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

Interview with Stephen Moss, author of The Owl: A Biography

The fifth and latest book in Stephen Moss’s captivating Bird Biographies series takes us on a nocturnal journal into the mysterious world of owls. Covering the seven species that can be found in the UK: the Tawny, Little, Barn, Long-eared, Short-eared, Snowy and Eagle Owl, this beautifully written and wide-ranging book effortlessly interweaves facts about their biology and ecology with snippets of folklore and tales from the author’s own experiences around the world.

Stephen Moss is a naturalist, author and broadcaster well known for his work with the BBC Natural History Unit working on landmark programmes such as Springwatch and The Nature of Britain. He currently holds the position of Senior Lecturer in Creative Writing at Bath Spa University and is also President of the Somerset Wildlife Trust.

Stephen recently took time out of his busy schedule to answer some of our questions about the book. We also chatted about the precarious status of the Eagle Owl in Britain, the likely impacts of the climate crisis on owls and his plans for continuing the Bird Biographies series.


A huge amount of research must go into writing a monograph such as this one. Did you learn or discover anything particularly surprising about owls during the process?

I always learn a huge amount about the subjects of these bird biographies! No matter how much you think you know about a bird’s lifecycle and cultural and social history, they always surprise you. Even really common species such as the Robin and Wren lead lives that we don’t totally understand. Because this book is the first in the series to include more than one main species (plus some material about other owls around the world) I learned something about every species – from the exact details of how Little Owls were introduced into the UK, to the many folk names of the Barn Owl, to how Tawny Owls dominate popular culture about owls. All absolutely fascinating, and will hopefully delight the reader!

What do you think are the most commonly held misconceptions about owls?

I think the main misconception about owls is that they are very rare – in fact there are about 50,000 breeding pairs of Tawny Owls in the UK, which is far more than Kestrels! Of course the reason we assume they are rare is that we hardly ever see them, because they are so nocturnal. I have seen Tawnies during the day, but only a handful of times in my entire lifetime. Other owls, of course, are far more diurnal (Little and Short-eared) or what birders call ‘crepuscular’, which means they are usually seen at dawn or dusk (Barn Owl). Only the Long-eared is as nocturnal as the Tawny – perhaps even more so, which is why we hardly ever see them! We also think of owls as friendly – or at least friendlier than hawks and eagles, which always look so fierce – perhaps because their eyes face forward, just like ours. And yet owls are lethal predators as well.

The final chapter in the book looks at the future of owls. How much do we know about the likely impacts of the climate crisis on owl populations in Britain?

Like any birds, owls are especially vulnerable to the climate crisis, and especially the unpredictable weather patterns, extremes of temperature, rainfall and drought, and the effects these will have on habitats and food supply – especially at a time when all bird species are facing issues such as persecution, pollution and habitat loss – and in the case of owls, also light pollution. And of course the Snowy Owl, which once bred in the northern extremities of the UK (on Fetlar in Shetland, where I saw one more than forty years ago) has now disappeared as a British breeding bird, and is very unlikely ever to return, as I explain in the book. Snowy Owls globally are also uniquely vulnerable to climate change, as they are the most northerly of all the world’s owl species.

I found the chapter on the Eagle Owl to be particularly captivating. However, opinions on its right to reside in the UK appear to be divided, even amongst conservationists. Leaving aside the argument about whether the species can be considered native or not, do you think concerns about its impact on other wildlife are justified?

This is a tricky one; and I do outline the arguments for and against Eagle Owls in Britain in the book. In some ways their impact on other wildlife is a red herring: as a top predator, their numbers are unlikely to ever rise so high that they cause major impacts on native species; indeed, if we want to save Hen Harriers (the occasional prey of the Eagle Owl) we would be better off dealing with their illegal persecution, rather than blaming the Eagle Owl.

Is there a species of owl you would still love to see in your lifetime?

