Q&A – Page 5 – Hoopoe – A blog by nhbs

Author Q&A with Chantal Lyons: Groundbreakers

Big, messy and mysterious – crossing paths with a Wild Boar can conjure fear and joy in equal measure. In Groundbreakers, Chantal Lyons gets up close and personal with this complex and intelligent species in the Forest of Dean, and investigates the people across Britain and beyond who celebrate the presence of these animals – or want them gone. From Toulouse and Barcelona where they are growing in number and boldness, to the woods of Kent and Sussex where they are fading away, to Inverness-shire where rewilders welcome them, join Chantal on a journey of discovery as she reveals what it might take for us to coexist with the magnificent Wild Boar.

Chantal Lyons is a naturalist, writer and science communicator. Having grown up in the tidy countryside of Kent, her encounters with the growing rewilding movement opened her eyes to the potential for restoring nature in Britain, and inspired her to study the relations between people and Wild Boar in the Forest of Dean. She currently lives in Cheltenham, never too far from the boar.

Chantal recently took time out of her busy schedule to tell us about her first experience with a Wild Boar, her hopes and fears for the future of their populations in Britain, and more.

First of all, could you tell us a little bit about yourself and what led you to writing a book about Wild Boar in Britain?

Up until my mid-twenties I spent all my writing time churning out unpublishable fantasy and sci-fi novels, alongside a zig-zagging career in the charity sector. The journey to Groundbreakers was perhaps a ponderous one – it started when I went to the Forest of Dean in summer 2014 to research a Masters dissertation in environmental social science. The Forest of Dean was, and still is, one of the few places in the country where Wild Boar have returned since their extirpation from Britain around 700 years ago. I wanted to find out from local residents what it was like to suddenly find yourself living alongside a big, wild, and utterly unfamiliar creature. What I discovered from those interviews astounded me, and I was sure that some established nature writer would soon publish a book about the return of boar to Britain and what this meant for us. No one did. After seven years, I decided to send off a proposal to a publisher who I’d encountered on Twitter, and it snowballed from there.

Could you tell us about your first real life experience with a Wild Boar?

It was a long time in coming! While I was in the Forest of Dean doing the Masters research, I used every spare moment to explore the woods on my own, often following locals’ leads. It always came to nothing. The boar seem to be like cats – you seem to be more likely to meet them the less you want to. But eventually, at the tail end of summer, I went to a spot where I’d heard from someone that a sounder (a family group of boar, which is always led by a matriarch) had been foraging each evening. I heard them softly calling to each other, then there was a rustling in the bracken, and an adult stepped out onto the path to get a look at me. We stared at each other for about two seconds, she gave a belching alarm call, and then she vanished with her family.

Wild boar and 7 piglets lead down on a rocky bank in the Yorkshire Dales. — Wild boar at Bolton Castle in Yorkshire Dales National Park, by HarshLight via flickr.

I appreciated the ways in which you speak about rewilding, in particular the importance of nuance and accepting the unknown. Do you think that uncertainties about the best way to undergo reintroduction projects and their expected outcomes are a significant hindrance to their implementation?

I have heard many a time from rewilding practitioners that the inherent uncertainties in rewilding can make it especially challenging to gain funding, given that projects aimed at restoring nature have traditionally been expected to be able to set clear targets and end-goals. But beyond practicalities like money, I think the bigger challenge is the attitude that reintroducing species for rewilding purposes is too big an unknown, and therefore too big a risk. Of course we should aim to conduct as much scientific research and gather as much knowledge as possible, but we are running out of time to reverse the haemorrhaging of our biodiversity in Britain and globally. To me, it beggars belief that we seem quite happy to continue doing all kinds of things that we know are massively damaging the environment, but reintroducing species? Why, that’s a step too far!

Close up image of two wild boar walking through mud with their snouts and feet covered in wet mud. — Wild boar, by Marieke IJsendoorn-Kuijpers, via flickr.

