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Editor Simon Ellar [email protected] Sub-Editor Olivia Beardsmore [email protected] Design Andy Childs [email protected] Proof-Reading Elaine Gilboy Advertising Sales [email protected] Office Administrator Linda Frohock [email protected] Distribution Comag Tavistock Road West Drayton Middlesex UB7 7QE Telephone: 01895 433800 

Cover Image Paul Kirtley preparing a featherstick Environmental

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HOW TIME FLIES... Well, as I write this editorial I am conscious that it is for the September/ October issue… how time flies, the summer is passing and before we know it the leaves will have turned, fallen and there will be snow on the ground! That said, it is not here yet, and there is still plenty of time to get out and practise our bushcraft skills before the winter comes and a new set of skills come into play… Last issue, I spoke of starting to pack boxes and having a Stovax wood burning stove installed at our new house, well that seems an age away too as we have now moved, unpacked (bar some things in the garage and outbuilding) and despite the warm weather we have used the stove, much to my youngest son’s delight! In the move I have discovered loads of forgotten bushcraft treasures - things that I have made, gifts from others, memories from trips, materials I have found and saved, kit that I have saved for my children and just general kit that I need to thin out. My desire to sort through it all and be minimal extended to all our possessions. As we unpacked it reminded me of the motto “know more, carry less” that we use in some of our promotions for the magazine. Do I really need all these things? Could I do without this? When was the last time I used that? Knowledge is the only thing that we can carry with us at all times, regardless of baggage allowance! Sharing the knowledge that we have is also of great importance, how satisfying it is to teach a new skill to an interested party, young or old. I have found that one of the best ways to enhance knowledge gained is through practising it, but more so, through teaching it, be that to a Scout group, school, visitors at a show or to my own family members. So, as we approach the season of giving, let’s all amass knowledge and then share that knowledge with others to keep the skills of our ancestors alive. This issue is filled with people who want to share their knowledge, from making things… to bushcraft skills, it is packed with great articles for you to enjoy. If you are feeling creative you could make a crook knife handle with Ben & Lois Orford on page 12, make a wrist guard with Ian Nairn, our resident Bushcraft on a Budget expert (p34) or perhaps make an Atlatl with Jason Ingamells (p58). If you are hungry or feel like foraging, Fiona Bird shares some of her recipes on page 28 and Richard Lees looks at the medicinal properties of plants (p8). As the nights draw in and the home fires start burning you may want to perfect your feathersticks with Paul Kirtley (p46) or read Pablo’s article to capture your favourite animal on a Trail Cam (p22). That is not all, Lofty Wiseman shares more tales and advice from his adventures (p1,8), you can try your hand at using natural dyes with Jo and Fiona (p78), Perry McGee shares his tracking techniques on page 68 and go for a forage and fish using your canoe with Tim Gent (p52). I hope that you all enjoy getting out there as the seasons change and as the beautiful colours of Autumn grace our woodlands and hedgerows. Don’t forget to take your camera and using Andy’s advice on page 38 and over the last few issues record your memories in style.

Enjoy getting out there - Happy Bushcrafting!

Simon Ellar Editor

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© 2012 SO Publications & Events Ltd. All rights reserved. ISSN: 1749-7205

Competition guidelines: Some competitions in this magazine may be subject to eligibility criteria or age restrictions. All competitions are subject to the following rules / conditions: i). No purchase is necessary to enter; nor is there any charge to enter any competition ii). All decisions are final. iii). Bushcraft and Survival Skills reserve the right to disqualify any entrant and / or winner at our absolute discretion. iv). All prizes are non-transferrable and no cash or credit alternatives will be offered. v). Prizes may be distributed by a third-party sponsor so you agree by entering, for your details to be passed on to arrange the issue of your prize. vi). Bushcraft and Survival Skills reserve the right at its sole discretion to substitue prizes of comparable value for any of the prizes. vii). Competitions are open only to UK residents with a UK delivery address; delivery will not be made to a P.O. Box. viii). All entries must be received by the deadline shown and late or incomplete entries will be disqualified. ix). By entering a Competition, if you are a winner, you grant Bushcraft and Survival Skills permission to publish your name and county of residence along with any comments you may issue, online or in the magazine. x). If we are unable to contact you within 14 days of the closing date or if a prize is returned as undeliverable as addressed this will result in your disqualification and a new winner will be selected. xi). Winners are solely responsible for all insurance, incidental expenses associated with claiming the prize, applicable taxes and for any expenses not specified in the prize description. xii). Bushcraft and Survival Skills accept no responsibility for entries that are lost, delayed or damaged in the post or lost or delayed in transmission or for damage or loss resulting in communications not received due to computer malfunctions, viruses, etc. xiii). Competitions are not open to the employees of Bushcraft and Survival Skills, to any sponsors involved with the competition or the immediate families of employees or sponsors. xiv). Competition winner/s agree that neither Bushcraft and Survival Skills nor any sponsors shall have any liability in connection with the acceptance or use of any of the prizes awarded. xv). By entering our competition you give your permission for your details to be used by Bushcraft and Survival Skills and the competition sponsor to provide you with information on their products / services; you will always be given the opportunity to unsubscribe. Bushcraft and Survival Skills accept no responsibility for the contents or accuracy of mailings from the sponsor. Your details will not be passed on to any third parties. xvi). If you are unable to enter the competition by email to [email protected] you can do so by sending your name, address and telephone number to the address shown above marked ‘competition entry’. For all entries please state which competition you are entering and include your name, address, contact number and email address. Illegible or incomplete entries will be disqualified. Winners will be notified by email, should you wish; please send an e-mail to [email protected] detailing the Competition for the names of the winner/s or send an S.A.E. to the address above, again detailing the competition. The closing date for the competitions in this issue is the 16th October 2013 unless otherwise stated. Only one entry per person per competition is permitted.

CONTENTS...

8

REGULARxxxxx 3 6 16 65 66 67 72 82

Editorial Letters to the editor In the news Back Issues Offer Subscription Offer Next issue Trading Post Situations Vacant

38

FEATURES 8 12 18 22 28 34 38 46 52 58 68 78

Medicinal Molecular Marvels How to make and fit a Mocotaugan handle Lofty’s Life Stories Trail Cameras The Forager’s Kitchen Recipes Bushcraft on a Budget Picture Perfect Part 4 Making Fantastic Feathersticks Using your Canoe for Foraging and Fishing Make your own Atlatl Tracking with Powders & Dust Nature’s Pigments for Natural Dying

46

REVIEWS 45 Book Reviews 51 Book Reviews 74 Best in Bushcraft 2013

COMPETITIONS 7 45 45 51 51

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LETTERSTOTHE EDITOR! A SAW POINT As I have just read your article on saws in the latest edition of Bushcraft by Ben and Lois Orford, I thought I would tell you what happened to my wife and I a couple of days ago. We are rangers for SUSTRANS, the National Cycle Charity, and whilst we were out cycling, we noticed some bushes and low hanging branches over the shared use pathway. As this can be a hazard to cyclists’ faces during the hours of darkness, I decided to cut the low hanging branches away from the cycle-path. Because of the branches’ thickness, I had to use my folding saw, which is the same, albeit a different make, as you displayed in your magazine article, using secateurs for the smaller branches. Just as we had come to the end of cutting, there was a screech of brakes, together with flashing lights and we saw that a Police car had stopped in the nearside lane of the dual carriageway. Two officers approached us, and one ordered me to put down the saw, which at this time was in my hand beside my leg. They asked us what we were doing, so I showed him the saw in explanation whereby he became agitated, asked me to fold it and hand it over to him. He inspected it, noticed there was a locking facility on it and informed me he was confiscating it because “locking blades are illegal in a public place”. After explaining what we were doing and after showing some I.D, the officer relented and said I could collect the saw the following day from the Police station and it must be collected in a vehicle. I asked him what the purpose was of keeping the saw overnight and after some discussion, but with no obvious explanation, he asked me to go straight home with the saw in my pannier, not to cut any branches and not to stop anywhere until I arrived home. This I agreed to do. I am now not certain what the law is regarding saws away from the home. Any tool, in the wrong hands, can cause serious injury, even a plastic knife. I understood that if a tool was being used for doing a job, then this, within reason, was okay. My wife and I are both 65 years of age and keen cyclists. We enjoy the cycle paths that we have in our area and like to remove obstacles that can obviously harm or hinder both ourselves and other users, at the same time being very aware of being ‘countrywise’. This could be quite funny in our local paper: “POLICE CONFISCATE FOLDING SAW FROM PENSIONERS CUTTING LOWHANGING BRANCHES ON CYCLE PATH”. Keep up the good work with this excellent magazine. We are hoping to attend your next Bushcraft Show in 2014. Colin Attle Dear Colin, Your letter had me chuckling from the end of the third paragraph, the start of the sixth paragraph was the ‘icing on the letter’… I hear all sorts of situations where ‘bushcraft’ has had a brush with the law and am often written to for advice. We have great relations with a selection of police representatives ranging from wildlife protection to firearms. You may have seen articles in the magazine about bushcraft and the law, and in particular articles on knives and the law. Looking at your situation, the law as it stands would designate a folding saw with a blade over 3” that locks, as being illegal to carry in a public place. The law also uses the term ‘reasonable cause’ when describing the carrying of knives (or saws!). If I was a policeman and I were to see you and your

6 • BUSHCRAFT & survival skills magazine

STAR

LETT

ER

Buc Foldin g ksa wo Way n it s ! :)

wife tending to a cycle path, being able to provide ID detailing that you were rangers responsible for the paths’ upkeep, then I would be inclined to say “keep up the good work” and leave you to go about your business. If I felt the need to, I could look at the SUSTRANS website and with a bit of clicking could see under the duties of a ranger that one of them is to ‘Carry out general tidy ups and clear back encroaching vegetation’. It is never worth arguing with the police, as, if the officer in question has an opinion it is unlikely that you will change that. If you do feel wronged by the law, it is open to interpretation and as such you can always take legal advice should you ever feel aggrieved or wish to make a complaint. Our advisor responded, here is an excerpt from his comments about the law: I can quite believe this situation as there are some people in the Police who lack common sense and have a blinkered, bullish approach to some situations. I would advise the Attles to formally complain to their Police Commissioner for such appalling over-zealous treatment, as this is not a good impression of their local police force.  It is illegal to carry any sharp or bladed article in a public place (with the exception of a non locking folding pocket knife, which has a blade that is less than 7.62 cm (3 inches). A lock knife is not a folding pocket knife and therefore it is illegal to carry around such a knife regardless of the length of the blade, (if you do not have reasonable excuse). A lock knife has a spring or mechanism which locks the blade in position when fully extended; the blade cannot be closed without that mechanism being released. A lock knife is not an offensive weapon per se (because these knives were made with a specific purpose in mind and not as a weapon). However, possession of a lock knife (and therefore a locking saw - being a ‘bladed article’) in a public place without reasonable excuse, is an offence. Simon commented on the carrying of a regular DIY saw. Possession of a multi-tool incorporating a prohibited blade/pointed article is capable of being an offence under this section even if there are other tools on the article which may be of use to a person in a public place (screwdriver, can opener etc). Other articles like a folding saw, a fixed blade saw or other DIY equipment are also included in this category. The ban is not absolute, it is for the person in possession of such an article to prove on the balance of probabilities that he/she had good reason for its possession. It will have to be genuine, for example, someone back packing across the Lake District may reasonably be expected to have a knife for the preparation of meals or, as in this example, rangers who in exercising their lawful authority are using a folding saw to cut down obstructing branches. It would be far more difficult to justify on the streets of a city or town, but there will be occasions when someone is genuinely travelling to a station with a backpack containing a knife or axe, going to a martial arts or scout meeting (which is easily checked). The penalty for committing this offence is a maximum prison sentence of four years. I hope that you can continue your work unhindered in the future… ‘Keep up the good work’, Simon

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BUSHCRAFT ON A BUDGET

Smiles on our Face

Dear Bushcraft Magazine, Being an avid reader of your magazine after discovering it by chance a year or so ago and being a keen 'back garden' bushcrafter, I’ve been particularly interested in both your articles and other readers’ attempts at making bushcraft equipment on a budget. I’ve been camping and exploring the great British countryside for some time now, but the arrival of my first child four years ago has re-prioritised my camping expeditions to the back garden as sterilising bottles and changing nappies is a bit easier when you’re close to home. Now my daughter has started to pick up the outdoors bug and has joined me in our 'camping holidays' of a weekend in the garden, but she has kept asking and asking when we are going to cook a proper breakfast outside. With money being a bit tight with baby number two being born, this led me to the thought of making my own stove to allow me to cook the full English for us to have of a morning. After a few failed welds and a bit of wobbly leg issues overcome, I am quite pleased with the outcome of my project and Chloe, my daughter, is excited to finally be able to have breakfast outside instead of having to run indoors and use the oven. A few trial fires have worked well, and after a coat of paint we will be trialing my wares this weekend!! Thanks for a great magazine and planting the seed that you don't have to buy expensive gear to enjoy the outdoors if you are handy enough with your hands and a few tools!! Many thanks again from both myself and Chloe!! Regards

Hello to all at Bushcraft Magazine, My name is Mark and I’m writing this email from Afghanistan where I’m currently serving on operations as part of the Brigade Reconnaissance Force - recently we received a parcel from an unnamed sender through the welfare parcel chain, inside to our delight were some copies of your magazine with your trade mark printed on a piece of paper! We were slightly confused, but I felt obliged to look your email address up and send you some thanks from all of us as your magazine is bought by a few of the lads when in the UK - your goodies made a lot of smiles on some tired faces many thanks and praise from all lads in the Brigade Reconnaissance Force, Afghanistan! PS - If you can keep these smiles on our faces, we will not let you down!!!! Yours faithfully, M KELLY Courtesy of Mark's iPad... Dear Mark, We are glad that the magazines have brought smiles to your faces out there! We appreciate all that you do for our country.

