation of plant species, both nationally and globally. Kew really is a place of infinite riches, for the visitor and historian alike!

Palace of Palms: Tropical Dreams and the Making of Kew
By: Kate Teltscher
Hardback | July 2020| £19.99 ~~£25.00~~

The extraordinary history of the magnificent Victorian Palace of Palms in the Royal Botanic Garden, Kew.

Faber Independent Alliance: Publisher of the Month

Launched in 2006, The Independent Alliance has been a vital platform for nature writing to flourish. Authors such as: Patrick Barkham, Stephen Moss, Richard Mabey and John Wright all feature in this rich and varied list.

We are delighted to announce Independent Alliance as our Publisher of the Month for July: a chance in these challenging times to immerse yourself in eloquent, knowledgeable and thought-provoking writing.

We have price-offers on our top fifty Independent Alliance titles and have showcased our top ten below:

A Natural History of the Hedgerow: and Ditches, Dykes and Dry Stone Walls
By: John Wright
Paperback| May 2017| £8.99 ~~£11.99~~
Tells the story of hedgerows past and present, encompassing their long significance in the life of the countryside.

Wild Child: Coming Home to Nature
By: Patrick Barkham
Hardback | May 2020| £13.99 ~~£16.99~~
Patrick Barkham explores the relationship between children and nature.

Read our author interview here.

The Accidental Countryside: Hidden Havens for Britain’s Wildlife
By: Stephen Moss
Hardback | February 2020| £13.99 ~~£16.99~~
Stephen Moss journeys the length and breadth of Britain to find the wildlife that is thriving amidst our urban landscape. Read our author interview here.

The Cabaret of Plants: Botany and the Imagination
By: Richard Mabey
Paperback | Oct 2016| £8.99 ~~£10.99~~
Mabey puts plants centre stage, and reveals a true botanical cabaret: a world of tricksters, shape-shifters and inspired problem-solvers.

The Vital Question: Why is Life the Way it is?
By: Nick Lane
Paperback | April 2016| £8.99 ~~£10.99~~
Why is life the way it is? If life evolved on other planets, would it be the same or completely different…

The Orchid Hunter: A Young Botanist’s Search for Happiness
By: Leif Bersweden
Paperback | April 2018| £6.99 ~~£8.99~~
In the summer after leaving school, a young botanist sets out to fulfil a childhood dream – to find every species of orchid native to the British Isles.

Notes from an Apocalypse: A Personal Journey to the End of the World and Back
By: Mark O’Connell
Hardback | April 2020 | £11.99 ~~£14.99~~
Where environmentalists who fear the ravages of climate change and billionaire entrepreneurs dreaming of life on Mars find common ground…

Becoming Wild: How Animals Learn to be Animals
By: Carl Safina
Hardback | April 2020 | £14.99 ~~£18.99~~
Safina demonstrates that the better we understand the animals with whom we share this planet, the less different from us they seem.

Darwin’s Most Wonderful Plants: Darwin’s Botany Today
By: Ken Thompson
Paperback | July 2019 | £6.99 ~~£8.99~~
Ken Thompson establishes Darwin as a pioneering botanist, whose close observations of plants were crucial to his theories of evolution

Gods of the Morning: A Bird’s Eye View of a Highland Year
By: Sir John Lister-Kaye
Paperback | Oct 2019 | £8.99 ~~£10.99~~
Sir John Lister-Kaye follows a year through the seasons at Aigas and the Highland animals, and in particular the birds – his ‘gods of the morning’ – for whom he has nourished a lifelong passion.

Browse all Independent Alliance books at NHBS

All prices correct at the time of this article’s publication.

Song Meter Mini and Mini Bat firmware update

A new firmware update is available for the Song Meter Mini and Song Meter Mini Bat. Version 1.4 will introduce the following changes:

Mini Bat now reports scheduled recording period to the app correctly.
Mini Bat now correctly increments the recording counter in zero-crossing only mode.
Improvements for battery performance.

Instructions for updating the firmware

To upgrade the Song Meter Mini or Song Meter Mini Bat firmware:

Download the firmware file.
Copy this file to the top-level directory of a flash memory card. There must be only one firmware file on the card.
Insert the flash memory card into the SD card slot of the Song Meter Mini.
Turn on the Song Meter Mini.
Press the FUNCTION button two times to select the ‘LOAD’ function.
Press and hold the FUNCTION button until the ‘LOAD’ LED begins blinking.
When the process is complete, all four LEDs will blink green three times and the recorder will reboot with the new firmware.

