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

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.

Author interview with Neil Middleton and Stuart Newson: Sound Identification of Terrestrial Mammals of Britain and Ireland

This groundbreaking book provides the reader with a unique and practical guide to collecting and using acoustic survey data to identify terrestrial mammals. Covering 42 species that can be found in Britain and Ireland, the text includes guidance on survey methods, analysis of sound recordings and details of appropriate software. As well as containing specific spectrogram examples for each species, the book allows the reader access to a downloadable sound library containing more than 250 recordings.

Neil Middleton is a licensed bat worker and trainer and is the owner of BatAbility Courses & Tuition, an organisation that delivers ecology-related skills development to customers throughout the UK and beyond. He has studied bats for over 25 years, with a particular focus on their acoustic behaviour (echolocation and social calls) and is the author of Social Calls of the Bats of Britain and Ireland, Is That a Bat?, and The Effective Ecologist.

Stuart Newson is a Senior Research Ecologist at the British Trust for Ornithology (BTO), where he is involved in survey design and data analysis from national citizen-science surveys. Stuart’s work on bioacoustics has included creating tools to identify European bats, bush-crickets and small mammal species from their ‘calls’. This resulted in the BTO Acoustic Pipeline, which integrates online tools for coordinating fieldworkers, processing recordings, and returning feedback.

Neil and Stuart recently took some time out of their busy schedules to answer some of our questions about their most recent book. In this Q&A we discuss the challenges involved in acoustic monitoring of mammals, the author’s hopes for the future of this area of study, and much more.

You each have a passion for acoustic monitoring – how did you come to be working together on this project?

Before we first met, Stuart was becoming interested in what else is recorded as ‘by-catch’ when you leave out a static bat detector to record bats. He had previously become interested in the sound identification of bush-crickets which are commonly recorded during bat surveys in southern Britain, and thanks to work that Neil was involved with (e.g. the first edition of the book The Social Calls of the Bats of Britain & Ireland), Stuart was becoming increasingly interested in bat social calls. At this time, he realised that small mammals are also quite commonly recorded as ‘by-catch’ during bat surveys, and was starting to appreciate that unless you had a good understanding of bat echolocation and social calls, there was scope for mis-identifying small mammals calls as being produced by bats.

When Neil started working on the book, Is That a Bat? A Guide to Non-Bat Sounds Encountered During Bat Surveys (ITAB), Stuart had already made available some online resources to help bat workers identify bush-crickets, which were able to feed into Neil’s book, and he also had some first recordings of some small mammal recordings that he was able to contribute to ITAB, which were very useful additions to the recordings that Neil had been gathering independently.

At about the same time, Stuart had met Huma Pearce, the third author on this book, and had started to work with her on an ‘edge-of-desk’ project to try and collect sound recordings for every species of small mammal in the UK. The aim was to try and collect many hundreds (ideally thousands) of sound recordings of every small mammal species in Britain and Ireland, which we wanted to build into bat classifiers to be able to assist with automatically identifying small mammals (as well as bush-crickets), when these are recorded as by-catch during bat surveys.

Working with Huma, and then Neil, to collect recordings for small mammals to feed into ITAB, and for Stuart to feed into his classifiers, we were now collecting a lot of recordings of small mammal species. After the publication of ITAB, we had learnt a lot more between us, so we wrote a more detailed guide to the sound identification of small mammals in Britain and Ireland, which was published in British Wildlife. After being approached by Pelagic Publishing, Neil was asked if he could author a book covering all terrestrial mammals in our part of the world. This was a much wider group than the one we had worked on up until that point. Neil agreed to the book idea, but only on the basis that Stuart and Huma would be involved as well. Thankfully both Stuart and Huma were ‘up for it’ and between us we managed to produce the book. I think we would all agree that if any one of us had not been involved, the job would’ve been considerably harder and taken much longer.

There currently exists a huge sound library of vocalisations of bats and cetaceans and their use in monitoring these species is now mainstream. Why do you think that this approach has not, so far, been used for other mammals such as those covered in your book?

We think that the main reason that so little has been done on the sound identification of terrestrial mammals (other than bats), is that for small mammals the call rate is quite low compared with other groups such as bats, and because the vocalisations can look like bat calls. I think until our various pieces of work, they have been largely overlooked. Until relatively recently, bat social calls had also been largely ignored by many bat workers, so there were few possibilities for noticing or identifying small mammal calls via that group. For audible mammal species, such as deer, there are alternative survey methods, such as visual surveys, and combined with this the call rate is again quite low, so without tools to help find these calls within large acoustic datasets it has been challenging to find and identify vocalisations by these species. In addition, before this book there was no resource or reference that people could use to help support the sound identification of audible mammals across the full range of species.

