Botany – Page 5 – Hoopoe

Improve your UK field skills with online ID resources

During lockdown and social isolation, many of us appreciated how important nature is to our happiness and wellbeing. It also gave us an opportunity to connect with local wildlife and develop or brush up on our identification and field skills.

While a good field guide is invaluable for this, there are also a huge number of really useful online resources available to help with identifying wild plants and animals. In this article we have listed a few of our favourites, covering plants, butterflies and moths, amphibians, birds, mammals and invertebrates.

We have also included links to ongoing citizen science projects for each; if you’re regularly taking note of the species you find then why not contribute this information to an organisation that can use the data to monitor biodiversity and inform conservation decisions.

At the end of the article you will find a couple of apps that can be used to record, identify and share your general wildlife findings.

PLANTS

Identification

Plantlife’s Plant and Fungi Species – Allows you to select the time of year, flower colour and habitat to narrow down your search.

Botanical Society of Britain and Ireland (BSBI) Flora Search – A more in-depth key that allows you to select information relating to the plant’s location, habitat and structure in order to identify your specimen.

Makaques UK/Irish Flora Key – A new interactive key to the flora of the British Isles, this in-depth database includes information on 3221 native and introduced species.

Citizen Science Projects

BSBI New Year Plant Hunt – Start the year with a plant hunt, and help the BSBI to study how our wild and naturalised plants are responding to changes in autumn and winter weather patterns.

National Plant Monitoring Scheme – This habitat-based plant monitoring scheme provides robust and much-needed data on changes in our wild plants and their habitats.

BUTTERFLIES AND MOTHS

Identification

Butterfly Conservation’s Identify a Butterfly – Search the database using criteria such as location, size, colour and markings or search using an A-Z list of species names.

UK Butterflies Identification – Includes an extensive database of butterfly photographs, including those of immature life stages.

Butterfly Conservation’s Identify a Moth – Search the database using criteria such as location, size, colour and markings or search using an A-Z list of species names.

UKMoths – A comprehensive database of 2261 moth species found in the British Isles.

Citizen Science Projects

Butterfly Conservation Recording and Monitoring – This Butterfly Conservation page contains details of all of their current volunteer monitoring projects.

National Moth Recording Scheme – Covering over 900 species of macro-moth, this scheme hopes to benefit nature conservation, public understanding and ecological research.

Big Butterfly Count – this annual, UK-wide survey aims to assess the health of our environment simply by counting the amount and type of butterflies (and some day-flying moths) we see.

AMPHIBIANS and Reptiles

Identification

ARG UK Identification Guides – Download a helpful range of ID guides covering amphibians and reptiles, including guides to eggs and larvae to improve your field skills.

Citizen Science Projects

National Amphibian and Reptile Recording Scheme – Includes a range of different surveys suitable for volunteers.

Amphibian and Reptile Record Pool – The Record Pool allows users to submit UK herpetofauna sightings and makes the data available, locally and nationally, for conservation purposes.

BIRDS

Identification

RSPB Identify a Bird – This bird identifier lists 406 species of UK birds and allows you to search the database using a combination of physical and behavioural characteristics.

BTO Bird Identification Videos – This series of videos will help you with identifying some of the trickier species.

Xeno-canto – A comprehensive database of bird sounds from all over the world.

Chirp! Bird Songs UK & Europe – This app will help you to identify and learn bird songs. (Available for iPad and iPhone only).

Citizen Science Projects

RSPB Big Garden Birdwatch – Take part in the world’s largest wildlife survey and help the RSPB to find out how our garden birds are doing. Takes place annually in January.

BTO Volunteer Surveys – On this webpage you will find a list of current BTO surveys, schemes and projects, available to suit a wide range of field skills and expertise.

MAMMALS (including bats and cetaceans)

Identification

Mammal Society Species Hub – Find out more about the UK’s 90 species of mammal, including bats and cetaceans.

Bat Conservation Trust UK Bat Information – Learn about the 18 species of bat found in the UK and download species information sheets for each.

Citizen Science Projects

Mammal Society Record Submissions – Report your mammal sightings on this page or using the Mammal Mapper app.

PTES Living with Mammals Survey – Record your sightings of mammals and help to protect their future.

PTES Water Vole Monitoring Programme – Survey a regular site or report a one-off sighting of a water vole and help protect the UK’s fastest declining mammal.

PTES Mammals on Roads Survey – Submit sightings of any mammals (dead or alive) that you see on the roads.