Will Austin

There is a box of goodies on the way including some more copies for you to read and enjoy.

Dear Will,

Keep Smiling…

Congratulations on your new arrival! I am glad you have been keeping your ‘bug’ alive in the garden and more so that this has rubbed off onto Chloe…

Simon

It is great that you are enjoying the magazine and that you’ve found inspiration from the Bushcraft on a Budget articles. Your words are so true, with a few tools, some materials and a bit of time we can create some great kit, often customised to our personal needs and preferences. Let’s hope baby number 2 loves the outdoors too! Simon

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ADVANCED BUSHCRAFT

MEDICINAL MOLECULAR MARVELS ‘What is there that is not poison? All things are poison and nothing is without poison. Solely the dose determines that a thing is not a poison’ (Paracelsus, 1493-1541).

AUTHOR PROFILE:

Richard Lees

‘The poisons are our principle medicines, which kill the disease and save the life’ (Ralph Waldo Emerson, 1803-1882).

Richard Lees MSc, NCFE Ethnobotanist and government accredited Bushcraft and Survival Instructor has a passion for wild living. He has uncovered secrets of our ancestors’ survival and discovering what helped them to thrive. As part of his research thesis, he solved a three-hundred-year-old Ethnobotanical problem proving that Bracken rhizomes were a winter starch staple. Richard has extensive knowledge of the symbiotic relationship between plants and people. His desire is to reconnect us with nature once more.

A

s bushcraft enthusiasts, we all know at least a handful of medicinal plants commonly found in the wild: Foxglove, Willows, Self-heal, and Greater Plantain etc. However, how do these plants actually affect the human body? First, I will briefly explain the composition of matter and chemical objects.

The composition of matter: Neutrons Protons and Electrons

combine to give

Elements

a a a a

Chemical objects:

Atoms of one or more elements

may be connected in different ways to give

Scientists call chemicals found in plants phytochemicals and their molecules come in a variety of size and shapes, with the power to either kill or cure us. This is one of the harder aspects of Bushcraft and Ethnobotany, so I will endeavour to make it accessible. However, you may probably read this more than once! I know I did back when I first learned it!

Molecular bonding Docking is the term frequently used to predict the binding orientation (the shape and size) of small molecule drug candidates to their larger protein targets within the body, in order to predict the affinity (effectiveness) and activity (the action) of the small molecule. Given the biological and pharmaceutical significance of molecular docking, scientists have directed considerable efforts towards improving the methods used to predict docking. Fortunately, nature has been working on these molecules for millennia and has evolved a vast quantity from which we can benefit. Simply put, it is like a lock and key where the protein target or ‘ligand’ is the lock and the medicinal molecule the key. If the key fits the lock, then we have an active molecule that has an effect on the body.

The basic rules of bonding Now we will look into the structure of the four main elements found in plant chemicals. As it can get very complicated, the simplest way to remember these bonds is:

1—2—3—4 H—O—N—C 8 • BUSHCRAFT & survival skills magazine

that can combine to give

a a

Compounds

molecules

Hydrogen only makes one molecular bond; oxygen makes two, nitrogen makes three; carbon makes four. Bonds can be single, double, or triple bonds. For example, let's look at carbon seen in Figure 1.

Figure 1.

What do the lines mean? In the diagrams, you will see that we draw molecules using lines. The lines represent a bond between two atoms; single, double, and triple bonds are also possible. The atom itself is actually the intersection either between two lines, by the end of a line, or by its atomic symbol. O is an oxygen atom; OH is an oxygen atom singly bonded to a hydrogen atom

Taking drugs or drug absorption and distribution ‘Herbs and plants are medicinal jewels gracing the woods, fields and lanes which few eyes see, and few minds understand. Through

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this want of observation and knowledge the world suffers immense loss’ (Linnaeus, 1707-1778).

Burdock root (primary metabolite carbohydrate)

There are a number of ways in which drugs can enter your system (absorption). However, it must be in a way that the molecule remains intact and can begin to circulate in the blood in order to take effect. These are: inhaled into the lungs e.g. tobacco; insufflated (snorted) into the nasal cavity e.g. cocaine; taken orally e.g. tea; absorbed through the skin e.g. aloe; or injected e.g. derivatives of pure plant drugs like opium.

Transport of drugs Drugs injected or taken orally enter into the bloodstream where they circulate through every organ and system in the body, binding to proteins found in the blood.

Only first year burdock contains carbohydrate

Barriers to absorption No matter how one administers a drug, the first barrier the drug will encounter is a membrane. To simply diffuse into a cell, the drug must be relatively non-polar because of the large non-polar membrane interior. The polarity of a drug is either a positive or negative electric charge, and the electric charge of the molecule affects its ability to simply diffuse into a cell. In turn, the PH of the drug affects the charge (see figure 2). Therefore, polarity determines whether or not a molecule will dissolve in water and whether or not it can pass through the membrane that surrounds the human brain. Polarity is simply the difference in electro-negativity between the two atoms creating the bond. The membrane that surrounds the brain cells is very tight. This is a unique occurrence in the body and acts as a protective device known as the blood/brain barrier. Fortunately, many drugs are still capable of crossing it.

Figure 2.

Medicinally important chemical families found in plants Primary metabolites Primary metabolites are produced as the primary function of the plant. They include the production of carbohydrates, lipids (or fats), amino acids, proteins and nucleic acids. A good diet rich in carbohydrates, lipids, vitamins and minerals (primary metabolites) is often the first line of defence in warding off a disease. A healthy body is less susceptible to disease than an unhealthy one.

Secondary metabolites The plants that produce secondary metabolites have developed these as a defence system against being eaten. A plant obviously cannot escape its predators, but it can arm itself with an arsenal of chemical weapons in order to survive. Over time, some species

have evolved highly advanced chemicals. The chemical families include:

Alkaloids When plant Figure 3. scientists are screening for possible medicinal activity in plant compounds, they are usually screening for alkaloids. Alkaloids are the second largest, most medicinally active, diverse and important group of secondary metabolites. We know of over ten thousand different structures; it is because of this diversity that it can be difficult to define them simply. In general, they are molecules that include a nitrogen atom in a ring. Alkaloids are found in plants displaying a nitrogen ring (see figure 3). They are usually classified by the way in which a plant biosynthesizes (creates) the molecule. Historically, both folk healers and scientists have recognised alkaloids due to their bitterness. A classic example of this is the Cinchona tree. The Quechua peoples of Peru and Bolivia originally discovered the medicinal properties of the Cinchona tree. The Quechua cultivated the trees to alleviate shivering that they thought was caused by low nighttime temperatures. The Jesuit Brother Agostino Salumbrino (1561–1642), who lived in Lima, observed the Quechua using the quinine-containing bark of the Cinchona tree for that purpose. In fact, the Quechua peoples were suffering from malaria. And the Cinchona bark was treating malaria-induced shivering. Although entirely ineffective in controlling shivering from cold, it was the correct medicine for malaria. Jesuit missionaries then `introduced the use of the ‘fever tree’ bark into European medicine. In the nineteenth century, the plant's seeds and cuttings were smuggled out of Peru and Bolivia by the British to India and Sri Lanka and by the Dutch to Java and Indonesia for new cultivation at Cinchona plantations in colonial regions of tropical Asia. Unfortunately, the British were notorious for this sort of behavior. We also stole rubber tree seeds from Brazil, putting Brazil’s economic development back centuries. Ill feelings are still harboured by the Brazilians to this day.

BUSHCRAFT & survival skills magazine • 9

ADVANCED BUSHCRAFT

As a medicinal herb, Cinchona bark is also known as Jesuit's bark or Peruvian bark. The bark is stripped from the tree, dried, and powdered for medicinal uses. It is medicinally active and contains a variety of alkaloids, including the anti-malarial compound quinine and the anti-arrhythmic (to treat abnormal heart rhythms) quinidine. Modern medicines have now superseded quinine; however, some Peruvian and Bolivian people still chew the bark to ward off malaria. (See figure 4 showing structure of quinine). The other alkaloid groups are: allium compounds, anthocyanidins and flavonoids, courmarins, cyanogenic glycosides, glucosinolates, glycosides isoflavones, lignans, tannins, polyalkynes, and polyalkenines. These alkaloid groups all have therapeutic actions; however, I am afraid that I would bore you to death by going into every one of them! Therefore, along with the Alkaloids, (the Figure 4. second largest group), I will give a description of the largest group of secondary metabolites, the terpenes.

Terpenes Terpenes can be further split into: monoterpenes, sesquiterpenes diterpenes, triterpenes and tetraterpenes. In order to keep things relatively simple, I will give examples of the chemicals that come from each terpene. There are a great many interesting chemicals that are monoterpenes, including essential oils such as lavender oil and peppermint oil. Moreover, absinthe contains the monoterpene wormwood (Artemisia absinthium). Valerian, which is a powerful sleep aid, comes from Valerina officinalis. The sesquiterpenes include the migraine-relieving feverfew (Tanacetum parthenium). The diterpenes include the highly significant Taxol, which is derived from the Pacific yew (Taxus brevifolia). Figure 5. Taxol has been shown to be highly effective in treating advanced ovarian and breast cancers. Sapponins or soap-like chemicals contain triterpenes. The triterpenes, amongst other things, are where one can find the best wild soaps. As you probably know, the best is soapwort. However, birch leaves and horse chestnut leaves also contain sapponins. Diosgenin is a triterpene isolated from the Mexican yam (Dioscorea spp.), and it is the starting material for the synthesis of hormones for birth control pills. Finally, the tetraterpenes are of little medicinal value. However, carotenoids (compounds similar to carotene) are of interest as antioxidants. Finally, we will look at Cardiac glycosides that are named because of their effect on the heart. Cardiac glycosides increase the heart’s force of contraction and are greatly effective in the treatment of congestive heart failure. In my opinion, William Withering’s discovery in 1785 of the medicinal use of Foxglove (Digitalis purpurea) is the most interesting cardiac glycoside in terms of clinical impact and the nature in which it was discovered.

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Withering first learned of the use of foxglove in treating ‘dropsy’ (congestive heart failure) from an old woman who practiced as a Feverfew (sesquiterpene) folk herbalist in Shropshire. As part of a polyherbal formulation containing over twenty different ingredients, she used the plant to successfully treat the condition. Withering deduced Foxglove (cardiac that digitalis glycoside) was the ‘active’ ingredient in the formulation. Over the ensuing nine years, he carefully experimented with different preparations of various parts of the plant (collected in different seasons). He documented one hundred and fifty six cases where he had employed digitalis and he described the effects and the best - and safest - way of using it. In one of these cases, Erasmus Darwin asked Withering for his second opinion with regard to one of his patients. In January 1785, Darwin submitted Water mint (monoterpene) a paper entitled ‘An Account of the Successful Use of Foxglove in Some Dropsies and in Pulmonary Consumption’ to the College of Physicians in London. Darwin presented his paper in March of that year, providing a model for all future medical studies of plants. Purpurea Glycoside A eventually emerged as the active alkaloid in Foxglove (see figure 5).

Conclusion We have looked over some examples of how phytochemical compounds work on a molecular level, proving its not just magic! The methods used by shamans in the jungle and folk healers are so complex and beautiful that I hope you have gained a deeper appreciation of not just the medicinal plants, but of all the plants we encounter as bushcrafters. With a deeper understanding of the virtual chemical factory that surrounds us every time we enter into nature, we can gain a richer appreciation of the natural world. With a deeper understanding comes a greater sense of responsibility, it is thus my hope that we will endeavour to protect the natural world at all costs. We may already have lost some of the cures for AIDS, cancer and a whole host of other diseases due to the destruction of so many of the earth's ecosystems, not least the Amazon rainforest. A quarter of all pharmaceuticals in use today are derived directly from plants. If we do not protect these ecosystems, we will reduce bio-diversity and destroy the habitats of wild animals, but ultimately, it is humanity who will pay the price.

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L e s St r ou d ’ s TEMAGAMI K N I FE

4.5” Curly Birch handle 4.3” Triple laminated stainless steel blade 8.9” Overall length Weighs 5.5oz Supplied with leather sheath

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BUSHCRAFT & survival skills magazine • 11

KNIVES & AXES

MAKING A Motaugan Handle

AUTHOR PROFILE:

Ben & Lois Orford Ben and Lois Orford live and work from their home in Herefordshire. With their backgrounds in green woodwork and traditional woodland crafts they make a range of handmade woodcraft tools, bushcraft knives and leatherwork for the discerning outdoors enthusiast. Their combined experience and passion for their craft makes them keen to pass on their knowledge and skills.

The traditional Mocotaugan or Indian crook knife is a fantastically versatile tool to carry with you. It was an important tool of the indigenous people of the woodlands in North America and had a very special place in their culture, so much so that some of the handles were not just functional, but very elaborately carved and often handed down through the generations. A.

mocotaugan is an unusual tool to use as it is used by pulling it towards your body with your palm up and your thumb stretched out along the curved back edge of the handle to give power and control. It is a rewarding project to fit your own handle and get it just right for your own needs. So we are going to show you how to make a wooden handle and use the traditional method of fitting the blade, (alternatively you can use a piece of antler or curved branch that looks and feels right in the hand). You could use the same method to fit the blade to the handle that we showed you in the ‘Modify your Mora’ article, (issue 37 page 22) where you draw on the end of the handle the width of the tang and then chain drill a mortice. This will work and is a little quicker, but not as traditional and also makes the blade fitting permanent. The great advantage of this method is that you can remove the blade if the handle or blade need to be modified at all, or to make sharpening easier. It is also an advantage if the blade of the knife is low to the bottom edge of the handle as this method will give greater control when using the tool and improve cutting ability.