Of all the world’s owls, I would love to see the largest – Blakiston’s Fish Owl of eastern Asia – and of course the smallest, the Elf Owl of North America. My son James lives in Japan, so perhaps I can look for the Blakiston’s Fish Owl when I visit him next year. But I’ve still only seen about 40 species of owl – about one in six of the world’s species, so there are plenty more to go!

Finally – what is occupying your time at the moment? And do you have plans to continue this series of bird biographies?

I’m just coming to the end of my dream job – teaching the MA in Nature and Travel Writing at Bath Spa University. I’ve led the course for eight years now, and loved working with such talented students and colleagues, but now it’s time to hand over to someone else, and spend more time exploring other projects. And yes, I’m working on a new bird biography – of one of my favourite birds, yet one that many people dislike – I’ll leave people to try and guess what that might be! I’ve got several ideas for future volumes and other ideas for books for the future. But I also want to spend more time with my grandson Sammy, who has just turned one, and get him into birding – and also travel, to see birds of course, in the UK and around the world.


The Owl: A Biography was published by Square Peg in October 2023 and is available from nhbs.com

Author interview with Lee Raye: The Atlas of Early Modern Wildlife

The Atlas of Early Modern Wildlife is a ground-breaking volume compiling the observations of early modern amateur naturalists, travellers and local historians for the first time. Drawing on over 10,000 records, this book looks at the early modern state of wildlife in Britain and Ireland, the era before climate change, before the intensification of agriculture, before even the Industrial Revolution. The book presents maps and notes on the former distribution of 153 species, providing a new baseline against which to discuss subsequent declines and extinctions, expansions and introductions. This remarkable resource will be of great value to conservationists, archaeologists, historians and anyone with an interest in the natural heritage of Britain and Ireland.

Lee Raye is an associate lecturer at the Open University and a Fellow of the Linnaean Society, specialising in the history of wild animals and plants in pre-industrial Britan and Ireland. We were lucky enough to have the opportunity to speak with them about what inspired them to write this atlas, what the most difficult aspect of creating this book was, what their future plans were and much more.


What inspired you to write this atlas?  

Several years ago I worked for the RSPB. I went on a weekend induction to The Lodge in Sandy, Bedfordshire, and had a walk around with the reserve archaeologist. He explained that, although it was simple enough to know which animals had declined and gone extinct in the historical period, there was a lack of clarity about how and when this happened. I realised that I already had some of the answers he needed. Around that same time, as a research project, I was translating and analysing the records of wild animals and plants from a single 17th-century natural history book, Robert Sibbald’s Scotia Illustrata (1684). That source is really valuable because it was contributed to by so many people and contains so many important records. For example, there are records of the Great Auk, the Bustard and the Angel Shark amongst the animals and Darnel, Shepherd’s Needle, and Greater Water-parsnip amongst the plants. While doing this project, I started making a list of other comparable texts from the same time period, and to my surprise I realised there was a whole understudied genre of them! I realised that if I combined all of these sources together I could give a decent estimate of the distribution of species in the 16th-18th centuries. 

Greater Water-Parsnip by Jeremy Halls via Flickr

Do you think it’s possible for us to restore our wildlife to the condition it was in early modern Britain or has our landscape changed too drastically? 

When we are doing conservation work it’s really important that we have a strong baseline to work against, otherwise we don’t know when we are restoring biodiversity and when we are just adding species to an environment. I think the early modern period is a good choice of baseline for two reasons. First, it comes before some of the most alarming declines in biodiversity which followed trends like the industrial revolution, the 20th century agricultural revolution, and the gamekeeper culls of raptors and mammalian predators of the nineteenth and early 20th century. But it was still a period when all of Britain and Ireland was managed for human needs, including some big cities. Secondly, there are a lot of sources available from the time period, so the Atlas of Early Modern Wildlife could reconstruct the fauna found at the time. But we are never going to be able to perfectly return to that baseline. The islands of Britain and Ireland are even more intensively managed and exploited now, and we need to keep that up to provide for the human population. The early modern period was also a time when there was a temporary climate change, the Little Ice Age, which meant that the so-called ‘northern species’ were doing really well, and the ‘southern species’ had a more restricted range. Modern global heating is going to become much more severe than the Little Ice Age was, and is likely to magnify the differences so that Britain and Ireland in the 21st century is going to have significant differences in its flora and fauna to the 17th century, no matter what we do. 