INVERTEBRATES / BUGS

Identification

Buglife’s Identify a Bug – Handy questionnaire to help you identify and find out more about your invertebrate specimen.

Freshwater Habitats Trust Freshwater Creatures – Learn more about our freshwater creatures (also includes information about aquatic mammals, amphibians, fish and birds).

Citizen Science Projects

Buglife Surveys – Get involved in one of Buglife’s projects, including surveying for the Northern February red stonefly and recording invasive species found in pot plants.

UK Glow Worm Survey – Submit your glow worm sightings using this online form.

PTES Great Stag Hunt – Help guide future conservation action for stag beetles by recording your sightings.

Riverfly Partnership Projects – Find out more about all of the Riverfly Partnership’s ongoing monitoring projects. Options are available for a range of skill and experience levels.

Apps

iSpot – Created in collaboration with the Open University and the OpenScience Laboratory, iSpot is a community-based app that allows you to record and share your wildlife sightings and get feedback from other users regarding any identification queries that you might have.

iRecord – This app enables you to get involved with biological recording by contributing your species sightings along with GPS acquired coordinates, descriptions and other information. Data is then made available to National Recording Schemes, Local Record Centres and Vice County Recorders (VCRs) to help with nature conservation, planning, research and education.

iNaturalist – This site and its two apps (iNaturalist and Seek) helps you identify the plants and animals around you, while also connecting you with a community of naturalists, citizen scientists and biologists to help map and share observations of biodiversity across the world.

Woodland Flowers: an interview with Keith J Kirby

Woodland Flowers: Colourful Past, Uncertain Future is the eighth instalment of the popular British Wildlife Collection. In this insightful and original account, Keith Kirby explores the woodland plants of Britain living in the shade of their bigger relatives. They add so much to woodland’s biodiversity and beauty and tell us stories about the history of woodland, its past management, and how that has changed – not always for the better.

Author, Keith Kirby has taken the time to sign limited copies of Woodland Flower and has answered our questions about the book, and the flowers that enhance our woodlands.

Could you tell us a little about your background?

I grew up in a village in Essex and spent much of my childhood playing in the fields, along the riverbank and in small woods behind our house. I was interested in natural history but not really a serious naturalist. Sometime in my teens I decided I wanted to be a forester and ended up doing a degree in Agricultural and Forest Sciences in Oxford. That introduced me to ‘ecology’ and led to a doctoral study of the growth of brambles in Wytham Woods. From there I spent a couple of years doing woodland and general habitat surveys before getting a permanent post in 1979 with the Nature Conservancy Council as a woodland ecologist. I stayed in that post (NCC became English Nature, became Natural England) through to 2012, then retired back to Oxford and picked up my plant research interests in Wytham Woods again.

Where did the motivation for this book come from? Are woodland flowers a subject that you have been wanting to write about for some time?

Much of my work with NCC and its successor bodies involved considering the woodland ground flora: we used them as one indicator of the value of sites, as guides to what was changing in terms of woodland management and the woodland environment more generally; some species such as bramble and bracken could also be a problem when we were trying to get regeneration. There was not then the time to pull the different strands together, so when I was back in Oxford I thought I should give it a go.

Have you noticed any unusual changes within woodland flora this Spring following the lockdown? Has it helped or hindered?

I would not really expect to see a direct effect of lockdown on the plants: often their growth is determined by reserves laid down the previous year and a few months is not very long when you consider that many woodland plants – not just the trees – can live for several decades. There could be indirect effects, for example if less disturbance in woods means that deer produce more fawns, so more hungry mouths to nibble away at the flora in future.

Germander Speedwell, a species that spreads quite quickly into new hedges.

Although adaptable, woodlands are clearly not invincible. What do you think is the greatest threat to woodland ecosystems?

In the longer-term (25-50 yrs) climate change. The micro-climate at ground level in a wood has not changed as much as out in the open because of the sheltering effect of the tree layer, but it will do eventually and this will lead to a re-assortment of which species can thrive in different parts of the country.
In the medium term (10-25 years) I suspect that we are going to see more and more evidence of change from the build-up of nitrogen in forest soils from the emissions from cars, modern farming etc. I am picking up signs that this is happening in Wytham.
The immediate threat – and it affects our ability to deal with the medium and longer-term issues as well – comes from the impact of high numbers of deer in the countryside. They limit tree regeneration and make woodland management more difficult as well having direct effects on the ground flora species themselves. At Wytham we saw during the eighties and nineties a complete shift from a flora of herbs and bramble to grass-dominated cover. That is being reversed – we are fortunate in being able to manage the deer population there – but in many other woods deer numbers are too high. This means for example that it will be difficult to get the regeneration of species such as oak, beech or hazel that will be needed over the next few years to fill the gaps in the canopy left as Ash Dieback progresses.

