If you want to attract more bees, birds, frogs and hedgehogs into your garden, look no further than Wildlife Gardening for Everyone and Everything. Award-winning author and journalist, Kate Bradbury offers tips on feeding your neighbourhood wildlife and explains how you can create the perfect habitats for species you’d like to welcome into your garden.
Kate kindly took some time out to answer our wildlife gardening questions, to help us get our gardens wildlife-friendly for summer!
Can you tell us a little about your background and how you got interested in the natural world?
I grew up in a house with half an acre of garden out the back. I spend my early years out there, grubbing around in the soil looking for worms, watching the birds. I started gardening from a very young age and the natural world has always been a part of that, for me.
What interests you about gardening for wildlife?
I’ve always been a softie and I’ve always championed the underdog. I love garden wildlife but I’m also passionate about looking after it, and can see the potential our gardens have for saving so many species. Wildlife gardening is all about the power of the individual. There are so many things going on in the world we might feel powerless to change, but simply by planting flowers and caterpillar foodplants we can make a difference for local wildlife species.
I get particularly excited if I find a slow worm in the garden. What animal gives you the most pleasure if you see it visiting, or making a home in your garden?
I couldn’t pick just one! In my new garden I’m desperate to see a toad. They’re so rarely seen these days – I’d be honoured if they found their way to my garden. I’m lucky enough to have hedgehogs so I love seeing them. And a grass snake would be pretty special!
If you could pick just a single thing or activity anyone could implement in their garden that would benefit wildlife, what would it be?
Grow a few native plants. Just one native tree can support hundreds of different species – providing flowers for pollinators, leaves for caterpillars and then seeds or fruit for birds in autumn. Not to mention shelter! Non-natives have a great role in gardens – especially for pollinating insects. But it’s the natives that attract the leaf munchers – the caterpillars, leaf miners, things that need leaves to breed. And, being at the bottom of the foodchain, these are hugely important to anything from hedgehogs to frogs, toads, newts, birds and bats.
What can cause the greatest harm or damage to wildlife living in, or wanting to live in your garden?
Erecting new fences and walls. If wildlife can’t get in to your garden, you’re closing off feeding and breeding habitat to them and potentially blocking off more gardens, too. Make sure wildlife can access your garden and chat with your neighbours so they know this too. Hedgehogs need just a four inch gap beneath or cut into a fence.
If your outdoor space is very small, what are the best ways to make even a tiny outdoor space a home to wildlife?
Grow a mix of nectar- and pollen-rich plants for pollinators, plus native plants for caterpillars. In a small garden you might have room for only one tree – try a Silver Birch or standard Hawthorn, which are great for wildlife. In courtyard gardens and balconies grow forget-me-not, primroses and foxgloves. These provide nectar and pollen for pollinators but also leaves for caterpillars to eat.
Do you have any new projects in the pipeline that you’d like to tell us about?
I’ve got an exciting project coming up that I can’t talk about yet – you’ll have to wait and see!
Kate Bradbury has authored many popular gardening books and the wonderful The Bumblebee Flies Anyway. See below for a list of her books available at NHBS.
With handy charts tailored to the needs of every size and style of garden, this easy-to-use book also includes practical projects such as making bee hotels or creating wildlife ponds, compost corners and wildflower meadows, as well as fact files for the UK’s most common garden species.
Finding herself in a new home in Brighton, Kate Bradbury sets about transforming her decked, barren backyard into a beautiful wildlife garden. She documents the unbuttoning of the earth and the rebirth of the garden, the rewilding of a tiny urban space.
Mary Colwell is an award-winning writer and producer who is well-known for her work with BBC Radio producing programmes on natural history and environmental issues; including their Natural Histories, Shared Planet and Saving Species series.
Her new book, Curlew Moon, documents her 500-mile journey from the west coast of Ireland to the east of England to raise awareness and funds for the Curlew, now one of the UK’s most threatened birds. Part travel diary and part natural history, the book is also a beautiful exploration of the way in which the Curlew appears in local myths, culture and language.
We were delighted to chat with Mary about the book and about her fight to save the UK Curlew population before it’s too late.
I guess I’ll start with the obvious question – why Curlews? What is it about them that captivates you and has made you dedicate so much time and energy to raising awareness for their conservation?
That’s perhaps the most difficult question. I honestly don’t know why Curlews in particular, other than I love the way they look, how they sound and where they live. Those calls over wetland and meadow or over mountain slopes are soul-grabbing. W S Graham described the Curlew’s call as a ‘love-weep’ a melancholic, yearning, beautiful sound. I grew up in the Staffordshire Moorlands and back then, in the 70s, they were common, so perhaps they infiltrated my brain! What I found on the walk is that many people feel the same. To know them is to love them. And over the last few years, as I became aware of what was happening not out on the savannah or in a rainforest, but right here under our noses, I decided to try to help. A contract with the BBC Natural History unit came to an end and the next day I started to plan the walk.
Where I live in North Wales, on the banks of the Menai Straights, the sight and sound of curlew are very common. Living somewhere like this, you could easily believe that they are both abundant and thriving here in the UK. Do you think that this, along with a lack of understanding of their complete natural history (e.g. the types of habitat they require to breed, food sources and predator pressures) contributes to masking the problems they face?
For sure that is the case. The UK and Ireland population of Curlew are boosted by winter visitors. From August to March as many as 150,000 Curlews rest up and feed ready for the breeding season. But come the warmer months most disappear back to N Germany, Scandinavia or Finland, leaving our own breeding birds thinly scattered. Also, as Curlew don’t breed until they are at least 2 years old, juveniles may well spend all year on the coast. The story of loss is in the fields and meadows. A Curlew’s life is complicated, and we are only just getting to grips with that. It needs whole landscapes to feed, roost, nest and over-winter. They bind the coast to the mountains and country to country. It’s hard to understand, but worth the effort. They really are fascinating.