T

he one important factor of the crook knife is to ensure a good fit for your grip and hand size, so that it doesn’t make using it uncomfortable or strain your wrist in any way. The

12 • BUSHCRAFT & survival skills magazine

Before you start making the handle it is important that you already have the blade, as you need to make the handle wide enough to fit the tang. The blades are available online from a few bushcraft stores or can be made from old files or even modified from farriers' hook knives. There are a few styles, some are straight and some are more curved like a spoon knife, ideally the blade to look for if you want the style of knife for making bows and paddles etc. should

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C. be about 3 to 4 inches long, not too curved, with the bevel on the inside face and a flat outer edge. Also look for a blade with a fairly square tang with a 90 degree bend on one end which gives the blade a secure fit and prevents it from moving too much in the handle. If you are going to be using the drilling method these 90 degree bends can be removed with a hacksaw or file. Sizing the handle to your grip is fairly easy, firstly clench the fist of your dominant hand and then stick your thumb out like you are thumbing a lift, this is the shape that you a looking for so that your thumb is not over stretched. You need to measure across your grip adding about an inch so your hand doesn’t slip onto the blade. The length and angle for the ramp for your thumb wants to be the same as your own grasp to make sure it is comfortable. You can always leave this longer and trim it to length later.

D.

The wood needs to a be a hardwood that is relatively tough, something like Elm, Ash, Beech, Hawthorn or fruit woods e.g. Apple or Damson. The great thing about using wood from a hedgerow or from fruit trees is that often the branches have the curved shape you are looking for already grown into the branch and this will give a much stronger handle.

E.

Using either an axe, saw or just taking your time with a knife you need to shape the piece of wood. Take your time and make sure you use safe cutting techniques. Also make sure that you don’t make the handle smaller than about one inch square as it will not have enough wood for fitting the tang of the blade. You may also want to fit the blade before shaping the handle too much as it will be easier to hold in the vice. It is a definite advantage if you leave the underside of the handle flat where the blade is going to go until the rebate has been cut. Don’t worry about making it super smooth or finished as it will likely get a little dirty and marked while you get the blade to fit.

B. F.

With this done the important job of fitting the blade can start. Make sure the cutting edge is covered with tape so you don’t cut yourself and then lay the tang of your blade on the underside of the handle, (if you are making a right handed knife lay it on the bench with the slope for your thumb pointing left).

G.

Make sure that the whole length of the tang is used, the cutting edge wants to start right at the end of the handle so you get maximum cutting power.

BUSHCRAFT & survival skills magazine • 13

KNIVES & AXES

H.

To improve the efficiency of the tool it helps if the tip of the blade is pointing slightly upwards when in use, so angle the blade so this is achieved. Now, with a sharp pencil, mark around the tang. If your blade has the bend on the end you may need to flip it over to allow you to mark around the tang more easily. Remove the blade and with the handle clamped to a bench, or held in a vice, carefully with the tip of your knife cut straight down around this pencil mark. This will cut the edge of the rebate we are going to make and act as a stop cut, you can now either carefully use your knife to remove the waste or use a small chisel - taking your time. You need to make this at least twice the depth of the thickness of your tang. To achieve this you will need to remove a small piece at a time and keep re-cutting the stop cut around the edge with the tip of your knife so that you don’t split away your handle. Keep trying the blade to make sure you have a tight fit. When you are happy you have got the correct depth and if your blade has the 90 degree bend at the end, you can carefully drill some holes at the end of the rebate to accept it. Make sure you don’t drill too deep. You could also heat this end with a blow torch and just burn it in, making sure you wrap the rest of the blade in a damp cloth to prevent damaging the blade and spoiling the temper.

I.

J.

When you are happy you have it fitted well, you need to make a little capping piece of wood to fit over the top of the tang and fill the gap that is left on the top. Make this from a long length of wood so you can hold it safely with the other hand as you shape it to fit and only cut it off when you are happy it fits well. Don’t struggle with a small piece as it will be too difficult to hold and you will likely cut yourself. Before you fit the blade you can spend a little time cleaning up the handle. If you want to carve anything on it now is the time to do so; it is a good time to oil it too. You can now fit the blade and the capping piece, knocking it in tightly. The traditional way to hold this in place is to use a thong of rawhide, the advantage of this being that once wrapped around and dried it shrinks making it really tight.

K.

Local pet shops are a great place to source rawhide, selling it as dog chews. Just soak them in hot water and flatten them, then cut a strip about 1cm wide (you may have to cut it in a constant spiral to get the length you require). You can also use thread or paracord, the only disadvantage being you will have to make it as tight as possible as you bind it. The way to bind it to get it tight and looking neat is to do a classic whipping knot. Take about a metre of cord and then put a bight in one end with about 10cm of tail, lay this on the handle with both ends laying parallel and then taking the long tail start to wrap it around the handle going over the top of the short tail, pulling tight as you go. When you have done 2 or 3 passes over the end of the capping piece of wood you can then pass the end of the cord through the loop that is still showing. Then from the other end pull the loop tight and trap the long end of the cord.

l.

You may need to use pliers to pull it as it may be really tight, watch out that you don’t hurt yourself on the blade. You can then cut off any of the spare cord as close as possible to where it protrudes. If using paracord use a lighter to seal the ends. You can then take the blade cover off, sharpen it if necessary and then give it a test run. It will be a great tool to use as you have made the handle to fit your own individual grasp.

14 • BUSHCRAFT & survival skills magazine

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M. You can also make some really great looking and comfortable crook knife handles from pieces of antler as the curves are often perfect for your grip. A lot of pet shops sell this as dog chews too, so check them out and you may get a great crook knife handle from there. Using antler often means you have to use the drilling method of fitting them as there is not enough solid antler to cut a rebate but the texture of the antler does make a good handle.

N.

O.

P.

Learning to use this tool can be a little tricky to begin with, as you need to build up the strength in your forearm and wrist, but take your time and remember to work safely and persevere, as when you get the hang of it you will find that it is the multi-tool of the woodsman. For further information on the Mocotaugan and its safe use refer to issue 35 page 12.

R.

Q.

BUSHCRAFT & survival skills magazine • 15

INTHENEWS NEWS JUST IN…Bushcraft & Survival Skills Magazine are pleased to launch our annual Best in Bushcraft Awards for 2013 to recognise the effort and enthusiasm of the instructors, schools and retailers within the bushcraft industry and the extraordinary lengths to which they go to promote the skills sets that so easily might be otherwise forgotten. Please take a moment to thank the people in the bushcraft industry for their great efforts. See p74 for details.

LIFESAVER Inventor-Founder Michael Pritchard receives MBE We are pleased to congratulate Michael Pritchard upon receipt of his MBE. We first worked with him when he launched the Lifesaver bottle into the retail market and have favoured Lifesaver products ever since, they come top in our reviews and have been tested by our editor in extreme situations where all but the Lifesaver bottle failed! LIFESAVER® Inventor-Founder, Michael Pritchard, has been appointed a Member of the British Empire (MBE) as part of the Queen’s Birthday Honours List. Michael’s award is in recognition for his services to Innovation and International Business. He commented on his MBE saying, ‘It is a great honour to be awarded the MBE from Her Majesty. I have always believed that the problems of the world will be best solved through innovation and entrepreneurialism and this is true in the fight to end global water poverty. I believe that everyone deserves clean, safe drinking water, no matter where they are or what their circumstances are. I invented LIFESAVER to achieve this aim.’ LIFESAVER® was founded in 2007, after the horrific events of the December 2004 Tsunami and Hurricane Katrina in Louisiana in August 2005. Michael felt compelled to help create something that allowed people all over the world to turn dirty, diseased water, into safe, sterile drinking water. It was then that LIFESAVER® was born. LIFESAVER® systems is based in Colchester, Essex with a dedicated staffing team of over 30. The passion that resonates throughout the staff, ensures that Michael Pritchard’s goal of ‘ending water poverty’ is a similar goal for all those who have been touched by his passion.

Peebol

The Outdoor Enthusiast’s Best Friend

All LIFESAVER® products are designed, invented and manufactured in Great Britain and serve three main markets – Humanitarian, Leisure and Military. The LIFESAVER® family began with the LIFESAVER® bottle in 2007 and then in 2009 was joined by the LIFESAVER® Jerrycan, able to filter up to 20,000L of water. The LIFESAVER® M1 launched in April 2012 and was installed throughout Malaysia, giving users 2 million litres of clean, sterile drinking water. The latest addition to the LIFESAVER® family is the LIFESAVER® cube – an easily deployable, stackable humanitarian solution, giving those in disasters the ability to filter 5000L of sterile water, with the simple technology of FILL, PUMP, DRINK TM. (Image of cube) Michael Pritchard says, ‘I am so proud of what LIFESAVER® has achieved, but we have a long way to go. With over 1.1 billion people globally still without access to safe drinking water, we must make this a priority for now and the future.’ For more information about Lifesaver products visit www.lifesaversystems.com odourless gel. When you have finished, seal the pouch and dispose of it in the nearest bin. The product is made in the UK and is 100% safe and reliable. The whole product is recyclable and it is safe for the environment.

Samantha Fountain the Dragons’ Den inventor behind the very successful Shewee has announced a new product, The Peebol ‘the For more information visit www.shewee.com pocket-sized toilet’. This is a small pouch that unrolls; pops open at the top is held against the body and allows men, women and children to pee into COMPETITION WINNERS... it with confidence. It is watertight, holds a full litre Ray Goodwin Canoeing Book - Mike Potts, Kirkintilloch and is filled with special Greenwood Crafts – Fin McSeall, Barnsley granules, which convert Outdoor Adventure Manual - Amy Rowland, Wrexham the urine into a spill proof, The Forager’s Kitchen - Mr D Rogerson, Horsham Mykel Hawke’s Knife – Richard Dent, Nottingham

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5 to give away Send in . you details r (See T& C’s p3)

Making a Difference for the Massai In the last issue of Bushcraft & Survival Skills Magazine we reported on The Bushcraft Show and promised to let you know the total amount raised for the Massai dance troop and the village in Kenya.

 

The Oloip Massai dance troop came to England to perform, teach cultural skills and fundraise for themselves and a Massai Villiage, where the ongoing Woodland Ways Massai Warrior Expedition has helped raise funds to build a school and pay teacher salaries. As soon as their feet hit British soil, it was a non-stop programme of events, from visiting numerous schools, to tourist sights such as Conkers, Festivals, Woburn Abbey and The World of Bushcraft with the highlight of the trip being three days at The Bushcraft Show. They also had a day out in London, experiencing the underground and a trip on the London Eye. The whole experience was not only magical for the Massai but for everyone who came into contact with them. Mr Hardwick, Deputy Head at Pendle Vale High School told all the children that he guarantees when they look back at their life at the school, the one thing that they will remember will be the day that the Massai spent with them. Over £7000 was raised throughout their tour with money still coming in. Mr and Mrs Allan from Lancashire read in their local newspaper about the Massai visiting Pendle Vale School and were so moved that they promptly sent in a cheque for £200. Thank you for everyone who helped to make the lives of these people better and we are grateful to the Massai for touching the lives of those who met them. For more information contact Jason Ingamells of Woodland Ways Foundation www.woodland-ways.co.uk or call 01234 351006

Message from Anne Thanks for everything you did for us when we were in England, the money we got really did help us, as for me I started schooling, am at the moment a student, for the last three weeks, and am learning a lot, thanks again, the others built houses for themselves, it’s amazing.

For the Maasai themselves it was the most amazing experience of their lives. For the audience at The Bushcraft Show, I know a lot of you were touched by their warmth, smiles and performances. For me, it was one of the most touching two weeks of my life. I will never forget the young lady with tears in her eyes standing on my boat looking out over the river saying, “never in my wildest dreams dared I hope I could leave Kenya and visit your country”.

Comments from Jason Ingamells, founder of Woodland Ways Foundation:

Your generosity made a huge difference to the lives of the members of the dance troop, and will make an incredible impact in the village that we are supporting. We have sent some funds immediately and more will follow as we work with the village Elders for them to manage the long term ‘gifts’ in a way they see fit and of most benefit to the village. We will continue to fundraise. We will also work with the Dance Troop to gain sustainable employment for them all. I cannot thank you enough. Daniel, Anne and the rest of the Oloip Maasai Dance troop extend their warmest and heartfelt thanks to every single one of you who supported what was an incredible lifetime ambition to come and perform for you, they have now returned to the Oloip… which means shade - the shade of an acacia tree to shelter from the effects of the sun and reflect, don’t forget them… they will never forget you!

Well, we did it… and it’s all thanks to your support! Can you believe it, working with our partners The Bushcraft Show and Bushcraft & Survival Skills Magazine we managed to fly seven Maasai halfway around the world to share a cultural experience that the vast majority of people in this country would never have had the chance to have otherwise.

Do you have bushcraft news that you would like to share? Email [email protected]

LOFTY'S LIFE STORIES

MEETINGOLDFRIENDS Three years ago I was invited to speak at The Bushcraft Show. Having been retired for several years I didn’t know quite what to expect. I met so many old friends I couldn’t believe it. There were ex-students who had attended my courses in the eighties and old army mates who I hadn’t seen in years. I was surprised at the standard of the demonstrations and the excellence of the stands that had so many products on offer. Last year I turned up again, thinking it would be just as good.

