Books – Page 6 – Hoopoe

Author Q&A with Illustrator Mike Langman

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

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

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

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

How did you get into illustrating nature?

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

What are your favourite mediums for illustrating books?

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

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

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

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

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

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

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

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

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

How has climate change altered your approach to projects?

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

Do you see wildlife human conflict in your work?

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

What bird do you wish you had seen and why?

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

What projects are you working on right now?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Book Review: Of Cockroaches and Crickets

***** An amusing and light read

Of all the insects that have a PR problem, cockroaches must rank very high. That, however, did not stop German entomologist, journalist, and filmmaker Frank Nischk from spending a year-long internship studying them. In this book, he regales the reader with stories of his time in the lab and the field studying first cockroaches and later crickets. A light and breezy read despite the serious undercurrent of biodiversity decline, Of Cockroaches and Crickets turned out to be an entertaining read.

This book was originally published in German in 2020 as Die fabelhafte Welt der fiesen Tiere by Ludwig Buchverlag and has been translated into English by Jane Billinghurst who frequently works with Greystone Books. Carl Safina contributes a short foreword that cracked me up and immediately set the tone. The book is effectively a memoir of Nischk’s early years studying for his undergraduate and doctorate degrees in the mid-nineties, told in 18 short chapters in two parts. His subsequent career pivot to documentary filmmaking only receives passing mention.

Cockroach photographed in Australia. — Cockroach by Patrick Kavanagh, via flickr.

Given Nischk’s concern about biodiversity decline, and his desire to communicate to a broad audience why insects are fascinating and important, there is an irony to his undergraduate internship. He spent a year in the lab of Martin Dambach studying the aggregation behaviour of the German cockroach, Blattella germanica. By day, large groups of them bed down on their own excrement, likely attracted by pheromones released by the faeces. The irony? Nischk’s internship was funded by biotechnology giant Bayer which was hoping to isolate the chemicals responsible for putting the cockroaches in sleep mode to develop a pheromone-based cockroach trap: “the exterminator’s holy grail” (p. 25).

For his subsequent doctoral studies, Nischk got his conservation priorities in order. Staying with Dambach, he turned to crickets and spent time in Ecuador recording their songs. Next to discovering species new to science, this is his entry into the fascinating field of soundscape ecology or ecoacoustics. A small cadre of ecologists has been recording soundscapes of natural habitats. Bernie Krause (not mentioned here) is one particularly well-known example. By comparing recordings made years or decades apart they have shown how natural soundscapes are changing and often disappearing due to human encroachment. Others are hoping to train software to analyze recordings and identify species by their calls. If scaled up, the dream is to have passive acoustic monitoring stations in biodiversity hotspots around the globe.

This backbone of his research is livened up with personal anecdotes and interesting asides. A friend’s call about a wasp infestation in her kitchen drawer is an excuse to introduce the 18th-century French entomologist Jean-Henri Fabre who was one of the first European naturalists to systematically collect and study butterflies, beetles, and wasps. Getting stung by a bullet ant in the rainforest of Ecuador leads to an aside about the late entomologist Justin O. Schmidt, the man who got stung for science (and wrote a fine book about it too). Tracking down a particularly loud cricket in Ecuador is the starting point for an unusual case where entomologists helped to defuse international political tensions between the USA and Cuba (this story has a surprising twist that I will not spoil here). A botched attempt to eradicate cockroaches that escape his experimental setup backfires most spectacularly, while fieldwork in the tropics is always fodder for amusing cultural misunderstandings and sober reflections. There is a nice mix here that never dwells on any one topic too long and makes for a book that is hard to put down.

Cricket on a leaf in a garden. — Cricket by Dean Morley, via flickr.

The third and final part is, perhaps surprisingly, comparatively the weakest of the book. In four chapters Nischk muses on the biodiversity crisis, particularly the still poorly understood decline of insects, and discusses examples of individuals and organisations who are creating and protecting wildlife habitat. Probably most interesting are the little-known grassroots initiatives in Ecuador that are undertaken by villagers and farmers turning to ecotourism. But is this really the answer? Or does it merely perpetuate the idea that nature can only be protected if it has monetary value? You will not find a critical or comprehensive analysis of wildlife conservation here. There is also an odd focus on projects in the USA, e.g. the High Line in New York, the Xerces Society, Joan Maloof’s Old-Growth Forest Network, and the Yellowstone to Yukon Conservation Initiative. I wonder if this was added for the English translation. There is no mention of e.g. the European Natura 2000 network of protected areas or E.O. Wilson’s bold call to protect half the planet, and only passing mention of the German environmental organisation NABU or the practice of rewilding. Putting aside such nitpicking, none of this takes away from his genuine concern about the ongoing loss of biodiversity nor from his conclusion that the key to protecting species is protecting their habitat.