One part of the book that particularly resonated with me was in ‘The Risks of Being Alive’ where you speak about how, for most modern humans, ‘nothing matters more in life than eliminating all risk to it – even at the cost of happiness’. What do you think it would take for humans to accept more wildness into their lives?

Maybe it’s a cliché to say this, but I think it hugely helps to engage children with nature from a young age, and to continue doing so as they grow up. That of course means ensuring that everyone can access nature.

Beyond that, the question of how to convince people to accept more wildness is an incredibly tricky one, especially in a place like Britain which suffers so badly from ‘ecological tidiness disorder’ (as Benedict Macdonald puts it in Rebirding). The problem is that most of us have not made the connection between our tidy sterilised surroundings and the loss of nature. There is a lack of understanding that the majestically bare plains of Dartmoor or our rolling green fields mean an absence of life; and that you need all manner of species, including big ones, to ensure healthy ecosystems. I didn’t realise this for years. But once you know, you can’t stop wanting to bang the drum.

What are your biggest hopes and worst fears for the future of Wild Boar populations in Britain?

I want the planned, country-wide reintroduction of Wild Boar to become accepted both politically and societally. In the meantime, I hope that the few boar we do have are allowed to thrive. That means more oversight of people carrying out legal shooting of them on their land, and – in the case of the Forest of Dean population – better censusing methods to ensure they are not over-culled (though some culling will always be needed, as the boar currently lack other predators).

What am I most afraid of? That very soon, a disease called African Swine Fever (ASF) which burns through pig populations like wildfire will make its way into Britain. Since Brexit, border controls on pork imports have been so lax that experts think it’s only a matter of time before ASF reaches us. Forestry England is primed to wipe out every last boar in the Forest of Dean if the disease is ever detected in the population. And once they’re gone, it seems very unlikely that they would ever be reintroduced (legally or illegally) again. We will miss a miraculous chance to kickstart the landscape-scale restoration of nature in Britain.

Wild Boar piglets running across the road in a national park park with the sun out. — Wild Boar Sus Scrofa, by Björn, via flickr.

Finally, what is occupying your time at the moment? Are there plans for further books in the pipeline?

I work full-time as a science communicator, which does narrow my research and writing windows! But I am currently working on a proposal for book number two. It’s intended to be something of an evolution of Groundbreakers, picking up a thread that often emerged during my research interviews with people, but which I couldn’t possibly have fitted into this first book…

Groundbreakers is available from our online bookstore.

Author Q&A with Robert Wolton: Hedges

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hedges is available to order from our bookstore.

British Wildlife Collection: interview with series editor Katy Roper

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Explore other titles by Derek Gow here.

Supplier interview with Fran Tattersall from Wildlife Acoustics

Wildlife Acoustics creates world leading wildlife acoustic monitoring tools, specially designed to help scientists make impactful discoveries that expand our understanding of this biologically diverse planet.

A passionate and innovative group of technologists, operational experts, wildlife enthusiasts and conservationists, they have a zeal for helping their customers succeed in their research —understanding their needs and creating wildlife audio recording and analysis tools specially designed to help them conduct research across the globe.

We recently chatted with Fran Tattersall about the history of the company, their latest products, and the incredible ways that they are enabling researchers to collect vital data.

Fran works as the European Business Development Consultant for Wildlife Acoustics and is passionate about the environment and conservation. She is incredibly knowledgeable about the company and their products, and we were grateful to her for taking time out of her busy schedule to answer our questions.

Could you tell us about the history of Wildlife Acoustics? What inspired its creation?

Wildlife Acoustics was founded by Ian Agranat, an engineer, technologist, and nature enthusiast who is still the company’s CEO.

On a family hike in the early 2000s, Ian’s brother-in-law wondered aloud about creating a device for recording and identifying birds by their songs. Wildlife Acoustics’ first product, Song Sleuth, was launched shortly thereafter. Long before we were familiar with such tools, Song Sleuth used AI to identify North American bird species by their calls!

