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

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

Our third and final interviewee is Paul Souders, who won the Underwater World category in 2011.

Paul Souders - "The grace of giants"
You won the Underwater World category in last year’s competition with “The grace of giants” (left). Can you describe the special challenges, and special appeal, that underwater photography must have?

I come from a long line of Pennsylvania dirt farmers here in the US. We are, by our very nature, sinkers not swimmers. I’ve been a professional photographer all of my working life, but it was only in 2005 that I learned to dive and then to photograph underwater. It was an entirely new world, with a vast array of new subjects to shoot and new techniques to learn.

I’ve enjoyed the opportunities it’s presented to expand my view of the natural world and the discipline it has required. Photographing large, unpredictable subjects like a giant walrus in ice-cold sea water at the edge of the world is not for the faint of heart. I can’t imagine that more than a handful of people have deliberately gone swimming with a walrus in the Arctic oceans, but it’s an amazing privilege to witness the sight of them gently gliding in their natural environment.

Could you reveal a bit about the photo and how you got the shot?

I’d imagined this photograph for years, but it took a lot of planning and effort to make it happen. I had to charter a steel-hulled yacht in Svalbard, 600 miles north of Europe’s edge, and drag hundreds of pounds of scuba and other underwater gear from my home in Seattle through four different airports. Walrus are by reputation, large, aggressive and unpredictable. It took an enormous leap of faith to get into the water with them. But sometimes you just have to hope for the best. We’d sailed to one of their haul-outs in the Svalbard archipelago, and found a few of them swimming in the water. I quickly put on all of my gear and then, as last-minute nod to safety, tied an old piece of rope around my waist for the boat skipper to hold onto. And then I slid off the iceberg and into the water. 

I could see the walrus circling below me in the depths, and they slowly came up, equal parts wariness and curiosity. They seemed impossibly big, but quite graceful and gentle as they swam towards me. One grew bold, and was soon pressing his whiskers and tusks against my camera’s glass dome. He even gave it a little tap, just to see if I was paying attention.

Apparently blue-lipped, hyperventilating photographers aren’t all that distracting after all, since they soon swam off, taking one last look at me before diving again into the depths.

And your tips for aspiring wildlife photographers?

Probably the best advice I can offer is “don’t quit your day job.”

There has never been a better time to be a nature photographer. In the last decade, we have witnessed a revolution in digital photo technology. Guided tours travel to wilderness areas that were once the sole province of National Geographic and BBC film crews.

Of course, there has never been a worse time to make a living as a nature photographer, since everyone and their dog can now go out on holiday, make amazing pictures and give them away on the internet for nothing.

The hard part for professionals is thinking of images that will show the world in a new way, to create pictures that people haven’t seen before. It requires a level of dedication and perseverance that should give any sane person pause.

Paul Souders’s website:

www.worldfoto.com/

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

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

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

Wildlife Photographer of the Year, Portfolio 22 jacket imageWildlife Photographer of the Year 2013 Wall Calendar jacket image

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

 

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

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

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

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

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

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

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

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

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

And your tips for aspiring wildlife photographers?

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

Peter Chadwick’s websites:

www.peterchadwick.co.za

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

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

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

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

Wildlife Photographer of the Year, Portfolio 22 jacket imageWildlife Photographer of the Year 2013 Wall Calendar jacket image

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

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

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

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

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

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

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

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

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

Have you any tips for aspiring wildlife photographers?

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

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

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

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

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

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

Steve Mills’s websites:

http://stevemills-birdphotography.com

www.birdwing.eu

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

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

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

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

Wildlife Photographer of the Year, Portfolio 22 jacket imageWildlife Photographer of the Year 2013 Wall Calendar jacket image

Mushroom Identification: Pro Tips from Top UK Mycologists

Photo: Leccinum holopus by Geoffrey Kibby, from British BoletesSeptember is upon us with morning mists and a slight chill in the air… it must be mushroom time! Around this time of year, books on mushroom identification and natural history appear with almost as much certainty as the fungi themselves. Two of our favourite mycologically-minded authors, Peter Marren and Geoffrey Kibby, give some useful and interesting tips for the keen mushroom hunter.

(Note: we cannot stress strongly enough the caution with which you should approach mushroom identification. Some mushrooms are edible, but some are deadly, and identification can be very difficult. As Geoffrey Kibby says below, if in doubt, throw it out!).

First up is Peter Marren, whose forthcoming book, Mushrooms, is the first in a new series of natural history publications, the British Wildlife Collection

Peter Marren’s tips on mushroom identification for the beginner

There are an awful lot of fungi – 2,400 species in the latest field guide and that’s just the larger ones. Fortunately, perhaps, most of them are rarely seen. There are only about a hundred really common ones, and they are the ones you need to know.