Overall, Of Cockroaches and Crickets is an amusing and light read that I devoured in a day. Nischk offers a nicely balanced blend of interesting natural history, amusing personal stories, and captivating scientific research. Whether it is flies, wasps, or rats, we need more books that celebrate those species we all too readily dismiss as pests.

Of Cockroaches and Crickets is available from our online bookstore.

Author Q&A with Robert Wolton: Hedges

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hedges is available to order from our bookstore.

British Wildlife Collection: interview with series editor Katy Roper

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Explore other titles by Derek Gow here.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Our year in books

As 2023 draws to a close, what could be more pleasant than a look back at some of the books that we have read, enjoyed and recommended to our friends, family and customers over the past twelve months.

January

At the very beginning of the year, Richard Lewington treated us to a beautiful new Pocket Guide to the Bumblebees of Great Britain and Ireland. Lewington’s illustrations never disappoint and this guide was a fantastic addition to our field guide bookshelves. We were also inspired by Britain’s Living Seas. Written in collaboration with The Wildlife Trusts, this user-friendly book provides a guide to the coasts around the British Isles, as well as ideas for the alternative and sustainable management of our seas.

February

February saw the publication of Darren Naish’s Ancient Sea Reptiles in which he introduces us to these strange, sometimes monstrous, marine beasts. Edited by cave scientist and conservation ecologist Dr J. Judson Wynne, Cave Biodiversity provided us with a fascinating look at both the evolution and the conservation of subterrestrial-dwelling fauna, while Planktonium, from Dutch photographer Jan van IJken, offered us a glimpse into the unseen world of microscopic plankton via his stunningly beautiful images.

March

March offered us some truly inspiring reads, including James T. Costa’s Radical by Nature which chronicles the life, adventures and achievements of Alfred Russell Wallace, including his role in the formation of the theory of natural selection. James Nardi guided us through the innermost unseen world that trees share with a range of creatures in The Hidden Company That Trees Keep and we discovered more about the wild spaces of Britain and Ireland in Patrick Barkham and Alastair Fothergill’s Wild Isles, which accompanies the popular BBC series.

April/May

In April we were treated to more marine photography with Lisa-ann Gershwin’s Shapeshifters, which is a visually breathtaking look at 100 species of jellyfish. May saw the publication of the practical and inspiring The Book of Wilding which offers rewilding advice on a range of scales. (Read our Q&A with Isabella here). In the wake of Covid-19, we also delved into Fatal Jump from Leslie Reperant, which looks at the origins of global pandemics.

June/July

June provided us with another wonderful marine title from physicist Helen Czerski. In Blue Machine she offers a timely and elegant explanation of the ocean engine and the extent to which it impacts life on our planet. It would be remiss of us to pass by July without mentioning the publication of All the Mammals of the World. This popular and sizeable volume, as the title suggests, covers all of the mammals of the world and has something to appeal to everyone, from wildlife enthusiasts to researchers and conservationists. Following on from her critically acclaimed The Genius of Birds, July also saw the arrival of Jennifer Ackerman’s What an Owl Knows which brings to life the natural history of these incredible birds. (You can read our Q&A with Jennifer here).

August

In August we delighted in Amy-Jane Beer’s The Flow, an immersive and moving memoir which went on to win the James Cropper Wainwright Prize for Nature Writing in September. We enjoyed Chris Manias’ The Age of Mammals which examines how 19^th-Century palaeontology revolved largely around mammals rather than dinosaurs. We were also fans of Brian Johnson’s Honey Bee Biology which provides an incredibly comprehensive and up-to-date reference guide to these fascinating and essential pollinators.

September

The beginning of autumn brought with it the publication of Peter Eeles’ British & Irish Butterfly Rarities. Immensely popular among our Lepidopterist customers, this valuable book is the first to focus entirely on the species of butterfly regarded as extinct, rare migrant or introduced. Other highlights for us from September included Guillaume Pitron’s The Dark Cloud, a sobering investigation into the impacts of digital technology on the environment, and Michael Bright’s Masterpieces of the Earth, a dazzling photographic compendium of natural wonders around the world.