The US Geological Service was intrigued by the possibilities and asked Ian to develop a reliable, programmable recorder and software to help identify bird calls. This led to the invention of the Song Meter SM1, the first commercially available, built-for-purpose acoustic wildlife recorder, and the Song Scope software. Biologists now had a fully integrated, cost-effective, weatherproof solution for monitoring and analyzing the vocalizations of birds, amphibians, and terrestrial animals. (The first SM1 is still in the field today!)

Can you tell us more about the people that use Wildlife Acoustics’ products and what they use them for?

We have products for anyone who wants to record vocal wildlife, bats, or soundscapes!

Our recorders and sound analysis software are used for research projects at universities and NGOs around the world. For example, Bat Conservation International used a Song Meter SM4BAT-FS to re-discover the Hills Horseshoe bat in Rwanda—an endemic species once thought to be extirpated.

Song Meter recorders are also used by ecological consultancies working on everything from large infrastructure projects, such as HS2 and wind farms, to individual householders replacing their roofs.

Our Echo Meter Touch 2 bat detector, which allows people to use their Android devices to hear bats echolocating in real time, has been particularly popular with the general public and is a great engagement tool on bat walks. More recently, our Song Meter Micro has gained popularity with birders who want to record nocturnal migration flyovers.

What are some of the most interesting ways you have seen Wildlife Acoustics’ products being used?

In February, we will be hosting a webinar on the use of our recorders in cold places, and one of the speakers is monitoring glaciers with a Song Meter SM4. I’m looking forward to learning more about that!

More usually our recorders are listening to wildlife. Mammals are my personal favourite species group. We have people recording Maned Wolves, Manatees, elephants, Okapi, moose, Rock Hyrax, and many more.

Interestingly, it’s not just bats that use ultrasound to communicate. Our “bat” recorders have been instrumental in finding and monitoring the invasive White-toothed Shrew in northeast England and discovering that Indonesian Slow Loris use ultrasound to avoid predators. We even have a customer who records lab rats “laughing” when tickled.

Our customers are always finding fascinating new ways to use our equipment!

The new Song Meter Mini 2 and Song Meter Micro 2 are due to be launched soon. How do the new versions compare to their predecessors?

We’ve listened to customer feedback and improved the enclosure, extended battery life even further, created separate AA and Li-ion versions (18650 batteries) for the Mini 2 and the Mini Bat 2, and added a quarter-inch, 20-thread-per-inch tripod mount.

The ergonomics of the closure mechanism have been improved, using a hinged lid that can be secured with a simple cable lock. No more having to keep track of a separate lid. And the whole thing is now IP67-rated and built to withstand even the most rugged terrestrial deployments.

AA battery life has been significantly improved thanks to a larger battery tray that doubles the capacity from four to eight batteries. So for a Mini Bat 2, that means up to fifty 10-hour nights of recording, and for a Mini 2, it’s 420 hours of acoustic recording! (And best of all, the price of the AA versions remains the same.)

On the Micro 2, in addition to housing improvements, we improved the design by making room for an additional AA battery, which extends recording time by 33 percent.

Which of the new products is your favourite and why?

I enjoy exploring the new science of acoustic indices and soundscape analysis and am looking forward to using the Song Meter Micro 2, which has a flatter frequency response than its predecessor, making it eminently suitable for this type of work.

It’s also a great little device to take on wildlife holidays because it is so small—perfect for recording dawn choruses, nocturnal soundscapes, and finding that elusive bird. It’s always exciting to look at the contents of your SD card in the morning and hear what’s been around!

What can you tell us about plans for new features or products in the future?

Only that we’re not resting on our laurels. Our engineers are working on new ideas all the time, and NHBS will be the first to know when we’re ready to make announcements!

All of Wildlife Acoustics’ products are available at nhbs.com. For more information or advice tailored to your specific requirements, please contact us and speak with one of our technical advisors.

Author interview with Edward Bent: Plant-Life: A Walk with Nature

This adventurous and versatile book explores the wonders of our relationship with plants and our involvement with nature. Full of information on botanical science, ecological and environmental factors, artistic appreciation and philosophical reflection, Plant-Life offers a more holistic view of nature than in other books within this field. The text is supported by detailed images, diagrams and tables which provide a framework of understanding for the critical and questioning mind needed to approach biodiversity and climate change.