Poetry features heavily in the book and I absolutely loved how you explore the myriad ways in which the curlew features in the myths, legends and cultures of the areas you passed through. (I am currently in the process of moving to Clynnog Fawr so I was particularly thrilled with the tale of St. Beuno!). Why did you choose to style the book in this way rather than writing a more prosaic natural history and travel diary?
I think being a producer on Radio 4’s Natural Histories for two series deepened my understanding of just how much the life around us has contributed to art, literature, poetry, science, folklore and spirituality. For all of our time as humans on earth we have looked at the natural world and forged connections. We still do that today. Part of the reason for the walk was to discover how curlews have inspired us. I had known about the lovely story of St Beuno and the Curlew for a long time – enchanted by it – so I knew there must be more out there. And there certainly is!
Particularly at a time where it seems that we are encouraged to value wildlife primarily for how it can benefit us, and ‘ecosystem services’ type approaches aim to put a monetary value on our wild spaces and creatures, do you think the arts have an important role in highlighting and championing those species that might otherwise fade away without notice?
Yes of course, anything that helps us to re-engage with nature is vital, be that through arts or science or economics. People are complicated – each of us has so many facets, rolled into one being. We are consumers, parents, children, lovers, friends. We are both rational and irrational, emotional and calculating, loving and full of division. Spiritual, religious, atheist, agnostic, often all at the same time. The arts understand this complexity and great art touches all those facets. The role of the arts in our lives is incalculable, so it isn’t surprising it doesn’t appear on a financial spreadsheet. I’m not sure I could write a straight natural history of any animal, bird or plant. I will always want to delve into its connection to our lives.
With any conservation work, it can sometimes feel as though you are swimming against the tide, with every move forward followed by two moves back. Especially with a species such as the Curlew, where there seem to be so many challenges to overcome, how do you maintain the hope required to keep fighting and how do you prevent yourself from succumbing to despair?
I touch on this a bit in the book – in the section where I walk though the middle of England with a friend who is an ex- Dominican friar, a gay activist and a writer, Mark Dowd. He helped put my feelings into context. This wasn’t a walk that will necessarily produce tangible proof of more Curlews on the ground within 5 years. Rather it is in the realm of hope – that something good will emerge at some point. It was a walk of trust, that if you put yourself on the line, people will respond. And so I didn’t walk with the aim that there would be a 20% increase in curlews in the UK and Ireland by 2020 (although that would be great), rather it was underpinned by a hope that people will be more aware of what needs to be done and will act on it. The series of workshops I organised with help from so many good people also gave me hope. We may fail, we may yet lose curlews from large areas, but, as David Attenborough once said, “As long as I can look into the eyes of my grandchildren and say I honestly did what I could, then that is all I can do.” I agree with that.
My final question is of a more practical nature, as I’m fascinated by people who take time out of their lives to undertake challenging journeys. Are you a seasoned long-distance walker or is this the first walk of this length you have undertaken? How did you prepare for it, both physically and mentally?
I used to do a lot of walking, but then children came along and life changed. So for 20 years I didn’t do much. But determination takes you a long way – and going to the gym. I just felt ready for the challenge and was so sure it was the right thing to do. But I did suffer from blisters! Still, a small price to pay and a good excuse to buy new boots for my most recent long distance walk – 230 miles through the Sierra Nevada in California along the John Muir Trail. That was tough, it made 500 miles along footpaths look like a stroll in the park.
Curlew Moon by Mary Colwell is published by William Collins and is available from NHBS. You can read more about Mary and her work at www.curlewmedia.com.
Signed copies of the book are available while stocks last.
With their horn-shaped cephalic fins and large, gaping mouths, manta rays have long been the source of mariners’ myths and legends. Today, we know much more about these curious creatures, although many features of their lives and behaviours remain a mystery.
Marine biologist and co-founder of the Manta Trust Guy Stevens has spent many years researching mantas in an effort to understand their lives and to promote conservation practices that will ensure their continued survival. In Manta he has joined forces with National Geographic photographer Thomas Peschak to create a visually stunning and informative tribute to these animals.
To coincide with the re-release of the book, we recently spoke to Guy about his work with Mantas and the conservation challenges that they face.
Your life as a researcher and CEO of the Manta Trust must be incredibly varied and exciting. I’m curious what a typical day in the life of Guy Stevens looks like. Or, if a ‘typical’ day is unheard of for you, can you describe a recent day for us?
My days tend to be dictated by where I am. When in the field I am usually diving or freediving with manta rays on a daily basis, collecting data or guiding tourist expeditions. However, increasingly the majority of my time is spent on my computer behind a desk responding to emails, having Skype calls, writing papers, applying for grants and managing an ever increasing manta team.
Setting up an NGO must require an immense amount of work and passion. What did you find most challenging about the process and, as an extension of this, what advice would you offer other conservationists who are hoping to travel a similar path?
The most challenging part of the process, which still remains the main challenge today, is ensuring there are funds to enable the charity to carry out its mission. My advice to anyone wishing to follow a similar path would be to ensure you diversify your revenue streams.
The work conducted by yourself and other researchers around the world has contributed a huge amount to the body of knowledge about manta rays. What do you think are the next big questions that need to be addressed and how do you think new technologies (e.g. satellite and acoustic tagging / genetic techniques) will contribute to these?