October

October provided us with a couple of titles of huge interest to ecologists, particularly those involved in bat surveys. The 4th edition of Bat Surveys for Professional Ecologists from the Bat Conservation Trust (BCT) provided updated and new content, including important information on the use of night vision equipment. (An interview about the book with Jan Collins from the BCT can be found here). Further practical advice on night vision survey was also found in Kayleigh Fawcett Williams’ excellent Thermal Imaging for Wildlife Applications. (Read our Q&A with Kayleigh here). Other highlights from October included Ben Goldfarb’s Crossings, which investigates the kinds of ecological devastation that roads and highways are inflicting upon our planet, as well as the photographic delights of Michelle Sole and Tom Hart’s Antarctica.

November

In November we received the first copies of Seabirds Count which provides an incredibly important insight into the seabird populations across Britain and Ireland. We also loved Neil Middleton and Stuart Newson’s Sound Identification of Terrestrial Mammals of Britain & Ireland which provides comprehensive coverage of a topic previously unexplored within the literature. (Enjoy our Q&A with the authors here). Other notable mentions this month include Andrew Simms and Leo Murray’s Badvertising, which examines the role of marketing on both the health of humans and that of the planet, plus Vincent Munier: The Monograph, which compiles 35 years of his stunning photography and expresses his unwavering admiration of the wild world.

December

We finish our yearly round-up with two fantastic books from December: the incredible second edition of the Field Guide to the Micro-moths of Great Britain and Ireland which is instrumental in making these fascinating group of moths accessible to the general naturalist. (Read our conversation with authors Phil Sterling and Mark Parsons here). Also in its second edition was Ian Newton’s The Migration Ecology of Birds, which covers all aspects of this fascinating subject in a clear and readable style.

All that remains is to wish everyone a wonderful end to the year. We look forward to sharing plenty more great reads with you in 2024.

Author interview with Phil Sterling and Mark Parsons: Field Guide to the Micro-moths of Great Britain and Ireland

Part of the popular Bloomsbury Wildlife Guides series, the first edition of the Field Guide to the Micro-moths of Great Britain and Ireland is credited with helping to demystify the formerly obscure and specialist world of micro-moths. Among a number of pioneering features, the book boasted artwork by acclaimed illustrator Richard Lewington showing the moths in their natural resting positions, rather than as pinned specimens, capturing the essence of each species and presenting them as they would appear in life when encountered in the field or settled within a moth trap. Coupled with accessible species accounts and the latest distribution maps, the guide helped to showcase the beauty and diversity of these miniature lepidopterans and provide a gentle introduction to their identification and habits for the general naturalist.

Eleven years on, the team behind the original guide have produced an extensively revised second edition, due to be published in December. Here the authors, Phil Sterling and Mark Parsons, kindly took the time to answer some of our questions about what we can expect from the new guide, and about micro-moth recording more generally.

Authors Mark Parsons (left) and Phil Sterling (right)

To begin with, could you give us a brief overview of what’s changed in the second edition?

There are three stand-out changes for recorders browsing this second edition. Firstly, we have included many more species, nearly 300 of them; the field guide now covers over 80% of native, naturalised or immigrant species recorded in Great Britain and Ireland. That’s 1,286 from a total of 1,576 species, and the book features over 1,000 of Richard Lewington’s illustrations.

This time we have included a full set of common (or vernacular) names for the micros which appear alongside the scientific names. We reviewed existing common names being used, made changes where we felt these were appropriate and helpful, and have done this for all 1,576 species.

The order in which the species are presented is now in line with the Agassiz, Beavan & Heckford (ABH) Checklist of the Lepidoptera of the British Isles. The ABH checklist was published in 2013, a year after our first edition, and it set out a radically different order based on our current understanding of the taxonomic relationship between species, genera and families. This should make it much easier for recorders to relate the order in the field guide to established recording systems and websites.

You mention that the species coverage has been greatly expanded since the first edition. Where have these ‘new’ species come from?

There are a variety of reasons why we include more species. Most obvious are those we see today but did not 11 or more years ago. In 2007 when we started writing the first edition, Box-tree Moth hadn’t been recorded in Britain, yet it is now an abundant species across much of southern England and set to spread fast. Our warming climate is also leading to rapid increases in micro-moth species establishing and spreading, and we have included several scarcer immigrant species which do seem to becoming more regularly recorded.