What single policy change would you like to see to help counter this threat?

Through history trees and woods (and hence the woodland flora) have survived best where they are valued by society: so we need to encourage greater use of wood as a material in buildings, as fuel, as a feedstock for industry; as well as promoting woodland as places for recreation, to help with water management, for carbon sequestration, and as a source of inspiration.

The tricky question of ‘nativeness’ – Oxlip outcompeted by dense Pendulous Sedge patches.

As you note in the book, there’s currently a lot of interest in rewilding. What role do you think rewilding can play in the future of UK woodlands?

From the answer to the previous question it will be obvious that I want to see a lot of woods being managed to provide the materials that society needs; moreover many of our woodland plants can thrive under such conditions – if management is done carefully – as they have done for centuries. Rewilding though also has a great role to play in future conservation alongside actively managed woods (as long as we can get away from the endless debates about the meaning of the term itself). Rewilding leads to different types of woodland structures and composition, a different set of dynamics in the landscape, some of which may be analogous to what may have existed 6,000 years ago, but other combinations will be completely new. New mixtures of woodland plants (and animals) will come to be associated with rewilded treescapes that will also be a response to the changed environmental conditions. Exactly what will emerge unpredictable and there will be interesting challenges ahead for land managers, regulators and conservation advisers – we are not in the UK going to be able to be completely ‘hands-off’ even in the wildest of rewilding.
Rewilding is however one of the reasons why I am cautiously optimistic we can yet pass on a reasonable legacy of woodland flowers.

Now that the book is finished, and after a well-earned rest, are there any plans or works-in-progress that you can tell us about?

My first priority has been to try to catch up on writing-up the results from long-term studies of the flora in Wytham Woods and The Warburg Reserve near Henley. Also once the country has opened up a bit more after Covid-19 I plan to spend time to spend some more time with the wood beneath the trees; so I have been drawing up a list of woods across the country that I want to go and visit again.

Woodland Flowers, published by Bloomsbury is out now. We have a very limited amount of signed stock, available while stocks last.

Woodland Flowers: Colourful Past, Uncertain Future
By: Keith J Kirby
Hardback | August 2020| £29.99 ~~£34.99~~

In this insightful and original account, Keith Kirby explores the woodland plants of Britain.

Woodland Flowers: Colourful Past, Uncertain Future is the eighth instalment of the popular British Wildlife Collection.

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

The NHBS Guide to UK Seaweed Identification

Seaweeds, or marine macroalgae, are plant-like organisms that live in coastal areas, usually attached to rocks or other substrates. They are divided into three taxonomic groups: brown, red and green. Broadly speaking, species fall into the group that most closely matches their colour. However, the groups also differ in more complex structural and biochemical features, such as their photosynthetic pigments and cell structure. While green and red seaweeds are classified in the Kingdom Plantae, which also includes all of the world’s land plants, brown seaweeds belong to the Kingdom Chromista and are more related to algae, diatoms and protozoans.

British and Irish seas are home to more than 600 species of seaweed; this is more than 6% of the known species globally. They are incredibly important ecologically and provide both food and shelter for numerous other creatures. In fact, one of the great pleasures of studying seaweeds is the many other species that you find along the way.

If you find yourself enjoying your seaweed studies, why not contribute to the Natural History Museum’s Big Seaweed Search. It only takes around an hour and will provide valuable data that can be used to research the effects of environmental change on our seashore communities.

When and where to find seaweed

Seaweed is present all year round. At low tide, more of the shore will be exposed which means that you are likely to find a greater range of species. This is also the only time that you are likely to spot a glimpse of those seaweeds that thrive in the lower intertidal zone. Sheltered shores tend to provide a better location for many species, as most cannot survive the battering of the waves in more exposed locations. However, there are a few species that are specially adapted to live on exposed shores so it’s always worth a look there. Similarly, as most species require a firm substrate to anchor to, rocky shores will be home to more seaweeds than sandy or muddy ones.

Ten common species to look for

Brown seaweeds:

**Bladder wrack (Fucus vesiculosus)**

Bladderwrack from the Dr. Mary Gillham Archive Project via Flickr.

ID notes: An olive-brown seaweed that has branching fronds with smooth edges. Paired air-filled bladders run along the length of the fronds on either side of the central rib. 15-100cm in length. The number of bladders present is related to the exposure of the shore; in very exposed places this species may grow without any bladders and will also be much reduced in length.