AUTHOR PROFILE:

John 'L O F T Y ' Wiseman Lofty Wiseman served with 22 SAS for over 26 years, rising to the rank of Sergeant-Major and ran the SAS selection course and the Survival School, ensuring that the standards for the SAS remained high. After he retired, he wrote The SAS Survival Handbook, first published in 1986, selling over 2 million copies, it has been translated into 18 different languages and adapted for the Collins Pocket Guide and iPhone App selling hundreds of thousands each year.

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I

was not disappointed, it was even better. I signed so many books, programmes and photos that my arm ached from writer’s cramp. This year I thought if it was half as good I would be pleased, imagine my delight when it turned out to be even better. I know the weather makes a big difference to any outdoor activity, and the Saturday I attended was brilliant, I even had to borrow a hat. I had so many photographs taken, met so many old friends and made many more new ones. What was particularly touching was signing an original well-worn book that had been given to a lad from a friend who had died after a long battle with cancer. The book had never left his side throughout his illness, he referred to it constantly. I signed it originally in 1986 and was more than pleased to sign it for the new owner. A lot of people asked me if I knew so and so and in many cases I did. It was good to reminisce, bringing back memories and images of forgotten characters. What impressed me about the crowd was that everyone was so friendly. They talked to each other and found many things in common. A lot of people had dogs and this was a big topic of conversation. Families with children of all ages all found something of interest, which is a great achievement these days. It reminded me of the words of a song, ‘a stranger is just a friend you do not know.’ I find that when talking to people, it’s only a matter of time before you discover you have a mutual friend or have the same interests. My wife thinks I am nosey but I don’t want to die ignorant, so I like talking to people to find out where they live, what they do for a living and what are their main interests. Most people respond and you soon assess if they want to talk or not. If you treat people how you want to be treated you won't go far wrong. The same things apply when dealing with people in remote locations. The locals know the terrain, water sources and what food is available. They are an invaluable source of knowledge as well as good guides and porters. They can be your best help, but it all depends on how you interact with them. There are some golden rules that must be followed. Always deal with the headman or the recognised chief. If you don’t he will withdraw all support and take offence, making things difficult for you. It is important when approaching natives to show friendliness, courtesy and patience. Don’t make any aggressive gestures and show empty hands. Take off your pack and smile, showing them that you have no evil intentions. Don’t act scared or give them any reason to fear you. Primitive people are shy and may run away. Don’t shout or attempt to follow them. Sit down and let them approach you. If you enter a village, leave all your equipment behind with the group and approach alone.

Once contact has been made, ask for help don’t demand it. Depending on what you need some payment may be given. Often an item of clothing or a knife will be gratefully accepted. Someone may understand a few words of English, but sign language can be used to get what you need. It is always useful to know a few words of their language and effort should be made when preparing for the trip to learn some. A small phrase book is invaluable. Often when you start gesticulating with your hands you will become a source of amusement. Don’t take offence, as this is a sign that you have been accepted. It’s good to sing a song, organise a game, or show some tricks to get their confidence. In areas where local labour is used frequently, don’t overpay any helpers you enlist, as it will lead to trouble later. There will be a wellestablished rate of pay so stick to it. All this knowledge should be gained in the preparation stage. Find out as much as you can about the area you are going to travel in. Get to know all the local customs and traits. Simple gestures we use here can be offensive to some people. Thumbs up is universally acceptable but the circle made by the thumb and forefinger that we use to signify OK can offend. Don’t take photographs without asking first. Some tribes think that the camera takes away their spirits so get their permission. Never pat children on the head as many natives consider the head the source of magical power. They believe that patting it can have serious, dangerous consequences. If any accident happens to that child or illness occurs, you will get the blame no matter how long afterwards it happens. Wait until you are invited into their home and let them indicate where you should sit. Don’t stretch out your legs, keep them tucked under you as pointing your feet at a person can be considered rude. Hospitality is a strong cultural trait in many nationalities and they will often go without themselves to feed you. Try to eat what they put in front of you. Some dishes are an acquired taste, so don’t pile up your plate before testing. Eat what you take and then it is acceptable to refuse any more of something that you don’t like. They will make fun of this and take great delight in your discomfort.

BUSHCRAFT & survival skills magazine • 19

LOFTY'S LIFE STORIES

Exaggerate your actions; turn it into a comedy sketch. In my day, in the Far East, we were taught to use our fingers to eat and any way of getting the food into your mouth was acceptable. Rolling up handfuls of rice in the palm of the hand before squeezing it into your mouth was general practice that we soon got good at. But in the Middle East strict etiquette applied. Only the right hand is used and finger bowls are supplied to wash the fingers each time food is taken from a communal dish. Many a soldier drank the finger bowl, which normally had slices of citrus fruit floating on top, thinking it was some kind of soup. Never make any promises because if you can’t deliver you will lose all respect. Say you will try your best and it will probably happen. We had to be very careful when we lived with people in remote areas, to always honour what we said we would do. We always said we would try, but left our options open. Because of things out of our control like the weather, aircraft were cancelled and if we promised them an emergency evacuation they would take great offence if it didn’t happen. Crime is virtually non-existent in remote regions and the people very trusting. We had a nasty incident in Borneo when an infantry patrol took parangs and baskets from a village plantation. The locals leave their tools in the field and the patrol thought they were abandoned. You must respect personal property and leave things alone. It’s a great temptation to pick fruit and vegetables, which are growing some distance from a village, but they do belong to someone who is depending on them to feed their family. Always ask and offer payment. Money is worthless in most places so things like cigarettes, matches and clothing are better forms of payment. Treat your new friends with respect and don’t look down on them. They may not have a college education but they are very sharp in picking up vibes and judging character. Don’t laugh or make fun of them. They will be eager to please so try to return a favour with a bigger one. They have an abundance of common sense and if they offer advice take it. Don’t bully or push them into something

20 • BUSHCRAFT & survival skills magazine

they don’t want to do. They know what’s right or wrong and what works and fails. Listen to them, they know best. Certain areas are taboo and should be avoided. There are burial sites, which are sacred. Respect privacy and never enter a house unless invited, call as you approach to attract attention. Don’t ogle or touch the women, leave them alone at all times. Remember you are the stranger and although their customs and habits may seem strange to you, you are the peculiar one. Don’t take offence at their continuous staring or prying hands. You are unique to them and your pale skin and hairy body will fascinate them. In Sarawak my four man patrol was made up of men all over six foot tall. We were hairy and tattooed, while the villagers were short and smooth skinned. They couldn’t get over our pale skin and fair hair. I had a ginger beard, which they stroked at every opportunity. I used to purr initially then growl when I had had enough, resulting in hoots of laughter. They laughed at our clumsiness as we fell over often, so we turned this into a farce. On level ground or in the longhouse we would fall over, which never failed to raise a laugh. Be attentive when they perform for you. This may take the form of singing and dancing and childlike games; be a sport and join in the fun. Learn all you can from local people, they are the experts. What do they eat, where do they get it, how do they light fire and what wood do they use? Patience is a virtue and will be needed as you try to understand. All this knowledge will make your life easier. Be aware of the diseases that you may catch, as some indigenous peoples' sense of hygiene is not very good. If you accept tea make sure the water has been boiled. Peel all fruits and avoid anything you are not sure of without giving offence. If you tell them it is your custom to always boil your water and prepare your food in a certain way they will respect this. It is important to leave a good impression as others may follow you. Leave any spare rations if possible, while a gift to the headman wouldn’t go amiss. Be generous but not lavish and above all be honest. So be nice to each other and try to do a good deed every day. If we all do this, the world will be a better place.

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BUSHCRAFT & survival skills magazine • 21

WILDLIFE

TRAILCAMERAS A Little Bit of Tech

Wouldn’t it be interesting to find out what is happening in your woods or garden when you’re not there?

AUTHOR PROFILE:

Pablo

Pablo is a life-long wildlife enthusiast. He has a military and law-enforcement background and has a wide range of teaching and training qualifications. He uses a combination of bushcraft, tracking and field craft skills to get close to wildlife. He has tracked wildlife in various locations around the world including Southern Africa. Pablo runs Woodlife Trails; a Bushcraft and Tracking school and Woodlife Social Network, a site dedicated to wildlife, tracking and bushcraft.

22 • BUSHCRAFT & survival skills magazine

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D

espite our best efforts to be part of the forest or woods and to remain undetected we will always emit a smell, or create noise or movement that lets other wildlife know we humans are out and about. Most creatures have been hunted and persecuted by us throughout the centuries and they will usually run a mile or keep well concealed when they sense our presence. When we’re not there, we know that the woods tend to resume their normal circle of life without our interference - what we term as ‘woodlife’. In the last few years, through these articles, I have tried to show you how to get close to wildlife and remain as undetected as possible, but the simple fact is that on some occasions, we just can’t seem to see the creatures we might want to see, let alone get close; so what can we do? The answer may come in the form of some relatively recent technology called Trail Cameras. You might have seen them on some wildlife programmes on television and they are variously called Camera Traps, Stealth Cams, Wildlife Cams or Trails Cams. In this article I will use the term ‘Trail Cam’ as this doesn’t infer that there is a trap of any kind involved. As Trail Cams become more available and affordable it is worth looking at them in a little more depth. In this article I will try and explain how they work, their advantages and disadvantages and how to set one up for the best results. Let’s have a look first of all at why they are used. The distinct advantage of Trail Cams is that they work without you being present. You can set them up and then disappear; checking them at a later date to see what activity has triggered the camera. Most Trail Cams have good battery lives, so you can leave them set up for up to three months and in some cases longer. Of course, not only will the camera tell you what wildlife is there, it will tell you what isn’t there; so if you’re expecting a sighting of a rare animal it may assist in confirming that, together with other evidence, there isn’t such a creature in your area – assuming you’ve set the Trail Cam up properly, which I’ll come on to later.

A fallow deer buck captured during the Rut last year

Trail Cams can also be used to observe activity that we just can’t get close to, either because it may be dangerous or it would put the animal off from doing what you want to observe. A good example of this is the deer rut. You definitely don’t want to get too close to a couple of pairs of clashing antlers in front of a combined weight of one and a half tons of venison! Also to do so may put off the candidates at a - shall we say - sensitive moment! You might smile at this last statement, but it has been documented that wellmeaning observers and photographers have put off the deer rut so that the actual activity hasn’t taken place, with negative consequences for the herd. Animals which are scarce, shy or difficult to observe in the wild, like stoats and weasels, can be captured on Trail Cams, assuming you have the tracking skills to locate where they might be in the first place. Most Trail Cams these days are programmable and you can either leave them to trigger single shots or video footage of your subject. You can set it to provide a burst of single shots at regular intervals or a video of a duration matched only to the memory capacity of the storage media. This storage media is usually a SD card of the type that fits into a normal digital camera. They can be easily removed and slotted into a PC or laptop computer for viewing and downloading.

A trial cam set up overlooking a badger sett

Most Trail Cams have infra-red lamps (not to be confused with Passive Infra-Red detection – PIR - explained later) so that if the camera is triggered at night, you will still be able to see what triggered it. In this instance the image will be black and white as opposed to the full colour the cam records in daylight. One of the varying factors is the quality of the image, so if this is an issue for you, you may want to check the specifications of the particular camera. The other factor that affects the price is the time from detection to activation – called ‘trigger time.’ The quicker the time, the more likely you will capture a faster moving subject, but the likelihood is that the Trail Cam will be more expensive. The size of the Trail Cam unit is important. Trail Cams are getting smaller and smaller, but some smaller ones may miss out on either quality or efficiency, so make sure you check the specifications.

BUSHCRAFT & survival skills magazine • 23

WILDLIFE

Personally, I like small Trail Cams as I can carry them around easier and they are easier to conceal. I’m not too bothered about image quality. One disadvantage of Trail Cams is that if you don’t conceal them properly, they may be liable to theft. It might be an idea to purchase a lockable strap to secure the camera to the tree or other object. You will have to factor this in when planning how much to spend on your Trail Cam.

The Fresnel lens The Fresnel lens is similar (but much, much smaller) to lenses found in lighthouses. Each faucet of the lens collects the IR information from a different area and focuses it onto the IR Sensor. Although this doesn’t look like a traditional lens (it looks like black plastic) make sure that it’s kept clean as sticky fingerprints can seriously affect the operation.

How do they work? It might help to know how Trail Cams work. Mis-triggers can often be blamed on faulty equipment but more often than not it will be a failure to set up the Trail Cam properly in the first place which will be the cause. To assist in correct set up, you really have to know how they work. So here’s a bit of tech!

IR LAMPS

T

FRESNEL LENS

T

A diagram of a Fresnel Lens

The IR sensor

T

CAMERA LENS

T

BATTERY HOUSING

To help avoid mis-triggers the IR sensor has two or more detection zones.  As the target object passes through, the IR sensor compares the levels of radiation in each zone and if it senses radiation difference the camera is triggered. If there was only one single sensing element on the IR sensor the continual fluctuations in the IR received would trigger the camera almost continually.

Setting up Stationary or slow-moving objects moving directly towards the PIR are harder to detect as they may not move through the zones created by the lens. Also, the insulating properties of fur and clothing can also limit the detection rate if IR radiation is similar to that of the surrounding area. This gives us a couple of tips when setting up the Trail Cam.