We will never be up-to-date though. No sooner had the second edition gone to print than Echium Stilt Dialectica scalariella made a spectacular appearance in Britain in autumn 2023. It now appears to be resident at various sites from Kent to Devon, and possibly Suffolk, and has been found in huge numbers as a leaf-miner on Viper’s-bugloss, disfiguring the leaves. This species is listed in the field guide as British but not covered in detail.

We have taken a more systematic approach to inclusion of those that can be identified to species from their early stages, in particular leaf-miners in the Nepticulidae and Gracillariidae, and cases of the Coleophoridae. We have chosen a wide selection of these, illustrated by good quality photographs, enabling identification to species based on the early stage.

We have responded to helpful criticism that we should have been more comprehensive in our coverage of some of the more difficult families, including Gelechiidae and Depressariidae. There is better knowledge ‘out there’ today of how to separate species in the field, and we have been able include this information for some of the more challenging species within these groups.

There will be recorders who would have wished we included yet more species, maybe even all of them? But we have kept faithful to the objective of this being a field guide, for recorders to take it whenever they are out, by day and night. Most of the remaining 20% of micros require detailed examination under a microscope, extended time to rear the species from larva to adult to confirm identity, or are very rarely encountered species.

The bottom line is that we requested to Bloomsbury and they allowed us to write a bigger book than the first edition. We have packed it to our limit with more species and more information.

Mine of the Echium Stilt on Viper’s Bugloss by Mark Parsons.

For me (and I suspect many other people), the first edition of this guide was the catalyst to start paying more attention to micro-moths, having previously written them off as ‘too difficult’. How do you feel interest in micro-moths has changed in the 11 years since the original was published?

The first edition certainly achieved its aim of bringing micro-moths within comfortable reach of many recorders who had perhaps previously not considered them. Many species are actually straightforward to identify, but we think recorders were put off by the need to acquire several expensive texts to gain comprehensive coverage.

Moth recording generally continues to grow and it has wide public appeal. The National Moth Recording Scheme (NMRS), run by Butterfly Conservation, collates moth records across the four countries in Britain and Ireland and does not separate macro- and micro-moth species. We feel the distinction is fading, with recorders deciding which micro-moth families they’ll tackle in the coming year, rather than considering the prospect too daunting.

Leaf-mine of the Sorrel Dot Enteucha acetosae on Sheep’s Sorrel by Ben Smart.

Has that growth in interest in micro-moths helped you in your revisions to this guide, e.g. by helping to fill gaps in distribution maps and so on?

The first edition was primarily aimed at moth trappers, and we included lots of photographs of leaf-mines and larval cases to add interest. In the second edition we have deliberately chosen photographs of the early stages where identification to species level is possible based on a photograph and careful observation. We want to extend recorders’ interests beyond their moth traps to include searching for leaf-mines, cases and other signs in the field. Daytime pursuit of micro-moths can happen 365 days of the year, and there are plenty of species detectable in the middle of winter. The second edition benefits especially in this respect from photographs by Ben Smart, who has already published two small volumes on Micro-moth Field Tips, both giving month-by-month hints on how to find the early stages. Having said that, the second edition remains very much a book for moth trappers, and we have added illustrations of many more adult moths from a range of families.

Black-barred Fungus Moth Nemapogon clematella by Phil Sterling.

Could you tell us a little bit about the motivation and process behind your efforts to create the standardised list of common names in this guide?

Common names of micro-moths have never been adopted widely by recorders in Britain and Ireland. There is a long history to them, with a list first appearing in the early 17th century, and the most recent compilation was collated by Jim Wheeler in 2017. Despite the efforts, it is a ‘Marmite’ subject, with common names being used by some recorders yet remaining deeply unpopular with others. Much of the angst seems to centre on the inappropriateness of some names. All members of the Tineidae have been called ‘clothes moths’ yet this wonderfully diverse group contains only a very few species that will eat clothes, the majority are in fact detritivores and herbivores, with a range of specialists on fungi. Labelling them all as if they are clothes-munchers is just plain wrong at best, and gives moths a bad name at worst. Each fungal specialist is, not surprisingly, called a type of ‘fungus moth’, a simple revision based on its life history. There are other names that today appear to be meaningless, such as ‘tubic’, which gives recorders little to grasp when trying to remember them.

The introduction of a revised set of common names, in tandem with the increasing interest and our continued desire to promote micro-moth recording to all, seemed timely with the advent of the second edition. Very many common names remain as they are in the Wheeler list, or are slightly modified, and we have tried to make revisions that add relevance to the species, such as what it looks like, or where and how it lives. We hope that the names will make micros even more accessible by removing the perception that they somehow require more specialist knowledge to tackle.