From a conservation perspective one of the next big focus areas is to try and quantify the extent and impact of bycatch fisheries on the high seas (such as purse seine tuna fisheries) to manta rays and their close relatives, the devil rays; how many are being caught, which species, where, when and how many survive release after capture? Using post-release mortality tags can help us to estimate how many of the rays are likely to survive being captured after release, while the implementation of better management practices can hopefully reduce bycatch.
It is clear from your book that the problems facing mantas are incredibly complex and, as such, will require complex solutions. The final message I took from your book, however, appears to be one of hope. What significant changes would you like (or hope!) to see happen within the next five years in the arena of manta ray conservation.
I would like to see a world shifting away from industrial fisheries which employ unsustainable fishing practices; such as drift nets, long-lines, gill nets, etc. The oceans are rapidly being depleted and we need to protect much greater areas of this common resource from fishing if we want to stand any chance of safeguarding the world’s charismatic species like manta rays from extinction in the next few decades.
Finally – and I appreciate that you must have hundreds to choose from – is there a single encounter with a manta ray that really stands out in your memory and that will stay in your heart forever?
Yes, certainly the encounter which stands out the most is the one I describe in the book with the manta Slice, who I rescued from fishing line back in 2008 in Hanifaru Bay….there are lots of detail on this encounter in the book and here’s a link to the story on our website (although it is a bit outdated now); http://www.mantatrust.org/amazing-experiences-entangled-manta-rescue/
The Sensory Ecology of Birds is a fascinating new work that explores the sensory world of birds from an evolutionary and ecological perspective. The author Professor Graham Martin gives us some insights into his inspiration, the incredible diversity of avian sensory adaptations, and how studying sensory ecology can help in developing practical conservation solutions.
How did you first become interested in bird senses?
Through owls. As a child I used to listen to tawny owls calling all through the night in a nearby wood and I wanted to know what they were doing and how they did it. My father took me round the woods at night and that experience led me to wanting to know more about the eyesight of owls.
What inspired you to write the book and what kind of readers do you think would find it useful?
I have been studying bird senses all of my working career. Nearly 50 years ago I started to get paid for looking into bird senses; it has been a strange and exciting way to spend my time. After such a long time of investigating the senses of so many different birds I wanted to bring it all together, to provide an overview that will help people understand birds from a new perspective. I think anyone interested in birds will enjoy the book and find it useful. No matter which group of species intrigues you most, this book will enable you to see them from a new perspective. Understanding bird senses really does challenge what we think birds are and how they go about their lives.
Sensory ecology is a relatively new field of research; could you explain a little about what it is and what makes it particularly relevant today?
Sensory Ecology is basically the study of the information that birds have at their disposal to guide their behaviour, to guide the key tasks that they perform every day to survive in different types of habitats. Different habitats present different challenges and to carry out tasks animals need different sorts of information. Birds have at their disposal a wide range of different sensory information, they are not just reliant upon vision. However, each species tends to be specialised for the gaining of certain types of information. Just as each species differs in its general ecology, each species also has a unique suite of information available to them. Sensory ecology is also a comparative science. It compares the information that different species use and tries to determine general principles that apply to the conduct of particular behaviours in different places. For example how different birds cope with activity at night or underwater.
Sensory Ecology also looks at why evolution has favoured particular solutions to particular problems. I think the major result of this kind of approach is that it certainly challenges our assumptions about what birds are and also what humans are. We do not readily realise that our view of the world is very much shaped by the information that our senses provide. We are rather peculiar and specialised in the information that we use to guide our everyday behaviours. My hope is that people will come to understand the world through birds’ senses, to get a real “bird’s eye view”. In doing so we can understand why birds fall victim to collisions with obvious structures such as powerlines, wind turbines, motor vehicles, glass panes, fences, etc. We can then work out what to do to mitigate these problems that humans have thrown in birds’ way.
An understanding of how a species perceives its environment can be very useful in designing practical conservation measures. Could you give us some examples?
Yes, I have been involved in trying to understand why flying birds apparently fail to detect wind turbines and power lines, or diving birds fail to detect gill nets. These investigations have led to a number of ideas about what is actually happening when birds interact with these structures and what we can do to increase the chances that birds will detect and avoid them.
How do you think that studying avian sensory ecology can enhance our understanding of our own sensory capabilities and interaction with the world?
It gives a fresh perspective on how specialised and limited our own view of the world is. We make so many assumptions that the world is really as we experience it, but we experience the world in a very specialised way. Sensory ecology provides lots of new information and facts about how other animals interact with the world, what governs their behaviour, but equally importantly sensory ecology questions very soundly our understanding of “reality”, what is the world really like as opposed to what we, as just one species, think it is like. This is quite challenging but also exhilarating. We really are prisoners of our own senses, and so are all other animals. Sensory ecology gives us the opportunity to understand the world as perceived by other animals, not just how we think the world is. That is really important since it injects a little humility into how we think about the way we exploit the world.
Could you give us some insight into how birds can use different senses in combination to refine their interpretation of the world around them?
Owls provide a good example. Their vision is highly sensitive but not sufficiently sensitive to cope with all light levels that occur in woodland at night, so owls also rely heavily upon information from hearing to detect and locate moving prey. The nocturnal behaviour of owls requires these two key sources of information but even these are not enough. To make sense of the information that they have available to them the woodland owls need to be highly familiar with the place in which they live, hence their high degree of allegiance to particular sites. Other birds, such as ducks, parrots and ibises rely heavily upon the sense of touch to find food items. The degree to which this information is used has a knock on effect on how much the birds can see about them. So a duck that can feed exclusively using touch, such as a mallard, can see all around them, while a duck that needs to use vision in its foraging cannot see all around. This in turn has implications for the amount of time birds can spend foraging as opposed to looking around them, vigilant for predators. In many birds the sense of smell is now seen as a key source of information which governs not just foraging, but also social interactions.