The distribution trend for the majority of species mentioned in this book was either uncertain or unchanged, compared to 24 increases and 26 decreases. Did this surprise you? 

I knew that there would be lots of uncertainty in the data from the time period, but I was a bit surprised that so few species showed a decline in distribution. We know that we are in a biodiversity crisis now, but the declines in abundance we are currently facing are going to take some time to result in declines in distribution at a regional level, which is the rather crude metric I was able to track in the Atlas of Early Modern Wildlife. It’s also true that there have been official and unofficial reintroductions in the modern period, which have restored species like Beaver, Otter and Greylag Goose across much of their early modern range, meaning that comparing early modern and present distribution hides what happened to these species in between. 

Greylag goose by ianpreston via Flickr

You mention that there was a bias towards recording exploitable species in the early modern period and a bias towards recording birds now. Did this affect which species you were able to include in this book? 

Yes, with the exception of a few species of conservation concern, I included only the best-recorded species in my Atlas of Early Modern Wildlife. That means that there is a bias towards certain groups of species. For example, I was able to map the past distribution of 18 freshwater fishes but only five small songbirds. Don’t ask me about the distribution of the Sparrow or the Great Tit in the early modern period, because my sources don’t offer much data about them! 

What was the most difficult aspect of creating this book? 

The most complicated part of the Atlas of Early Modern Wildlife has been trying to solve the recorder-effort problem. I needed to be able to tell when species were not recorded because they were absent (like the Wolf, which seems to have been extinct in England and Wales already by this time period), and when animals were not recorded simply because not enough effort had been put into recording them (like those Sparrows and Great Tits which no-one really cared about). My solution was to statistically compare how many records I had for each species from different regions of Britain and Ireland with a figure of how well-recorded each different region was in the early modern period. I also used some habitat suitability modelling to try and establish patterns behind absences, but this has been complicated, speculative work! 

Do you have any future plans that you can tell us about? 

I think I could take this project further in the future. It should be possible to map the distribution of wild plants 250-500 years ago, or to join up the distribution of Britain and Ireland’s wildlife with the distribution of wildlife in other parts of Europe from the same time period. But I also want to work a bit more on poetry from the early modern period. There are a few very strange poems written c.1580-1650 that protest environmental destruction and are told from the perspective of animals which I think deserve to be much more widely known. 


The Atlas of Early Modern Wildlife by Lee Raye is due to be published by Pelagic Publishing in July 2023 and is available for pre-order from nhbs.com.

Author interview: An Identification Guide to Garden Birds of Britain and North-West Europe

An Identification Guide to Garden Birds of Britain and North-West Europe is a photographic guide to 75 species of bird most commonly found in or over the gardens of Britain and North-West Europe. The text combines scientific facts with affectionate descriptions of the birds’ identifying features, including sex and age differences, habits, nest types, eggs and calls. The introduction contains tips on how to identify birds, how to look after garden birds, which species can be seen throughout the year, a glossary and anatomy details. For each species, there are two or three photographs labelled with distinguishing features where appropriate, a calendar showing the time of year when the adult can be seen and star facts that give further proof of the birds’ fascinating features.

Dominic Couzens

Dominic Couzens is an award-winning nature writer with 40 books and hundreds of published articles to his name. His best-known books include An Identification Guide to Garden Insects of Britain and North-West Europe, The Secret Lives of Garden Birds, Britain’s Mammals (WildGuides) and Save Our Species. Carl Bovis is a nature photographer with a particular passion for birds. The advent of digital photography has given him the opportunity to capture the birds he sees and share them with the world.