Added to this, we feel that the subject is difficult for many people in the non-bat mammal world to engage with and/or know where to start. Hopefully this book will open people’s eyes (and ears!) to the subject, thus meaning that more people will pay more attention to acoustic identification of these species, which will also mean that, overall, our rate of learning as a community will increase substantially as we begin to find out even more about the subject, including of course things that we didn’t appreciate at time of writing.

As well as providing the information and data required for species identification, do you think that acoustic data have the potential to tell us more about species behaviour, social interactions and population dynamics?

We think that there is huge potential for acoustic data to tell us much more about species behaviour, social interactions and population dynamics. As explored in the book, for some species we are able to relate particular call types to behaviour or status, but we still have a lot to learn for many of the species that are included in the book, in order to be able to understand in what situations particular calls are produced. By writing this book, we hope that this will inspire others to build on our work, and to accelerate an improvement in knowledge.

Which of the British terrestrial mammal species have you found the most challenging to study and why?

It is difficult to give a single answer to this one, but despite each of us having separate thoughts we would all agree on the following.

It was extremely difficult to collect or find existing sound recordings of rabbits and hares, because the call rate is extremely low. Huma (assisted by others) put lots of effort into rabbits, but sadly the results were zero. Separately Stuart tried to collect recordings of moles, by sinking microphones into the ground along mole tunnels, but he had no luck despite several weeks of effort.

Stuart would like to do more work on the sound identification of mustelids, which we feel we do not understand as much as we would like. We would all like to continue with more work on the small mammals, although we would each have different priorities in that respect. Shrews are of particular interest to us all, and Stuart in particular would definitely like to try and collect more sound recordings of Water Shrews.

Researchers have previously observed regional differences in the vocalisations of small birds recorded in various locations around Britain. Did you notice any geographic variations in the sounds produced by the mammal species you studied?

Personally, we haven’t seen much, if any, evidence of geographic variation in the recordings that we have looked at, but there could very well be regional differences. For some species it can be shown that differences occur at the individual level. This being the case, you could perhaps expect to see differences between social groups and, as such, regional and national differences too. At this point in time the amount of data we have is too small and hasn’t been collected with this in mind, and therefore we haven’t gone looking for an answer to this question ourselves.

There are currently several citizen science projects around the UK that the public can submit sightings to (such as those organised by the Mammal Society or apps such as iRecord). Is there currently anywhere that people can submit records resulting from acoustic data? Or somewhere they can submit their recordings in the hopes of building a library of sound files for each species as there is for bats?

Not that we are aware of, in the style that you have suggested by your question. However, if someone has heard (not seen) a species and they are happy that it is a diagnostic record for that species in a particular area, we would see no reason why a citizen science project would not accept the ‘sound’ as a valid record of the species being present at that location at that point in time. The key to this, however, is being confident that what was heard couldn’t be a similar noise made by something completely different – so we urge caution. It should also be remembered that in some cases sound identification may actually be more reliable than a visual record of a distant mammal, or a small mammal irrespective of how close it may be to the observer.

In a slightly different direction to your question, Stuart is best placed to talk about the use of such calls in building classifiers. His main interest in mammals has been to build a large sound library of known species recordings that can be used to build classifiers that can help identify the calls of different species automatically within recordings, with the book being secondary or a by-product of this. He believes that having such tools is essential for helping to find the calls of terrestrial mammals in large acoustic datasets, particularly for species where the call rate is low. The sound identification of all species of small mammals included in the book has been built into the ‘bat’ classifiers that comprise the BTO Acoustic Pipeline. The Acoustic Pipeline also includes specific classifiers for some audible species, including the Edible Dormouse. To the best of Stuart’s knowledge this is the first attempt from anywhere in the world to build classifiers for the sound identification of a complete assemblage of small mammals.

What are the next steps required to progress this research and what are your hopes for the future of this field of study?

