Interposed between the natural world in all its diversity and the edited form in which we encounter it in literature, imagery and the museum, lie the multiple practices of the naturalists in selecting, recording and preserving the specimens from which our world view is to be reconstituted. The factors that weigh at every stage are here dissected, analysed and set within a historical narrative that spans more than five centuries. During that era, every aspect evolved and changed, as engagement with nature moved from a speculative pursuit heavily influenced by classical scholarship to a systematic science, drawing on advanced theory and technology. Far from being neutrally objective, the process of representing nature is shown as fraught with constraint and compromise. With a Foreword by Sir David Attenborough Contributors are: Marie Addyman, Peter Barnard, Paul D. Brinkman, Ian Convery, Peter Davis, Felix Driver, Florike Egmond, Annemarie Jordan Gschwend, Geoff Hancock, Stephen Harris, Hanna Hodacs, Stuart Houston, Dominik Huenniger, Rob Huxley, Charlie Jarvis, Malgosia Nowak-Kemp, Shepard Krech III, Mark Lawley, Arthur Lucas, Marco Masseti, Geoff Moore, Pat Morris, Charles Nelson, Robert Peck, Helen Scales, Han F. Vermeulen, and Glyn Williams.

Once in a great while, as the New York Times noted recently, a naturalist writes a book that changes the way people look at the living world. John James Audubon’s Birds of America, published in 1838, was one. Roger Tory Peterson’s 1934 Field Guide to the Birds was another. How does such insight into nature develop? Pioneering a new niche in the study of plants and animals in their native habitat, Field Notes on Science and Nature allows readers to peer over the shoulders and into the notebooks of a dozen eminent field workers, to study firsthand their observational methods, materials, and fleeting impressions. What did George Schaller note when studying the lions of the Serengeti? What lists did Kenn Kaufman keep during his 1973 “big year”? How does Piotr Naskrecki use relational databases and electronic field notes? In what way is Bernd Heinrich’s approach “truly Thoreauvian,” in E. O. Wilson’s view? Recording observations in the field is an indispensable scientific skill, but researchers are not generally willing to share their personal records with others. Here, for the first time, are reproductions of actual pages from notebooks. And in essays abounding with fascinating anecdotes, the authors reflect on the contexts in which the notes were taken. Covering disciplines as diverse as ornithology, entomology, ecology, paleontology, anthropology, botany, and animal behavior, Field Notes offers specific examples that professional naturalists can emulate to fine-tune their own field methods, along with practical advice that amateur naturalists and students can use to document their adventures.

This quarterly publication is a must-have for any serious nature enthusiast. With articles written by leading experts, it covers a range of topics from botany to ornithology. In addition to the insightful articles, it also includes stunning photography that brings the natural world to life. Whether you're a professional naturalist or simply a lover of the great outdoors, The Field Naturalists Quarterly is the perfect addition to your library. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Includes a section on Maria Martin, a young woman from Charleston, who married Audubon's youngest son, John Woodhouse, and who "assisted in the artwork for volumes 2 and 4 of [Audubon's] The birds of America and acted as Bachman's amaneunsis during his collaboration with Audubon on The quadrupeds of North America."--Page 9.