Are there interesting examples of species that are specialists in one particular sense?
Usually birds rely upon at least two main senses that have become highly specialised and which are used in a complementary manner. For example, in ibises it might be touch and vision, in kiwi it is smell and touch, in some of the waders it is touch and taste, but in other waders touch and hearing.
Probably the most obvious single sense specialisations are found among aerial predators such as eagles and falcons, they seem to be highly dependent upon vision to detect prey at a distance and then lock on to it during pursuit. However, we really don’t know anything about other aspects of their senses and there is a lot left to learn about them.
Can you tell us about any species that you have studied that you find particularly fascinating?
Oilbirds; they are really challenging to our assumptions about what birds are, how they live and what information they have available to them.
Oilbirds are the most nocturnal of all birds, roosting and breeding deep in caves where no light penetrates, emerging only after dusk and then flying over the tropical rain forest canopy to find fruit. But they are a form of nightjar! In the complete darkness of caves they use echolocation to orient themselves and calls to locate mates. When searching for food in the canopy they use their sense of smell to detect ripe fruits, they have long touch sensitive bristles around the mouth. And their eyes have sensitivity close to the theoretical limits possible in vertebrate eyes. They seem to rely upon partial information from each of these senses, and use them in combination or in complementary ways. They really are marvellous, but in truth the senses of any birds, and how they are used, are fascinating and intriguing, it is a matter of delving deep enough, and asking the right questions.
In what kind of direction do you think future sensory ecology research is headed?
We now have available a lot of techniques to find out about the senses of birds, from behavioural studies, to physiology and anatomy. Armed with these techniques, and also with ways of thinking and measuring the perceptual challenges of different tasks and different environments, there are so many questions to investigate. We have some fascinating findings but we have only just scratched the surface with regard to species and it does seems clear that senses can be very finely tuned to different tasks. I like to compare the diversity of the bills that we find in birds with the same diversity in the senses in those species.
Every bill tells a story about form and function, about evolution, ecology and behaviour. The senses of birds show the same degree of diversity and tuning. So to me sensory ecology is a wide open field with lot of questions to investigate. To appreciate the world from a bird’s perspective will, of course, give us a much better understanding of how to mitigate the problems that humans have posed to birds by shaping the world for our own convenience.
Susan Young is a writer and photographer with a background in physics and engineering. She is the author of the fantastic CCTV for Wildlife Monitoring published earlier this year. This great handbook provides lots of practical information on the use of CCTV for survey and research.
Your book on CCTV for Wildlife Monitoring, published earlier this year, is packed full of practical information for the researcher or amateur naturalist interested in using CCTV to monitor wildlife. Could you explain a little bit about your professional background and how you came to write this book?
I have had a very varied career and have always tended to look for new ways to do things. After graduating, I worked using applied physics in the manufacture of aero engines, and later, after a Masters in Engineering Management, worked in a large electronics company. For the last 15 years I have been a writer and (mainly) wildlife photographer, and found my experience of great value with the more technical aspects of photography.
After using various photographic systems for recording wildlife, I came to believe that CCTV had many applications for both the amateur and professional naturalist. As I have always enjoyed doing something different, I spent the last few years researching CCTV systems for use with wildlife.
I wanted to test CCTV in more formal environments and thus I volunteered for Natural England and the Wildlife Trust. With Natural England I have been researching the use of an underwater system for studying fish in rural rivers, and have also developed a system for monitoring rock pool life. With the Woodland Trust I have developed a portable CCTV system for bat monitoring, which is being used for a research project at the moment, and which can greatly reduce the need for night emergence surveys.
With this research I became convinced that there were many applications where CCTV could be of great benefit, but that the lack of clear, relevant technical information was a barrier to wider use. The more I discovered about CCTV, the greater my enthusiasm for the subject, and the greater the number of applications that became apparent. For this reason I decided to write CCTV for Wildlife Monitoring with the aim of encouraging wider use of what I believe is a valuable tool.
Do you feel that there is a need to bridge the knowledge gap between manufacturers/engineers and the individuals using field equipment? As an extension of this, do you feel that it would improve the quality of research or survey data if people had a better understanding of the functions and limitations of their kit?
In meeting both professional and amateur naturalists, I have often heard it said that manufacturers/engineers do not understand their problems. Without that understanding, they are unable to advise on the areas of use. In addition, the biological sciences are not generally taught with an emphasis on technology, which can leave graduates unfamiliar with technical language. Companies such as NHBS and, hopefully, books like mine, can help to bridge what is a very large gap in communication.
I feel very strongly that there could be great steps forward in research and survey methods if people were more aware of the possibilities of their equipment, together with an understanding of the limitations. For the keen naturalist, there is also a great number of applications for filming for pleasure.
We have found trail cameras to be extremely popular both with amateur naturalists and researchers. How do you feel these compare with CCTV systems and in what types of situations would you recommend each of them?
This is a difficult question to answer briefly!
I have used trail cameras for many years and without doubt they are of great value for indicating the presence of wildlife, especially in remote areas, but their short filming time makes them less practical for monitoring. CCTV is much more flexible and responsive, and has the capability of giving higher quality images, especially at night. CCTV can be used with underwater cameras, and with cameras that fit into small spaces such as bird or mammal boxes.