There is still a lot to learn about the sound identification of mammals in Britain and Ireland, but there are some species groups on which we know we have done much less work and have less understanding than others. In particular, we think that acoustics could be useful for detecting the presence of mustelids (as we have already demonstrated for mice, rats, voles, shrews and dormice), but we would need to try and collect many hundreds (ideally thousands) of known species recordings, to be able to understand the full range of calls that a species can produce. This information could then also be used to create automated classifiers, thus enabling the possibility of efficient detection of species in this group from within large datasets.

As a longer-term ambition, Stuart is keen to work further on the wider sound identification of European mammals, and to extend the geographic and taxonomic scope of the BTO Acoustic Pipeline. Currently, he is able to identify small mammals in bat recordings from elsewhere in Europe at least to genus, by including similar closely related species from the UK in regional classifiers for other parts of Europe. However, he needs more targeted recording of known species to be carried out in order to be able to assign these identifications to species, and to be able to build classifiers that support the sound identification of mammals more widely across Europe.

Our hopes are that this book inspires others in Europe (and further afield) to work on the sound identification of mammals, and more widely to see the opportunities that understanding acoustics can offer.

Sound Identification of Terrestrial Mammals of Britain & Ireland is published by Pelagic Publishing and is available at nhbs.com.

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.

The Seal Project: Q&A with founder Sarah Greenslade

The Seal Project is an environmental conservation charity based in Brixham, Devon, which monitors, surveys and manages the welfare of seals on and around the South West coast, particularly Torbay and South Hams. Alongside seal conservation, the charity also focuses on engaging, involving and educating the community on the importance of protecting our ocean wildlife through presentations, talks, assemblies in educational settings, workshops and public events. Sarah Greenslade spent many years working as a key member of the British Divers Marine Life Rescue before establishing The Seal Project in January 2019.

Sarah, founder of The Seal Project, took time out of her busy schedule to answer our questions on the amazing work of The Seal Project, the effects of climate change on the local seal population, the importance of raising awareness, and how the current pupping season is going.

What is the Seal Project and where are you based?

The Seal Project is a small conservation charity based in Brixham that monitors the Grey seals in South Devon – mostly around Brixham, but we now also monitor the coast between Dawlish and Prawle Point, including the River Dart. The charity was born out of a need to protect the seals seen locally, many of which are animals we know individually from all around our stretch of coastline.

How did you get into seal conservation?

The story began when I encountered a Common Seal Pup stuck in Brixham’s Shoalstone seawater pool – who do you call at 5.30 in the morning? Myself and my best friend had no idea. The RSPCA don’t wake up that early and we had no clue what to do, but we knew that leaving the pup where it was wasn’t an option as people were walking dogs and the seal was clearly in the wrong place. My partner Lee (now a trustee of The Seal Project) suggested wrapping it up in something and putting it back in the sea. We had no hoodies or coats, so my friends partner was called and he brought down their most luxurious fleecey blanket off their sofa (as you do!) The seal, who had been swimming in the pool, came out and literally stopped at my feet. I scooped up the pup in the blanket as if it was a sleeping child and it never struggled once. We never touched it as we carried it over the rocks to the sea and let it free. As soon as we released it, another seal appeared – knowing what I know now that was most likely its mum – and off they went. The pup had clearly come in on a high tide and got stranded and the mum couldn’t get through the railings. If that was a grey seal it would have been abandoned there and then but Common seals are more devoted mums, and I hope to see this seal as an adult at some point.

After this, I became a Marine Mammal Medic for the British Divers Marine Life Rescue (BDMLR), which sends medics to call outs for marine life in distress, mostly seals, dolphins and whales. My first call out was to a ‘speared’ seal which quite literally resembled a tv ariel in the sea. She was eventually sighted locally without the spear attached, however it seems that every seal has some kind of back wound. She, like all seals, has unique identifying marks including their individual fingerprints and fur patterns, in this case a specific ‘W’ shape to the right-hand side of her head. I knew I had a photo showing that she was alive and well, and that resighting along with later identification of an animal known by the Seal Research Trust (Cornwall Seal Group Research Trust), with whom we share all our data, are what first sparked my interest in using photos to identify individual seals. After providing the identification I spent two weeks getting called out to every seal sighting in search of the previously speared individual, and it’s all gone a bit mad since then!

We are at the end of October, which is around the time Seals finish pupping. What has it been like in the Torbay area for pups this year?