Distribution: Found on rocky shores between the high and low water line.

**Knotted wrack (Ascophylum nodosum)**

Knotted wrack from the Dr Mary Gillham Archive Project via Flickr.

Also known as: Egg wrack

ID notes: This yellow-brown seaweed has long fronds reaching up to two metres in length. Single large air bladders appear at regular intervals along its length.

Distribution: Found on the mid-shore on sheltered rocky coasts. Knotted wrack is very long-lived (up to 15 years) in comparison to other algae; this allows it to become dominant on many sheltered coastlines. When the tide goes out it often forms huge piles.

**Spiral wrack (Fucus spiralis)**

Spiral wrack from the Dr Mary Gillham Archive Project via Flickr

Also known as: Twisted wrack

ID notes: Spiral wrack is generally a pale olive-brown and grows up to 40cm. As the name would suggest, fronds are generally (although not always) twisted and have smooth edges and a distinct central rib. When mature, fronds have yellowish, paired swollen tips; these are the reproductive structures.

Distribution: Found high on the rocky shore, just below the high-water mark.

**Serrated wrack (Fucus serratus)**

Also known as: Toothed wrack or saw wrack

ID notes: This brown seaweed forms branched fronds 50 to 80cm in length. Edges are serrated.

Distribution: Found on sheltered and semi-exposed rocky shores just above the low water mark. Fucus serratus is often the dominant algal species found at this point on the shoreline.

**Oarweed (Laminaria digitata)**

ID notes: Oarweed has dark brown-green fronds that are up to two metres in length and split into long finger-like blades. Attaches to the rock with a claw-like holdfast which allows it to survive in rough subtidal conditions.

Distribution: Grows in dense beds in the lower intertidal and shallow subtidal zones (at a depth of up to 20m). Often all that can be seen of this species are the tops of the fronds during low tide.

**Sugar kelp (Saccharina latissimi)**

Also known as: Sea belt

ID notes: Forms long undivided blades that are yellow-brown in colour and have ruffled sides. Grows up to five metres in length.

Distribution: Found on the lower shore and in deep rock pools. Mostly on sheltered shores and can be found up to a depth of 30m.

Green seaweeds:

**Sea lettuce (Ulva lactua)**

ID notes: Sheet-like light green seaweed which grows up to 25cm in length and 30cm in width. Very delicate and almost translucent; almost like floppy lettuce leaves.

Distribution: Found attached to rocks or floating in rock pools.

**Gutweed (Ulva intestinalis)**

Also known as: Grass kelp

ID notes: As the Latin name would suggest, gutweed resembles the intestines of mammals and consists of inflated hollow fronds which have bubbles of air trapped along them. Bright green and grows up to 40cm in length.

Distribution: Occurs in a wide range of intertidal habitats including rockpools and on sand or mud. Can also be found growing on shells or other seaweeds.

Red seaweeds:

**Carrageen (Chondrus crispus)**

Carrageen from the Dr Mary Gillham Archive Project via Flickr

Also known as: Irish moss

ID notes: Dark reddish-purple branching seaweed which appears iridescent when submerged. Turns green with exposure to bright sunlight.

Distribution: Rocky shores and estuaries, on rocks and in pools in the lower intertidal and upper subtidal zones.

**Purple laver (Porphyra umbilicalis)**

Purple laver from the Dr Mary Gillham Archive Project via Flickr

ID notes: Forms fronds of variable shape which are thin and membranous. Olive to purple-brown in colour and up to two metres in length.

Distribution: Found in the mid to upper shore, generally on mussel-covered rocks. Common on exposed coastlines.

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

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

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

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

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

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

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

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

Why were palms so important to the Victorians?

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

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

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

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

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

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

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

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

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

The NHBS Guide to UK Tree Identification

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

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

How to identify a tree:

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

Ten common British trees and how to identify them:

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

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

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

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

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

2. Ash (Fraxinus excelsior)

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

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

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

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

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

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

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

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

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

**4. Hawthorn (Crataegus monogyna)**

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

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

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

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

**5. Hazel (Corylus avellana)**

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

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

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

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

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

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

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

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

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

**7. Holly (Ilex aquifolium)**

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

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

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

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

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

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

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

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

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

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

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

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

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

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

**10. Elder (Sambucus nigra)**

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

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

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

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

The NHBS Guide to UK Wildflower Identification

Germander speedwell (Veronica chamaedrys). Image by L Wilkes

Plants and fungi are not only beautiful and interesting to study, but they also provide the building blocks on which all of our other wildlife (and ourselves) depend. Monitoring their abundance and diversity is key to understanding the health of our habitats. Plus, there are numerous studies that suggest that being around plants has benefits for our mental wellbeing, including improved concentration and memory as well as a better overall mood.