We were lucky enough to ask both Dominic and Carl a few questions about what inspired them to produce this guide, what the process was like to assemble it and the importance of providing habitats for birds in our gardens.


What inspired you to produce this introductory guide to garden birds?

Dominic: As a regular Twitter follower I quickly became aware of Carl’s work. What stood out for me was his wonderfully giving attitude, really helping “ordinary” people connect with birds and birdwatching with the use of clever and funny bird photos, as well as wondrous ones. He encourages everyone to get involved and to enjoy nature, and he does it in a unique way.

So from my (Dominic’s) point of view, it was a no-brainer to cooperate with Carl on an entry-level guide to garden birds, with his own special take.

This book follows on from a book on garden insects published with another first-time author, Gail Ashton, last year. In both guides we have used light-hearted introductions and mentioned star facts about each species, to helve delve into the subject’s life.

Blue tit by Carl Bovis

How did you choose which species to include in this guide?

Our subject was garden birds, and since we wanted to cover northern Europe we had a good range to choose from. Most species pick themselves, but the guide will stand or fall on what we include.

This guide is full of many wonderful and illustrative photographs. What was the process like to assemble these? Where there any species that were particularly difficult to attain clear photos of?

Carl Bovis

Carl: I’m known for taking photos of the common birds, a lot of which many serious bird photographers turn their noses up at! So a book about garden birds was perfect for me, as I have taken many photos of them over the last few years and had many to choose from. I also have a passion for catching birds in flight, the shape and angles of their wings and tail fascinate me. Obviously this is an ID book, so perched birds are essential, but we’ve included lots of flight shots too.

It’s very rewarding for me to have my photos in this guide. A couple of years ago I was talking to a serious birder at Steart Marshes and he said to me; ‘your photos of birds are very engaging, but they’d never be in a mainstream bird book’. I didn’t take offence, I like that many of my photos are different to the norm, but at the same time, I’m happy now to have proved him wrong!

It’s also an honour to collaborate with Dominic on this, as before I even knew him personally, I had bought and enjoyed many of his previous books, and had attended one of his fascinating talks on bird behaviour. He is nature-writing ‘royalty’ as far as I’m concerned.

The shy and rarer garden birds were obviously toughest to get clear photos of, especially ones that don’t visit my own little Somerset garden where many of the photos were taken. So birds like Bullfinch, Treecreeper and Redstart were a challenge. If you get them in your garden, consider yourself lucky!

Included with this interview are a few of my favourite photos from the book.

Given the many pressures facing our garden birds, are there any species in this guide that you think won’t be so common in coming years?

Dominic: We have included a number that are declining, such as Marsh and Willow Tits, Chaffinches and Greenfinches. The Lesser Spotted Woodpecker is in serious trouble, and both House Martins and Swifts are on the wane. There are others, too.

Swift by Carl Bovis

But I do think it’s very important to let people just discover and enjoy birds. I hope the book inspires first and foremost.

This guide includes a section on looking after garden birds, giving tips as to how people with gardens can help. How important is it that people make their gardens into good habitats for birds?

Dominic: Gardens are incredibly important for two reasons. They are the best place for people and birds to meet, and for people to get excited about birds and love them.

Secondly, gardens are where everybody can be a conservationist. The overall fortunes of birds and other wildlife often feel as though they are outside our control, but in gardens we can make decisions that directly affect wildlife. If enough people realised how important their backyard decisions were to wildlife, they might be inspired to do more.

House sparrow by Carl Bovis

Are there any plans to continue this series and, if so, which other species groups that you would like to make an identification guide about?

Dominic: Yes, a book on Trees is already well in production. Any others in the series may require us to get John Beaufoy, our publisher, drunk so that we can persuade him to do some more.


An Identification Guide to Garden Birds of Britain and North-West Europe by Dominic Couzens and Carl Bovis is published by John Beaufoy Publishing in June 2023 and is available from nhbs.com.

