The NHBS Guide to UK Finch Identification

Finches, in the family Fringillidae, are small to medium-sized birds, often having colourful plumage and short, triangular beaks, though this can vary depending on food preference. They’re found across the world, excluding Australia and the polar regions, and include more than 200 recorded species. The family Fringillidae is split into two subfamilies: Fringillinae and Carduelinae. In the UK, there are more than 15 finch species with breeding populations, along with several migrants and occasional visitors.


Hawfinch (Coccothraustes coccothraustes) 

A Hawfinch perched on a snapped twig in the centre of frame
Hawfinch by Luiz Lapa via Flickr.

Distribution: Mainly found in southern England, with populations in the north and south of Wales as well as southern Scotland. 

Habitat: Woodland, particularly forest canopies. 

Size: Length: 18cm, Wingspan: 31cm 

BoCC5 status: Red  

What to look for: This is the largest finch in the UK, with a large head and thick beak. They are mainly a rusty brown colour, with a darker brown back and wings. Their white undertail, tail tip and wing bars are easy to see in flight. Their head is a warmer orange-brown and they have a grey band around their neck. The black border to the base of their beak stretches down the front of their throat and towards the eye. The prominence of these features can vary between individuals, with females usually paler than males.  

 

Bullfinch (Pyrrhula pyrrhula) 

a male bullfinch with a bright red breast sitting on a branch
Male Bullfinch by F. C. Franklin via Flickr

 

Female Bullfinch by Luiz Lapa via Flickr
Female Bullfinch by Luiz Lapa via Flickr

 

 

 

 

 

Distribution: Widely distributed across Britain and Ireland. 

Habitat: Woodlands, orchards and hedgerows. 

Size:  Length: 14.5–16.5cm, Wingspan: 22–26cm 

BoCC5 status: Amber 

What to look for: A larger species of finch, the Bullfinch has a thick, black bill and distinct colouring. Males have a vibrant pink-orange breast, with a contrasting white rump, grey back, black cap and tail. Females are duller in colour, with a light reddish-brown breast and back.  

 

Goldfinch (Carduelis carduelis

A goldfinch sat on a small branch
Goldfinch by Caroline Legg via Flickr

Distribution: Widespread throughout England and Wales, largely absent in upland areas such as northern Scotland 

Habitat: Urban greenspaces, heathland and commons with seeding plants such as thistles, farmland, wetlands and woodland.   

Size: Length: 12cm, Wingspan: 21–25.5cm 

BoCC5 status: Green 

What to look for: A recognisable and colourful finch, the Goldfinch has a bright red face with white cheeks and a black crown. Its golden-brown back is framed with black wing edges and yellow wing patches. Both males and females look alike.  

 

Greenfinch (Chloris chloris

Greenfinch on a tree branch
Greenfinch by Andy Morffew via Flickr

Distribution: Widespread, largely absent in upland areas such as northern Scotland 

Habitat: Urban greenspaces, heathland and commons with seeding plants such as thistles, farmland, wetlands and woodland.   

Size: Length: 15cm, Wingspan: 26cm 

BoCC5 status: Red 

What to look for: Adult Greenfinches are, as their name suggests, green, but their wings and tail are mostly grey with a bar of bright yellow. They have a grey patch on their cheeks and a pink bill and legs. They have two distinct calls: a long wheezing call and a more melodic call consisting of trills and fast whistles.  

 

Chaffinch (Fringilla coelebs

Chaffinch standing on grass
Chaffinch by Sid Mosdell via Flickr

Distribution: Widespread. 

Habitat: Woodlands, hedgerows, urban greenspaces, farmland and heathland. 

Size: Length: 14.5cm, Wingspan: 24.5–28.5cm 

BoCC5 status: Green 

What to look for: One of the most common garden birds in the UK, the Chaffinch has a loud, distinctive song and colourful plumage. Males are memorable for their chestnut-orange breast and back, contrasted with a blue-grey crown and white shoulder patches. Females are less colourful, featuring a light brown breast and back.  

 

Linnet (Linaria cannabina

Linnet on a small branch
Linnet by Alan Shearman via Flickr

Distribution: Widespread in Britain and Ireland, absent from upland north Scotland.  

Habitat: Commons, heathland, farmland, saltmarshes and urban greenspaces. 

Size: Length: 13.5cm, Wingspan: 21–25.5cm 

BoCC4 status: Red 

What to look for: A smaller, slenderer finch, the Linnet is historically known for its melodic song. The male Linnet boasts a crimson forehead and chest, with a grey head and brown back. Females are paler in appearance and showcase the characteristic streaky brown hue of the species, though lacking reddish patches. Linnets may be found in large flocks during winter, often mixing with other seed-eating finches.  

 

Siskin (Carduelis spinus)  

Male Siskin on a pine branch
Male Siskin by Caroline Legg via Flickr  
Female Siskin on a broken piece of wood
Female Siskin by Caroline Legg via Flickr.

Distribution: Found across the UK, most abundant in Scotland and Wales.  

Habitat: Tree tops in coniferous and mixed woodland, urban greenspaces. 

Size:  Length: 12cm, Wingspan: 20–23cm 

BoCC5 status: Green  

What to look for: A streaky green finch with a narrow bill, the Siskin is a resident breeder in the UK. Males have a distinct black crown and chin, with yellow cheeks and breast, and yellow streaks on black wings. Less colourful, females are a dull yellow on the head and back, with a streaky breast and underside. Both have a forked tail. Often found gathered in groups over winter with other finches.   

 

Serin (Serinus serinus

Serin bird sitting on a small branch covered in lichen
Serin via RSPB

Distribution: An occasional visitor in southern England and the Channel Islands

Habitat: Coniferous woodland, farmland and urban greenspaces 

Size: Length: 11–12cm, Wingspan: 18–20cm 

BoCC5 status: Not assessed, former breeder 

What to look for: A small, brown streaky finch with a stubby bill. Males feature a vibrant buttercup-yellow head and breast, with brown patches on the crown and cheeks. Females are less eye-catching, browner in colour with soft yellow hues. Both males and females have a forked tail and yellow streaks on brown wings.  

 

Common Rosefinch (Carpodacus erythrinus

Common Rosefinch breeding-male sitting on a branch
Common Rosefinch breeding male by Birds of Gilgit-Baltistan via Flickr
Common Rosefinch female by Imran Shah via Flickr

Distribution: A rare visitor, mainly observed in the northern Isles, east coast of Scotland and southern England. 

Habitat: Woodland, scrubland and urban greenspaces. 

Size: Length: 13.5–15cm 

BoCC5 status: Not assessed 

What to look for: Common Rosefinch are similar in size to a Chaffinch. Males have a striking scarlet head, breast and rump. The wings are a woody-brown, contrasted with a pale, whitish underside. Juveniles and adult female Common Rosefinch have a lightly streaked olive-brown plumage and a short beak. Juveniles are mostly observed in autumn during migration, and adult males may be seen in spring.  

 

Common Crossbill (Loxia curvirostra) and Parrot Crossbill (Loxia pytyopsittacus

 Common Crossbill: 

Common Crossbil (male) by Ashley Wahlberg via Flickr
Red Crossbill (female) by Luiz Lapa via Flickr

 

Parrot Crossbill: Female (left) by Tero Laakso via Flickr, Male (right) by Alan Shearman via Flickr 

Parrot Crossbill (female) by Nina Laakso via Flickr

 

Red Crossbill (male) by Ashley Wahlberg via Flickr

Distribution: Common Crossbill: widespread throughout Britain and Ireland. Parrot Crossbill: rare resident in Caledonian pinewoods of north-eastern Scotland. 

Habitat: Coniferous woodland. 

Size: Common Crossbill: Length: 16cm, Wingspan: 29cm. Parrot Crossbill: Length: 16–18cm, Wingspan: 30–34cm 

BoCC5 status: Common Crossbill: Green, Parrot Crossbill: Amber 

What to look for: Common Crossbill: Named for their distinctive crossed beak, the Common Crossbill is a large finch with a forked tail and colourful plumage. Showcasing a vibrant, brick-red head, breast and underside, a male Common Crossbill is easily distinguished from its female counterpart. Instead of the characteristic vibrant plumage, females have an olive-green colour on the head, breast and belly, with a yellow rump and grey wings. Juveniles have a grey-brown streaky appearance. Parrot Crossbill: A slightly larger species, with a deeper, heavier bill, the Parrot Crossbill is difficult to distinguish from their common cousins. Males feature a similar, orange-red head and breast with muted grey wings and tail. Females also have olive-green plumage with the characteristic crossed bill.  

Did you know? A close relative, the Scottish Crossbill (Loxia scotica), is endemic to the Caledonian pine woods of Scotland. They are the only bird to be found in these forests and nowhere else in the world.  