Most Trails Cams use an infra red (IR) detection system. All objects have a temperature which generates variable infrared radiation at a wavelength that is beyond visible light. Although IR is unseen it can be detected. A basic Passive Infrared detector (PIR) in the body of the camera consists of a Sensor, a Fresnel lens to focus the infrared radiation onto the surface of the sensor and a miniature circuit board and relay to activate the camera. If an object has a different IR radiation (temperature) to its surroundings it is detected as it passes through the detection zones created by the Fresnel lens and the camera is triggered.  Let’s have a closer look at these components: Recommended heights for the size of the animal

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Set your camera up and bait an area to attract your target animal, here two badgers are sniffing out a treat

PIR and detection zones

BUSHCRAFT & survival skills magazine • 25

WILDLIFE

There is no golden rule to the height a Trail Cam should be set at. Most manufacturers recommend a height of one to two metres but you can go higher if you tilt your camera downwards to cover a given area. As can be seen from the diagram the height you set your Trail Cam is relevant to its detection range. Small creatures may not be detected at the greater limits of the detection range when the camera is placed higher. Larger animals would get considerably closer before detection if the camera is placed low. There is a danger that, especially at night, the IR lamps will “white out” the subject if you are too close to it; so either put the Trail Cam slightly further away or cover some of the IR bulbs. To reduce the size of Trail Cameras their PIR units, although efficient for their size, are only about a quarter of the size of those in CCTV and static intruder detectors, so correct camera placement and alignment is important to reduce any missed triggers. In theory, the ideal position is for the IR Sensor to be set so that the expected entry of the target into the detection zone is at right angles to it. The problem then is that the target may continue too quickly through the picture. Although the camera would be activated there may be no indication of what triggered it as the animal has already passed out of the frame. 

Alternatively if the camera is placed so that the target enters the detection zone face on it may not cross from one zone to the next for the sensor to sample the two IR radiations it is receiving and the animal may not be detected until the last minute. The best placement of the camera is at a forty-five degree angle to the expected path of your target. Also a little bribe to keep the animal in range should pay dividends! As you can see Trail Cams are hugely beneficial to the serious tracker or wildlife observer. You can view what’s going on without unduly disturbing normal wildlife activity in the woods and observe activity that you would be unlikely to see first-hand. However you shouldn’t use Trail Cams to replace your skills for getting close to wildlife; rather use them as an addition to those skills. Also remember it still takes good tracking skills and knowledge of your quarry to find the optimum area to place the Trail Cam in the first place. Thanks to Roger Free for the diagrams.

Pablo’s Trail Cam Tricks and Tips Don’t set up directly into the sun especially during sunrise. This may give you a mis-trigger Make sure any foliage, especially branches and long grass is moved away from the line of sight. Wind may cause movement which may cause a mis-trigger Angle the camera at about 45 degrees to the expected path of the subject Don’t put the Cam too low. IR bulbs will bleach out your subject at night After setting up the Cam, stand behind it and try to visualise the area it covers You can angle your Trail Cam downwards by putting a stick behind the top of the camera Put down a little bait (not too much) to keep the animal in the area for a bit longer Two wrong ways of setting up the trail cam

Camouflage the Trail Cam after setting it up Secure the Cam with a lockable strap to prevent theft Get a second SD card to get continuous coverage so you don’t miss an important activation while viewing the current images Don’t keep coming back to the Trail Cam too often. Leave the cam in place as long as possible. Don’t set up Trail Cams in public areas. There may be a privacy issue and the Cam will be more liable to theft Get permission from the landowner before setting up a Trail Cam

The correct placement in relation to the trail

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BUSHCRAFT & survival skills magazine • 27

RECIPIE

THE FORAGER'S KITCHEN

AUTHOR PROFILE:

Fi Bird

Fi Bird is a graduate of St Andrew's University, mother of six and a past Masterchef finalist who is self-taught, with a passion for cooking. Her local food supplies vary from hedgerow, moors and woodland and with help from her family, supper is ‘off the land’. She is a member of the Guild of Food Writers and in her spare time she campaigns for healthy diets and cookery teaching for primary school children.

In the last issue of Bushcraft & Survival Skills Magazine we reviewed Fiona’s new book The Foragers Kitchen, here Fiona shares some of the recipes that you will find in the book. The book is structured so that there is information about the key foraged ingredient and some handy tips on foraging it.

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About Hazelnut Corylus avellana

Colloquial names: Lamb’s Tails, Catkin, Cobnut, Witch Hazel, Wood Nut, Filbert Where to find: The small hazelnut tree, found in woodlands and hedgerows, also flourishes well on chalky land. It bears fruit in late summer until midfall. In spring, the male yellow catkins (lambs’ tails) are a sight to behold, but the tiny, red female flower is needed, too.

How to forage and gather:

Squirrels will usually get to hazelnuts before they ripen and mostly I have to be content with green hazelnuts on my foraging. If you fare better than I do, here’s what to do. Gather hazelnuts after a spell of fine weather, so that the outer husks aren’t damp. Lay them on trays lined with newspaper, and store them somewhere warm for two weeks, turning them as often as you can remember. Remove the husks and store the hazelnuts in their shells. As with all wild nuts, they need plenty of circulating air or they will go moldy. This is important if you have gathered them after a period of wet weather. When ripe the shell will fall away from the nut. To roast hazelnuts, spread the shelled nuts on a baking sheet and either bake at 275ºF (130°C/gas mark 1) for 20 minutes or at 350ºF (180°C/gas mark 4) for 6–7 minutes, but in this case, watch them carefully as they burn very easily. Alternatively, you can dryroast the hazelnuts in a skillet (frying pan) on the stovetop (hob), turning frequently, until the skins have cracked. Put the roasted hazelnuts in a clean, damp kitchen (tea) towel, and rub with vigor until the skins come away.

How to use:

Nuts add texture, as well as being a rich source of proteins, oils, and fats. I add finely chopped or ground hazelnuts to bread, baking, and sweet and savory crumbles. They are good raw with cereal, blitzed in fruit smoothies, or in salads.

Folklore:

The nuts are said to ripen on August 20, the Feast of St Philibert; the hazelnut, also called a filbert, is said to have been named after him. The Brothers Grimm fairy tales suggest that the hazel gives protection from venomous things, while Druid legend says that the person who dines on salmon fed on hazelnuts will be wise. You could, however, just try them with Brussels sprouts on Christmas day.

Wild Hazelnut and chocolate spread Give the hazelnuts and sugar a wild whiz in a food processor and the rest is easy. Once you’ve made this delicious chocolate spread you won’t ever buy another supermarket jar, unless perhaps you are a mother of six … Makes 1 small bowl

What to forage and find: • 3⁄8 cup (50g) hazelnuts • Heaping 1⁄2 cup (50g) sifted confectioners’ (icing) sugar • 31⁄2 oz (100g) milk chocolate • 3 generous tablespoons heavy (double) cream • 1 teaspoon hazelnut oil • About 1 tablespoon canola (rapeseed) oil

What to do: 1. Blend the hazelnuts and confectioners’ (icing) sugar in a food processor until it is your desired spread texture. 2. Break the chocolate into a heat resistant bowl that fits snugly over a pan of simmering water. When the chocolate begins to melt, add the cream and the blended nuts and sugar. Stir continuously until the chocolate has melted into the crushed nuts. 3. Add the hazelnut and canola(rapeseed) oils to bind the mixture— it will become firmer when cold. 4. Stir well, and leave to cool before using in cake fillings, or on toasted sourdough bread, drizzled with canola oil and sea salt. 5. Make only as needed. Do not refrigerate, or the chocolate will harden.

Wild Notes

Add a tea spoon of w ild hazeln spread to ut chocola smoothie te s or hot ch bitterswe ocolate. U et chocola se te for grow you could n-ups. Als try using ro o asted che walnuts in stnuts or stead of h azelnuts.

BUSHCRAFT & survival skills magazine • 29

RECIPIE

30 • BUSHCRAFT & survival skills magazine

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About Douglas Fir Pseudotsuga menziesii

Where to find:

Douglas fir isn’t a true fir, hence its Latin name; and is a native of the US. One of the oldest Douglas firs in the UK is planted in Scone Palace in Perthshire, Scotland. It was brought to the UK in seed form from North America by David Douglas in 1826 (David Douglas was born in the village of Scone).

What to forage and find: * Sprig of Douglas fir, approximately 21⁄2–3 inches (6–8cm) in length, washed and dried * 11⁄4 cups (300ml) light (single) cream * 7 oz (200g) bittersweet (dark) chocolate (minimum 70% cocoa solids) * 1 medium (small UK) egg

The cones are smaller than other pines, and have interesting, distinctive “tongues” that protrude between the cone scales. These are rather aptly described above—a mouse diving for cover into the Douglas fir cone.

* 2 teaspoons Douglas Fir Syrup or pine sugar

The flat, single needles are individually attached to the stem.

How to forage and gather:

What to do:

The Douglas fir grows to great heights, but it is the tips of the Douglas fir that are of interest to the forager. They are rich in vitamins, and young tips are best. Use these for Douglas Fir Syrup, page 60, and Douglas Fir Chocolate Pots, opposite. Gently pull the tips from the branches and take just a few needles from each branch to ensure that the tree is not damaged. If you are using fresh, not dried, leaves, then wrap them in a damp cloth, because they dry out quickly.

1 Put the Douglas fir sprig and cream into a saucepan and scald it over low heat. Do not allow the cream to boil. Set aside for an hour to allow the flavor to infuse, then remove the sprig.

How to use:

3 Reheat the cream (do not allow it to boil). Slowly pour the hot cream into the food processor and pulse, ensuring that the chocolate doesn’t overflow down the sides of the machine. If you don’t chop the chocolate first, it may do this. So slowly does it.

The leaves can be frozen, dried, or used fresh. I make pine-needle sugars, tisanes, butter, vinegar, oil, syrup, and cordial, and tie them in a bunch of bouquet garni to give flavor to stews, soups, and rice. Heston Blumenthal may have introduced the idea of pine-needle icing sugar on Christmas mince pies, but my preferred covering has a hint of the tropics: mince pies sprinkled with finely ground coconut and Douglas fir icing sugar.

2 Put the chocolate into a food processor and pulse to break it into small pieces. Take care: the machine may need to be held in place.

4 Add the egg to the hot chocolate cream, blend, then add the Douglas Fir Syrup or pine sugar. Pour into pots and refrigerate until set.

I grind Douglas fir needles as finely as possible in a mortar and pestle (it’s tricky to do this in a blender unless you have a large amount) and store the powder in an airtight jar. Its aromatic flavor adds interest to many dishes—I often add a pinch when a recipe calls for rosemary. It’s delicious in hot chocolate, or smoothies.

Douglas Fir CHOCOLATE pots This is a very rich dessert, so don’t be tempted to use large ramekins. I use tiny French chocolate pots. Makes 6–8, depending on size

Wild Notes

You can a dapt this e asy choco recipe by late pot replacing the Dougla another w s fir with ild herb, o r flower su syrup. De gar, or wil corate wit d h crystalliz desired. S ed flowers erve with if some tast y homema de cookies.

BUSHCRAFT & survival skills magazine • 31

RECIPIE

Douglas Fir SYRUP Splash into vodka or gin cocktails, or simply dilute with tonic water. Makes about 1 ¾ cups (400ml)

What to forage and find: * 1 cup (25g) Douglas fir or pine needles, rinsed in a sieve and patted dry* (see below) * Scant 1 cup (200ml) boiling water * 2 cups (400g) superfine (caster) sugar * Use Douglas fir, Scots pine, or other edible pine needles

What to do: 1 Put the pine needles in a large, sterilized jam jar (with a lid) and pour in the boiling water. Cover and leave for 24 hours. 2 Strain the pine-needle-infused water into a pitcher (jug). 3 Put the sugar in a clean saucepan and add the strained water. Heat over low heat to dissolve the sugar. DO NOT STIR. 4 Bring to a boil for 2–3 minutes until you have reached the desired consistency. 5 Leave to cool and then pour into a sterilized bottle and refrigerate. Use within a month.

Wild Notes

For green er syrup, a dd a table washed an spo d dried ch ickweed to on of removing ps, after the boiled syru (Step 4). B lend in a fo p from the heat od process strain aga or and in before bottling. A cordials a s with all nd syrups, use refine d sugar.

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Nature makes no compro mises. Neither does Helle.

A L DE N

4.5” Curly Birch handle 4” Sandvik 12C27 stainless steel blade 8.5” Overall length Weighs 5.1oz Supplied with leather sheath

F O R S T O C K I S T S C O N T A C T: WHITBY & CO

T: 0 1 5 3 9 7 2 1 0 3 2 E: [email protected] w w w. w h i t b y a n d c o . c o . u k / h e l l e

BUSHCRAFT & survival skills magazine • 33

BUSHCRAFT ON A BUDGET

BUDGET ARM PROTECTOR All finished!

AUTHOR PROFILE:

Ian Nairn

Make do and Mend' is Ian's Philosophy. He is a dab hand at all things creative, and would be a match for any skilled seamstress! His innovative ideas can save you pounds, showing you how to make kit from things that you might find lying around. He also has a long-standing interest in and extensive knowledge of woodcraft and green woodworking, which, combined with his other skills, makes for some great money-saving tips!