Author Edward Bent’s career was founded on a Botany degree from the University of Hull, followed by many years of experience spent working across different sectors, including research, marketing and education. After moving to Italy, he became a self-employed consultant and writer with many of his articles published in leading international publications, as well as a founding director of UK plant breeding company Floranova Ltd. While producing a series of botanical art compositions exploring spatial relationships in plant communities, Edward was inspired to research and write this book as a way of reflecting on his understanding of plants and the ways of nature.

Edward recently took the time out of his busy schedule to talk to us about the inspiration behind his book, why he chose to write in a journalistic style, other projects he’s currently working on, and more.

In the first chapter it says that you have always wanted to explore the beauty of plants and flowers and to share an appreciation of their world with others. How did you first develop this fascination and love of botany?

From an early age I liked to draw and paint plants and flowers to express an artistic temperament and reveal what I thought to be aesthetically pleasing. This extended to outdoor landscapes. At secondary school, I studied botany at ‘O’ and ‘A’ levels, followed by a degree course at University. During these scientific studies, significant periods of practical work allowed greater awareness of the beauty of plants and flowers and led me to make drawings. This same awareness continued through research and teaching, in parallel with a scientific frame of mind. I refer later to the influence of realising botanical compositions of wildflower communities while retaining a botanical coherence.

A dichotomous key was one of the first methods used to identify different plant species and variants through a hand lens before pictorial guides were developed. How do you think this early identification technique has affected the ways in which we observe and identify plants in the present day?

Pictorial guides to identify plant species represent a very useful shortcut, but, in many cases, just a few characteristics such as flower type, colour and leaf shape are sufficient to get the answer. While most guides also carry some detailed written descriptions, this is not commonly referred to except for professional reasons or uncertainty. The methodology of using a dichotomous key not only requires more time, but also attentive observation of far more plant characteristics. This helps develop powers of observation, or a trained eye, and better understanding of taxonomy, while providing an enjoyable sense of investigation. I believe that pictorial guides were developed to speed up the process of identification and to provide ordinary people, not just botanists, with an easier-to-use instrument.

I really enjoyed how Plant-Life touched on the relationship between botany and other disciplines such as art, poetry, maths and bio-economics. What inspired you to investigate these relationships throughout the book?

Firstly, reading Keith Critchlow’s book (see my answer to your question six), but also because of the impressions perceived of the beauty of spatial relationships in natural plant communities, through observation and realising the botanical compositions from pressed plant material. The aspect of bio-economics relates to the common denominator of chaos and complexity. Some years ago, I had also written another book that had prepared my mind to be more receptive to these relationships, and gave rise to my logo/trademark WOW – Walk on the Wild side.

When walking in the country, I always sought the big picture, since nature – of which we are part – is more than just the science. The concept of ‘Art of nature and Nature of art’ also came through in my research, strengthening the wish to break down perceived barriers between science, art and indeed philosophy. Scientific methodology works through separation, not only between different disciplines but also within them, while an examination of nature demands a more holistic approach.

What inspired you to write in a holistic, journalistic style rather than the more traditional, academic style that many ecology books demonstrate?

I think a holistic style is essential to understanding the ways of nature. It involved a strong desire to engage in artistic appreciation and philosophical/spiritual reflection on the perceived beauty of plants and wildflowers in their natural habitats. That is something I have, as long as I can remember, ‘taken aboard’ with a mixture of interest, observation and empathy. The artwork involved in the realisation of a series of botanical compositions also inspired the book and gave rise to logo, N-ART-URA – The Culture of Biodiversity.

A journalistic style in communicating information in straightforward language was obligatory after analysing big data – scientific papers, news releases, books etc – to make the writing more accessible to a wider and multi-level readership. This mission and ability stems from teaching and years of writing feature articles for the horticultural trade press and a few books. Equally, easier, pre-digested science would be unable to deal with some of the concepts and information presented in my book.