30 Days Wild Activities – Hedgehog Watch

Hedgehogs are abundant in urban and suburban areas and can frequently be found in gardens, as these provide safe, accessible spaces for them to forage and rear their young. They are most active between April and September with the main mating season occurring between May and June. Female hedgehogs give birth during June and July, although some will go on to produce a second litter later in the summer. All of this means that now is a great time to look for hedgehogs – and if you’re taking part in the Wildlife Trusts’ 30 Days Wild Challenge, then this will also contribute to your month of wild activities.

If you’re lucky enough to have hedgehogs in your garden, why not take the time to record their behaviours for Hedgehogs After Dark. This project, organised by Hedgehog Street, aims to learn more about the ways in which hedgehogs are using our gardens and the behaviours that they are showing through the spring and summer. Until Sunday 26th July you can submit your observations to their website and have the chance of winning an exclusive hedgehog hamper in their prize draw. Visit their website for lots of information about the different behaviours they are interested in and how to submit your findings (you will need to register as a Hedgehog Champion to do this).

Keep reading for some top tips on making your garden attractive to hedgehogs and how to watch them, either with or without a trail camera.

Is your garden hedgehog friendly?

There are several things that you can do to make your garden more attractive to hedgehogs:

• Improve access – Gardens are only useful for hedgehogs if they can access them. Plus, hedgehogs move long distances throughout the night to find enough food, so creating networks of gardens that they can move between is important. By cutting a 13cm diameter hole in the bottom of a fence or removing a brick from the base of a wall, you can help to provide access and link your garden with surrounding ones.

• Provide shelter – Try to keep some areas of your garden wild and overgrown, as this will provide secure nesting and feeding spaces. An artificial hedgehog home will also provide a safe and warm space for hedgehogs to overwinter and for a female to birth and raise her young in the spring and summer. Try not to use pesticides or slug pellets in the garden, as these are poisonous to other animals as well as slugs.

• Provide food – Make sure that there are lots of worms, beetles and earwigs in your garden by growing wildflowers and providing log piles. Leaving areas of the garden which are overgrown or making a small wildlife pond will also help to encourage a diverse range of invertebrates. (Make sure your pond has sloping sides or piles of rocks to allow any animals to escape.) You could also provide a shallow dish of fresh water along with good quality hedgehog food, meaty dog or cat food, or dry cat biscuits.

Tips for watching hedgehogs

Hedgehogs are nocturnal, so the best time to watch them is during late evening. Throughout the night they can travel up to 2km searching for food and/or mates. (This great video shows radio-tracked hedgehogs moving between gardens in a suburban area of Brighton). If you have a suitable window looking out onto your garden, then you can watch them from the warmth of your home. Make sure that you turn any inside lights off and keep noise to a minimum. If there is no illumination from street lights, visibility will be best at twilight (before complete dark) and around the time of the full moon (provided it isn’t too cloudy).

If you can’t watch the garden from a window, then wrap up warm, get into stealth-mode and venture outdoors. As with any wildlife-watching endeavour, the most important thing is to be still and quiet. It might also help if you can get low to the ground which will provide a hedgehog-level view of their activities. Don’t be tempted to try to get too close to them, however, and never attempt to pick them up or interfere with their natural movements.

Using a trail camera to watch hedgehogs

One of the best ways to view the hedgehogs in your garden is using a trail camera. If you’re lucky enough to own one of these, then setting it up to record at night is a great way to see if any hedgehogs are around and, if so, what they’re getting up to. Here are some tips to maximise your chance of getting great footage:

• When siting your camera, think about where the hedgehogs are likely to be moving around. If you have a hole cut in your fence and you know that hedgehogs are using it to access your garden, then you might want to point your camera towards this. Similarly, if you have provided any food or water, then setting your camera up near to this is a great way to capture footage of them feeding.

• Position your camera low to the ground. Think about the size of the hedgehog and where it is most likely to trigger the infrared beam.

• Set your camera to the highest sensitivity setting. If you find that it is triggering far too much, particularly in the absence of any animals, then you can always reduce this later.

• As you’ll be recording hedgehogs mostly in darkness, having a camera with invisible night vision LEDs could be a bonus, as these will not startle the animals. Plus, models with adjustable night-time illumination (or which adjust automatically) will give you the most control over your image quality.

[The Browning Strike Force HD Pro X is one of our bestselling trail cameras for hedgehog watching and is used by lots of great projects, such as London Hogwatch. For more information or advice about trail cameras, please get in touch with us and chat with one of our experienced ecologists.]