Hello again and welcome to another Bushcraft on a Budget article. In this issue I want to show you how to make a simple but quite classy looking arm protector for archery. At the Bushcraft Show this year I was lucky enough to strike a great trade with Chris Brain, the chap in charge of the archery and from that trade I came away with a fantastic handmade longbow. So you may have to put up with a few articles on an archery theme as I go about Cut out in card making my own archery kit ;-)

I

have done a bit of archery before and I know that if you don’t get the hold or draw length correct you can have the bowstring whip your arm a bit. So I thought I would make myself a protector. I know if I get everything right to start with I won’t need one, but let’s face it they look cool too, so I wanted one. After doing a bit of searching I thought a leather one would look good and give me scope to customise it a bit too. I had some nice leather left over from the pouch I made some time back. I had enough to make what

34 • BUSHCRAFT & survival skills magazine

I wanted, but only just enough so any mistakes could mean it all went pear shaped. I chose to make a cardboard template first to iron out any issues. I made a simple design just big enough to cover the “danger” area; you could chose to make yours bigger so it goes further round your arm if you wish. I had seen some lace up ones and that’s the design I went for. So draw a design you like onto card and cut it out, try it for size. I was surprised that I had to make it much shorter than I first thought, as when I bent my arm towards my shoulder the card was digging in at the inside of my elbow joint. After tweaking it and retesting I achieved the desired result. You may find it useful to round off the ends a bit, the wrist end with a convex curve (rising up towards your wrist)and the elbow end with a concave curve (curving inwards away from your elbow joint). I then poked some holes through the card with a pencil and threaded some thin bungee

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Card laced up

Checking the fit

Card on arm

Drawing on a pattern

Drawn on & Cut out

Pattern complete

Lace holes punched Pattern burnt on

Laced up

Wax applied

magazine• 35 BUSHCRAFT BUSHCRAFT&&survival survivalskills skillsmagazine • 35

BUSHCRAFT ON A BUDGET

cord through the holes to lace it up on my arm. Once happy with the fit and feel, I committed the design to my leather. When I had drawn onto the leather I cut it out using a very sharp knife. Then I marked out the holes that the lacing would go through. I punched these out with a leather hole punch going in from the good side. Once this was done I threaded some lacing through the holes and tried it on again. It fit great and was just what I wanted. But let’s face it, it looked a bit plain so….. The thin bungee cord I had was just plain black and looked a bit worse for wear so I went on a hunt round the house. I found a coat that I seldom wear that had a nice green bungee cord round the hem, well I never draw the hem cord so it was removed and put to good use. The draw toggle that was with it would do a nice job too as a lock off device. As for the leather itself, I have a little tree design that I put onto my wood carving work and my tools which incorporates my initials in the design, so I drew this onto the face of the leather using pencil first, just in case I made any errors. Once I was happy with it I drew it on in pen and also drew a border round the edges. I’m not much of an artist so I kept the design simple. I was looking at some Celtic knot designs but I just knew I would make a hash of them, so I left it as is.

I am sure a good ink would stay on the leather and be fine to wax over but I wanted to make the design a bit more permanent so I put my pyrography pen to good use and burnt/branded the design onto the leather. Once I had done that there was just the wax to apply. I used saddle dubbin and just rubbed this into the grain with my fingers until I achieved an even coverage that gave the leather a nice golden brown colour. Job done and very smart if I do say so myself. If you are artistic or you have a friend that can draw, you could put all sorts of wonderful designs on yours such as oak leaves, birds, foxes or whatever you wish. So I hope you have enjoyed this brief article and that you found it useful and informative. I am looking at making some more archery gear such as a natural bark quiver, homemade arrows and arrow heads from old saw blades like the knife in the last issue. So until next time, keep whatever kit you’re making on a budget, enjoy and have fun.

Top Tip I know I always go on about keeping things on a budget and not spending money, well as I said in this article I acquired my new bow by trading with a friend. Trading is a great way to acquire kit and to pass on kit you no longer want or use. Rather than selling it, try a trade with someone else who is into bushcraft. You don’t even need to pay postage if you work it right; there are meets up and down the country and shows such as The Bushcraft Show where you can trade with folk. You could contact people via social networking sites and arrange your trade before you meet up. I’ve already got a couple more trades on the cards.

Looks and works great!

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BUSHCRAFT & survival skills magazine • 37

PHOTOGRAPHY

PICTUREPERFECT Part 4 - Creative PHOTOGRAPHY This is the last in my series on photography. In this issue I am going to finish off by looking at several types of photography in more detail. While I have tried to keep things easy and manageable, some of the techniques could be seen as a little advanced, but with some patience and practice all of these images are achievable by the beginner/ intermediate user with a DSLR/advanced compact camera and some patience.

E

ssential equipment

You will need a camera capable of controlling shutter speed - any DSLR or a good quality compact will work just fine.

Tripod - A tripod is essential for this kind of photography, hand holding for long shutter speeds is not possible and the end result will be just a blur. Whilst it is possible to rest a camera on an object to keep it still, it is very difficult to get a good composition as you are forced to use the object where it is, or you end up with awkward angles, (from using the back of your rucksack, for instance). A tripod offers a full choice of angles and is strong and steady. You don't have to spend big money on a tripod, although the more you spend will reflect in sturdiness and quality, a cheap tripod from an online auction site will be just fine to capture great results! (Make sure you check the base of your camera for an internal thread to allow you to attach a tripod). A remote control (wired/wireless) or camera with self-timer (most modern cameras have a built in self timer option) - using self timer or a remote will make sure the camera is 100% steady when the shutter is released and will not transfer any shake to the camera. If you use your finger to push the shutter button even if it is on a tripod, this could still leave you with a blur in the image. (If you don't have any of these options it is still possible to get good acceptable results using your finger to release the shutter, but using the stated options will supply a much sharper result). Most cameras offer a self-timer of 2 or 10 seconds, this delay after pressing the shutter button gives enough time for any movement you may have caused to disperse. A remote is essential for the light painting tutorial as the longest shutter time without a remote is usually 30 seconds and this is likely not enough. Again these can be purchased very cheap from an online auction site.

AUTHOR PROFILE:

Andy Childs

Photographer - ClockworkCloud MEDIA With photography as a passion and a career, Andy is able to focus his attention to creating images Inspired by adventures and nature. "The ability to freeze a special moment witnessed in our amazing world and share it with others is the drive behind my photography."

the image is over exposed, the fire will become just white and you will not capture any detail within the fire itself, destroying the atmosphere of the shot. You will require a shutter speed of 1/4 seconds or slower (some faster speeds will work but 1/4 second and slower is a good starting place). The longer the exposure the less detail will be captured within the flame itself as they dance and flicker around. The desired look of the image is essentially down to the individual and there will be a fine line between under and over exposed results. The beauty of digital is the outcome can be instantly viewed and you can experiment until you get the desired result. Remember that if you are including people in the scene it will be almost impossible to get them 100% pin sharp. As you are using a long(ish) shutter speed any slight movement from a person will be blurred. Don't be put off though as this effect adds to the image and can give a fantastic result adding even more atmosphere. If your subjects are willing to sit as still as possible for the duration of the shot (sitting very still for 10 seconds is harder than you think!) this will result in good sharp images of the subjects but you will still get a hint of movement. If you take this approach just take care not to make the pose too 'posed' or the result could look a little odd. Some might find it strange asking their friends/subjects to sit still, but if you want this artistic style of shot sometimes you just have to do what it takes. Don't be afraid to try some creative angles and also try and include some background/foreground interest, this will be illuminated by the fire and have a very warm tone. • Place your camera on a tripod (or on as secure a platform as you can find).

Also for the light painting section you will need a camera that can achieve manual focusing (again common on many DSLR lenses and many modern compacts).

• Compose your image, remember to be a little creative and think about the composition to make sure it will work well.

CAPTURING CAMP FIRES:

• Set the camera to self -timer or plug in (for wired) or get ready your wireless remote (if none of these are accessible just remember to be extra cautious of movement when pressing the shutter).

Capturing a scene around a camp fire and savouring the atmosphere is an area where modern cameras excel; the warm fiery glow captured on the faces and surrounding areas as the fast flickering flames are frozen in place. These images really do make the viewer experience the feeling of warmth.

Technique It is essential to achieve the correct exposure when capturing camp fires (as with all photography). If the exposure is too short the fire will look dull (or even pitch black) and will not be impressive. If

38 • BUSHCRAFT & survival skills magazine

• Set the camera to manual mode, it is best if you can make all the settings yourself for the aperture, shutter speed and ISO sensitivity so this will be manual mode. If your camera won't allow this you will need to use shutter speed priority mode and this will allow you to adjust the length of the shutter speed and ISO, the camera will adjust the aperture accordingly. I can't give you the exact settings as they will always differ from one specific scenario to another, but here is a guide. The longer the exposure the more light and movement the image will incorporate, start off with a 0"5 second shutter speed at ISO

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500 and an aperture of F5.0 (see your user manual if you need help accomplishing this). • Autofocus should still work as the flames are very bright. • Now take the picture (using self-timer or a remote) and take a look at the results. Depending on the results on the screen you have three main adjustments to adjust your image. The main questions to ask are "Is the exposure correct, too light or too dark?" "Is the movement within the image what I expected?" If the movement in the fire is too much and is more of a white blur than a crisp outlines of flames then increase the shutter speed.

In the main shot below I wanted the background illuminated by the flames, so to allow enough light onto the background the actual flames are a little more exposed. This is the only way to achieve the correct exposure of the background and so I had to balance capturing the background without losing too much fire detail.

• Full manual setting • Shutter speed 6'' Seconds • Aperture Value F5.0 • ISO 1000

• Full manual setting • Shutter speed 0"3 Seconds • Aperture value F4.0 • ISO 1000

In the above shot I wanted to keep maximum detail in the flames and get a good exposure on the person within the shot. Note that using a faster shutter speed (just fast enough to stop blur in the subject) has kept great detail but the background is black, this keeps all interest on the foreground subject.

If the image is too dark and underexposed adjust the aperture to be larger (smaller number) to allow in more light and/or decrease the shutter speed (make slower) to allow in more light and you can also increase the ISO value, a high ISO will make your sensor more sensitive and allow you to capture more light at whatever shutter/aperture settings are selected. Remember the higher the ISO the greater the risk of the image looking grainy. If the image is over exposed do the opposite, adjust the aperture to be smaller (larger number) to let in less light and/or increase the shutter speed (make faster) and decrease the ISO. Be patient, if the results were very easy to achieve there would be no challenge in obtaining them!

BUSHCRAFT & survival skills magazine • 39

PHOTOGRAPHY

CAPTURING MOVEMENT IN WATER Capturing flowing water and exposing it to create a soft and gentle look is a classic and much loved style of photography. You can capture this effect on any type of moving water but it is best suited to water that is flowing fast, my favourites are waterfalls, fast flowing rivers around the rocks and the waves lapping at the shore. The objective is to get the shutter speed to the correct setting to make the water look smooth, while still retaining some detail within the flow of water. If the shutter speed is too fast then the water will look frozen in motion (this will still look good but it is not our objective in this tutorial). If the shutter speed is too slow then we risk losing all the detail in the water and your flowing water will just look bright white (and you might also start losing other detail in the image). Finding the sweet spot and the correct shutter speed will take some trial and error (once mastered over time you can make pretty good starting judgments).

The contrast between the rocks and water help to add a depth to the image.

Technique • Place your camera on a tripod (or as secure a platform as you can find). • Compose your image; make sure you spend some time on this. It helps to get down low and be level with the water, but be careful as being close to fast flowing water and with your mind focused on photography you can easily get carried away, so don't get too close! Set the camera to self-timer or plug in (for wired) or get ready your wireless remote (if you do not have these, just remember to be extra cautious of movement when pressing the shutter). • Set the camera to manual mode, it is best if you can make all the settings yourself for the aperture, shutter speed and ISO sensitivity so this will be manual mode. If your camera won't allow this you will need to use shutter speed priority mode and this will allow you to adjust the length of the shutter speed and ISO whilst the camera adjusts the aperture. As you will be looking for shutter speeds from 1/4 second up to 20 seconds (maybe longer) and you will be doing this in the daylight you are going to need to let as little light to the sensor as possible or you will be left with a 100% white over exposed image! Decrease the aperture to be very small (a larger number) so let’s say F22 to start with and decrease your ISO setting to as low as it will go, this will mean there is little light coming through the aperture when the camera is exposing and the sensor will be at a low sensitivity due to you selecting a low ISO. Then select a shutter speed of 1/4 second to start with (see your manual for accomplishing these settings on your camera). • Take a test shot and take a look at the results on the back of the camera. It might be perfect or it may need some adjustment. If the image is too dark and underexposed the camera will require more light, so add to this light by making the shutter speed even slower. If making the shutter speed slower is creating a good overall exposure but is destroying the movement in the water by making too much movement, then revert back to a slightly faster shutter speed and adjust the aperture to let more light in instead, this will allow more light in whilst retaining the desired shutter speed for perfect water movement.

Capturing the water at just the right time is essential on a coastal scene. The movement is more subtle than faster flowing water.

The golden hour adds soft warmth to images • Full manual setting • Shutter speed 1"6 Seconds • Aperture value F18 • ISO 50

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If the image is too bright and is overexposed you will need to allow less light into the picture. You can do this by taking the ISO lower (but you may already have this set to the lowest setting already) decreasing the size of the aperture (making the number higher, although you may already have this set to the smallest aperture). If these are both set to their least light values you must increase the shutter speed to let in less light, keep increasing this until the exposure is correct. The only danger with this is that if there is too much light in the sky then by the time you have increased the shutter speed to gain the correct exposure you may have lost all the movement in the water as a result. If this is the case then you might have to abandon your plans to an earlier/later time of the day or wait for an overcast day (you won’t have to wait long if you are in the UK!) One way many advanced photographers work around this is by placing a dark grey (ND - Neutral Density) filter in front of the lens, this lets in a lot less light and forces a long exposure to create the image and in doing so allows a slow shutter speed. Even if you don't succeed on your first attempt, stick with it as the results are amazing once you get them!

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If the shutter speed is too long it will result in no detail in the flowing water

TOP TI P

Getting the exposure just right will result in a beautiful effect of the water.