Do you think our plant life will reach a point where species will consistently be able to adapt to, and thrive within, the ever-changing environment that human activities have created?

Much depends on the timeframe. Our destruction of ecosystems can be total or partial (leaving intact corridors) and usually happens very quickly, whereas the process of plant adaptation is gradual and long drawn out. The protection and conservation of large areas of wilderness are fundamental to securing the absence of damaging human activities. Despite this, nature is programmed to fill any ecological voids that occur.

The so-called ‘generalist’ plant species adapt far more quickly to new environmental challenges, as opposed to more specialist species adapted to precise habitats, such as alpine flora . The latter have a much smaller gene pool when needing to adapt to new conditions, rendering them more vulnerable to extinction. So, the generalist species will adapt more quicky and spread more widely throughout areas of ecological disruption and damage caused by human activity.

Species distributions will become increasingly alike between different geographical areas and continents, caused by human activities – travel and transport, for example. There will be new opportunities for hybridisation, mutation and a few new species or sub-species. In a few cases, plant breeding and genetic manipulation in agricultural and horticultural crops, can ‘escape’, potentially affecting wild species from which crops were developed.

How did you develop your Holistic Notion diagram and what can this teach us about the relationship between nature and human emotions?

This diagram is central to my book and needs further development. The publication The Hidden Geometry of Nature (Floris Books) by the late Keith Critchlow was inspirational and highly informative in providing links to further thought and research. I highly recommend this important book to students and teachers of botany to give the subject a wider context.

The human mind reasons and analyses, whereas the human heart brings natural phenomena together, connecting with natural beauty; something that is impracticable in scientific study, because scientific methodology invariably needs to be separate. The Holistic Notion diagram seeks to present mathematical principles lying behind nature and the universe that translate to specific aspects of ‘being’, the substance of what we are and what we see. In holism, emotions and intuition are as important as the science in terms of understanding. Emotions stem from our interest and perception of form and substance, engendering a feeling of continuity and gratitude.

You briefly touched on the role of computers and artificial intelligence in creating ecological models that can be used to analyse data and potentially assist in the recovery of our environment. How important do you think these technologies will be in this process?

I believe that artificial intelligence and computer power will be very important in realising ecological models because of the huge amount of data and number of variables involved. What is less certain is the success of these instruments in terms of conservation or rewilding, because the whole picture can never be pinned down to one moment in time. Plant-life and nature are in constant evolution, even more so with the dramatic effects of climate change. I define nature as working through dynamic instability, choosing complementary interdependence as the means. So, recovery will depend on the progressive ‘load’ of environmental challenges on plant communities, the biosphere and the Earth system itself, caused by climate change. Just how can artificial intelligence predict these events?

Do you have any current projects in progress that you can share with us?
I am seeking ways to complete my NARTURA project by printing and publishing a series of nine botanical compositions, because earlier samples were well-received and complement the book. It requires, a printer, marketing, and distribution located in the UK. Living in Italy makes this more difficult, although I do have digital samples and plenty of ideas.

Edward Bent’s book Plant-Life, a Walk with Nature was privately published and is available on the NHBS website at Plant-Life: A Walk with Nature | NHBS Good Reads

Author Q&A with David Seamer: A Beginners Guide to Freshwater Microscopic Life

A Beginners Guide to Freshwater Microscopic Life is a practical, spiral-bound guide written by David Seamer which offers a fantastic introduction to the multitude of microscopic organisms found in freshwater. For those with a more specific interest, An Illustrated Guide to the Freshwater Protozoa provides an extensive review of taxonomic information and detailed descriptions of 400 genera of Amoebae, Flagellata and Ciliata, all of which have a worldwide distribution.

David Seamer looking at the camera smiling while sat at a table with a pencil in his hand and a large white microscope on his left and a partially complete drawing of a microorganism on his right. In 1993, David Seamer bought an old school bus and converted it into a mobile home and laboratory. He spent the next 20 years travelling around south-east Australia and Tasmania collecting, cataloguing and drawing the biodiversity of the micro-world. David has now settled in a county town in Australia where he has access to a great range of environments from semidesert springs to alpine ponds and lakes and continues to sketch, study and identify microscopic life.