One of the main advantages of a CCTV system is that it can be set up to record at certain times as well as being triggered by motion or event. The wide range of CCTV cameras means that variable focus lenses can be used, allowing one to zoom in to the subject, noise reduction can produce clean images and features such as ‘smart IR’ prevent over exposure of nearby objects, a problem with night images with trail cameras.
If mains power is available, the advantages of CCTV become more apparent. Recent technology means that HD cameras can be used, giving high quality HD videos, and images can be viewed live on a monitor. If the internet is also available, images can be viewed remotely by smartphone, tablet or PC.
HD analogue video (AHD or, more recently, HD-TVI) is an amazing step forward in CCTV, giving videos of great quality at a reasonable cost and without the complexity of more traditional HD methods which require some knowledge of computer networks.
You have a vast amount of experience in the field using CCTV and must have collected huge amounts of footage from this. How does it make you feel when you are reviewing your videos and come across something amazing? Do you have a single favourite video or image?
There is nothing to beat the excitement of coming across a video of something unexpected. The otter swimming underwater was caught by accident while filming fish and is very short, but still very exciting, and something I never really expected to get, although I was always hoping. I try to plan a CCTV session to reduce the number of ‘empty’ videos and to make sure that I review small numbers without letting them build up over days. That way, the excitement is always there.
Finally – if you could set up a CCTV system anywhere in the world, where would you choose?
I would choose the UK. UK wildlife is very elusive and offers a great challenge. I am an ‘otterholic’ and would love to set up cameras on the Shetland islands. I have photographed otters with a DSLR, but there is nothing to beat the excitement of filming otters in action.
Tell us a little about your organisation and how you got started.
Third Wheel Ringing Supplies has been trading for about two years and comprises myself and my wife, Mary. We make a small range of equipment for ringers, specialising in traps and particularly trying to fill gaps in the market. Traditionally much of this sort of equipment has either been knocked together by ringers themselves or imported (expensively) from Europe or North America.
Our range is still very small, but it is gradually expanding as we develop more products. Product development is very slow however as, with bird safety being so important, any new product has to be extensively tested before it can be offered for sale. Nevertheless a slightly expanded product range should be launched in the coming months. Our manufacturing ethos is based on quality; never knowingly making sub-standard equipment in the quest for cheaper production costs. Hence our products are not the cheapest available, but they might be the best.
The business started when I took voluntary redundancy from my job. Having worked for (among others) The Wildlife Trusts, RSPB and Local Authorities as a nature reserves manager for 30 years, I was ready for a change. I’ve always liked making things and have a good grounding in engineering which, together with my interest in bird ringing, led onto me making various bits of ringing equipment for my own use and thence onto a small business, making equipment for other ringers.
Why Third Wheel? Well, we had to call it something and, having a slight obsession with classic motorcycles, particularly those with sidecars, the name seemed to fit us as a family.
What challenges do you face as an organisation working in the ecology sector?
One of our biggest challenges has been to persuade ringers not to rely so heavily on mist nets all the time. Although mist nets are very effective for many species and situations, they still have their limitations and traps can often be just as effective or, for some species, the only method of capture. Increasing numbers of ringers are starting to appreciate the value of different trap designs and, as traps form the mainstay of our business, we see this as a good thing!
What do you consider the most important achievement of your organisation in recent years?
On a purely personal level, Third Wheel’s most important achievement has been that, after only two years of trading, it seems to be working as a business. Although I have a passion for what I do, it still has to pay the bills and, for the time being at least, it is doing just that.
It has also been particularly gratifying to have our equipment used to great effect in a number of research projects worldwide. In addition to various projects in Europe, Third Wheel traps are used for chickadee research in Florida, grey jay research in Alaska and snow bunting research in the Canadian Arctic.
Nearer home, highlights have been a customer who caught a dunnock within 7 minutes of the postman delivering one of our traps and another who, on taking delivery of a new prototype, caught 55 linnets on the first morning.
What is your most memorable wildlife encounter?
Having been pursuing wildlife for nearly my whole life, I’ve been lucky enough to have many memorable wildlife encounters, which makes choosing a favourite rather tricky.
I’ve visited Svalbard (what we used to call Spitsbergen) in the High Arctic many times, as a leader of study tours. Here the memorable wildlife moments come thick and fast with polar bear, Arctic fox, beluga whale and countless breeding auks, wildfowl and waders against a stunning scenic backdrop.
On the bird ringing side of things, my best and most memorable ringing sessions have been catches of wigeon, teal and other wintering wildfowl as part of a cannon netting team. Wigeon are amazing little ducks and to ring one in Devon which probably breeds in central Russia is a real privilege.
Foraging for wild food is a world away from the trolley-push through the supermarket.
Those brightly-lit aisles barely cut it when you imagine gathering wild garlic in springtime, blackberries from late summer hedgerows, or sweet chestnuts as the tired old year begins to cool.
Clare Cremona wants to remind us how easy foraging for wild food can be, and it’s perfectly possible to start at home. “You would be surprised what is coming up on a bare patch of earth in your back garden,” she says.
And as an unusually mild winter slowly gives way to spring, she adds: “Right now there is actually quite a lot about. I think everything is coming out quite early, like pennywort, that is very good in a salad.”
Pennywort – the distinctive round leaves at their best and juiciest before flowers appear, usually in May – is just one of the wild foods she has chosen in the most recent of the Field Studies Council’s handy fold-out charts.
“I agonised over the 25, that was the hardest thing,” she says. “Twenty-five is not very many, that took longer than actually writing it, deciding what to leave out.”