Author Interview with Mike Pienkowski: When the Kite Builds

When the Kite Builds…: Why and How We Restored Red Kites Across Britain is an informative and comprehensive examination of the project to reintroduce red kites to England and Scotland. Mike Pienkowski, the chairmen of this project, describes why the decision was taken and how it was implemented, as well as examining the success of the experiment and exploring the outcomes from this success. Chapters cover how nestlings were collected and imported, how the kites were reared, the initial survival after release, education and public awareness, and much more.

Mike Pienkowski

Below is our interview with Mike Pienkowski, where we discuss how he became involved in this project, whether population recovery would have been possible without reintroduction, how the increase in red kites has impacted or enhanced the British countryside, and more. When the Kite Builds… was published in February 2023.

Dr Mike Pienkowski will be signing copies of his book at the NHBS stand, number S107, in Swallow Marquee at Global Birdfair on Saturday 15th of July between 2–3pm.


When the Kite Builds… is a comprehensive overview and analysis of the project to restore red kites to Britain. How did you become involved in this project and why did you decide to write this book?

From the mid-1980s, I was Head of Ornithology at the Nature Conservancy Council (then the UK Government conservation agency). NCC was struggling to implement legislation which it had not drafted, and which tended to give the false impression that conservationists were always negative to others. Among a review of all the projects we needed to meet bird conservation needs, I wanted to include something clearly positive and cooperative. There were at the time three globally threatened bird species which occurred in Britain. One was red kite, whose range was now restricted to Europe, and declining across most of it. Red kites had been common across Britain in the Middle Ages, and valued as the recycling agents of the time, clearing bodies from city and countryside, but had later been exterminated from England, Scotland and Ireland, with just a tiny isolated and interbred population surviving in central Wales involving intense protection. Could we restore red kites across Britain? Colleagues in RSPB had been thinking along similar lines, and we formed a joint project team, which I chaired. From 1984, we researched all aspects and began an experimental introduction in 1989. When this proved successful by 1995, we encouraged others to use our methods in other appropriate locations across the country.

I wanted to document the process, the full story of what one reviewer described as “a mixture of science, politics and luck” – especially as there have been few books addressing all aspects of science-based conservation projects. I had started the book in the mid-1990s – but various things intervened. I went back to it a couple of times and finished it during lockdown. It is actually a much better book now than it would have been 25 years ago, both because we can see the real outcomes and I can be more open now than would have been possible then.

Fully grown kites ready for release. Image credit: Dr Mike Pienkowski

Chapter 10 discusses education and public awareness, especially among landowners and gamekeepers. Do you believe that population recovery would have been possible without reintroduction through extensive campaigns to educate the public to reduce persecution and increase suitable habitats or was the existing population too small to be viable?

I think that the two elements worked together. In fact, we planned in the hope that they would. Although we considered that, in much of the country, illegal persecution was much reduced, making releases viable, we knew that this was not the case everywhere and, especially when the young kites dispersed, that we would probably lose a few to this vile activity (which by far the majority of land-owners and game-keepers deplore). We found that the public were horrified by deaths from such causes, particularly of birds imported to correct previous human errors. We are grateful to the public, police and public health authorities for securing several successful prosecutions. These and the campaigns did lead to a reduction in such activity. This has allowed not only red kites but also other species, such as buzzard and raven, to repopulate some of their former ranges.

There have been reports that the illegal killings of birds of prey have been surging across the UK in recent years. Has this affected the red kite populations, and do you think it will impact the success of any other bird of prey species’ reintroductions?