No hedgehogs?

Maybe you don’t have a garden, or you have one but haven’t seen any hedgehogs using it. You can still view lots of great hedgehog videos on the Hedgehog Street YouTube channel. Or, if you use Facebook, why not watch this talk by ecologist and hedgehog fan Hugh Warwick, recorded for the Summer Solstice ‘Wonderland’ Festival this spring.

The NHBS Guide to UK Tree Identification

Trees are a vital part of our ecosystems and essential to all life. As well as providing homes and food for a wide range of wildlife, they also provide us with oxygen and clean air, and they help to conserve water and stabilise the surrounding soil. As such, trees are invaluable both to our environment and for human well-being.

In the UK there are more than 60 native tree species, each with its own distinctive features that can help with identification. In this blog we will focus on ten of our most common native trees and provide you with the key characteristics you need to look out for – soon you’ll be confident in recognising oak from elder and silver birch from ash.

How to identify a tree:

The best time to identify a tree is when it is in leaf. By looking at the size and shape of the leaves/needles, the structure of the bark, and any other features present such as seeds, berries or flowers, you have a great chance of working out what the species is. It can be a bit more tricky if you’re looking in winter when the tree is bare, but there are several good books that will help you out (take a look at our recommended reading list at the bottom of this post for our top suggestions).

Ten common British trees and how to identify them:

**1. Pedunculate oak (Quercus robur)**

Where to find: Also known as common or English oak, this ancient tree is one of Britain’s most iconic species, standing tall for hundreds of years. It can be found across the country in both urban and rural areas. (Not to be confused with the sessile oak which is our other native species of oak – see below for tips on distinguishing between the two).

How to identify: The pedunculate oak is a large deciduous tree growing up to 40m tall. It has grey bark when young which becomes darker brown and develops long vertical fissures as it ages. Leaves have familiar deep-lobed margins with smooth edges. Acorns hang from the tree on long stalks.

Pedunculate oak leaves have smooth-lobed edges and acorns grow singly at the end of long stems. Image via Wikimedia Commons.

Look out for: If you aren’t sure whether you’re looking at a pedunculate oak or a sessile oak, there are a couple of things you can check for. Pedunculate oak leaves have quite a short stem and more pronounced lobes at the bottom of the leaf. Acorns grow singly at the end of a long stem. Sessile oak leaves have a shorter stem and do not have lobes near the stem. Their acorns grow in clusters that are attached directly to the outer twigs.

2. Ash (Fraxinus excelsior)

Where to find: Ash is a common, widespread tree often found among British hedgerows and in many mixed deciduous woods in the UK.

How to identify: Ash grows up to a height of 30–40m. The bark is pale brown and fissures as the tree ages. Leaves are pinnately compound, usually comprising three to six opposite pairs of light green, oval leaflets. The buds are a sooty black with upturned grey shoots.

Ash leaves showing a small black bud at the base. Image via Wikimedia Commons.

Look out for: Sadly, ash is also identified by a serious disease called ash dieback (or chalara) that is a substantial threat to the species. The fungus appears as black blotches on the leaves and affected trees usually die within a couple of years.

**3. Common Lime (Tilia x europaea)**

Where to find: The sweet smelling lime is native to much of Europe. Although rare in the wild, it is commonly found in parks and along residential streets.

How to identify: Common lime is a tall, broadleaf tree with dark green heart-shaped leaves which are are mostly hairless, except for cream or white hairs on the underside of the leaf between the joints of the veins. It is known for its sweet smelling white-yellow flowers, that hang in clusters of two to five and that develop into round, oval fruits with pointed tips.

Lime leaves are heart shaped and delicate. Image via Wikimedia Commons.

Look out for: The common lime can be distinguished from other lime varieties by the tufts of white hair at the end of its twigs (in small-leaved lime hairs are red, and large-leaved lime has them all over the underside).

**4. Hawthorn (Crataegus monogyna)**

Where to find: An ancient tree steeped in mythology and folklore, hawthorn is most commonly found growing in hedgerows, woodland and scrub.

How to identify: Hawthorn has dense, thorny foliage and, if left to fully mature, can grow to a height of 15m. The shiny lobed leaves are among the first to appear in spring. It’s five-petalled flowers are white or pink and grow in flat topped clusters. In autumn and winter, trees are covered in deep red fruits known as haws.

Hawthorn flowers have five petals and are white or pale pink. Image via Wikimedia Commons.

Look out for: This species often hybridises with the UK’s other native hawthorn, Midland hawthorn (Crataegus laevigata). They look very similar and can be hard to tell apart.