David took the time out of his busy schedule to discuss how he first got into studying microscopic life, the biggest challenges he’s had to overcome while creating these books and more.

Can you tell us about how you first developed an interest in studying microscopic life?

Ever since I was a small child, the natural world has fascinated me and my bedroom became a study place for caterpillars, tadpoles, lizards, insects of any description and anything else that I could keep in jars, boxes or old abandoned aquariums. But it wasn’t until I was about 15 and in high school that I discovered the micro-world, during a double biology lesson in which the teacher was using amoebas collected from a local pond as examples of an animal cell. While I was drawing an amoeba I noticed other ‘wigglers’ and drew them as well. After the lesson I approached the teacher and asked what these other things were. He pointed to a copy of Ward and Whipple’s Freshwater Biology and once I opened it and saw drawings of what I had seen, I was instantly hooked. I saved my money from a couple of lawn mowing jobs to buy my first microscope and it has become a lifelong passion ever since.

Which techniques would you advise a beginner in this field of study to use?

My advice to beginners is to be aware that these organisms are real creatures and should be treated with the same respect as any other animal. Collect your samples and examine them as soon as possible. Ideally, they should still be alive for once dead many of them decompose and break down very quickly. Preserved specimens often change shape and distort so live is always best. A good microscope is essential and the use of a measuring slide or an eye-piece micrometer, as well as phase contrast, is of great help. There are thousands of species so don’t try and identify organisms to that level. Genus or even family are as far down as one should go to start with.

I found it really fascinating looking at your illustrations of microbes and the incredible detail you’ve included. Can you explain the process of drawing from live microscopic observations and the challenges of this method?

Drawing from life requires patience and lots of it. Starting with basic measurements to get proportions is the first step. This illustration (see above) is fairly typical of my technique. I draw the initial outline and basic details in 2B pencil and then when I am satisfied that all is correct, I use various grades of felt tipped pens to complete the drawing. Of course one must have knowledge of the subject so as to point out specific identification pointers.

What does your essential field kit include?

My basic field kit apart from my wellington or gumboots, comprises a 30µm plankton net as seen in this photo, a basting pipette for mud surface collection, several numbered, wide–mouth jars with screw on lids, and a notebook for the recording of date, location, temperature and any other variable details – all packing into a large knapsack type bag in case a bit of a hike is involved.

What’s the biggest challenge you’ve had to overcome while creating these books?

The biggest challenge one faces is reference material. It is essential to get not only the identification correct, but also the internal structure of these tiny organisms. Because taxonomy is constantly changing and developing, keeping up with name changes can be a challenge. While the internet can be invaluable, it is full of incorrect information and one must be very cautious when using it.

When I started out, I was constantly frustrated by not only the lack of availability of reference material on this subject but also the language. So many books were written by scientists for scientists, or were so simple that they were pretty well useless, that finally I decided to write a number of comparatively comprehensive but simple guides aimed at the amateur, student and enthusiast. These guides have proved quite popular and have currently been despatched to 50 countries around the world.

How have environmental changes as a result of climate change affected the distribution of and variation in microorganism species?

Environmental changes resulting from climate change affect the distribution and variation of microorganisms in very subtle ways. Whilst many species are incredibly robust, others are very delicate and can easily be affected by things like water temperature. Some protists need very specific environmental conditions in order to exist. Freshwater is a fluid (no pun intended) environment and every change has its ramifications. For example, droughts can obviously dry out ponds, streams and even small lakes as well as change the oxygen levels and pH of water bodies and this can result in a change in biodiversity. Likewise, floods will have the same effect with an increase in additional nutrients such as nitrates and phosphates from farmers’ paddocks causing algal blooms.

David Seamer has privately published his collection, two of which are available at www.nhbs.com/david-seamer

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Black-barred Fungus Moth Nemapogon clematella by Phil Sterling.

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

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

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

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

Phil Sterling searching for larvae on Alderney by Peter Costen.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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