This is a great te chniqu with on e to exp a dull a erimen nd mur creatin t ky day. g great U im sually ages on tough a cloudy s the lig days is ht is ve nothing ry flat a to help n d does with th contras e colou t of you r a r image essentia s. Becau nd lly need se you a slow achieve shutter flowin speed t helps to g water the la o ck of su create t nlight he long er requ exposu ired re.

BUSHCRAFT & survival skills magazine • 41

PHOTOGRAPHY

CAPTURING LIGHT PAINTING Light painting is a very exciting way to create some really unusual photography and is a great way to get others involved to have a go in your photography. The idea is to use a light source to paint patterns and shapes on a dark landscape whilst the camera shutter is left open and therefore exposing the light’s movement as lines. It is possible to use any source of portable light to create the patterns such as torches, lanterns, mobile phones, anything that emits light and that you can move around easily. The scope to be creative within light painting is endless. Although it is possible to conduct light painting indoors I find that using the beach, forest, mountains or any outdoor location adds a great depth to the images. Experimenting with different kinds of light sources and colours will be the best way to accomplish your desired image but I do find a basic LED torch works very well. An essential part of light painting is to keep fluid with the movements, it is very difficult to draw something that you can't see, but moving and flowing smoothly will help with the final outcome, if you stop or pause for too long with the light source on then it will continue to expose in that still spot and could easily cause an over exposure on the image. As the exposure will be of at least several seconds and as you are in motion as you compose your light painting the result is that you disappear from the image and this gives an image free from distraction, leaving a lot of viewers wondering how it is achieved!

Technique • Place your camera on a tripod (or on a stable platform) • Compose your image; it is best to shoot wide to get a lot of area to work in. Don't forget to take into account where you will stand to create the painting and make a mental note (or even place an object like a twig or stone in the position) where you want to stand to make your painting. • Decide on what you are going to paint, will it be a specific shape or just an abstract set of lines? • Set the self-timer on your camera to 10 seconds. This will give you enough time to press the shutter release and get to your starting position to start light painting (as long as the final exposure is under 30 seconds as this is usually the maximum exposure time the camera will allow without a remote), otherwise fire the shutter from a remote. • Obtaining focus can be tricky as the overall image will be very dark and the camera won’t have a bright enough subject to focus on. The best way to obtain focus is as follows: Place your chosen illuminated light source (whatever it may be) on the ground in the exact spot that you will do the light painting and facing the camera lens. Return to the camera and with the camera on the tripod and the composition composed, switch on the camera so it is in live view mode and you can see the image on the camera screen. It will very likely be black as there is not enough light in the scene. Adjust the ISO to the very highest setting it will go and open the aperture of the lens to the largest it will go (smallest number). Although the image will look very poor and grainy on the screen you should now be able to see your previously placed light source on the ground in the live screen. Now using the screen zoom setting, zoom in as close as possible to the light on the ground (this must be the magnified zoom on the screen and not you physically zooming the lens). Now using the manual focus it will be possible to get an accurate focus on that exact light source by twisting the focus ring on the lens.

Shapes and pattern are a great way to get into light painting, you can create random patterns that look great or you can focus in detail on trying to get neat patterns like spheres/orbs, circles and cubes. It is also possible with practice to create shapes such as figures of people and animals. As well as creating the pattern, choosing the location and accompanying weather will add to the overall light. A clear night will add stars and clouds will add texture or even light if there is a nearby town as the light pollution will reflect off the clouds. Snow also helps reflect light and adds to natural background exposure. You can add even more light to the scene by actually painting light onto the ground and objects. Once you have finished your shape, use another light source to illuminate the ground or objects around you. You can use as many light sources as you like and multiple people can create multiple patterns at a time or one person can create a pattern whilst the other paints the ground and objects around them to help illuminate them.

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You must now turn the live view off. Make sure you do not adjust the manual focus in any way and also be careful not to move the camera from the spot or lose the position that you will be painting from. If you do this then you will lose the focus and will have to start again. Once the live view is switched off and you have focus set, you will need to adjust the setting to expose the picture, the setting you placed before was merely to see the light source for focusing (using those settings for the actual shot would result in a very poor quality image). This can be a little tricky (and is a bit of a pain to do) to start with but practice will allow you to get it quicker and is the only real way of obtaining focus in the dark. • I would suggest you start with an aperture of around F6.0 a shutter speed of 30" seconds and an ISO of 200. Try that and then you will need to assess the changes needed for your own image as conditions will always differ and there is not a magic formula for this kind of photography.

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• Once you hear the shutter open start your painting and use flowing and smooth motions. If you stop or hesitate at any point, this will be clearly seen in the image as a bright spot. If it takes you less than 30 seconds (or the length of your chosen exposure) to make your shape/ pattern make sure you switch off your light source and then run out of shot and let the camera continue to capture the light from the sky or quickly start your area painting around the scene. As long as you keep moving around the scene you will be almost invisible in the end result! If the image is dark and underexposed then open your aperture to allow in more light and if this is not possible or your depth of field is too shallow (see last issue) then increase your ISO to make the image brighter. You could also make the shutter speed longer and this will allow for more time to light paint. If the image is too light and over exposed you will need to either decrease the ISO, make the aperture smaller (larger number) or shorten the shutter time, just don't shorten it too much as you won’t have time to complete your painting. It is likely you will receive some strange looks by passersby as you work in a dark/near dark area and start to wave and spin lights around yourself. Granted, you will look a little odd but the end results will be well worth it :) Over the last three mini tutorials I have stated: "until you get the correct exposure" this can be a little complex and requires the use of reading histograms to get perfect accuracy (take a look on a web search engine for explanation), but in your early days the best solution is if it looks good on the camera screen it generally is good. If it looks too dark it is under exposed and if it looks too bright it is over exposed and you can adjust as required.

CONCLUSION If you are interested in making photography and are willing to put in the time and effort to achieve the results, you will find it is a great medium to accompany your bushcraft. Like bushcraft you will be forever learning and there will always be new avenues to search and learn. You don't have to spend a mass of money to get a camera and equipment, but I would recommend getting a camera that offers manual settings if you are serious about getting creative, as this will allow you to create images like the ones on the previous pages. I hope you have learnt something that has/ will help you with your photography and don't forget to keep your camera at the ready at all times for that perfect shot! You might find inspiration to further your personal photography skills by viewing some more of my work at www.clockworkcloud.com

An orb shot on the beach after dark. Note that the dotted lights in the background are from a tractor with a flashing roof light passing on the road behind. Also note that the strong orange sky is the lighting from a distant town reflecting off the clouds. The main orb is created using a red LED and a standard torch lighting the sand below it. • Full manual setting • Shutter speed 90" Seconds • Aperture Value F9 • ISO 250

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Book Reviews Wild Swimming Price: £14.99 Authors: Daniel Start Publisher: Guardian Books ISBN: 978-0852651223 Daniel Start has a track record for excellent handbooks on swimming wild, including Wild Swimming Coast. This new book is an updated second edition of Wild Swimming, with around 300 tucked away locations to swim in rivers, lakes and waterfalls throughout the UK. The book was compiled in order to make these places more accessible and includes co-ordinates, maps and written instructions to make this possible. The book’s division into varied sub categories is also very helpful, making it possible to find wild swimming by area, or by the type of attraction itself. The whole of the UK is covered and the locations themselves are varied enough to accommodate anyone who is enticed by the striking photography. The photographs themselves are one of the strongest features of this book and encapsulate the destinations at their finest moments. On the other hand though, the written content of the book is not

Wild Guide - Devon, Cornwall and the South West Price: £16.99 Authors: Daniel Start, Tania Pascoe and Joanna Keeling Publisher: Wild Things Publishing Ltd ISBN: 978-0957157330 The newest book from Daniel Start, this Wild Guide is similar in layout to Wild Swimming and is a comprehensive and fully researched guide to the best areas of the countryside in southwest England. This time the book is not just limited to the best places for swimming but includes ruins, hills, beaches and a large selection of other natural places to visit.

Reviewed By Beau Beakhouse

its strongest asset, but for functionality and for encouraging wild swimming itself, this book does well. Having previously been to a few of the locations which are recorded in this book, and after trying some additional ones during reading it, I found that the directions were accurate and the locations themselves even more beautiful. Areas related to Wild Swimming are also briefly included, with concise information on wildlife, safety and legal issues. These do not dominate though, and the freedom that wild swimming can bring is maintained. This compendium is ideal those who want to find natural and peaceful places to swim in Britain.

England and the locations are easily found whether on foot or by road. One of the main points about this book is that there are many natural things to do in England, which are positive and freeing experiences. The information related to the area is very useful. I didn’t know that in Dartmoor wild camping is encouraged, or that fires below the high tide line on beaches are also allowed. This book is for anyone who is thinking of spending time in the Southwest and will encourage you to explore the hidden places along its coasts and inland areas.

The inspiring photography surpasses even that in Wild Swimming, and goes to show how extensive and wide ranging the natural environments are in the UK. It’s definitely a book which can be used to plan a holiday destination or to be taken with you when exploring new places in Southern

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FIRELIGHTING

FANTASTIC

“Good featherstick s provide a very certain way of establishing a fire in otherwise potentially difficult circumsta nces.”

FEATHERSTICKS

Feathersticks are extremely useful under certain circumstances. Yet many people who enjoy bushcraft, survival and outdoor life are not particularly well practised in this skill. Many books, particularly those involved with survival training, contain images of what are often referred to as fuzz-sticks. These are little more than twigs with a few short, shallow knife cuts made around them.

W

hen made properly, feathersticks, on the other hand, provide a very certain way of establishing a fire in otherwise potentially difficult circumstances.

The circumstances under which feathersticks are useful come under a couple of categories: first you may be in a situation where all the available fuel in the woods is wet. It may have been raining for days and even dead, standing wood is wet on the outside. Small fuel may also be saturated - even the likes of birch twigs which, due to their oil content, are better than most at resisting a soaking. The second circumstance under which feathersticks are particularly useful is when there are no small sticks and, therefore, no small fuel to start your fire. This could be in a situation where you are within an environment with limited variety of tree species, or it could be where you are above the tree line or in an area where there are no trees yet firewood has been transported there. A prime example of this would be in a cabin in the mountains in winter, with a supply of logs in the woodshed. A situation much closer to home in which there may be no small fuel – much more likely to be encountered by many - is where you are camping in a popular spot where all the small fuel that was immediately available has been used. I have stayed on many Scout sites where this is certainly the case. Another example of this lack of small fuel I’ve encountered is when making canoe journeys in popular areas – such as the Algonquin Provincial Park, Ontario, Canada - where you are restricted to particular camping sites. Even though these sites can be quite remote, they often have a scarcity of the small fuel that everybody will grab first for lighting fires. Many of the people travelling in these areas do not have basic bushcraft skills, certainly not the use of tools in order to produce smaller fuel from the larger pieces of wood that remain in the camping area. These situations are examples of where you can apply your bushcraft skills and have a plentiful source of all the useful sizes of firewood as a result, whereas an unskilled individual would struggle to find fuel. It is in these circumstances that feathersticks really come into their own.

Feathersticks: What We Are Aiming To Produce… The aim of a featherstick is to provide us with our initial fuel. This is most commonly what is generally referred to as kindling. That said, we might also produce feathersticks of a high enough quality, with

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AUTHOR PROFILE:

Paul Kirtley, Frontier Bushcraft Owner and Cheif Instructor of Frontier Bushcraft Ltd. Paul, also a Mountain Leader was previously Course Director at Woodlore Ltd. He spent 10 years studying and training under the guidance of world-renowned bushcraft expert Ray Mears, first as a student on his courses, then as an employee. Paul is one of only a few people who have been recognised by Ray Mears as a bushcraft instructor, being awarded the celebrated antler-handled Woodlore instructor's knife.

fine enough feathers at the base of the featherstick, that we may drop a spark onto the featherstick to ignite it. Thus, the featherstick also provides us with what is commonly called tinder. The feathersticks should also inherently provide the next size of fuel up from our finest kindling. The body of the featherstick, as opposed to the feathers themselves, provides this fuel. Therefore the body, that is the stick, should be fine enough that the flaming feathers will ignite the neck of the stick and so ignite the whole featherstick. The shavings we are looking for on our feathersticks should be long and fine. You should be aiming to produce a dense bundle of such high quality feathers. You might ask why we don't just produce a pile of shavings? Surely it is easier to shave wood off a stick, then pile it up and ignite it that way? While it's true shavings can be used in the ignition of a fire - and certainly if you cut off shavings from your feathersticks by accident when you are producing them, you should use them there are multiple advantages to keeping the shavings attached to the stick itself. First, in keeping the shavings attached to the stick we keep them off the ground. This is true both initially when we are creating the stick and in producing subsequent curls, they all remain on the stick and up off the ground (or the snow). Second, the shavings can be moved around in bulk and we will not lose any. When you are moving or storing the sticks, they are all together. When you come to light your fire, the sticks can be can be organised easily and quickly. Third, once you light your feathersticks, the burning shavings can still be manipulated while they are alight simply because they are attached to a stick which you can get hold of at the end and move around.

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Finally, a key advantage in having the feathers attached to the stick is that it allows more oxygen in amongst the feathers and the overall fire lay is not too dense. This is particularly important at the start of the fire before it becomes established. Should you need to allow even more oxygen into the initial beginnings of the fire, you can lift up individual feather sticks in just the same way as you can lift up bundles of twigs in the typical small-stick fire lay. By contrast, a pile of shavings, particularly short shavings as opposed to long curly shavings, is relatively difficult to light compared to good feathersticks. It is also very difficult to manipulate in any useful way.

Material Selection As with many things in bushcraft, the ultimate success of the application of a particular technique - at least the quality of the outcome - is to a large extent dependent upon good material selection. This is certainly true when making feathersticks.