Spring and early summer are the perfect time to study your local plants as many will be in flower at this time, making them much easier to identify. (For other times of the year, a guide such as the Vegetative Key to the British Flora is invaluable – but it may take a bit of practice. For beginners, we suggest starting during the flowering season).

In this article we’ve featured a number of wild flowers that you’re likely to find, either in your garden or when out walking. These are separated into Town and Country/Woodland, but bear in mind that there will be some overlap, so it’s worth looking at both lists. Chances are that you’ll also find a few species that aren’t included here – you can find lots more information on the Plantlife website, including ways to submit your findings to their records. Or why not check out one of our wild flower ID guides listed at the bottom of the post?

Town

Here you will find nine of the most common species that you’re likely to encounter in urban areas. Pay particular attention to parks, waste ground and walls, and don’t forget to check the pavement cracks too.

LOOK OUT FOR:

1. Daisy – Bellis Perennis
Flowers March-October.
Easily recognisable flower with a yellow centre and numerous white petals. Abundant in short grass such as parks and garden lawns.

2. Silverweed – Potentilla anserina
Flowers May-August.
Common on bare or well-walked ground such as the sides of tracks. Easy to recognise due to the silver-white underside of leaves.

3. Bramble – Rubus fructicosus
Flowers May-October.
Very abundant on waste ground as well as on heaths and in hedgerows and woodland. Thorny shrub with white or pale pink flowers.

4. Scarlet Pimpernel – Anagallis arvensis
Flowers April-October.
Commonly found in gardens as well as arable fields, dunes, cliffs and heathland. Low growing and sprawling. Flowers are red with a purplish base.

5. Rosebay Willowherb – Chamerion angustifolium
Flowers June-September.
Abundant on disturbed ground, verges and railways. Produces tall spires of purplish flowers. Often found in dense stands.

6. Ivy-Leaved Toadflax – Cymbalaria mularis
Flowers May-September.
Often found on old walls and in pavement cracks. A straggly plant with ivy-like leaves and small lilac flowers with a yellow spot.

7. Buddleia (Butterfly Bush) – Buddleja davidii
Flowers June-October.
Likes dry, disturbed places such as waste ground, railways, walls and roofs. Long sprays of purple, white or lilac flowers; a favourite of butterflies.

8. Feverfew – Tanacetum parthenium
Flowers July-September.
Found in walls, pavement cracks and on waste ground. Flowers similar to a daisy but with shorter, broader petals. Aromatic leaves.

9. White Clover – Trifolium repens
Flowers May-September.
Found in most types of grassland as well as on waste/disturbed ground. Globular clusters of flowers on long stalks; usually off-white or pale pink. The leaflets usually have a pale chevron shape near the base.

Country/Woodland

This list features nine species commonly found in the countryside and wooded areas. Hunt along the hedgerows and meadows as well as on river banks and in woodland clearings.

look out for:

1. Cow Parsley – Anthriscus Sylvestris
Flowers late April-June.
Extremely common during May on roadside verges and in woodland rides and clearings. White flowers radiate out from the stem on spokes. Fern-like leaves.

2. Germander speedwell – Veronica chamaedrys
Flowers March-July.
Common in grass and roadside verges. Bright blue flower with a white eye on a sprawling stem. Leaves oval and toothed.

3. Meadowsweet –Filipendula ulmaria
Flowers June-Sept.
Likes damp ground such as roadside ditches and wet woodland. Long stems with clusters of cream, fuzzy flowers which smell of honey or almonds.

4. Herb Robert – Geranium robertianum
Flowers April-October.
Likes banks, woods, gardens and walls. Purple flowers with lighter stripes on petals. Whole plant may sometimes turn red.

5. Bugle – Ajuga reptans
Flowers April-June.
Common in damp deciduous woodland and other shady places as well as unmanaged grassland. Forms long stems with rosettes of green-purplish leaves and blue flowers marked with white.

6. Red Campion – Silene dioica
Flowers April-October.
Likes hedgerows and woodland clearings. Five-petalled pink/red flowers on long stems with opposite leaves.