Despite the overall positive trend in decent decades, illegal killings have continued, particularly in certain regions of the country, particularly those with many moorland shooting estates. Whilst most estates are probably law-abiding, it does not take many to devastate a bird of prey population. This is not limited to reintroduction projects but applies strongly to some species, such as the hen harrier, which would be doing so much better without this activity. In the same areas that hen harriers suffer, individuals of other species, including red kite and buzzard, do not survive long. Such higher mortality is why the red kites released in the Black Isle in the north of Scotland increased in population size at a much slower rate than did those in the Chilterns in the same experimental phase of the project. Despite these problems, red kites in the UK now account for well over 10% of the world population. Hen harriers suffer because they are more restricted in habitat than red kites, and this habitat is the centre of most remaining illegal persecution.

Kite nestling being placed in a travel box in Spain. Image credit: Dr Eric Bignal

How has the increase in red kite populations across Britain impacted or enhanced the countryside?

I may be biased, but I see that most people seem to agree that it is an enhancement. The fact that the red kites increased at a rate at the upper limit of our models shows how well they still fit in, after their absence of over 100 years. In general, it does not seem to be at the cost of other species, The nearest in ecology to them, buzzards, have been spreading as well, as I mentioned earlier. In a few urban areas, there have been complaints about kites diving at people. However, it seems that this has occurred only in certain town areas where some people have ignored our advice not to provide food. This leads to a range of problems for the kites and other humans. Overall, people seem to be delighted to experience such beautifully coloured birds of prey, with their amazing aerobatic ability, due to their huge wing area but relatively small, light bodies.

Kite flying free from rearing cage. Image credit: Dr Mike Pienkowski

Chapter 12 discusses the reintroductions and recovery programmes of other species of wildlife. Are there any species that you hope will be reintroduced to the UK soon?

There is not a one-size-fits-all solution; each species needs individual study, assessment and outreach. I think that beavers have largely proved the case for themselves (with a little help from open-minded humans), and a human-led exercise for white storks seems very promising. I think that the cases are strong for pine marten (especially if, like me, one would like to see the range of red squirrels restored) and for lynx (a medium-sized cat very shy of humans, which might help address the problems that the over-population of deer pose to tree saplings). As the book indicates, there are others waiting in line, once we build further confidence with these. Britain’s wildlife populations are hugely depleted due to human actions, and we now have the methods to bring some back, if we have the will.

What do you believe are the key barriers to successful reintroductions and species restorations in the UK? How have these changed since the red kite restoration began?

Kite boxes on a plane. Image credit: Dr Mike Pienkowski

The red kite restoration faced the problem in attitude that many people thought that such things could not be done, and certainly not in densely populated south-eastern England. That is now overcome. However, we must always start from the objective: reintroduction is one of a range of methods that can be deployed. It is best (and least expensive!) not to lose species in the first place. But we are still doing so, whether it be hen harriers or breeding waders (just staying in the world of birds). We need to reverse the serious habitat changes, such as excessive drainage or illegal persecution, as immediate priorities. Even for those species lost to Britain (or elsewhere) and which we wish to reintroduce, before doing so, we need to ensure that there is suitable habitat. The book gives examples of where habitat needed restoration first. One also needs to meet other internationally agreed criteria including avoiding threat to the source population.

Do you have any future projects that you can tell us about?

Most of my work nowadays is as the honorary Chairman of the charity UK Overseas Territories Conservation Forum. Britain is internationally important for wildlife, but its Overseas Territories (UKOTs) are even more so. However, these are small places, with small human populations and small economies – so they are hugely underfunded. In fact, all proceeds from the sale of ‘When the Kite Builds…‘ are going in support of this charity’s work. UKOTCF encourages others to undertake conservation work in support of UKOTs, such as the marine protected zones of Pitcairn, Tristan da Cunha, Ascension and St Helena, and the restoration of South Georgia and Ascension. UKOTCF’s in-house projects, always with local partners, include both liaison work across UKOTs and projects with individual territories, such as our current project in Montserrat, ‘Adopt a Home for Wildlife’, empowering local residents and communities to take a lead in managing areas to support conservation.


When the Kite Builds…: Why and How We Restored Red Kites Across Britain was published by UK Overseas Territories Conservation Forum in February 2023 and is available from nhbs.com