  • Forget about the ‘little brown fungi’ for now. Try getting to know an accessible group such as the waxcaps or the boletes, or the puffballs and their ‘relatives’. It will teach you a lot about the differences between species and the places to look for them.
  • Join a fungus foray organised by your local fungus group or wildlife trust, or, better still, attend a weekend course at a field centre. Direct contact is better than books.
  • Picking mushrooms does no harm. They are not plants but the fruit bodies of an organism living in the soil or in wood. Apples on the tree, as it were. And you will need to bring back specimens of fungi that are impossible to identify in the field.
  • Gathering and cooking wild fungi is great fun, especially as shared fungus feast. But never eat any that you cannot identify with confidence. There are a lot of poisonous fungi out there.
  • For fungi an x20 magnification hand lens is useful. At some point the dedicated forayer will need a microscope, but that, as they say, is a whole new ball park. Or playing field, as they are also known.

Peter Marren on recommended books for mushroom identification…

There are not many read-through books about fungi. I enjoyed Patrick Harding’s Mushroom Miscellany, a series of short chapters on all aspects of fungi, and the New Naturalist volume Fungi by Brian Spooner and Peter Roberts is all-embracing and thorough, but not for the faint-hearted. From Another Kingdom, published by the Royal Botanic Garden Edinburgh is an informal seminar on matters mycological, including ‘fungal monsters in science fiction’. The best field guide in my opinion is still Marcel Bon’s Mushrooms & Toadstools, first published back in 1987, although it needs updating. Paul Sterry and Barry Hughes’ Collins Complete Guide to British Mushrooms and Toadstools has the best colour photographs.

…and on his new book, Mushrooms

Mushrooms is my personal take on the world of fungi in Britain, about the pleasures of searching for mushrooms and toadstools, and why they matter. I have written it as a narrative, in current TV parlance as a ‘journey’, beginning with the extraordinary diversity of fungi and the ways in which they exploit the natural world to the history of the fungus foray and the controversy over gathering wild mushrooms for the pot. In the process I zoom in on the nature of names, both Latin and English, at the places which hold the greatest diversity of fungi, and our attempts to conserve rare and vanishing fungi. It is, I hope, a refreshing and amusing look at this ‘third world’ of life, written without jargon and in lively style. I hope it can be read with pleasure by anyone. It is full of lovely colour photographs.

 

The Genus Amanita in Great BritainNext up, Geoffrey Kibby, whose new photographic identification guide to the Genus Amanita is the fourth in a series of full colour fungi identification monographs, and is out now. In the following article Kibby discusses the finer points of mushroom identification:

The joys and tribulations of fungus identification

Firstly, let’s be quite clear: there are an awful lot of fungi! Just including those generally referred to as the larger fungi – those just a few millimetres across all the way up to species that can reach a metre or more – there are around three thousand species recorded in Britain.

Whether we call them all mushrooms, as the Americans tend to do, or toadstools as we often do in Britain, they form a huge and amazing array of species. The terms mushroom and toadstool are of course very vague with no actual specific scientific meaning, encompassing both edible and poisonous species.  With such a large number of species to choose from, identification can be both difficult and frustrating, and if edibility is a factor then obviously getting a correct identification is even more important; a mistake can be, and sadly has often been, fatal.

General field guides are the usual starting point for most amateurs just starting out in mycology (the proper term for the study of fungi) but there is an obvious problem here: the number of species included. Many guides have just a few hundred species that may not cover enough of the species you will find. More comprehensive ones usually have about 1000 to 1500 species and are accordingly more useful. The largest guide yet produced (Collins Fungi Guide by Stefan Buczacki with beautiful watercolour paintings) has around 2,400 species, but that does not of course guarantee that you will produce a correct identification. Indeed too many choices might be as confusing as too few. Then there is the choice of whether to get one with photographs or paintings (both have their different advantages).

Many species can only be distinguished with certainty by using a microscope to examine their spores and other microscopic structures, or by the application of specific chemicals to produce colour reactions. More technical monographs are needed for these.

A field guide can only take you so far and show you a representative sample of a particular species. Fungi vary much more than most organisms and you will need to learn them in all their many and varied forms before you can confidently say you know a species well. The best way to learn is to get a good guide and then take it along on an organised fungal walk (or foray as they are usually called). Here you will usually be led by an experienced expert who can show you first hand the important features of each species as well as their particular ecology. The latter can be vital in fungus identification. Many fungi grow in association with specific trees or other plants and knowing this can help you to identify or even predict the species you may find.