Most recorders now use social media to communicate their finds, and it is undoubtedly easier to write an English common name than the scientific equivalent, and we have tried to keep the names as short as possible with this in mind. In summary, we hope that the revised list will be adopted in time and will encourage an inclusivity for new recorders put off by scientific names, and we trust we are putting micro-moths alongside almost all groups of British wildlife that now have common names.

Phil Sterling searching for larvae on Alderney by Peter Costen.

For any enthusiasts who have not yet looked beyond the more familiar macro-moths, what can you say about the rewards of taking the plunge into the world of micros?

Macro-moth recorders are delighted when they find something of great interest in their garden moth trap, it’s exciting, and it can happen to new and seasoned recorders. Imagine increasing your chances of this happening threefold! There are roughly twice as many micro-moth species as macros, plus their distribution is generally less well known, so the chances of finding ‘goodies’ is much enhanced. The advent of pocket-sized cameras and mobile phones with decent macro-photographic capability means that it is easier to share photos of micro-moths with others than it has ever been. Add to that the opportunity to record so many species from their early stages, and at any time of year, what are people waiting for?

Records of micro-moths are collated by the NMRS. By encouraging recording the amount of data collected will increase, along with our understanding of distributions and phenology. It won’t be long, we hope, until we can see national distribution maps for micros just like the macros.

Finally, are there any other projects you’re working on that you’d like to tell us about?

For us there is the continued quest to resolve undescribed life histories of micro-moths. Even some species seen regularly as an adult are not known as a larva, such as Dingy Knot-horn Hypochalcia ahenella. It probably feeds on herbs within its favoured habitats, sparsely vegetated stony or sandy ground. For what must be quite a large larva it is certainly secretive and has eluded us to date.

One mystery partly revealed in 2023 was the finding of a larva by Phil of Black-spotted Nest Moth Tenaga nigripunctella. The life history of this very rare tineid moth was completely unknown anywhere in the world and it was assumed that the larva might feed underground in rats’ nests. The adults have been appearing more regularly in west Dorset in the last few years, and a few were observed in a hole in a stone wall at Abbotsbury in 2023. In the wall was a dead Garden Snail Cornu aspersum, and guess what; deep within the shell a fully-fed larva of the moth that appeared to have been eating the blackened dead flesh of the snail. As far as we are aware this is the first example of a moth in western Europe found to be eating dead snails. There is so much to learn about the intriguing life histories of our more obscure micro-moths!

Field Guide to the Micro-moths of Great Britain and Ireland (Second Edition) is due to be published by Bloomsbury in December 2023 and is available from nhbs.com.

Author Q&A with Kayleigh Fawcett Williams: Thermal Imaging for Wildlife Applications

Thermal Imaging for Wildlife Applications offers readers an invaluable and practical guide to this exciting technology. Covering a wealth of basics, including the history of thermal imaging and its advantages and challenges, the book also provides readers with all the information they need to begin choosing and using the right equipment. A chapter on wildlife applications covers all of the main animal groups for which the technology is of use, and a final chapter discusses the future possibilities of thermal imaging.

Kayleigh Fawcett Williams is a Wildlife Technology Trainer and Consultant and has been using technology for wildlife applications for the past sixteen years. As the founder of Wildlifetek and KFW Scientific & Creative she helps wildlife students, professionals and enthusiasts use technology to improve their wildlife work via her online training and support services. Kayleigh is also the author of the Thermal Imaging Bat Survey Guidelines which were published in 2019 in association with the Bat Conservation Trust (BCT).

During your PhD, you spent some time training to be a thermographer. What did this training involve, and how valuable do you consider this type of ‘formal’ training to be for anyone wanting to use thermal imaging equipment for their work or studies?

My thermography journey really began when I took my Level 1 Thermography Certification. This was an in-depth technical training with the Infrared Training Centre (ITC) at FLIR’s UK Headquarters in West Malling. It was a fantastic grounding in thermal science and kick-started my use of this technology. I always recommend this training to students and researchers who need to know how to carry out temperature measurement. This is usually only for very specialist research applications where the body temperature of the animal that they are working with is needed.

However, it’s definitely not for everyone. In fact, very few wildlife applications require temperature measurement, but all of them require an understanding of how the technology works, its limitations and, of course, its benefits. That’s why I have since developed wildlife-specific training for those that want to use this technology effectively but don’t need temperature measurements.