7. Greater Stitchwort – Stellaria holostea
Flowers late March-June.
Common in hedges and verges as well as in woodland. White flowers with five petals, split halfway to the base. Sprawling with narrow leaves.

8. Yellow pimpernel – Lysimachia nemorum
Flowers May-September.
Fairly common in moist, shady woodland (deciduous). Low growing/sprawling with yellow star-shaped flowers.

9. Lesser Celandine – Ficaria verna
Flowers February-May.
Likes slightly damp soil in woods, fields and churchyards. Yellow flowers on long stalks and glossy heart-shaped leaves.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Marjorie Blamey

Marjorie Blamey 1918 – 2019

We recently received the sad news that the prolific and talented botanical artist, Marjorie Blamey had died, aged 101.

Author and naturalist Peter Marren, looks back her achievements and her invaluable contribution to botany.

Marjorie Blamey, who died in September, aged 101, will be well-known to many as the artist of distinguished botanical field guides. Her paintings of wild flowers, trees and ferns are not only scientifically accurate but a joy to see in their fresh colours and lifelike arrangements. Her main aim, she once said, was to make plants look alive, and she achieved it by painting freshly gathered specimens, not, as many botanical artists did, by trying to breathe life into pressed ones.

Locating and painting around 2,000 different species for each field guide was quite a task. Marjorie and her husband Philip used to tour Europe in a motorised caravan, getting up at dawn to begin painting specimens gathered the previous afternoon, kept fresh in boxes lined with damp paper (at home she used the fridge or even the bath). In her prime she could get through a dozen watercolour paintings by lunch. Few botanical artists have worked so fast, and yet maintained such consistent quality.

Her big break was the Collins Guide to Wild Flowers of Britain and Northern Europe (1974) – known as ‘Fitter and Blamey’ – which was translated into many European languages and sold a million copies. It was followed by field guides to alpine flowers and Mediterranean flowers, vital identification guides to green tours ever since, and the large-format Illustrated Flora of Britain and Northern Europe (1989) which she wrote with her friend and mentor Christopher Grey-Wilson, and considered her best work. Her last field guide was the ambitious Wild Flowers of Britain and Ireland (2003) – or ‘Fitter, Fitter and Blamey’ – whose 4,000-odd colour illustrations she completed at the age of 85 (adding yet more paintings to the revised edition ten years later).

Despite her extraordinary output, Marjorie came to botanical painting surprisingly late. Although she had shown obvious talent in her youth – where she also became an accomplished actress, photographer and, after the outbreak of the Second World War, nurse and ambulance driver – she had largely given up painting to run a dairy farm in Cornwall with her husband, by whom she had four children. She was in her 40s when she began to paint local wild flowers. A friend persuaded her to exhibit, and one thing led to another: a book of magnolias, followed by the first of her field guides.

Marjorie Blamey was modest about her talent. She seems to have loved the life of botanical travel, working all hours to complete her assignments. When you consider that the latest Collins Flower Guide took four artists a number of years to complete, and it took Keble Martin a whole lifetime to finish The Concise British Flora, her total of around 12,000 flower paintings for five major field guides, plus other work, begun in her 50s and ending in her 90s, is a record that will, I suspect, never be exceeded.

Marjorie Blamey 1918 – 2019

Peter Marren, 26th September 2019

Author Interview: Jens H Petersen and Thomas Læssøe, Fungi of Temperate Europe (2-Volume Set)

Authors, Thomas Læssøe and Jens H Petersen have spent the last five years creating the wonderful two volumes set: Fungi of Temperate Europe. They have taken the time to answer our questions about this monumental and daunting project.

Could you tell us a little about your backgrounds and how you got interested in mycology?

We both dived into the mycological forest sometime in the late seventies and subsequently studied mycology at the Danish universities of Aarhus and Copenhagen. Since then, we have both tried to make mycology accessible to a broader audience, both through countless excursions and mycology courses and through books and photography (the present work includes photographs from the very first years of this 40 years period). Check also the book, The Kingdom of Fungi by Jens H. Petersen.

Two volumes, totalling over 1,700 pages must have a been a considerable undertaking; can you let us know a little of the process and how long it has taken for this book to come to fruition?

We have worked with the books for five years. Firstly, we made a long list of taxa we wanted to include and Jens started to develop the first identification wheels. We had the first dummy layout in summer 2015 and made the first version of the wheels for the Basidiomycota during autumn 2015. The asco wheels and the layout of the species pages followed in 2016. By summer 2017 we had a layout ready, but without text.