By going on regular fungus walks, or perhaps joining a longer course over a weekend or a week you will gradually learn to recognise the commonest species which you will see on almost every walk and start to learn some of the more uncommon species also.  Almost every county has a mushroom group and there are also larger, country-wide mycological societies such as the British Mycological Society or the Association of British Fungus Groups. These organisations can put you in touch with your local group as well as organising forays and workshops of their own and producing useful publications. The journal Field Mycology, which I edit for the BMS, is aimed at the beginner all the way to the specialist and mainly deals with larger fungi.

Comparing the actual fungi you find with the photos or paintings in your field guide will soon show the value of owning more than one guide. Each guide may have a different list of species and some will have better illustrations of a particular species than another. Most mycologists soon build up a small library of picture books! Using a digital camera to photograph specimens or trying your hand at making paintings of them and building up your own catalogue of illustrations is highly recommended also. Once you are more confident of the commoner species then there are a number of more specialist works, usually dealing with a specific group of fungi and this is often the best way to really make progress, by concentrating on a particular group which you find especially attractive or interesting.

British Boletes: With Keys to Species - Geoffrey KibbyI would certainly recommend the boletes as an ideal group to begin with. They are often large, very brightly coloured and with good field characters and include a number of excellent edible species. Almost all the species can be identified in the field with a little experience and a good reference work. After 48 years of studying fungi the boletes remain among my favourites and many other mycologists will say the same. The book on boletes which I have produced, British Boletes, aims to provide easy to use keys based mainly on field characters and photographs of the vast majority of the British species. My books tend to focus on the most widely studied and popular groups of fungi. Hence I have titles covering Russula (The Genus Russula in Great Britain), Agaricus (The Genus Agaricus in Britain) and my most recent work The Genus Amanita in Great Britain. All are available from NHBS. Further titles will be forthcoming in the next few months, in particular one on the genus Lactarius, commonly called Milkcaps and further down the road an illustrated field guide to 1200 species of larger fungi.

Geoffrey Kibby’s top tips for safe mushroom identification

Many people come into mycology via a desire to try eating something a little more exotic than the shop bought mushroom. There are many edible species and they can have tastes and textures quite unlike the cultivated species. Hunting for edibles can be a wonderful experience but there are several rules to follow if your hunt is to have a happy outcome:

  • Make sure you are allowed to collect, many woodlands or parks have restrictions on picking.
  • Obey any local rules on how many you can pick and try to leave some for others to admire, don’t ‘vacuum’ the woods of everything you see.
  •  Collect only specimens in good condition; old or rotten specimens will not make a good meal and can cause serious stomach upsets.
  • MOST IMPORTANT OF ALL: you must be absolutely sure of your identification, some mushrooms are deadly and a mistake can quickly become fatal. If you are a beginner then always get the advice of an expert. Stick to a few, unmistakable species. IF IN DOUBT, THROW IT OUT.
  • Always keep aside a specimen of anything you collect to eat and if it is a species you have not eaten before then sample just a little—even good edibles can cause upsets in some people (many people can’t eat strawberries or nuts for example).

Mycology, or mushrooming, can appeal on many levels, from the simple pleasure of seeing strange and wonderful organisms to the intellectual challenge of trying to identify them and understand their intricate life cycles. But the starting point is, and always will be, a good book!

And finally… hand lenses to help with mushroom identification

Last week we published a blog post with advice on purchasing a hand lens, plus a useful comparison chart showing the various lenses you can buy from NHBS. 

Read The NHBS Guide to Buying a Hand Lens

 

 

Birding Challenge: ingenious birding-related inventions wanted!

Instructables is a “maker” site, where people can share their home-made creations – and how to build them – with other inventive types around the world. They have a new birding channel for all bird-related projects: equipment people have made or modified, projects for the back-garden birder, or sharing skills and insider tips on birding. To launch the channel they are running a competition.

So if you have any home-grown birding projects that you want to share, and you are interested in the chance to win some cracking prizes, check out the competition page for the Birding Challenge. The competition entry call-out is also for software tools or apps that can be used use in the field.

The organiser of the challenge is a UK birder resident in San Francisco, and of course this competition is open to people from anywhere in the world. It closes at 11:59pm August 28th PST, on the dot, so you have just over a week to get in the shed and start sketching out your winning design!