Among those that made the cut are common sorrel, one of the earliest green plants to appear in spring; jack-by-the-hedge, another harbinger of spring, which can be used to make a slightly garlicky sauce for lamb; wood sorrel, a woodland plant, once recommended by John Evelyn as suitable for the kitchen garden; fat hen, a very old food plant, its remains have been found at Neolithic settlements throughout Europe; and wild garlic, a good addition to salads and soups.
There are hints on when and where to look for each plant, identification notes, and suggested uses.
Several of the well known favourites that need no introduction are there, such as blackberry. As is the customary health warning – never eat any wild food unless you are absolutely sure you have identified it correctly.
Cremona includes a few poisonous plants that could be confused with the edible ones, such as hemlock water dropwort, extremely toxic and probably responsible for more fatalities than any other foraged food, and dog’s mercury, highly poisonous, common in woodlands, and easy to inadvertently pick with other foraged plants.
There is a conservation issue too. She advises only picking what you need, never uprooting a wild plant (an offence without the landowner’s permission under the Wildlife and Countryside Act, 1981), and never pick a protected species, such as cowslip, even if you’ve found an old recipe book with the most tempting of recipes.
Cremona, a Forest School and Wildlife Watch leader for the Field Studies Council and Devon Wildlife Trust, says: “Generally people have a go and test something, people generally don’t strip the land of everything.
“For me it is far more important people know what they are seeing, if they don’t we are not going to look after them. And we are losing the knowledge of what you can and what you cannot eat.”
Which brings us neatly to cooking. Cremona makes her first nettle soup of the year at Easter time – it has become a family tradition – and includes a recipe for nettle soup here, and some others, including a mouth-watering wild garlic pesto.
A seasonal tradition in parts of the north of England is to make bistort pudding – sometimes called Easter-ledge pudding, dock pudding, passion pudding, or herb pudding – where foraged bistort leaves are cooked with onions, oats, butter and eggs, although recipes vary from place to place and sometimes other hedgerow leaves go into the mix.
The resulting partly-foraged and wholly distinctive savoury pudding is served as a side dish with lamb at Easter, or with bacon and eggs at other times. Competitions are held to find the best tasting, including the annual World Dock Pudding Championships, at Mytholmroyd, in the West Riding.
So perhaps this Easter is the time to have a go at foraging for wild food?
Little Toller Books was established in 2008 as an imprint of Dovecote Press with the aim to revive lost classics of nature writing and British rural history. The success of their Nature Classics Library, has allowed them the independence to follow their inspiration in terms of the projects they pursue and they are now a leading voice in nature publishing. We asked Jon Woolcott of Little Toller Books about the Nature Classics Library.
The books are beautifully designed – what was the original inspiration behind the Nature Classics Library?
Thank you, that’s nice to hear – we work really hard at the design of the books, it strikes us that a book should be a beautiful object, and reflect the quality of the writing. The founders and co-owners of Little Toller, Adrian and Gracie Cooper, moved to Dorset but when they wanted to explore more about the country around their new home they found many of the books they wanted to read were no longer available. That inspired them to republish the great classics of nature writing – books like The Making of the English Landscape by W G Hoskins and The South Country by Edward Thomas. So Little Toller Books was born. The list has grown from there.
With introductions by big name authors giving them great general appeal, are you hoping to bring these classics to a new audience?
Indeed – we’re not the first generation to rediscover these great books – and bringing authors like William Boyd, Robert Macfarlane and Carol Klein to them makes a big difference. We also use artists to complement the writing – the obvious example is Ravilious on our edition of The Natural History of Selborne by Gilbert White, but we use artists to illustrate our monograph series.
How do you choose the books that end up on the list?
We’re a tiny team (there are just four of us at Little Toller) so we work together but ultimately Adrian chooses the books – it’s based on his taste and a sense of what readers are looking for, but always with the goal of exploring nature and our relationship with landscape.
If you could gain rights to publish any book from the history of nature writing, what would it be, and why?
We’ve always got a wish-list on the go! We’d love to publish Tarka the Otter of course (we already publish Williamson’s Salar the Salmon) but a really exciting project would be to publish an anthology of Darwin’s letters recounting his explorations into his local area, and his relationship with his family. As yet, this remains in the pipeline though!
Do you remember the first natural history book that you enjoyed?
At Little Toller we all have our favourites, books that made an enormous difference to the way we felt or thought about nature. Speaking just for me I would highlight a book we don’t (yet!) publish – Bevis by Richard Jefferies. It’s not really a natural history book – ostensibly it’s a children’s book in the Swallows and Amazons tradition but written earlier. Jefferies brilliantly articulates the feelings of a boy as he explores the landscape. Jefferies was an early exponent of what we now call nature writing and I remember being captivated by his style. Adrian would choose On the Origin of Species because it’s so important, but for pure enjoyment he would have to go for Gerald Durrell’s My Family and Other Animals (editorial note: available as part of The Corfu Trilogy).
What do you think characterises great nature writing?
Oh, that’s a difficult question – each writer brings something new – but it’s characterised by a deep understanding of the subject combined with wonderful writing. A sense of the personal reaction to the natural world is imperative – we don’t publish text books but instead those which bring the reader close to the subject.
Little Toller also publishes new writing, with Horatio Clare’s Orison for a Curlew just out. What are you looking for in potential new publications like this?
We look for originality, for subjects which readers will love, and for wonderful writing. It’s led us to publish Oliver Rackham, Iain Sinclair and Richard Skelton this year alone.
What does the future have in store for Little Toller and the Nature Classics Library – any secrets you can let us in on?