 

Common Redpoll (Acanthis flammea) and Lesser Redpoll (Acanthis cabaret) 

Common Redpoll by Lisa Hupp/USFWS via Flickr
Lesser Redpoll by Signhmanb via Flickr

Distribution: Common Redpoll: Visitor to the UK in winter during migration, seen in eastern Scotland and England. Lesser Redpoll: Widespread. 

Habitat: Birch, Larch or Alder woodland, urban greenspaces, farmland. 

Size: Common Redpoll: Length: 12–14cm, Wingspan:20–25cm. Lesser Redpoll: Length: 12–13cm, Wingspan: 22cm 

BoCC5 status: Common Redpoll: Red, Lesser Redpoll: Not Assessed. 

What to look for: Common Redpoll: Paler than their vibrant cousins, Common Redpoll are streaky brown from above, with a pale white plumage from below. Displaying a vibrant red forehead and pink breast in summer, they are remarkably similar to their smaller cousins. Lesser Redpoll: Slightly smaller, Lesser Redpoll are a similar streaky brown with red colouring on the crown and pink-red breast in summer. They have a black bib under a small, yellow bill. Females appear similar to male counterparts, without the pink flush on the breast. Juveniles are streaky brown and do not have a red crown or pink flush. 

 

Twite (Linaria flavirostris

Twite by Gertjan van Noord via Flickr

Distribution: Found in upland England, Wales and coastal Northern Ireland during summer months. East coast of England in winter. Widespread in Scotland.  

Habitat: Moorlands, coastal saltmarshes, coastal crofts. 

Size: Length: 14cm, Wingspan: 22–24cm 

BoCC5 status: Red 

What to look for: A small, streaky brown finch with a forked tail and a short bill. Twite have a brown back with dark streaking, a pale underside and streaking on the breast. During summer months the bill is grey, where it turns yellow for winter. A rich golden-brown face and upper breast are also present during winter months. Males are distinguished by a pink rump during summer.

 

Brambling (Fringilla montifringilla

Brambling by Caroline Legg via Flickr

Distribution: Widespread in the UK during winter 

Habitat: Beech woodlands, hedgerows, stubble fields, farmland and urban greenspaces.  

Size: Length: 14cm, Wingspan: 26cm 

BoCC5 status: Green 

What to look for: A brightly marked winter visitor, Brambling are of similar size to a Chaffinch. They have a rust-orange hue over the breast and shoulder which is more vibrant and extensive among males. Males have a blue-grey head which transforms to a sleek black during summer breeding. During winter, they sport a flecked black and brown plumage, contrasting a white belly and rump. Wings are dark in colour with orange bars. Females have a softer orange breast than males, and a brown head with two pronounced dark lines running across the head and down the nape. When part of a larger flock, Brambling are recognisable for their white rump and a yellow bill during winter.  

Author interview with Bjørn Olav Tveit: A Birdwatcher’s Guide to Norway

A Birdwatcher's Guide to Norway book cover showing a photograph of a puffin on a blue background.Norway is home to some of the most sought-after bird species in Europe, including the King Eider, Gyrfalcon, Capercaillie and Jack Snipe. A Birdwatcher’s Guide to Norway is the first guide to the birds of Norway and Svalbard, detailing over 350 of the best birdwatching sites in this country. The guide efficiently explains where and when to visit these sites, which species are present in each area, how to use tower hides and shelters, other animal species you may encounter and more. The upcoming second edition includes 265 photographs, 95 maps and comprehensive information about each site, this is an essential travel guide for anyone planning to birdwatch in mainland Norway or Svalbard. 

Photograph of author Bjorn Olav Tveit with some hills behind him wearing a hat and walking top.Bjørn Olav Tveit lives in Oslo, Norway and has explored many of the country’s best birding sites throughout his life. He is a long-standing member of the Norwegian Rarity Committee for Birds and acts as the nature conservation contact for his local BirdLife Norway division. He runs bird-spotting guided tours for nature enthusiasts, composes music, authors books and works for the Norwegian Ministry of Culture. 

We recently had the opportunity to talk to Bjørn about how he became interested in birdwatching, what can be expected from the second edition of his book and more. 


Birdwatching Norway page.Firstly, can you tell us a little about yourself and how you got into birdwatching?

I have been an avid, Oslo-based birder since childhood, which is more than 40 years ago. When travelling abroad with my parents as a kid, I would lose myself in the birdwatcher’s site guides for that country or region, although I was puzzled by the fact that no such book existed for Norway. Rumours were that some older and more experienced birdwatchers were in the process of writing such a book, but the years went by, and it never materialised. Not only would I need the guidebook myself, as my activity range gradually expanded beyond Oslo, but also I was embarrassed on behalf of my country by the lack of such a guide. In my eyes, at least at the time, a birdwatching site guide defines a country’s identity and level of development. So, I decided to go forward and make the guidebook myself. 

For anyone that enjoyed the first release of A Birdwatcher’s Guide to Norway, what can they expect to discover in this updated edition?   

A lot has changed since the first edition came out 15 years ago. This change is most eye-catching in regard to Norway’s infrastructure: roads are improving and changing course; in some places, ferries have been replaced by bridges or tunnels; new tower hides have been built, and so, all maps and text have been updated accordingly. There have been quite a few changes in birdlife as well. For example, the Barred Warbler no longer breeds regularly along the Skagerrak coast, and the numbers of most cliff-breeding seabirds have greatly reduced to a point where e.g. Leach’s Storm Petrel is no longer expected on boat trips in Lofoten. On the positive side, the population of Rustic Bunting seems to be recovering, Red-flanked Bluetail is on the move into Norway, and Great Grey Owl now breeds regularly near Oslo. Furthermore, the book has expanded to a slightly larger format, allowing for more, easier-to-read maps and even more stunning images taken by some of the best photographers in the country.  

Page 196 of Birdwatching in Norway showing a map of Rundle Island.

This book details over 350 birdwatching sites in Norway and Svalbard – what was your process in deciding which sites to include? 

Based on my experience with guiding birdwatchers from abroad all over Norway, I have prioritised the sites that can produce the target species that birders from abroad tend to aim for. I have also included many all-round good birding sites, especially those situated close to larger towns or popular tourist attractions.  

Can you share any stand-out birdwatching experiences during your research for this edition? 

Oddly enough, making a birdwatching site guide is not easily combined with birdwatching! In the process, I first spent a lot of time at home, taking notes while reading trip reports and local bird magazines. Then I corresponded with over 100 local birdwatchers, who all helped me in various ways on picking the sites and giving me their opinion on how to get the most out of a birding trip in their area. Then I fired up the car engine and drove across Norway, double-checking all the theoretical information, with a focus on ensuring that a lone birdwatcher would be able to find the way and make the most of his or her birdwatching trip, solely with the help of this book. In order to visit all the included sites (and a few that were subsequently dropped), I couldn’t afford to spend as much time at each site as I would have liked to. All in all, the remarkable experience of travelling across Norway, taking in the spectacular scenery and variation in habitats and birdlife, was perhaps the most outstanding part of it all for me personally. I did see a lot of good birds along the way, though. 

Fifteen years have passed since the first edition was published, and during this time environmental pressures have continued to increase for wildlife. Have you noticed any changes over this time that may illustrate these impacts? 

I have witnessed a lot of negative impacts at several sites and areas, but at the same time, the general public in Norway has become gradually more concerned with nature preservation. By watching the reactions from people visiting the country from abroad, the locals have understood that they live in a country that is unique in terms of nature and wildlife. And so they have become prouder and more prone to taking better care of the environment. During the process of making this book, the environmentalist in me has been awakened to an even greater extent than before. I was particularly shocked by the urbanisation of my childhood local patch, Fornebu near Oslo, when I visited it for the first time in a long time during the making of this book. In the aftermath, I have been strongly engaged in preserving and enhancing the bird habitats there. 

Page 183 of Birdwatching in Norway showing the Lonaoyane delta in Voss, Western Norway.

You mentioned observing a greater accessibility to birdwatching sites since the first edition. Are you anticipating any changes in bird behaviour resulting from this? And how can birdwatchers minimise disturbance to bird species?   

One of the negative effects that birdwatching tourism may have on birds and habitats is the heightened disturbance caused by the increase in foot traffic. However, if you lead people along paths to designated hides, you reduce this risk. And you get the added bonus of getting to see the birds close up, without disturbing them. By doing this right, I hope even more people become interested in watching birds. I believe that increased awareness and interest in birds among the public is a key element in preserving birds and their habitats. 

What’s next for you? Are there new books on the horizon? 

I plan to make a third edition of the Norwegian version soon, because the English second edition is much better than the Norwegian one that I put out four years ago. And I have contemplated writing a book presenting the birds and sites in my home municipality west of Oslo. Furthermore, I have been waiting in vain for four decades on a book presenting the rare and vagrant birds of Norway… as the case was with the site book, maybe I will have to write it myself! 