I’ll be honest, it has not at all been as expected. Three of our known mums have not been seen for ages, and a first-time mum has been identified as a seal we know which we didn’t expect to be pupping just yet. The strange summer/autumn weather also means people are now using the coastline with their watercraft year-round and paddleboards and kayaks are now easily affordable too, so people are everywhere. Pupping seals who once had the coastline to themselves once September kicked in are now finding they don’t have these spaces to themselves, and as such pups are born or washed up in busy locations. This often results in a call out to BDMLR (as has just happened on the day I’m writing this).

Being based in a tourist area, what challenges do the seals and The Seal Project face?

That’s a good question. Hand feeding is probably our biggest problem. When we first started, our mentor and amazing friend Sue Sayer MBE thought that us starting a Brixham-based project would have a negative response as this is a major fishing port and some believe that seals ‘eat all the fish.’ But bar the odd comment, and a tiny number of incidents involving fishing and tripper boats hand feeding seals, we have experienced very few problems with the commercial operators in Brixham.

As a tourist area another big problem is angling-line entanglements. Our Breakwater is a busy area for novice anglers and they tend to feed the seals in an attempt to make them go away – clearly that doesn’t work. Also, some seals are sadly too habituated and get caught in angling line regularly. With adult seals there is nothing that we can do about this, and they have to be left to themselves until the hooks rust or fall out. Stones are also often thrown at seals to make them go away, and the animals are uncommon at a couple of locations where more ‘commercial’ land angling takes place.

Our biggest challenge is lack of awareness. We spend so much of our time trying to raise awareness and get the message out there which requires help from the local authorities and the tourist boats, but this doesn’t seem to be happening and it’s frustrating for us. We should all be working together, and the amazing local wildlife – including seals – should be respected and appreciated. Without our incredible wildlife many tourist boats would just be ferry services.

What projects or research have you been carrying out or got planned for the future?

We monitor and record all seals, sightings, dates and locations to try to build up a big picture of the seal population around our coastline. We now know many seals well and have been gathering data since 2016/2017. Matching our seals to individuals from Cornwall is difficult as there are very few other locations on the south cost carrying out monitoring in this way. Therefore, unless an image of a seal happens to be shared on social media or passed onto us from a private group, our records are mostly limited to the confines of our study area.

We do however have sightings of seals which have been released in Cornwall or seen in north Cornwall. We would love to be able to find out where else our seals have been seen and to build a better picture of their travels. Given that we do have Cornish seals visiting our area, we’d like to know if they behave differently to the individuals normally resident in Devon; my Cornish surveys show that the seals there are much more skittish than the individuals we see in Brixham, which tend to be relaxed and show little concern around the noise and traffic of this major fishing port. We do also have a couple of students planning research, but as of yet nothing is confirmed. Our data is not in the best shape and every sighting of each seal takes time to document – identifying one seal can take seconds or hours, and as this is all done by eye the catalogue is a minefield to get involved in!

How has climate change impacted the local seal community?

At this time, I can’t say for sure. My biggest concern is the fact that seal pups, born with white fluffy coats to be camouflaged in snow, are increasingly being born in hot September sunshine, and therefore once abandoned they are at a greater risk of dehydration due to being on sunny warm beaches when it should be much cooler. This year, numbers of seals appear to have been increasing unusually slowly as we head towards the winter months, but we’re yet to reach peak winter season to be able to confirm whether numbers will remain low. Our only other concern at this time is for the three mums who we’ve not yet seen pup this year, as they’ve been so predictable for the past few years.

Do you have a success story you’d like to share with us?

‘Easter Bunny’ is one of my favourite seals and can still be seen today resting around the local area. We first encountered him in 2020 as a juvenile seal entangled in industrial strength plastic. He vanished and we feared the worst, however a week later, on Easter Sunday, he was back in the same haul out spot on a girder in the marina, freed from the plastic. At the time of our first sighting, he appeared to have a bunny shape on his right-hand side (alongside a letter ‘A’), but this time the bunny seems to have disappeared with the ‘A’ is clearly visible. He reappeared regularly over the coming years, often seen for a few days and until the last several months always in the same spot, before disappearing for a few days and coming back again. We have seen him elsewhere a number of times, and last winter he was seen socialising with two ‘tagged’ seals (former rescued seals with plastic rear flipper tags for identification), so we look forward to seeing if they return to the area soon too.

You can find out more about The Seal Project and the work they do via their website or by following them on Facebook, Instagram and Twitter.

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

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.

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?

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).

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.

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).

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.

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