We’re always looking to expand what we do – for instance we have two short films on our website about two of our books made by the authors – Iain Sinclair’s Black Apples of Gower and Richard Skelton’s Beyond the Fell Wall – and Andrew Kotting made Iain’s film with him. We’re tiny so we can be really flexible in what we publish but we’re especially excited by In Pursuit of Spring by Edward Thomas – which will have Thomas’ photographs from 1913 taken along the journey, published for the very first time – coming in March next year. We’re also looking forward to Cheryl Tipp’s book on the sounds of the sea. Many of NHBS’s fans will know her – she’s the Wildlife Sounds Curator at the British Library. And we have new books in the pipeline from Tim Dee, Dexter Petley and Horatio Clare, as well as new Nature Classics from R M Lockley and others. We’re also continuing to put our monographs into paperback as we have just done with The Ash Tree. We’re very busy! But we’re enormously heartened by the reaction to our books.
Naturalist and wildlife artist Steven Falk has had a diverse career with wildlife and conservation, including working as an entomologist with Nature Conservancy Council, and as natural history keeper for major museums. He is now Entomologist and Invertebrate Specialist at UK invertebrate conservation organisation Buglife. His new Field Guide to the Bees of Great Britain and Ireland will be published by British Wildlife Publishing next month.
Tell us about your role at Buglife.
At Buglife, I have quite a diverse role. I provide information and advice to colleagues, external enquirers and a plethora of external organisations. I’ve been particularly involved with overseeing the production of new red lists for assorted invertebrate groups, also providing feedback to the various national pollinator strategies, new agri-environment schemes, plus helping to develop projects for some of our most endangered invertebrate species. We also have a consultancy now, Buglife Services, which carries out and coordinates invertebrate surveys all over Britain. We’ve just done an exciting survey of the A30 and A38 in Devon and Cornwall. We need more understanding of road verge invertebrates, especially pollinators.
How did you come to write this landmark identification guide to all the bees of Britain and Ireland?
I was approached by Andrew Branson in 2012 and was initially quite reluctant, because you cannot use a traditional field guide approach for bees, as many cannot be identified to species level in the field (they require the taking of a specimen for critical examination under a microscope) and it is crucial that we keep the national dataset (run by BWARS) clean and reliable by being honest about where the limits of field identification lie. So I agreed to write it on the basis that it covered all 275 species, had reliable keys, and could appeal to both hardcore recorders and general naturalists. I knew this was feasible, because we had faced the same challenge with the seminal book British Hoverflies (Stubbs & Falk, 1983, 2002). So it is a field guide in the loose sense – it will help you to recognise much of what you see in the field, but also indicate at which point you need to take specimens and put them under a microscope. But you don’t need to collect bees or have a microscope to enjoy the book – we made sure of that.
There is growing concern about the conservation status of bees – how are our bees getting on, and how might the publication of this book help them?
Yes, we need to be concerned about bees. We have already lost 25 species and several more are teetering on the edge of extinction. Good bee habitat continues to be lost. Brownfield land came to the rescue last century, but most of that has now been developed or lost its flowery early successional stages, which is what so many bees need. The research being carried out on pesticides such as neonicotinioids is also pretty disturbing – check out the work by Prof. Dave Goulson at Sussex University. It seems to be affecting bee numbers in many parts of the country. The national pollinator strategies being published by UK member states are a call to arms – let’s get monitoring bees. But the emphasis is on developing citizen science to achieve some of this, because there is little funding. High quality amateur recording is part of this plan, and Britain’s strong tradition of this makes it a realistic proposition. But the last comprehensive coverage of British bees was Saunders, 1896, and it has been the lack of modern ID literature that has held bee recording back. Field Guide to the Bees of Great Britain and Ireland, and the supporting web feature (embedded in my Flickr site) will hopefully fix this!
Your career as a wildlife artist began early – you worked on the colour plates for Alan Stubb’s guide to British Hoverflies when you were just a teenager. How did this collaboration come about?
I pinned some bumblebees I had caught near my home in North London when I was 12. Half of them turned out to be bee-like hoverflies, and that started a fascination with hoverflies. The following summer holiday, I went out with a net almost every day, and seemed to find a new type of hoverfly daily. I was totally hooked on them, and I painted things that fascinated me, including those hoverflies. I exhibited some hoverfly artwork at the 1976 AES Exhibition in Hampstead, and met Alan Stubbs who told me he was writing a new guide to hoverflies. I said I wanted to do the artwork (I was only 14), and the rest is history. It took 3 years of evenings, and I think I was 17 when I finished it. I’m very proud of those plates, and you can see how my style develops (plate 8 was the first and plate 7 was the last – you can see a lampshade reflection in the early ones!).
Do we see any of your artwork in this book?
Sadly not, my eyesight is not great these days and I do very little drawing and painting now. But the British Wildlife Publishing ‘house artist’ is the great Richard Lewington, and he’s done a magnificent job. The bumblebee plates in particular, are just stunning, the best ever produced.
What sort of techniques do you use to produce your artwork – which is strikingly realistic and very detailed?
I painted birds a lot as a young child and was very aware of the bird artists of the time and their styles, people like Basil Ede, Charles Tunnicliffe and Robert Gillmor. I particularly liked the detail and photo-realism of Basil Ede’s work and became aware that he used gouache. So I started to use gouache and preferred it to watercolour. I’d often start with a black silhouette and build up the colour and texture on top of this, which is the opposite of watercolour painting. But others, like Denys Ovendon and Richard Lewington, show what can be done with watercolour, so it’s just a taste thing. For really intense or subtle colours, I’d need to use watercolours, because they produce a much larger colour pallete than gouache. Richard knows his watercolours – you need to if you want to tackle butterflies like blues, coppers and purple emperors. I’m possibly more proud of my black and white illustrations than my colour work. Here I was most influenced by the likes A. J. E. Terzi and Arthur Smith, house artists for the Natural History Museum. Their use of cross-hatching and stippling is so skillful, and I’ve tried to emulate this in my pen and ink artwork. Never use parallel lines in cross hatching!