A Birdwatcher's Guide to Norway book cover showing a photograph of a puffin on a blue background.

A Birdwatcher’s Guide to Norway is published by Pelagic is available to pre-order from our online bookstore.

Interview with the authors of The Little Owl

The Little Owl, Athene noctua, is one of the most well-studied species of owl. Despite being widespread across Europe, Asia and North Africa, populations are now in decline, making studies of its behaviour and ecology all the more important. The revised second edition of The Little Owl, which vastly expands on the original, published in 2011, covers everything you could wish to know about the species. From its history, taxonomy and genetics, to details of its habits, diet and breeding, the wide-ranging text consolidates all of the current available knowledge, obtained both from the author’s personal experience and research, as well as scientific and conservation literature.

The authors, Dries van Nieuwenhuyse, Ronald van Harxen and David H Johnson generously gave up some of their time to answer our questions about the book, the issues currently affecting Little Owls globally, and their hopes for the future of this captivating species. The Q&A is also illustrated with some of the beautiful images from the book, all of which were created by scientific illustrator and graphic designer Joris De Raedt.


Firstly, can you tell us a little bit about yourselves and the work you are currently involved in?

Dries is a life-long owl researcher and statistician active in ecological method development and publication. He has authored five books on the impact of technology and statistics on the decision-making processes of organisations, and in particular brings his skills as a statistician to his ornithological work.

Ronald is Chairman of the Dutch Little Owl Working Group (STONE), and has been active in research on breeding biology and population dynamics within nest box populations and conservation of the Little Owl in the Netherlands and internationally for more than four decades.

David is Executive Director at Global Owl Project, USA and working since more than a decade on a demographic study of the Burrowing Owl (Athene cunicularia). He has worked in natural resource conservation for four decades and has written two previous books on owls, wildlife and fisheries.

Joris De Raedt is scientific illustrator and graphic designer
visualising the wonders of the natural world. He illustrated the book through a combination of graphite sketches and digital illustrations. Color and details are added on the computer using a graphic tablet. More on his workflow at jorisderaedt.com.

For anyone that enjoyed reading the first version of The Little Owl which was published in 2011, what new things can they expect to discover in this updated second edition?

The subtitle of the first edition was Conservation, Ecology and Behavior, the second edition paid special attention to Taxonomy, Population Dynamics and Management. Major improvements are the illustrations that were all created by Joris De Raedt. This allowed us to make compilations of photos of the subspecies and their habitats to obtain extremely detailed and standardised artistic plates. The fact that this edition is in colour allowed excellent drawings of the embryonic development, the evolution of nestlings in function of age and high quality distribution maps by country and globally. The global distribution map was revised with much more accurate data than even before, thanks to the internet and technological advances.

Plenty of new insights were brought in by Ronald on breeding biology, prey items and behaviour in nestboxes that were equipped with webcams. Photos led to video, and that led to online webcam data that was tagged with time, prey species and specific behavior by volunteers.

The final major evolution was the intensification of replicated experiments since the first edition. Crucial questions on the yellowness of the beak of the female in relation to breeding performance and feeding preference of female nestlings by females, and also in relation to the yellowness of the beaks of the offspring, led to major breakthroughs in our knowledge. Due to the publication of the first edition, the start of a pdf and citizen science website for data collection improved the international cooperation tremendously and facilitated access to international data bases of ringing data, geocoded pictures and vocalisations.

Historically the Little Owl has suffered due to intensive agriculture practices and abundant use of pesticides. Are Little Owls still widely affected by these issues, and do we yet have a clear idea of how they are likely to be impacted with the additional challenges posed by the climate crisis?

Little Owls are ambassadors of small-scale landscapes. In some countries they disappear due to intensification of the agriculture, while in other countries they disappear when farming is halted (grazing cattle disappear) and after forestation. Climate change is expected to have a positive impact on the species in the north and the east due to less snow cover. Increasing heavy rain during the breeding season, on the other hand, will probably have a negative impact on breeding success. Increase in desertification might not be an issue, as this typical Mediterranean species can even be found in the Sahara and the Arabian Peninsula. In Europe, most negative impacts comes from agricultural intensification, with an increase in maize leading to less grassland, increase in pesticides and rodenticides, increase in scale of the landscape with fewer parcel borders, fences or shrubs.

An important part of the book deals with management techniques that have proven to work over the long term. Reintroducing short grassy vegetation with commanding perches and provision of nestboxes can significantly help Little Owls to cope with modern agriculture. If conservation is started timely enough, this simple management can help preserve healthy populations. When densities drop too low, this might not be sufficient and, in combination with a lack of food, can lead to local extinctions.

What are the key ways in which Little Owls are surveyed? And how comprehensive is our knowledge of where they occur and their current population sizes?

The species is excellent for research due to its easy response to playback of vocalisations, historically mostly undertaken in western Europe but recently increasing in eastern Europe. Monitoring efforts have continued since the 1980s and offer a good view on population numbers. This has led to extra research on the possible impact of habitat deterioration, food availability and the increase of Stone Marten and Tawny Owls as possible limiting factors.

Since the first edition plenty of new local and large scale atlases have been published leading to a very detailed knowledge on the distribution and population numbers in Europe. The new EBCC atlas has distribution data at the 50 by 50km level, the 27 EU member states monitor Little Owl presence at the 10 by 10km level, and a number of local atlases have data available at the 1 by 1 km level.

Outside of Europe, the species is rather common but distribution knowledge remains anecdotal with population estimates largely based on local average densities and, in rare cases, on habitat modelling. More insights emerged from North Africa and the East (eg Iran and Pakistan) but much more work is still needed outside Europe. Hopefully this book can boost research in less well-studied countries, as many methods that have proven to be working simply need to be replicated elsewhere.

How effective have captive breeding and reintroduction projects been for the Little Owl so far? And is this approach likely to be an important one for their future conservation?

Not very effective. Some initiatives have been undertaken but with moderate outcomes. Reintroduction remains an emergency brake that rarely works. Supplemental feeding, provision of nestboxes and landscape improvements are much more effective, particularly when they are started in a timely manner. The key is not to wait too long before starting with small-scale management and to keep healthy populations, even in areas with intensive agriculture.

How likely are Little Owls to utilise artificial nestboxes?

Very likely, and this makes The Little Owl one of the best and easiest models for biological and conservation research. The ease of installing nestboxes with webcams and with predator protection allows data to be collected in an unprecedented manner, without special tools or tedious field work. People can observe the species seated at their kitchen table, youngsters can easily be involved in playback monitoring, nestbox maintenance and food supplementation, which eventually leads to experiments and dedicated citizen science. This make the species so special.

Finally, what’s next for you? Are there new books on the horizon?

Sure, Ronald and Dries will publish a non-scientific version of the book in Dutch for the 2000+ local volunteers to thank them for their tremendous help in collecting and digitising Little Owl data through conservation, management and ringing. David and Dries are currently preparing a similar book on the close relative of the Little Owl, the Burrowing Owl. Finally, Ronald is currently working on a book on all owl species that can be found in The Netherlands. We’ve still got some work to do.


The Little Owl by Dries van Nieuwenhuyse, Ronald van Harxen and David H. Johnson was published by Cambridge University Press in October 2023 and is available from nhbs.com.

Author Q&A with Tim Mackrill: The Osprey

The Osprey book cover.Persecuted mercilessly in Britain, the magnificent Osprey became extinct in the 1890s. However, the return of the species to Scotland in the 1950s was the catalyst for reintroduction programmes elsewhere, and this remarkable raptor is now an increasingly common sight in our skies. This Poyser monograph includes over 150 photographs and details the distribution, migration, foraging ecology, breeding behaviour and population dynamics of this spectacular bird. It also places emphasis on the conservation efforts across the species British and African haunts, the latter of which has only recently been discovered thanks to satellite tagging technology. 

Tim Mackrill holding an Osprey in a field.
© John Wright

Nature conservationist Dr Tim Mackrill completed a PhD on Osprey migration at the University of Leicester and has since worked with the Roy Dennis Wildlife Foundation on various reintroduction projects, including the return of Ospreys and White-tailed Eagles to England. He managed the Rutland Osprey Project for over ten years and is the founder of the Osprey Leadership Foundation, which aims to inspire the next generation of conservation leaders by working with young people who live along the Osprey’s migratory route. 

We recently had the opportunity to speak to Tim about The Osprey, including why he is so captivated by this species, the technological advances that have helped increase our knowledge of them and more.  


Your entire adult life, and indeed much of your childhood, appears to have been spent observing and studying Ospreys. What is it about this species that so captivates you? 