Instructables Birding Challenge

 

 

 

 

 

 

 

 

 

 

 

Dormouse Nest Tubes – fast, secure placement

How have we improved our dormouse nest tubes?

dormouse tubeWe have just released a new and improved model of the dormouse nest tube. What’s different? Well, we have tried to tackle two of the most frequently encountered problems with setting up dormouse nest tubes. (1) It can be tricky to attach them securely to a branch and (2) once ‘securely attached’ they are prone to slipping. To reduce these issues we have added retaining loops to the base of the nest tube to stop slippage and to enable faster placement.

We also supply 71cm cable ties for fast set-up. If you prefer using garden wire to secure your nest tubes then this method will also be easier using the new loops.

Dormouse survey – best practice

hazel dormouseFor the non- (or new) professionals out there a few quick pointers on best practice for a survey using dormouse nest tubes.

  1. Surveys should not be limited to habitat perceived as ‘optimal’ but should be undertaken in any areas of affected woody habitat (including adjacent areas if the impact of development is likely to extend beyond the site footprint).
  2. Normally at least 50 nest tubes should be placed at roughly 15-20m intervals and these should be left in place (and checked monthly) for the majority of the active season.
  3. In order to have any chance of obtaining a license to carry out work affecting dormouse habitat you must first conduct a survey with a probability of 20 or above of finding dormice if they are present (although please remember that an absence of evidence is not evidence of absence). To calculate the probability score for your survey you add together the scores (Table 1) for the months during which the survey was conducted (for surveys conducted using 50 dormouse nest tubes and following the advice given in points 1 and 2 above).

dormouse survey results

 

 

 

 

 

Taken at face value this means that all dormouse surveys should begin by June at the latest; however, it is possible to start a survey later than this under certain conditions. For example, you can increase survey effort by increasing the number of dormouse nest tubes deployed (if you use 100 tubes you can double the scores in Table 1). Note though that surveys conducted using a large number of tubes for a short period are not good practice and nor are surveys where tubes are crowded together at intervals of less than 15-20m (although 10m intervals may be acceptable in very small sites).

For further details we recommend you consult the latest guidance from Natural England in England or your national licensing authority (e.g. Countryside Council for Wales, Scottish Natural Heritage, etc.).

Dormouse resources:

The Mammal Society

Dormice: A Tale of Two Species jacket imageDormice: A Tale of Two Species
Pat Morris

 

 

 

Living with Dormice jacket imageLiving with Dormice
Sue Eden

 

 

Dormouse survey products:

dormouse nest tubeDormouse nest tubes

 

 

Standard Dormouse BoxDormouse box

 

 

 

 

 

Getting started with the SM2BAT+ bat detector

SM2BAT+The Wildlife Acoustics Song Meter SM2BAT+ is a passive ultrasound recorder that can be left out in the field for long periods of time to record ultrasound at frequencies of up to 192 kHz. The SM2BAT+ comes packaged in a plain green weatherproof box making it easy to position discretely without the need for expensive or time consuming efforts to weatherproof/camouflage it. Setting a bat detector up for passive monitoring can be a slightly daunting experience for the first time user so we have produced an annotated internal diagram (see below right – click the image to enlarge) and this blog post describing our experiences getting started with the SM2BAT+. Despite feeling a little scared at Inside the SM2BAT+the sight of circuit boards I am pleased to report that I found the SM2BAT+ to be very user friendly – read on for our idiot’s guide to setting up an SM2BAT+.

Getting started

The first thing you will need to do is insert four D-Cell batteries into the slots. A number of variables affect battery life including the quality/type of the battery, temperature, and the recording mode. The manual produced by Wildlife Acoustics suggests that if high quality Alkaline D-Cells are used at 20oC then you should get 130 hours recording time at 192 kHz mono and 100 hours recording time at 192 kHz stereo or 384 kHz mono when using in WAV mode and over 300 hours of recording time when using ZCA mode.

Next you will need to insert an SDHC card into one of the Flash Card Slots. Wildlife Acoustics recommend using good quality SDHC Class 4 or Class 6 cards and a single 32GB card should easily last a minimum of 2 weeks.

How to programme your SM2BAT+

Now it is time to programme your SM2BAT+. Setting up a simple schedule is very easy, switch the unit on by pressing the WAKE/EXIT button. Once it has woken up you will be able to see whether your SDHC card has been accepted and how much spare memory is available. To programme your unit press the SELECT button to see the menu; then to scroll through the menu options press the UP and DOWN buttons, press BACK to move back up a level, and press SELECT to move left and/or toggle through a list of options.