Any future interesting projects coming up that you can tell us about – artistic, or conservation-based?
There are many more books I’d like to write, especially for wasps and assorted fly groups. It’s not just the subject, it’s the approach. I like getting into the mindset of the beginner and finding the right language and approach. We need to get more people recording invertebrates. I like the double-pronged approach of books plus web resources, and I have a popular and ever-expanding Flickr site that greatly facilitates the identification of many invertebrate groups. On the conservation front, I’m keen to continue promoting understanding of pollinators and to increase the effectiveness of agri-environment schemes. Invertebrate conservation is in my blood and I’ll be pursuing it to the very end in one form or another. I might even try illustrating again one day if I can find the right glasses!
Congratulations on the book and on publishing the first regional distribution atlas for dragonflies in Sweden. What is your background in natural history? Have you always been interested in dragonflies?
Thank you very much! I am a biologist and work since 2005 at the department of Nature Conservation at the County Administrative Board of Östergötland, mainly with action plans for threatened species. I have always been interested by natural history, and as a kid I liked to collect larvae of dragonflies, stoneflies, mayflies and other limnic insects. However, my interest for imago dragonflies and identification of species started during my biology studies, about 2002-2003.
For those who may not be familiar with the natural history of Sweden, what sort of place is Östergötland in terms of biodiversity and landscape?
Östergötland is situated in south east Sweden and covers 14,500 km sq. It is situated in the boreonemoral vegetation zone and can be divided into four natural geographic regions: the southern woodlands, the plains, the archipelago, and the northern woodlands. The woodlands and the archipelago mainly consist of coniferous forests, while the plains mainly consists of intensively cultivated agricultural land. The woodlands have great numbers of lakes and mires, while the plains are very poor in water. The main part of Östergötland is lowlands, but in the southern woodlands there are considerable areas above 200 m.a.s.l. The bedrock in the county is mainly acid but in the western part of the plains there is an area of Cambro-silurian calcareous rock. During the last glaciation, calcareous material was dispersed southwards, resulting in calcareous soils in some parts of the southern woodlands with granite bedrock. As a consequence of bedrock and soils you find mainly oligotrophic and dystrophic waters in the northern woodlands, eutrophic waters in the plains, and a mix of oligotrophic, dystrophic and mesotrophic in the southern woodlands. Östergötland, along with other southeastern regions, is one of the most species-rich regions in Sweden considering invertebrates due to its relatively warm and dry summers. It is well known for its considerable areas with hollow oaks and the saprolyxic fauna and flora associated with them.
How do you co-ordinate a project like this, with 150 volunteers over the course of five years (2008-2012), and what were some of the highs and lows?
It worked out very well since all was based on voluntarism. After getting initial information about surveying and identifying dragonflies, the participants could work quite independently. Most of the communication with the participants was made through e-mail. In addition, several activities were organized: kick-offs every spring, survey courses and excursions during summer, and reporting courses during fall. Many of the participants had no experience of surveying dragonflies before, and the fact that we managed to get so many volunteer amateurs out surveying dragonflies was one of the highlights of the project. Furthermore, the participants were a heterogenous group in terms of age and gender, and not only older men which is common in entomological contexts.
In the study you make comparisons with 10 other regions in Europe. What conclusions have you been able to draw through these comparisons?
Yes, I compare Östergötland with some other European regions where dragonfly surveys have been performed. Most of the regions have more species than Östergötland because they are situated south of Östergötland. On the other hand, Östergötland has two species which generally are missing in the other regions: Coenagrion johanssoni and Aeshna serrata. When comparing the species the regions have in common, the frequency for some species differs a lot between Östergötland and the other regions. Östergötland is distinguished by the fact that species classified as red-listed and/or decreasing in Europe occur more frequently in Östergötland than in most of the other regions. Particularly Coenagrion armatum and Leucorrhinia caudalis can be pointed out as much more common in Östergötland. Thus, Östergötland has both a national and international responsibility for these species, together with A. serrata, Aeshna viridis and Nehalennia speciosa. The reason for this is that important habitats for these species, such as bog ponds and mesotrophic lakes are naturally more common in Sweden, and that the exploitation of waters in Sweden has not been as severe as in central Europe.
What were some of the other significant findings of the project?
Probably because of global warming there is an ongoing change in the European dragonfly fauna where several southern species have expanded rapidly northwards and some northern species have retreated. In Östergötland the establishment of Lestes virens and Ischnura pumilio has been documented during the survey. L. virens was observed for the first time in the county in 2005 and, during the period 2008-2012, was found at several new localities every year. I. pumilio was first noted for the Östergötland in 2012.
And what is next for you and for the Östergötlands Entomological Society?
This year I have got the assignment to co-ordinate Sweden’s monitoring of the dragonflies species listed in the EU’s habitat directive. It will be very nice to work professionally with dragonflies and I have learned a lot about these species and dragonfly monitoring during the survey in Östergötland. I started this work last week with a field study of Ophiogomphus cecilia, a species only occurring in some few unregulated rivers in the very far north of Sweden. Concerning the Entomological Society in Östergötland, we have discussed the possibility of starting up another voluntary survey of some other easy identified insect group, e.g. shield bugs or grasshoppers, but nothing is ready to start yet.