Anyone who has seen an Osprey will vouch for the fact that they are a spectacular bird, particularly if you have been fortunate enough to see one plunge into water to catch a fish. However, it is the species’ migration that I find so captivating. As I write in chapter 6 of The Osprey, whenever I see a newly arrived Osprey perched beside its nest in the spring, I always think it is rather humbling to consider what the bird might have experienced since leaving its wintering site a few weeks earlier: traversing the Sahara, negotiating imposing mountain ranges, crossing areas of open sea. It could even have flown through the night – its path illuminated only by stars and moonlight – with the urge to reclaim its nest a source of great motivation to power its way north. The fact that Ospreys are faithful to the same nest site each year, and that we know them as individuals, makes it even more special to see a familiar bird back home in the spring.  

Osprey catching a fish in the sea.
Adult female Osprey – The Gambia, by John Wright

In the introduction of your book, you mention that there can be few bird species that are as well studied as the Osprey. What technological advancements over the past few decades do you think have been most influential in increasing our knowledge of this species? 

The advances in satellite tracking technology since the 1990s have added greatly to our knowledge of Ospreys. The most recent transmitters are able to log data at very high temporal resolution – as often as once per second in some cases – and this gives some amazing insights into the migratory journeys of individual Ospreys. It has shown how Ospreys are able to adapt their flight according to environmental conditions, and to make very long sea crossings – something that most raptors avoid. It has also demonstrated how experiences on the first migration shape the subsequent migratory habits of individuals, and also how young birds enter the breeding population for the first time.   

Historically, the persecution of Ospreys has been a large problem within Britain. Is this something that is still an issue? 

Fortunately, this is much less of an issue now. Egg collecting was a major threat during the early years of the Osprey recovery in Scotland, but has declined since the introduction of custodial sentences. Historically,  persecution at fishing ponds was a major cause of the population decline of Ospreys in the British Isles, and although the occasional Osprey is still shot, the sight of an Osprey plunging into the water at great speed, and then lifting off a few seconds later with a fish grasped in its talons, is much more likely to excite and inspire people than to create animosity. The success of an Osprey photographic hide at a working trout farm, Horn Mill, in Rutland is testament to that.  

Manaton Bay Osprey Family.
Manaton Bay Family by John Wright.

Ospreys appear to respond well to translocation projects. Is this down to the characteristics of their species, or because we have good quality research and evidence to indicate how best to undertake such projects? 

Translocation has been a key tool in helping the Osprey recover from the negative impacts of historical persecution and DDT. The first Ospreys to be translocated were in the United States in the late 1970s and in Europe, at Rutland Water, in the mid-1990s. As such, a wealth of information on all aspects of the translocation process has been developed and refined over the years, which means that more recent projects are much better informed than earlier ones. However, it is the species’ own breeding biology that is key. Young Ospreys, particularly males, are highly site faithful and usually return to breed close to their natal site. The imprinting process seems to occur after fledging and prior to migration and so, by moving young birds at around five to six weeks, when they are a fortnight from making their first flight, they regard the release site as home, rather than their natal nest. All young Ospreys undertake their first migration alone, and so as long as translocated Ospreys are provided fish after fledging in the way that wild-fledged birds are provisioned by their parents, they migrate as normal. Then, all being well, they return to the release site for the first time at two years of age.  

As a fully piscivorous species, do Ospreys suffer from ingesting water-borne pollutants or plastic waste? 

The Osprey is regarded as something of a sentinel species for environmental contaminant exposure and effects in aquatic ecosystems. It was badly affected by DDT in the United States and some parts of Europe. More recently, research in the United States has identified Polybrominated biphenyl ether (PBDE), flame retardants used in thermoplastics, textiles, polyurethane foams and electronic circuitry, as a potential emerging threat to Ospreys.  

PBDEs have been shown to bioaccumulate and biomagnify up the food chain, but unlike organochlorine pesticides which have declined in aquatic ecosystems in recent decades, PBDEs have increased since the 1970s. Plastic waste is also an issue, particularly in some of the coastal areas where Ospreys overwinter. It is a sad sight to see a wintering Osprey perched on a beach surrounded by ubiquitous plastic pollution.  

Red Kite chasing adult female.
Red Kite chasing adult female by John Wright.

When it comes to the Osprey, where are the gaps in the knowledge? What are the things that you’re still excited to find out about them? 

There are still elements of migration that we do not fully understand. We know that young birds use a process known as vector summation (an inherited programme of distance and direction) on their migration, and that adults become expert navigators as they become more experienced, but we do not know the exact mechanisms for this, though factors such as landscape features may be important. Personally, I like the fact that there is still this mystery around certain aspects of bird migration – it adds to the sense of awe that is created by the remarkable journeys of Ospreys and other species. 

Finally, what’s keeping you occupied day-to-day at the moment? And do you have plans for further books? 

One of the most exciting projects I am involved with at present, through my work with the Roy Dennis Wildlife Foundation, is the reintroduction of White-tailed Eagles to southern England. The first pair bred successfully last year and it has been exciting and encouraging to see how the birds are fitting into southern England. Like Ospreys, they take fish from the South Coast estuaries and so there is a wealth of suitable habitat for them. The fact that there are now breeding Ospreys and White-tailed Eagles back on the South Coast of England is very exciting and testament to what a positive, proactive approach to conservation can achieve. I love writing and so I definitely have plans for future books.  

A few years ago I also set-up a charity, the Osprey Leadership Foundation (OLF), which works to inspire and enable young conservation leaders. I feel very privileged to have had Roy Dennis, who wrote the foreword for The Osprey, as a friend and mentor for many years, and I hope the work of OLF will help the next generation of conservationists to follow the lead of people like Roy to undertake bold and ambitious projects for nature recovery – we certainly need it. 


The Osprey book cover.

The Osprey is available to order from our online bookstore.

Author Q&A with Illustrator Mike Langman

Photograph of Mike Langman, nature illustrator, on a coastal path wearing a checked shirt, cap and with a camera around his neck.Mike Langman has been a full-time illustrator specialising in birds since 1992 and has published a total of 85 books, including Park and Garden Birds and the Guide to Ducks, Geese and Swans, with his work also featuring in many UK birdwatching magazines. 

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

Fulmar sketch by Mike Langman.
Fulmar sketch by Mike Langman.

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

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


How did you get into illustrating nature?  

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

What are your favourite mediums for illustrating books?  

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

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

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

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

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

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

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

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

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

How has climate change altered your approach to projects? 

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

Do you see wildlife human conflict in your work? 

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

What bird do you wish you had seen and why? 

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

What projects are you working on right now? 

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


Mike Langman's most recent project, the illustration for the cover of Helm's Birds of the Middle East, featuring a watercolour painting of a Eurasian Eagle-Owl stood in a rocky crag.

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

The Big Garden Birdwatch: NHBS Staff Results 2024

Greenfinch perched on a piece of metal.

The RSPB’s 45th Big Garden Birdwatch took place between Friday 26th and Sunday 28th January 2024. This annual event is one of the largest citizen science wildlife surveys in the UK and helps us gain an understanding of how our garden bird populations are changing in abundance and distribution over time.  Over half a million people took part in last year’s event, recording a total of 9.1 million birds. House Sparrows took first place, despite a gradual 57% decrease in sightings since the first Birdwatch Count in 1979. They were closely followed by the Blue Tit and Starling. 

Although the Big Garden Birdwatch has finished, there is still time to submit your results on the RSPB website by the 18th February, or by post before the 13th February. Even if you didn’t see anything, it still counts! 

With birds being faced with an increasing number of challenges each year, it’s more important than ever to make your garden and outdoor space wildlife friendly. This can include installing bird feeders or tables which provide an important food source throughout the winter months when natural food sources are scarce., You can also provide clean, fresh drinking water in shallow containers such as bird baths or saucers, and install nest boxes for breeding in the spring. Also, don’t forget to regularly clean and maintain your feeders and baths as this helps stop the spread of disease. Head over to the RSPB website to find out more about how you can help your garden birds. 

A robin stood on top of a wet wooden fencepost.
Robin – Catherine Mitson

Results

As usual, many of our staff took part in this year’s Big Garden Birdwatch from their gardens or local parks across Devon, and we recorded a total of 129 birds and 22 different species. Compared to last years results, there was a 31% increase in sightings, while an additional nine species were spotted in this year’s count. The most sighted bird was the Carrion Crow, closely followed by the Blue Tit and Magpie. In comparison, the county’s top birds were the House Sparrow, Blue Tit and Starling.