**5. Hazel (Corylus avellana)**

Where to find: Used regularly for coppicing, hazel can be found in a range of habitats, including woodlands, gardens and grasslands.

How to identify: A small shrubby tree with smooth, grey-brown bark, hazel can reach up to 12m in height if left uncoppiced. Its leaves are oval, toothed, and have soft hairs on their underside. In late winter, before the leaves have grown, it produces long yellow catkins that hang in clusters. These later develop into hazelnuts.

Hazel produces long yellow catkins which hang in small clusters. Image via Wikimedia Commons.

Look out for: Easily confused with English elm, they can be distinguished by the shape and feel of the leaves. Elm leaves have an asymmetric base and have rough feeling hairs. Hazel leaves are symmetrical at the base and feel soft and downy.

**6. Common Alder (Alnus glutinosa)**

Where to find: Common alder enjoys moist ground and so can be found along riversides, fens and wet woodlands, often providing shelter to fish. Interestingly, alder wood does not rot when it becomes wet, but instead becomes stronger and harder.

How to identify: Alder is a deciduous tree that grows to 25m. It is broadly conical in shape, and the bark is dark and fissured. Leaves are racquet-shaped and tough. Female catkins are present on the tree all year round and look like small green or brown cones. Male catkins also appear on the same tree and are longer and thinner. Alder can also be recognised by its purple buds and purple twigs with orange markings in winter.

Female catkins become woody and cone-like towards the winter when they open up to release their seeds. Image via Wikimedia Commons.

Look out for: Can be confused with hazel – they can be told apart by the appearance of the leaves which are shiny and leathery in comparison to the soft downy leaves of the hazel.

**7. Holly (Ilex aquifolium)**

Where to find: A favourite in Christmas decorations, holly is widespread and found commonly in woodland, scrub and hedgerows.

How to identify: This easy-to-recognise evergreen tree has smooth bark with small warts and dark brown stems. Its shiny, leathery leaves usually have prickles along the edges, but can also be smooth in older trees. It can grow up to 15m in height and produces scarlet berries that remain on the plant throughout the winter.

Holly leaves on younger trees have sharp prickles around the edge of their tough, leathery leaves. Image via Wikimedia Commons.

Look out for: Although holly leaves usually have prickles, those on older trees or that are on the upper parts of the plant often have smoother edges.

**8. White Willow (Salix alba)**

Where to find: The weeping, romantic willow can be spotted growing in wet ground, often along riverbanks and around lakes where it trails its branches into the water.

How to identify: White willow is a the largest species of willow in the UK, growing up to 25m with an irregular, leaning crown. Its foliage appears silvery due to its pale, oval leaves that carry silky, white hairs on the underside. In early spring look out for its long yellow catkins and in winter try to spot the green-yellow narrow buds that grow close to the twig.

White willow leaves appear silvery due to the downy hairs on the underside. Image via Wikimedia Commons.

Look out for: There are several species of willow in the UK, including white willow, grey willow, weeping willow, goat willow and crack willow. These often hybridise in the wild.

**9. Silver Birch (Betula pendula)**

Where to find: A pioneer species, silver birch is a popular garden tree, and thrives in moorlands, heathland and dry and sandy soils.

How to identify: Silver birch can be easily recognised by its silver, papery bark which sheds like tissue paper. It has drooping branches and can reach 30m in height. Leaves are triangular-shaped with toothed edges and grow from hairless leaf stalks. In spring, flowers appear as yellow-brown catkins that hang in groups. Once pollinated, female catkins thicken and darken to a crimson colour.

Birch catkins are often described as ‘lambs tails’. Image via Wikimedia Commons.

Look out for: Silver birch is monoecious, meaning that both male and female catkins are found on the same tree. In April and May, try to distinguish the long yellow-brown male catkins from the short, erect green females ones.

**10. Elder (Sambucus nigra)**

Where to find: Historically known for its magical properties and hugely favoured by foragers, elder appears in hedges, scrub, woodland, waste and cultivated ground.

How to identify: Elder can grow to around 15m and has a short, greyish-brown trunk that develops deep creases as it ages. It has compound leaves; each leaf divided into five to seven leaflets. In summer, elder is recognised by its creamy, sweet-smelling white flowers that hang in sprays. In the autumn these develop into bunches of deep, purple berries.

In the spring the elder tree features sprays of fragrant white flowers. Image via Wikimedia Commons.

Look out for: In winter, elder twigs are green and have an unpleasant smell. They have a white soft pith inside.