While Jens did wheels, layouts and photo-shopping Thomas produced the Danish texts online in our Danish Fungal Atlas database (www.svampeatlas.dk) and these were more or less finished during spring 2017. Then followed the long process of proofreading texts and editing them into the layouts. By summer 2018 this was finished and we started to do the translation into English. Fortunately, we had a couple of skilled UK copy editors who corrected mistakes and improved the language. The English edition was ready in April 2019.

The whole process was terrifying with respect to size which no one involved realised before they were deeply immersed in the books. The solution was to keep a tunnel vision most of the time, and just try to finish the one little piece of the puzzle in question and only on rare occasions emerge to the surface to look around and consider the distance to the goal line.

Who do you envisage using Fungi of Temperate Europe – what readership is it aimed at?

Everyone with a basic knowledge of fungi.

The book uses ‘form group’ to identify and present the fungi rather than exclusively strict taxonomic groups; what influenced you to use form groups and fungi wheels?

Scientists using modern DNA methods tend to split fungal genera into more and more narrow entities. As these are based on base pairs they may be absolutely devoid of morphological characteristics and thus impossible to work with for non-scientists. Thus any attempt to approach fungal identification in a strictly phylogenetic way will fail. It is for example impossible to construct a well functioning identification key to genera of fungi (we have been there several times, tried that and failed). This lead us to develop the multi-access computer key MycoKey (www.mycokey.com) and now later to try to convert the learning from MycoKey into book form.

What was your most surprising discovery whilst researching Fungi of Temperate Europe?

That fungi are difficult but beautiful.

What is the biggest challenge when studying fungi?

That fungi are mostly invisible to the naked eye unless they develop fruitbodies and when they do, the morphological plasticity of these fruitbodies is baffling. Thus good pictures are often worth more than detailed, lengthy descriptions.

After such an endeavour you surely deserve a rest, but have either of you got any future projects planned that you can tell us about?

We are working on a book with new identification keys to Danish Basidiomycota. The overall structure of this will be built on the form group identification wheels from the present work but the species keys will be dichotomous, analytical keys with lots of illustrations. We believe that the two projects will supplement each other.

We would both like to dive deeper into the world of Ascomycota and possibly return to tropical mycology.

Fungi of Temperate Europe
(2-Volume Set)
Hardback | Aug 2019
The culmination of five years work from authors, Thomas Læssøe and Jens H Petersen

The NHBS Guide to Hand Lenses

The possession of a hand lens is one of the defining characteristics of a naturalist.

We use them for everything from peering at beetle genitalia and examining floral characters, to examining the arrangement of teeth in small mammal jaw bones. There are a wide variety of hand lenses on the market so how do you decide which lens is best for you? This article contains all the information you need to make an informed choice.

Glass versus plastic lens?

The optic in a hand lens can be made from glass or plastic. Serious naturalists and professionals will always choose a glass lens. Plastic lenses are generally more affordable and lighter but are of lower optical quality and are more difficult to clean. Plastic hand lenses and magnifiers, however, can be a good choice for schools and young children, for these users have a look at the Hand Held Magnifier.

How many optical elements?

An element is an individual piece of glass within a lens. When you look through a high quality camera lens you will typically be viewing what’s in front of the lens through four to six lens elements, as well as other elements used for focusing and zooming (see image below right).

Hand lenses are constructed with one (singlet), two (doublet) or three (triplet) lens elements. Each one is specially shaped to correct for a particular type of optical distortion, so the more elements, the higher quality the image.

The highest quality lenses that we offer are the triplet products made by Kite and Belomo. These offer a bright, crystal clear and undistorted view of your subject. The images afforded by these optics will impress the user whatever their field of work is, be it geology, entomology or botany.

N.B. There is a brand of hand lens / loupe called “Triplet”. Please note that despite the brand name this popular product has one lens (singlet).

If you are interested in obtaining a doublet hand lens you should consider those that are manufactured by Opticron and also Kite. Opticron will be a familiar name if you have ever researched the purchase of a pair of binoculars and their hand lenses provide excellent distortion free magnification at 6x, 10x and 15x.

Magnification

A 10x magnification hand lens will be more than adequate for most purposes. Higher magnification lenses tend to be harder to use but are very useful for viewing extremely small objects. If you are unsure of which magnification you need, or think you may need several different lenses, you might consider the Triple Hand Lens (x3, x4 and x5).

Lens diameter

Large diameter lenses provide a wider field of view which means that they are easier to use but they are slightly more expensive to produce.