Sabine took part in the event from her garden and spotted: 

3 Carrion Crow 

2 Wood Pigeon  

1 Robin  

2 Magpie  

1 Blackbird  

1 Song Thrush  

Common Wood Pigeon sat on a small wooden bird feeder house by a Silver Birch tree.
Wood Pigeon – Oli Haines

Oli took part in the event from his garden and spotted: 

3 Blackbirds 

2 Woodpigeon  

3 Jackdaw  

2 Blue tits 

1 Dunnock 

1 Great tit 

1 Robin 

1 Magpie 

1 Goldfinch

 

Adam took part in the event from his garden and spotted: 

2 Blackbirds 

6 Blue Tits 

1 Chaffinch 

2 Great Tits 

4 House Sparrow 

Photograph of a Dunnock sat on a wooden fencepost in a garden looking up at the sky about to fly off.
Dunnock – Oli Haines

Catherine took part in the event from her garden and spotted:  

2 Collared Dove 

2 Jackdaw 

4 Starling 

1 Woodpigeon 

 

Mark took part in the event from his local park and spotted: 

5 Parakeets  

12 Crows  

4 Magpies  

10 Herring Gull

Blackbird stood on a branch with trees and blue sky behind it.
Blackbird – Catherine Mitson

Elle took part in the event from her garden and spotted: 

2 Blue Tits 

1 Dunnock  

1 Grey Wagtail 

2 Wood Pigeon 

1 Magpie  

1 Great Tit 

 

Mal took part in the event from her local park and spotted: 

3 Carrion Crow 

1 Buzzard 

 

Daniel took part in the event from his garden and spotted: 

10 Chaffinch

7 Blue Tits

5 Long Tailed Tits

4 House Sparrow

3 Great Tits

2 Goldfinch

1 Coal Tit

1 Blackbird

1 Wren

1 Dunnock

1 Robin 

Female Blackbird stood on grass covered in leaves.
Blackbird – Catherine Mitson

We’d also love to hear what you spotted if you took part – let us know in the comments below.


The RSPB: 

For more information on UK garden birds, identification guides, the 2024 Big Garden Birdwatch, past results and more, please visit the RSPB website. 

The RSPB Big Garden Birdwatch 2024

Blue Tit on a branch

For the past 45 years, the RSPB has been running one of the largest citizen science projects in the world, the Big Garden Birdwatch. Every January more than half a million people take to their gardens, parks and balconies to count the birds they see. This huge dataset has allowed the RSPB to create a comprehensive picture of how our local birds are faring, and to examine changes in both abundance and distribution over time.

This year’s Big Garden Birdwatch will take place from the 26th to 28th January and anyone can sign up to take part – all it takes is an hour of your time to record the birds you see in your area and send these results to the RSPB. They will then collate all of the data and publish the results in spring.

How to take part in the Big Garden Birdwatch

    • Sign up on the RSPB website 
    • Find a good spot to watch the birds in your garden or a local park and choose an hour between between Friday 26th and Sunday 28th January. 
    • Have fun identifying the species visiting your garden during that hour and count the maximum number of each species you see at any one time. For example, if you see a group of three House Sparrows together and after that another one, the number to submit is three. This method means it is less likely you will count the same birds more than once and makes data analysis easier. Make a note of any other wildlife that you spot as well. 
    • Submit your results on the Big Garden Birdwatch website. Even if you don’t see anything, that’s still useful information. (If you can’t submit your results online, you can print off the form from the free guide and send it by post). 
    • Join in the conversation on RSPB social channels throughout the weekend to see what other nature lovers are spotting across the UK and upload your own pictures and comments using #BigGardenBirdWatch 
    • Look out for the results in April and take pride in having contributed data from your patch.

What did we learn in the 2023 Big Garden Birdwatch?

In 2023, over half a million people took part in the Big Garden Birdwatch, submitting records of more than 9.1 million birds. The most frequently reported species was the House Sparrow which received 1.4 million sightings, however counts of this bird have notably decreased by 57% when compared to the first Birdwatch in 1979. The second and third spots were held by Blue Tits and Starlings respectively. 

Last year’s results highlighted the vulnerability of some of our smaller garden birds and the environments they live in. Long-tailed Tit sightings increased by 39% in 2023, however they are very susceptible to harsh weather conditions and as a result of this, population numbers have fluctuated since the Big Garden Birdwatch began. Meanwhile, Greenfinches and Chaffinches continued to be affected by a disease known as Trichomonosis, which has led to a 34% decline in UK Chaffinch populations and 65% decline in Greenfinches over the last decade.
It is hoped that this year’s Birdwatch will help to give a better picture of how these population are faring a year on.

How can I encourage more birds and other wildlife to my garden?

 

Participating in the Big Garden Birdwatch is the perfect opportunity to observe how wildlife is using your garden and to give you some insights into how you could make your outdoor space even more attractive to wildlife. 

Improving your garden for wildlife can be as simple as leaving a patch of long grass; providing native trees or plants that are good for pollinators such as lavender, buddleja and verbena; or leaving a woodpile for insects to shelter in. You can also supply nest boxes for birds, bat boxes for summer roosting bats, access panels and shelters for hedgehogs, shelter for frogs and toads, and of course bird feeders, which will bring a multitude of species to your garden.

Recommended books and equipment

 

Collins Bird Guide book coverCollins Bird Guide: The Most Complete Guide to the Birds of Britain and Europe 

With expanded text and additional colour illustrations, the third edition of the hugely successful Collins Bird Guide is a must for every birdwatcher. The combination of definitive text, up-to-date distribution maps and superb illustrations makes this book the ultimate field guide, essential for every birdwatcher and field trip. 

 

RSPB Handbook of British Birds cover

RSPB Handbook of British Birds 

This easy-to-use book is a complete guide to the UK’s most familiar birds and, having been revised for its fifth edition, the RSPB Handbook of British Birds now includes new artwork, additional rarities, extra comparison spreads and a fully updated taxonomic order, in addition to a detailed maps reflecting current UK distributions. 

 

 

Europe’s Birds: An Identification Guide coverEurope’s Birds: An Identification Guide 

Covering more than 900 species, and illustrated with over 4,700 photographs, this is the most comprehensive, authoritative and ambitious single-volume photographic guide to Europe’s birds ever produced. The images are stunning to look at, making this a beautiful book to enjoy, as well as an up-to-date and essential source of identification knowledge.

 

Park and Garden Birds coverPark and Garden Birds 

This newly updated fold-out guide covers the top 50 birds of gardens and parks, including ponds and rivers. Designed for speedy bird identification with living birds in the garden, the guide features beautiful colour paintings by Chris Shields. Accompanying text on the reverse side covers body size, food, key identification notes and conservation status. 

 

Challenger Plastic Seed Feeder Challenger Plastic Seed Feeder 

This seed feeder is ideal for small spaces due to its size and is made from durable, long-lasting plastic. The feeder includes perching rings which have been designed to allow birds to feed in their natural facing forward position and is available in two different sizes. 

 

 NHBS Wooden Bird Nest Box NHBS Wooden Bird Nest Box 

Installing a nest box in your garden is one of the easiest ways to support local bird populations, providing them with a warm, sheltered environment with protection from most types of predators. Our own range of wooden bird nest boxes have been custom designed and manufactured from substantial 2cm thick FSC-certified wood, are available with either a 25mm or 32mm entrance hole and can be expected to last for 5–10 years. 

 

Discovery Plastic Window Seed FeederDiscovery Plastic Window Seed Feeder

The Discovery Plastic Window Seed Feeder is ideal for those with small gardens or balconies and who are new to bird feeding. It has two feeding ports with ring perches to allow the birds to feed in a natural position and the high-suction pads securely fix the feeder to glass which offers a fantastic way to watch garden birds up close.

 

Hawke Optics Nature-Trek Binos in greenHawke Optics Nature-Trek Binoculars

The Hawke Optics Nature-Trek Binoculars are great value and ideal for fieldwork. They have a shock-resistant polycarbonate body, making them robust yet lightweight, and are waterproof and fog-free. The inner-focus optical design and BAK 4 roof prism produces high resolution images and ensures no detail is lost when viewing at long or short distances, while they also have effortless focusing and impressive depth of field which makes these binoculars quick and easy to use.

 

Kite Ursus Binoculars in black.Kite Ursus Binoculars

The Kite Ursus binoculars are an easy to use, entry-level pair of binoculars with all-round performance. They have been designed for everyday use and have a robust, fully waterproof housing, rubber touch points, and are lightweight and well balanced with a short hinge and a large ribbed focus wheel so changing focus is easy. As with other Kite binoculars, the Ursus also have a great field of view and, combined with their image quality, this makes them great for panning while watching fast moving subjects.

 

GPO PASSION 10x32 ED Binoculars in green.GPO PASSION 10×32 ED Binoculars

These binoculars combine a sleek design with high-quality features, including a Schmidt-Pechan prism, 10× magnification, ED multi-coated lenses and matched optics, which deliver exceptional clarity and colour transmission. They also offer a wide field of view, high edge-to-edge sharpness and a close minimum focus, which makes them unique among models in this price range, and come in five colours: green, brown, black, sand and orange.