Thermal imaging equipment has been around in one form or another since the 1960s/70s. Why do you think it has taken so long for it to become more widely adopted?

It’s a long story, which I cover in much more detail in the book, but I think there are two key elements that have affected our adoption of this technology for wildlife.

Firstly, a key factor is the nature of the equipment itself. Early thermal imaging devices were expensive and cumbersome, making them largely inaccessible and impractical for most wildlife professionals. Over the decades, we have seen huge improvements in both the affordability and practicality of models available on the market. This has accelerated in recent years, where we’ve seen a massive shift towards the use of thermal imaging by both professional wildlife ecologists and amateur recorders alike.

Secondly, another major influence is the expertise of those using the equipment. Without an appropriate understanding of the technology, many have failed in their attempts to use it effectively. Unfortunately, in some cases this has led to misuse and the spread of misinformation about the technology. This has undoubtedly slowed our adoption of this technology for wildlife purposes.

Among the 300+ documents I reviewed as part of the research for the book, I noticed time and time again that these factors, equipment and expertise, determine the success or failure of thermal imaging for a wide range of wildlife species.

What do you consider to be the main challenges in working with this type of equipment?

Again, it is usually those same two factors we just discussed: equipment and expertise.

The number one question I am asked by ecologists, researchers and amateur recorders is: “What thermal imaging equipment should I buy?”. With an ever increasing list of thermal imaging devices available for us to buy, we can experience a paradox of choice where we can become confused by the array of different options on offer. So choosing the appropriate equipment for a specific wildlife application can be challenging, yet it is absolutely vital to get this bit right.

Once we have chosen our kit, the next challenge is being able to use it effectively. This requires an appropriate level of knowledge and experience, but acquiring this kind of expertise can be difficult, as I found out when I first began my work in this area thirteen years ago. Back then there were very few training opportunities and hardly anyone was using the technique outside of academia. Thankfully, things have changed a lot since then and wildlife-specific training is now available, making it much less of a challenge to access the knowledge and develop the skills that are needed.

The recently published 4th edition of Bat Surveys for Professional Ecologists includes, for the first time, new content on night-vision aids. How much of an impact do you think these recommendations will have on routine bat surveys and their results?

I think the widespread use of night-vision aids for bat surveys will be transformative for the ecology sector. Personally, I have been using thermal imaging technology for this kind of survey for many years so I am well aware of what we can achieve using night-vision aids compared to traditional methods. As a trainer, I am lucky that I also get to see lots of my students experience this for themselves. Many ecologists have told me what a game-changer it has been for them and what a difference it can make to their survey results.

So what have they been missing? Well, in the past, without using night-vision aids, surveyors often battled with the painful but common uncertainty that can lead to writing the words “possible bat emergence” on a survey form. The knock-on effects of these three words can spiral out of control, leading to a raft of unnecessary effort and costs associated with a bat that may or may not have emerged from a tree, building or other man-made structure. On the other hand, we can also easily miss bats using traditional methods. This can of course be costly financially but, more importantly, can lead to harm to the bats themselves.

So it is undoubtedly going to have some massive benefits, but it is also important to consider that, to achieve them, many ecologists out there are now having to get to grips with some new technologies. Some have found this easy and have embraced this change with enthusiasm, while others have a steep learning curve to contend with. Either way, I think it is going to be worth it.

When considering the use of thermal imaging equipment, a lot of attention is given to choosing the right product and designing a suitable survey protocol. However, do you think that the post-processing stage is equally important? And are there widely available software packages that can help with data processing and analysis?

Post-processing and analysis can be just as important, depending on the target species. When used for bat surveys, for example, post-processing and analysis using specialist software packages can make a big difference to the level of accuracy we can achieve using thermal imaging technology. To get those levels of accuracy, however, requires another level of cost in terms of effort, time and investment in software packages. Some software packages for these tasks can be quite expensive, but there are open source options as well. Thankfully, advances in automation procedures are also paving the way to streamlining this process in the future.

Finally, what’s keeping you busy this winter? Do you have plans to write further books?

I do have plans for another book, but right now I am taking a break from writing to focus on something a little bit different. I am currently filming some exciting footage for an upcoming video series called “Wildlife Detectives” on my new YouTube Channel. As part of this I will be using some really cool technologies, including thermal imaging, to find some fascinating wildlife species out in the field. Keep an eye out for it in the New Year!

Thermal Imaging for Wildlife Applications by Kayleigh Fawcett Williams was published in October 2023 by Pelagic Publishing and is available from nhbs.com.