How hand lenses are named

Hand lenses are named in the same way as binoculars, with both the lens diameter and the magnification included in the name. For example, the Opticron Hand Lens, 23mm, 10x Magnification has a 23mm diameter lens and provides 10x magnification.

LED Option

Some hand lenses such as the LED Triplet Loupe Hand Lens 10x 21mm possess LED lighting in order to illuminate the object that you are viewing. This option can greatly improve your viewing experience and can be particularly valuable in low light conditions. Bat workers have expressed how useful these can be when looking for the key identifying features of a specimen held in the hand. Using a lens with LED can reduce stress on the bat because it means that you do not have to point the beam of your head torch directly at the animal.

Using your hand lens

Finally, a quick note on hand lens technique. To use your hand lens correctly, hold the lens close to your eye and then either a) move the subject closer to your eye until it comes in to focus or b) move your head (and the hand lens) closer to the subject until it comes into focus. The magnification of your lens will affect your positioning, as the higher the magnification, the smaller the focal length (the distance between the lens and the object) will be.

Getting the light right is also an important part of using your hand lens. You need a good source of light. Ideally, bright daylight but other bright light sources such as ceiling lights are sufficient. The light should be between your lens and the object, pointed at the object and not the magnifier. Any reflection on the lens can obscure the focus. This may require a little experimenting with your positioning until you get it right. It’s easy with a little practice so don’t get put off if you find a new hand lens difficult at first. Expect to get close up to what you’re examining – it’s quite common to see naturalists crawling around on the ground to get close to a plant they’re identifying.

Keeping your hand lens safe

It can be very hard to find a much-loved hand lens dropped in long grass or woodland. To prevent this happening, we recommend a lanyard for your hand lens – if you have it round your neck you won’t drop it!

For storage and transport purposes most hand lenses come equipped with either a storage pouch or a plastic case. These enable you to keep your optic safe and reduce the risk of scratches or knocks occurring, especially when it is being carried in a pocket or bag. Spare leather pouches are available for the Triplet Loupe 10x 21mm but these may fit other lenses as well – we are happy to check before you buy.

Our full range of lenses and magnifiers can be found at nhbs.com.

PLANTS

Identification

Citizen Science Projects

BUTTERFLIES AND MOTHS

Identification

Citizen Science Projects

AMPHIBIANS and Reptiles

Identification

Citizen Science Projects

BIRDS

Identification

Citizen Science Projects

MAMMALS (including bats and cetaceans)

Identification

Citizen Science Projects

INVERTEBRATES / BUGS

Identification

Citizen Science Projects

Apps

When and where to find seaweed

Ten common species to look for

Brown seaweeds:

Bladder wrack (Fucus vesiculosus)

Knotted wrack (Ascophylum nodosum)

Spiral wrack (Fucus spiralis)

Serrated wrack (Fucus serratus)

Oarweed (Laminaria digitata)

Sugar kelp (Saccharina latissimi)

Green seaweeds:

Sea lettuce (Ulva lactua)

Gutweed (Ulva intestinalis)

Red seaweeds:

Carrageen (Chondrus crispus)

Purple laver (Porphyra umbilicalis)

Further reading

Further Reading

How to identify a tree:

Ten common British trees and how to identify them:

1. Pedunculate oak (Quercus robur)

2. Ash (Fraxinus excelsior)

3. Common Lime (Tilia x europaea)

4. Hawthorn (Crataegus monogyna)

5. Hazel (Corylus avellana)

6. Common Alder (Alnus glutinosa)

7. Holly (Ilex aquifolium)

8. White Willow (Salix alba)

9. Silver Birch (Betula pendula)

10. Elder (Sambucus nigra)

Recommended reading and guides:

Town

LOOK OUT FOR:

Country/Woodland

look out for:

Further reading:

Marjorie Blamey 1918 – 2019

The possession of a hand lens is one of the defining characteristics of a naturalist.

**Bladder wrack (Fucus vesiculosus)**

**Knotted wrack (Ascophylum nodosum)**

**Spiral wrack (Fucus spiralis)**

**Serrated wrack (Fucus serratus)**

**Oarweed (Laminaria digitata)**

**Sugar kelp (Saccharina latissimi)**

**Sea lettuce (Ulva lactua)**

**Gutweed (Ulva intestinalis)**

**Carrageen (Chondrus crispus)**

**Purple laver (Porphyra umbilicalis)**

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

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

**4. Hawthorn (Crataegus monogyna)**

**5. Hazel (Corylus avellana)**

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

**7. Holly (Ilex aquifolium)**

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

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

**10. Elder (Sambucus nigra)**