Author interview with Neville Davies: The Eurasian Hoopoe

Once resident in the UK, the Eurasian Hoopoe is the most widespread of its genus and is much admired for its striking appearance and entertaining character. Containing a huge amount of astonishing and fascinating facts about these magnificent birds, this book is packed with everything you need to know about this species. It is a captivating read for beginner, intermediate or expert alike, and for anyone who has an interest in birds and the natural world.

Neville Davies is an author, wildlife columnist, book reviewer, leader of nature walks and courses, and private bird guide specialising in the birdlife of Mallorca. His previous book, Birds of Mallorca provides readers with an essential guide to the best birding sites and 340 bird species that can be found on the Balearic island of Mallorca.

The Eurasian Hoopoe, which is due for publication at the end of November, provides an in-depth look at one of the species that has fascinated Neville since childhood.

We recently chatted with him about his inspiration behind the book, his hopes for the future of this incredible species, and his plans for further writing.


What inspired you to write a book about the Eurasian Hoopoe?

As a child I would often look through the bird books I had at the time, and one species that stood out for me from the hundreds of others was the European Hoopoe (hereafter referred to as the Hoopoe). There was something magical about this strange looking bird, with its ‘punk rocker’ plume of head feathers and black and white wing markings. It looked like an iconic bird and when I read it was found on the continent and other far-away places (which I assumed I would probably never get to visit), this made it even more special – the Hoopoe would forever be out of my grasp, or so I thought. Every time I acquired a new bird book, I always found myself going straight to the page on the Hoopoe. By 1990 I had decided that I was going to visit Mallorca specifically to find them; an early guidebook I had bought listed the Hoopoe as a common resident breeder, so I felt I had a good chance of finding one.

But by the third day of my first visit to Mallorca, there was still no sign of a Hoopoe. I was beginning to think that I was never going to see one and disappointment and anxiety started to creep in. But later that third day, I saw my first ever one flying low across a field and out of sight behind a farm building. I punched the air in sheer delight, I had finally seen one for real and my excitement was overwhelming. I went in search of it and spotted it along with a second bird. And what I had thought when looking through the guidebooks as a child was right, the Hoopoe is truly a magical bird and they look as characteristic in real life as in the books – the plume of punk rocker head feathers did not disappoint.

I already owned several bird books by other authors specifically on a single bird species, and this got me thinking, why not write about the Hoopoe? Not only is the Hoopoe my favourite species in the bird world, but surely there must be enough information available to make an interesting book. I was pleased to find research papers written on the Hoopoe from all over the world – there was certainly enough information for a book. The more I looked the more I found, and I learned so much about the Hoopoe that I didn’t already know. There were also some great photographs in these papers, and I started to contact several of the authors to ask if I could use their images and some of their findings. Thankfully, they were very keen to support me, so along with my own images and information I was able to provide more in-depth information, especially around breeding and prey items, and excellent photographs.

Could you tell us about the status of the Hoopoe and the kinds of threats they face?

The European breeding population is large (890,000 pairs), and the Hoopoe is doing well across the rest of its range in Asia and Africa; it is regarded as a species of Least Concern due to its widespread population. This does not mean we should be complacent, however, as the Hoopoe still faces threats, especially from hunting. The Hoopoe is regarded as a trophy species, and their distinctive undulating flight makes it an easy target for hunters and poachers. In Lebanon, for example, they are kept in cages to be sold in local markets and are often in a dreadful condition and poorly fed. It is sickening and distressing to know that a bird as majestic as the Hoopoe (or any bird for that matter) lives out the rest of its life in a cage, unable to enjoy the freedom of flight. One organisation that is doing sterling work to protect not just the Hoopoe but all birds is the Committee Against Bird Slaughter. They conduct annual bird protection operations in Spain, Italy, Malta, Cyprus and Lebanon.

Hoopoes face other forms of predation in the wild too. Both the Eleanora’s Falcon and Sooty Falcon will target Hoopoes as they migrate across open areas of water, where they are tired and easy prey. At their nest sites they can fall prey to several predators, with the seven main culprits being the Western Whip Snake, European Asp, Eurasian Magpie, Little Owl, Red Fox, Black Rat and domestic Cats.

You mention that Hoopoes were once resident in the UK but are now passing migrants. Could the Hoopoe make a long-term return?

Hoopoes were once a resident species in the UK but are now confined to being a scarce but regular passage migrant to Britain, with most sightings occurring in the spring and autumn. On average, sightings range between 100 and 150 individuals with the bulk of UK records coming from the south coast counties, although there are records from every county in the UK. The Hoopoe has bred here sporadically since the early 19th century with at least 1–4 instances recorded in each decade since the 1830s (again mostly from the southern counties). More modern records have appeared in 1971, 1976, 1977 and 1996. In 1977, pairs fledged young in Avon, Somerset, Surrey and Sussex, which is quite remarkable. The 1996 occurrence came from the Montgomeryshire area. On average, singing males are recorded every five years or so (males sing to attract females). Could they make a long-term return to the UK? Why not. In fact, recent news from Leicestershire reports that a pair of Hoopoes have successfully bred and raised three young and been seen frequenting a private garden.

Favourable conditions can bring in arrivals in large numbers, in some years this can be as early as late February. Hoopoes can turn up anywhere, with Ireland having at least 15 records; although, the further north one goes the scarcer the records become. Visiting the south coast during spring does not guarantee a Hoopoe sighting but it is certainly when and where there is the best chance of finding one. In southern England, favoured localities include the Isles of Scilly; Porthgwarra; Land’s End and the Lizard, Cornwall; Start Point and Prawle Point, Devon; Portland, the Needles, Isle of Wight; Selsey Bill, West Sussex; Dungeness and Sandwich Bay, Kent. Favourable likely locations on the east coast include Blakeney Point in Norfolk and Spurn East in Yorkshire. In the autumn, east coast locations tend to fair better sightings wise, with a scatter of drift and reverse migrants.

What conditions would be necessary for such a return?

In spring, when high pressure leads to fine settled weather over Western Europe, some migrants returning to the Mediterranean region fly right over their intended target and end up in Britain. This is known as overshooting. Across their range, Hoopoes can be seen in a variety of habitats, including gardens, parks, towns, villages, marsh edges, open fields with vegetation and ploughed fields. They can also be found in groves of olives, almonds, grapes and other fruits where the lines of trees provide shade, allowing them to feed during the hottest parts of the day, and the diversity of vegetation and rich soil also support a good variety of insect prey, including the Mole Cricket, their favoured prey.

If Hoopoes were to return to the UK permanently, they would need suitable breeding habitats, such as open areas of short grass and soft soil where they can probe for insect prey coupled with areas of mature trees in which they can build their nests in natural holes (they do not excavate holes). Old buildings, stone walls, cavities, cliffs, among boulders, drainpipes, wells, roof spaces and nest boxes are also used as nest sites. Although they prefer Mole Crickets, in the UK other species of cricket, grasshoppers, millipedes, centipedes, spiders, woodlice, snails, slugs, ants, and occasionally even lizards and frogs would form a part of their diet.

What would you recommend to someone looking to watch Hoopoes in the wild?

To maximise your chances of seeing Hoopoes in good numbers and to hear their distinctive calls, I recommend visiting somewhere where they are a common resident, such as in Spain or the Balearic Islands. In Mallorca for example, one site I visit is called Son Real where it is possible to see up to a dozen in a single visit. Visit the type of habitat they like to frequent, especially olive groves and orchards and open fields with a good scattering of nearby trees. Scan the ground as this is where they will be feeding, but also look to the roof tops of derelict buildings or outbuildings or the lower branches of trees where they like to perch. If you are quiet and do not move too much, they will allow you to approach them without being disturbed. Also, listen out for their ‘oop-oop-oop’ call which sounds like their name. Be patient, you will see one. If you visit other locations there are sub-species too, such as the African Hoopoe and Madagascar Hoopoe.

Do you have any plans for any further books you can tell us about?

I am hoping this book is a success, as I have thought about writing another book about the European Bee-eater. I have already written a bird guide called Birds of Mallorca (available from NHBS) – it will be no surprise that the cover photo features a Hoopoe. I have another book which I have written called Not Quite Living the Dream, which is based on my attempts to reside in Mallorca and covers everything from wellbeing to birds, but I am hoping a sponsor comes on board to support me financially with that one.

 


The Eurasian Hoopoe: Everything You Could Want to Know About This Iconic Bird is privately published by Neville Davies and available from nhbs.com.