Below left shows a schematic (click to enlarge) of the Song Meter Main Menu and includes the settings I used for a trial run of the SM2BAT+. The first page of the menu includes three options – Schedule, Settings and Utilities. Setting the schedule could not be easier, press SELECT when the cursor is flashing next to Schedule, then press SELECT again, update the time using the UP and DOWN buttons then press SELECT again to keep moving to the left filling in the details as you go. You will see that I have set our SM2BAT+ to come on at 20:30 and record for 10 hours.

SM2BAT+ SchematicPress BACK to come out of the Schedule menu and then DOWN to move to Settings, then SELECT again to enter the Settings menu. For a quick test of the unit you will need to set the time and date using the UP, DOWN, SELECT, and BACK buttons as before. Finally select AUDIO to check the recording settings. In my test run I opted for a Sample rate of 384000 (384 kHz) because we have lesser horseshoe bats in the Totnes area. This is because the maximum frequency recorded is equal to half the sample rate – consequently, at a sample rate of 384 kHz the SM2BAT+ will record ultrasound at frequencies up to 192 kHz on one channel (perfect for lesser horseshoes that echolocate at around 110 kHz). If you want to use both channels (i.e. two microphones) you have to record at a maximum sample rate of 192 kHz. Although you may miss lesser horseshoe bats the big advantage of using both channels is that you can separate the microphones (using extension cables – available from NHBS) by up to 100m, effectively doubling the number of bat detectors you own for the price of a couple of cables. Alternatively you can separate the microphones by 10-20m to measure flight directionality along a linear feature.

Next you need to select which channel to record on. Under Channels I selected Mono-L to record from the left hand microphone input. For Compression I selected Off which means that the SM2BAT+ is in trigger mode and records individual WAV files for each trigger.  Analook users may prefer to use the ZCA option which records individual ZCA files for each trigger. Alternatively, some users may prefer the WAC0 option which produces a continuous compressed WAC file for the duration of the recording period (actually the files are size limited so I found that 1hr 33min chunks are produced). That’s it… all you need to do now is take your SM2BAT+ to your field site.

Field set-up

Once at your field site check the settings and do a test recording. To do this plug some headphones into the headphone jack and start recording by pressing both the UP and DOWN buttons simultaneously. Once the recording has started press SELECT to view the channels and then make some ultrasound by eg. tapping your fingers and thumb together or rattling some keys. If all is well then put your unit back to sleep, seal the weatherproof enclosure (don’t forget to take a screwdriver with you) and plug your microphone in to the left hand microphone input (using your extension cable makes hiding the unit much easier). It is worth remembering that the indicator LED is visible when the lid is on so make sure this cannot be seen by passers-by.

Data analysis

Downloading the data is also easy – simply remove the SDHC card and place it into an SD card reader. To analyse the data I used Pettersson’s BatSound v4.12. My WAV files opened immediately and I used the Close, open, next button to scroll quickly through the files so the analysis was quick and painless. On my first night I recorded soprano pipistrelle and greater horseshoe bats in the centre of Totnes.

Available now from NHBS

 

New: Carwardine’s Ultimate Wildlife Experiences – plus great backlist special offer

Mark Carwardine's Ultimate Wildlife Experiences jacket image‘Ultimate Wildlife Experiences’ is the new book from Mark Carwardine: zoologist, conservationist, award-winning writer, TV and radio presenter, widely published wildlife photographer, best-selling author and columnist and wildlife tour leader. Carwardine’s last account of world wildlife travel – 2009’s Last Chance to See: In the Footsteps of Douglas Adams – found him teaming up with Stephen Fry to retrace the steps of Carwardine’s 1980 journey with Douglas Adams in search of some of the world’s most endangered animals.

His new book – with a foreword by Fry – is a product of his lifetime’s experience of wildlife encounters around the world and introduces 20 extraordinary adventures including catching sight of the rare spirit bears of Canada’s Great Bear Rainforest, navigating the hostile world of the Komodo dragon in Indonesia and finding favour with the curious and friendly Florida manatees.

Available now from NHBS

Two of Carwardine’s classic marine wildlife guides are now available from NHBS at nearly half price:

On the Trail of the Whale jacket imageOn the Trail of the Whale

 

£4.99 

was £9.95

 

 

The Shark-Watcher's Handbook jacket imageThe Shark Watcher’s Handbook

 

£9.99

was £16.99

 

The NHBS Batalogue 2012 – available now

NHBS Batalogue 2012The Batalogue is our annual catalogue of bat detectors and accessories for bat work and bat groups. There are hundreds of products and accessories to choose from, along with detailed specifications and comparison charts.

How to get the Batalogue

Option #1  Browse the Batalogue online

Option #2 Call (+44 (0) 1803 865913), or email us, for a free printed copy