Book review: What an Owl Knows

***** A hoot of a book
Leon Vlieger, NHBS Catalogue Editor

Owls are one of the most enigmatic groups of raptors, in part because there is so much we still do not understand about them compared to other birds. Nature writer Jennifer Ackerman previously wrote the critically acclaimed The Genius of Birds. In What an Owl Knows, she reveals the creature that hides under that puffy exterior, peeling back the feathers layer by layer to show our current scientific understanding of owls. She has interviewed scores of scientists and owl aficionados as part of her background research, making this as much a book about owls as about the people who study and love them. A captivating and in places touching science narrative, this book is a hoot from beginning to end.

Owls are everywhere in the human imagination and, Ackerman argues, have always been: “We evolved in their presence; lived for tens of thousands of years elbow to wing in the same woods, open lands, caves, and rock shelters; came into our own self-awareness surrounded by them; and wove them into our stories and art” (p. 235). For all that, their nocturnal lifestyle makes them hard to study and they have long been—and in many places still are—wrapped in superstition. Ackerman dedicates a chapter to such beliefs and the harms that frequently flow from them. Fortunately, the tide is turning. Thanks to the tireless efforts of a dedicated cadre of scientists, conservationists, and numerous volunteers, a far more fascinating creature emerges from the contradictory tangle of ideas that humans have held about owls.

A red thread that has been subtly woven through this book is the importance of understanding animals on their terms. Ed Yong’s An Immense World is one recent example of this welcome trend amongst science writers and Ackerman appropriately starts with a chapter on owl sensory biology. What is it like to be an owl? Though this question can never be fully answered, that should not stop us from trying our hardest. Vision and hearing are obviously important to owls but the book has plenty of surprises up its sleeve once you start digging into the details: from the magnificent facial disk that acts somewhat like a parabolic reflector to gather sound, a hearing system that does not seem to age, to the fact that owls can see ultraviolet light. At night. With rod rather than cone cells (like pretty much every other bird).

The same question motivates research on owl vocalisations as “a hoot is not just a hoot” (p. 81). Owls utter a profusion of yaps, squawks and warbles and Ackerman paints a lively portrait in words. Barn owls have “a raspy hiss that sounds like a fan belt going out on your car” (p. 82), while the tiny Flammulated Owl breaks the link between body size and vocal pitch, sounding like “a big bird trapped in a small body” (p. 82, quoting ornithologist Brian Linkhart). These sounds can reveal an awful lot about the individual owl and its relationship with other owls in the landscape. Ackerman criticises some of the research on owl intelligence. They cannot pass the string-pulling test, a common test in ethological research in which an animal has to pull on a rope to reel in food that is out of reach. The idea is that it tests an animal’s understanding of cause and effect. But is this a fair test or does it “point to the limitations of our definitions and measures of intelligence” (p. 261)?

The most intimate insights have come from rescued owls that can no longer be returned to the wild. Many researchers have ended up caring for an individual and becoming intimately familiar with them. Gail Buhl, a leading authority on training rehabilitated captive owls, here explains five important things that she has learned. One particularly poignant observation is that owls might appear calm and stoic around humans, but having paid close attention to their body language, Buhl concludes that “they’re experiencing the same stress as other raptors, but they’re internalising it” (p. 228). This has major consequences for how even well-intended trainers and rehabbers ought to behave around owls. “We need to treat them not as mini-humans in feathers, but as their own entity” (p. 231), Ackerman writes, before throwing in a beautiful quote from naturalist Henry Beston. In his words, wild animals “are not brethren, they are not underlings; they are other nations, caught with ourselves in the net of life and time” (pp. 231–232).

Following on directly from her last book on bird behaviour, there are fascinating chapters here on the behaviour of owls: their courtship and breeding, their parental behaviour, their roosting, and their migration. Yes, many owls are migratory and some species can cover surprising distances. Ackerman makes a fantastic case for the value of long-term monitoring programmes to establish reliable population estimates. This is vital data for conservation efforts and is often missing. And sometimes what we think we know is wrong, as in the case of the Snowy Owl. Where initial estimates put the global population at some 200,000 birds, satellite tracking has revealed that they are actually a single population moving around the whole Arctic Circle, resulting in duplicate counts. Revised estimates now put the figure at a mere 30,000 birds.

Ackerman relies on the input of numerous scientists and volunteers. As such, this is as much a book about the people who study owls. I was delighted to hear more from Jonathan Slaght (his book Owls of the Eastern Ice is magnificent). Other stories tug on the heartstrings and none more so than that of Marjon Savelsberg. A Dutch musician trained in baroque music, her dreams came crashing down when she was diagnosed with a heart condition that consigned her to a mobility scooter. When she stumbled on the website of the Dutch Little Owl Working Group, she quickly became one of their most active volunteers, revealing a skilled ear for analysing owl calls. Suddenly, she had a new career and a new group of appreciative ecologist colleagues: “[I] realised I was still a musician. All the skills that I learned, all the talent I have, I can still use, just in a different way” (p. 105). It is a powerful story of redemption-by-owl.

Ackerman carefully balances these two facets: the scientific insights that she has carefully distilled from research papers and interviews, and the personal stories of those who study and love owls. As a result, What an Owl Knows is compulsively readable and readily accessible for those who lack a scientific background in ornithology.


You might also be interested in reading our Q&A with Jennifer Ackerman in which we discuss owls’ reputation for wisdom, the incredible research that is shedding more light on their lives, and the mysteries that still remain.

 

Author Interview with Andrea Hart and Ann Datta: Birds of the World, The Art of Elizabeth Gould

 

Elizabeth Gould's toucan illustration of 2 toucans perched on a forking branch with leaves, both black with a yellow throat and orange and yellow bill, one facing right and one facing left.

Throughout her life, Elizabeth Gould’s work was appreciated mostly through her husbands projects documenting the birds of the world, including John Gould’s Exotic Birds, and she was therefore often not recognised under her own name. Following her tragic death at the age of 37, her artistic talents were nearly forgotten, and her name was completely unfamiliar in the art world.

Ann Detta (right) and Andrea Hart (left) sat in the National History Museum library and archives holding a copy of Birds of the World: The Art of Elizabeth Gould.Birds of the World: The Art of Elizabeth Gould is an incredible, one of a kind volume brought to you by Andrea Hart and Ann Datta, offering a remarkable tribute to Elizabeth’s artwork, reputation and skill. Containing over 200 beautifully detailed and scientifically precise illustrations depicting birds from 19th-century Europe, South America, Central America, Africa, Asia, and Australia, as well as previously unpublished artworks and an introduction to Gould’s life and achievements, this book is a lasting legacy for one of the greatest bird painters in history.

The authors kindly took the time to answer our questions about the inspiration and research behind the book – read our Q&A below. 


Could you tell us a little about how you first began studying Elizabeth Gould’s work and the drivers behind embarking on this book project? 

The Natural History Museum was initially approached by the publisher, Prestel, early last year asking if we might consider working with them on a book on Elizabeth Gould. As Andrea had already published a book on the women artists represented in the Museum’s collections and Ann has published a significant work on the correspondence of John Gould, this felt like a wonderful opportunity to bring the spotlight to Elizabeth and highlight her story and the incredible artist she was.

How did you gather the work for this collection? Did you have access to some of Elizabeth’s original plates?

Andrea Hart and Ann Datta looking at an A1 sized bound book of Elizabeth Gould's original drawings in a library.The Museum’s Library and Archives has an incredible collection of books, manuscripts and artworks and is particularly strong and comprehensive in taxonomic works on natural history. Our rare books collection therefore has sets of all the Gould’s published works, including those published following Elizabeth’s untimely death. While we held some examples of Elizabeth’s original works already, notably the ones she completed for William Jardine, we were incredibly fortunate to have been permanently allocated an album of her and John’s original works through the Acceptance in Lieu scheme of Arts Council England. This publication therefore gave us a wonderful opportunity to share some of these historically significant original drawings with a wider audience, and to further appreciate her artistic talent. 

Do you have some favourite images among the plates Elizabeth made?

This is a really tricky question as most of the illustrations that we chose are most of our favourites! Ann specifically likes the bowerbirds, the Narina Trogon, the quetzal and the Australian wren and Andrea became quite fond of the toucans (but also had to include a magpie).

4 page book spread of images from Birds of the World: The Art of Elizabeth Gould: a red, yellow and black toucan with a green beak, a gyrfalcon, a pink cockatoo and a bustard.

It’s clear from the biography of Elizabeth Gould in your book that she was incredibly industrious and hard-working, and that she experienced a great deal in her short life during a remarkable period in history. Do you get a sense that Elizabeth Gould paved the way for more women to work as artists in this field?

There is no evidence that Elizabeth Gould was influential in inspiring other women to become bird artists due, probably, to her short life. After her death in 1841, Gould’s folios were continued seamlessly by the draughtsmanship of Elizabeth’s successor, Henry Constantine Richter. Only those who knew the Goulds intimately would have been aware of her early contribution to the success of the folios. John Gould went on producing bird books for another 40 years, their contemporaries died and few questioned who was the ‘E’ in the ‘J & E Gould’ plate credits in the earlier books.   

Also, although Elizabeth may have been a promising artist as a young woman, it was not an easy career path to succeed in, and she chose to become a governess with more security. Elizabeth probably would not have become a bird artist had she not married John. John had the scientific knowledge to identify the birds in the preserved, dried skins and provided sketches to guide Elizabeth’s meticulous watercolours. They were truly an equal partnership. 

During Elizabeth’s lifetime, plants were a much more popular subject for women artists to take up than animal subjects, and a few women who were Elizabeth’s contemporaries were successful in this line. But in general, there were few opportunities for women to follow a successful career in art.

I found it fascinating that many of Elizabeth’s plates are made using a lithographic process. I wonder if you could elaborate a little on that process and the time it would have taken to produce an individual plate?

All Elizabeth Gould’s published plates for John Gould were made by the lithographic process. Lithography seems a very strange process but in the 19th century it was adopted by hundreds of aspiring artists of all subjects – history paintings, genre scenes, topography and natural history. The lithographic method dominated print and book plate production in the 19th century replacing the more expensive engraving process. By using lithography, artists could make monochrome prints of their original paintings which they could sell to the public – the rising middle classes who wanted affordable art to hang in their homes. Learning and doing the lithography themselves had two advantages for the artists: total control of the print-making process and avoiding the expense of hiring a lithographer. Those artists who mastered the technique, such as George Scharf, had no need to go to the extra expense of adding colour as they could create great delicacy of tones and lines in landscapes and street scenes etc,  just by adding shading and stippling effects on the stone. Some of the most acclaimed natural history artists such as Edward Lear (contemporary of Elizabeth) and Joseph Wolf learned lithography. Lithography was especially well-suited to reproducing bird plumages, from soft down to large feathers.  

The process of lithography consists of drawing or painting with greasy crayons and inks on fine-grained limestone blocks. At the lithographic printer, where the stone would be taken after the artist had finished, the stone would be moistened with water. The parts not covered by the crayon would become wet while the others where the greasy drawing was made would repel the water and remain dry. In a special lithographic press the printer would rub an oily ink with a roller over the stone. The oily ink would adhere only to the drawing but be repelled by the wet parts of the stone. After a sheet of paper was pressed against the inked drawing an exact copy of the original on the stone would be transferred to the paper but in reverse. The process would be repeated until the requisite number of prints was taken after which the stones would be cleaned for the next person, although the stone with its original drawing could be preserved for several years. The stones were very heavy. A Gould plate measured 22 × 16 inches. A stone measuring 18 × 22 inches would be about 3 inches thick and weigh 100 pounds.

Original cover of C Hullmandel's The Art of Drawing on a Stone with a lithographic print of a dark haired lady in a dress sat down painting onto a stone.The Art of Drawing on Stone, courtesy of archive.org

The lithographic printer Charles Hullmandel was responsible for all Elizabeth’s plates. His book, The art of drawing on stone (1824), has a vignette on the titlepage of a woman working on a stone. The first prints that came off his printing press – proof plates before lettering – were sent to Gould to approve. Then they went back to Hullmandel for him to add lettering to the stone according to Gould’s instruction (title = bird name, credits to the names of the artists, lithographer and printer). The proof plate after lettering, still a monochrome print, would go back to Gould again for her to colour to match her original watercolour.  This artist’s colour proof would go to Gabriel Bayfield, the proprietor of a firm of colourists used for all Elizabeth’s plates, for his employees to copy the proof print on the requisite number of copies of each plate that Gould ordered. 

Using this complicated and time-consuming process, each title took several years to complete. The books were sold by subscription (maximum number of subscribers often 250) who received parts, perhaps four times a year, and each part might contain 20 hand-coloured plates. The time taken to produce a lithograph would depend on the competence and confidence of the lithographer, and the complexity of the subject. 

Elizabeth’s life contained many intense hardships. Aside from her incredible artworks, is there much record of her personal life and experience, such as in letters and diaries?

Very little extant information exists about Elizabeth with only about 15 letters dating between 1838 and 1840 surviving, all of which are now preserved in the Mitchell Library in Sydney, Australia. They were written by Elizabeth to her mother and cousin who had moved into her house in London to look after the children while Elizabeth and John were in Australia. The letters record some details of their visit including the people she met, especially Sir John and Lady Franklin, who accommodated them for nearly 12 months in Tasmania. Other topics include some of the problems faced by European settlers, e.g. acquiring servants, schooling, and the adverse climate, John’s collecting trips and his helpful Aboriginal guides, and making plant drawings. She writes proudly about her new son Franklin, born in Tasmania in Government House, and regularly enquires about the health of her mother and children. She does, however, reveal profound sadness at being away from her three young children in London. 

In addition, there is one earlier letter written by Elizabeth in 1827 to her mother when she was working as a governess in London before her marriage. Only a fragment of a diary written by Elizabeth over the few days from 21st August to 30th September 1839 is known. It was written after she had left Tasmania and travelled to New South Wales to stay with her brother Stephen Coxen.  In it she describes seeing several unusual birds. 

From other sources it is possible to glean a few snippets about John and Elizabeth’s life in London. For example, she travelled with John to visit museums in Europe, and she probably accompanied him on some visits to Sir William Jardine’s estate. In a letter to Stephen, John Gould wrote in May 1841 that all the family had gone to stay in Egham for four months (Egham was then a village in the country).

3 page spread of Elizabeth Gould's illustrations of 2 European Blackbirds, 2 Spotted Bower Birds and a Short-eared owl.

In what ways does the industry of art for scientific publications differ today? Are there any similarities to the time in which Elizabeth was active? 

Elizabeth Gould’s bird drawings served the scientific community. Accuracy of posture, colours and pattern of plumage and external anatomy were particularly important, alongside the impact of an attractive image, all of which are still required for taxonomic identification today. This could be achieved by painting the figure on a branch or on the ground according to its natural habits, often in a profile position. For Elizabeth, we believe, she would have started with a pencil outline, following the sketch that John would have made to assist her assemble a life-like figure from a dried bird skin. Elizabeth’s first meticulous drawings were rather conventional figures of very static birds – a style which persisted for many years until it was broken by John James Audubon in the early 19th century.  Audubon spent many years in the field in North America and was the first to successfully paint the birds in their authentic natural habitat. Influenced by Lear and Audubon, Elizabeth would gradually develop her technique to produce more lively birds reaching a pinnacle in the Birds of Australia with the inclusion of appropriate flora and landscapes. 

Today, an aspiring artist might attend art school before specialising in natural history art. Those who progress onto becoming wildlife artists would still observe their subjects in the wild and have additional equipment and technology to assist them, including binoculars and digital cameras to record and perfect their art. The detail required remains the same in terms of studying the subject’s internal and external anatomy and showing in their illustrations the required detail to be able to determine differences between species. 

Bird art, however, includes many different styles and techniques which can change according to the artist’s preferences or the client’s requirements. There is, for example, a particular style used in field guides to compare large numbers of species on a page. Bird monographs, on the other hand, might just focus on a particular family and devote a whole page to an image of just one species showing male, female and juveniles, and so there is endless variety depending on the nature of the publication. Some bird artists, such as John Busby, also have a uniquely ‘casual’ style that is perfectly capable of depicting birds accurately and recognisably, but is very different from that of a more traditional modern bird artist such as the brilliant Robert Gillmor, who sadly passed last year. Those that illustrate for scientific purposes would also, just like Elizabeth, need recourse to examining bird skins or taxidermy in museum collections at some stage in their work. 

Digital photography has certainly made images of birds and the natural world more widely available for guides and species identification, but there is still definitely a demand for artists to illustrate new species and produce illustrations and detail that is not possible to achieve with a camera.

Do you have plans for any future projects or publications that you’d like to tell us about?

There are so many other collections and artworks held by the Natural History Museum that would be amazing to research and publish on. For Ann, who did publish a significant volume on the correspondence of John Gould, she has some additional research papers to complete and, if time permits, would like to publish a biography of Thomas Hardwicke, who was an army officer and naturalist in India. Andrea would like to work on the botanical artist Worthington George Smith and the natural history artist Denys Ovenden in addition to developing a new temporary exhibition on artworks in the Richard Owen collection at the Museum, for display in the Museum’s Images of Nature Gallery in 2024. 


Book cover of Birds of the World The Art of Elizabeth Gould showing a print of a red, black and yellow Toucan stood on a branch.

Birds of the World: The Art of Elizabeth Gould was published by Prestel in September 2023 and is available from NHBS – Wildlife, Ecology & Conservation