So what materials should you look for? As with any good firewood, the ideal raw material for feathersticks is dead, dry, standing wood. You want wood that is well seasoned, in good condition and not rotten or punky. You should be looking for upright timber of a particular dimension: you don’t want to be splitting out large trees, particularly if you only have a knife. It should be feasible to easily baton the material with a typical bushcraft knife. In other words you are looking for maximum sizes of maybe 3 inches (i.e. 7 cm) in diameter. Also, you do not want wood that is so small in diameter that persistent rain will have penetrated far into the wood. So you are looking for a minimum diameter of around 2 inches (i.e. 5 cm). Species that work particularly well for feathersticks are pine, willow, cedar, and sweet chestnut. In terms of the quality of the wood that we are looking for, I will reiterate that it needs to be dead, dry and well seasoned. In my experience, people can get lazy with Place your knife applying these horizontally on top end of the lo criteria strictly and g with the handle as close to the wo end up making od and hammer with the baton. sub-optimal feathersticks (i.e. they don’t work). Equally, the wood should not be too soft or punky, i.e. too rotten. The wood you select should also be straightgrained and preferably knot free. To a large extent you can get a good idea of how knotted a piece of wood is just by looking at the outside bark. Because you are going for relatively small diameters, any external knots will likely carry a good way into the grain of the wood. Try and choose sections of wood that are relatively free of side branches or the remnants of them.

Once you have selected your piece of standing timber, saw it down. Then you should cut up your selected wood into sections that are 12 to 14 inches (30 to 35 cm) long. Now that you have these rounds - and I suggest you have at least three of this length as a minimum you can begin to split the wood down into suitable sizes. The aim is to cut it into multiple sections to gain all the fuel that you need - including your feather sticks - to establish your fire.

“In the absence of an axe, use your knife and a baton to create all the split wood you need”

In the absence of an axe, the technique to use is batoning. This is a common and often used technique of basic bushcraft – one with which you should become fully familiar, if you are not already. Stand the sawed round of wood vertically on its end on a stable surface such as a chopping block or log. Place your knife horizontally on the top end of the log with the handle as close to the wood, leaving as much of the tip of the blade protruding on the far side as possible.

“You can produce all the sizes of fuel you need to establish your fire”.

It may be worth creating a small wedge before you hammer the knife into the wood and potentially get it stuck. Once you're ready, hammer the blade into the end of the round until the back of the blade is flush with the top surface of the wood. Now proceed by hitting the tip of the knife with your baton while maintaining pressure on the handle so as to keep the blade horizontal. The wood should split relatively easily. For your feather sticks I would recommend quarters from wood that is relatively small - say 2 inches (5 cm) in diameter - and, possibly eighths for wood that is a larger diameter than this.

BUSHCRAFT & survival skills magazine • 47

FIRELIGHTING

After prolonged or heavy rain, the outer surface of even vertically upright wood may well be damp. Once you have batoned out the splints that you require, you should shave down the outer surface removing the bark and any damp layers of wood that lie beneath, until all you are left with is dry wood. Split the rounds down into quarters or eighths depending on their diameter

Shave off the damp outer layers as necessary

Techniques For Creating Fantastic Feathersticks For those who have tried to make feathersticks in the past, the part of the process that they often find most difficult or frustrating is starting the featherstick. Getting going and producing good long curls consistently is reliant upon creating a good foundation in the first place. To create this foundation for all your curls, do not worry too much about creating good curls for the first few cuts. Rather, what you should concentrate on is creating a good even surface, which can then be shaved down into nice even curls. What you do not want is a raggedy edge or a lumpy-bumpy surface that looks like a washboard road, then try to create nice smooth shavings from it. Start by aiming to plane the surface that exists after you have split out your rounds of wood to the desired size. Start on the inside edge, that is the edge that is sharp - and will also be dry even after the heaviest of rains. Even though this has been split out quite nicely by your batoning technique, it will still be potentially relatively uneven. Place the splintered wood on a firm surface in a vertical or near vertical position. Holding it with your non-knife hand at the top, take your knife and place it below your fingers, turning the knife inwards so the edge is turned towards the wood. If you're using a flat-bevelled knife you can achieve the angle relatively easily; turn the knife so that the bevel is flat against the wood.

Start to shave off raised or rough sections which make the wood uneven

Push the knife downwards so that the blade descends. As you do so, turn in the knife towards the wood a fraction more and you should start to take off small shavings of wood from the high points. To reiterate, it is not important that these stay attached. You are simply levelling the surface on which you are going to work. If you have ever used a plane think of this initial action in this way. After your first descent of the piece of wood, return the knife to the initial starting point and repeat the process, shaving off more of the remaining high points. Repeat this process until you are left with a smooth surface to work on. Now, repeat the step as described above but this time with the intention of creating one continuous, even shaving from the beginning of the cut downwards to nearly the bottom of the stick.

After a few runs down the stick, you will have a much more even surface to work from

Now shave steadily downwards to create a nice, even curl

The part of the blade you should be using for this is the straightest part of your bushcraft knife blade which is close to handle. Here you have most control and least leverage on your wrist. Push the knife downwards, maintaining an even depth into the wood, creating a nice even curl. Initially this is easier said than done. Do not get too stressed about losing curls at the beginning of your learning curve. It happens to everyone. The thing you should be concentrating on is getting a feel for how deep or how shallow the edge of the knife is shaving the wood, then making minute adjustments to maintain an even cut. This takes practice but you will soon pick up a good feel for the type of wood that you are using, combined with the sharpness of the knife you are using. It goes without saying that your knife should be as sharp as possible. Once you have started to create a few good downward shavings, you

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will find that the bottom of the stick starts to become a little crowded. The common mistake made here by many people is to finish cuts progressively higher up the stick on each descent with the knife. The problem with this is that the curls are not then all adjacent to each other and you will find them harder to light. Also you will not achieve as thin a body of the stick because you will not have shaved off as much along the complete length. If you need some more space at the base of your featherstick simply use the side of your knife to push the shavings down and away from the body of the stick, leaving more space behind for additional curls.

Placing the stick on a firm surface , work downwards with your knife creating shavings

Once you have started to get a good feel for the basic downward shaving motion, you can add some variation into this. What you do not want to be doing is creating shavings all around the base of the stick. You actually want them all on one side of the stick, in a nice arc of about 180°. The basic downward shaving action will create curls that are pretty much in line with the stick and at right angles to the blade of your knife. To put curls on one side or the other of the central curls you can change the angle by raising or lowering the tip of your knife as you cut. Start with your knife on the stick close to the handle and turn the tip of the knife upwards. Now shave downwards and slide the blade across the face of the featherstick as you descend. This will create a tightly curled shaving, which moves out towards tip of a knife. Once you have created a few of the above with the tip up, go back to shaving down the central part of the stick with the knife held horizontally so as to create some more shavings in the middle. Then, place the knife at the top of the stick again, this time with the tip facing downwards and the initial point of contact with the blade closer to the tip. Shave down the featherstick again, moving the handle of your knife towards the stick and cutting across the face of the feather stick as you descend. This will create a curl that moves towards the handle of your knife and fills in where there are no curls. Create a few of these curls then go back to the central curl, then go back to the point-up curls. And so on.

You should be aiming to create a 180 degree arc of curls on one side of the featherstick

With the knife tip up, curls move off towards the tip

In varying the techniques like this you will create a dense and even bundle of excellent curls at the end of your feather stick. To get the curls all at the end of your featherstick, remember that you must start and finish your curls at the same place on the stick each time. Do not fall into the trap of starting further and further down the feather stick. Nor should you, as mentioned above, finish each curl at progressively higher points up the stick. Either way, curls will become shorter and less curly each time, they will not sit next to each other on the stick and you will not achieve a thin enough neck that will ignite from the flames of the curls.

With the knife tip down, curls move towards the handle

Practice Makes Fantastic Practice making feathersticks when the going is good and the technique will serve you well when things get tougher. You should be aiming to not only be able to make feathersticks, but to make them quickly. While making feathersticks may be quite a frustrating pastime at first, as with many aspects of bushcraft, the more time and effort spent to become proficient, the more likely it is that the particular technique becomes a realistic one in a situation where you really need to depend upon it.

In varying the angle and making sure you start and finish in the same places, you end up with a dense bundle of curls at the end of your featherstick

Besides, the next time you are camping with your friends and there is little firewood around, you can impress them by producing everything you need from an unlikely piece of wood and dazzling them with your fantastic feathersticks.

BUSHCRAFT & survival skills magazine • 49

Book Reviews Children Learning Outside the Classroom: From Birth to Eleven Price: £22.99 Authors: Sue Waite Publisher: SAGE Publications Ltd ISBN: 978-0857020482 This book is a useful text aimed at teachers and childcare professionals. It is divided into three sections; Section One has chapters dealing with different aspects of outdoor learning in Early Years education and is true to its title by including an interesting chapter on ‘Crawling and Toddling in the Outdoors’. Section Two examines learning outside the classroom as it can be applied to the primary school curriculum, with six chapters divided into broad subject areas, so as well as English and Language, Mathematics and Science and Technology, the Humanities, the Arts and Physical Education are also represented. Section Three has perhaps the most interest for the bushcraft enthusiast, with chapters on School Gardens and Forest Schools, and Environmental Education in Exmoor’s National Park.

Forest School and Outdoor Learning in the Early Years by Sara Knight Price: £21.00 Authors: Sara knight Publisher: SAGE Pubications Ltd ISBN: 978-1446255315 This book is a new updated edition of Knight’s earlier book, published in 2009. At 160 pages it is 80 pages shorter than the Children Learning Outside the Classroom book, but is in a similar format and by the same publisher, so it also includes tools for professional development such as chapter objectives, case studies and discussion points. The title is a little misleading in that the book is focused more on Forest Schools than on outdoor learning as such. It opens with a discussion of why and how the Forest School movement began. Chapter Two is particularly strong, there is a thought provoking discussion of what defines a Forest School, with these points then illustrated in extended case studies comparing best practice in several successful Forest School settings. Other chapters include the impact of Forest School on children’s’ health and wellbeing, the importance of

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Reviewed By ELAINE GILBOY

Each chapter refers to recent educational research and the theory is discussed in a practical and easy to understand way. There are a number of case studies in each chapter, with points of practice and thoughts on theory that ask the reader questions relating to the topic, so that the book can be used for continuing professional development if desired. The opening and closing chapters on the value and purpose of outdoor learning are particularly strong, written by the editor Sue Waite who is a research fellow at the University of Plymouth. Her introduction includes an excellent example of an unsuccessful outdoor learning activity. The activity was intended to explore forces by investigating push and pull in the local playground, but the teacher was nervous of leaving the ‘safe’ haven of the classroom, so the learning objective was not communicated properly to the children who were instead told all about how they should not behave at the park. No meaningful learning took place, while the perceived division between the structured learning of the classroom and the free play of the outdoors was enforced. This example prompted a wry smile! This book provides plenty of positive alternatives for teachers to implement in educational settings. Waite persuasively advocates a process of consultation with children themselves, parents and teachers and with the local community to generate ideas, draw in further expertise and better allow what is being learned ‘outside’ to be naturally transferred into the regular ‘inside’ school context. “Additional incite for a bushcraft instructor, scout leader or forest school leader working with children”

communicating with parents and Forest School in other countries. Chapter Six ‘Participating in Forest School’ is excellent, providing almost a template of how to establish and run a Forest School based on the author’s own experiences. There are descriptions of what is required for a Forest School location, whole blocks of Forest School typical sessions and photocopiable pages with risk assessment forms. This practical hands-on approach follows into the next chapter with specific suggestions of activities and equipment to get the Forest School ethos into childcare settings, illustrated by photographs. It would be worth buying the volume for these chapters alone. I found the final chapter on Research into Forest School outcomes quite heavy going. This section is overly technical and unnecessary in a book aimed at those already converted to the benefits of Forest School. I would have preferred more space for further Forest School case studies, which are a real strength of the book and it is no surprise this book has reached a second edition.

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CANOE FORAGING

CANOE FORAGING

Tim Gent Happiest living in a tent somewhere close to both sea and mountains, Tim paddles and clambers in search of our remaining wild and inspiring places, documenting these experiences so that others might be encouraged to follow. A very enjoyable role of course, but one also undertaken in the belief that a better understanding of these fragile landscapes might offer the best chance for their survival, and ours.

Photographs: Tim and Susannah Gent

Truth be told, a fair number of the potential delicacies that can be collected by canoe aren't really worth the effort. While they may be edible and most won't do you any harm, they either taste grim, or take forever to boil, bake or mash into something vaguely palatable. Even lashings of melted butter and garlic do little for limpets, for example. Fortunately though, this still leaves plenty of tasty morsels that are very definitely worth seeking out and a canoe makes an ideal vessel to help in that search.

T

his shouldn’t come as a surprise of course. Amongst the numerous roles given to a canoe by its original creators, assistance in fishing, foraging and hunting was almost certainly to the fore. A canoe could transport you to a remote bank, beach, bay or island that had either escaped the predations of other hungry humans, or just happened to provide the best environment for the healthy growth of plant, fish, fowl or beast. This was vital to early hunter-gatherer communities, and while few of us are likely to starve today if we can’t find an untouched bed of mussels or woodland packed with ripe pecan nuts (OK hazelnuts!), we can still benefit from a touch of foraging ourselves. Not only is the chance to rekindle some of these ancient skills enjoyable and valuable in itself, but the results can be pretty pleasant too. So what's on offer to the peckish canoeist? Well at first glance the inland hunter-gatherer may seem to be at no great advantage from being afloat. With such seemingly unexciting water-edge snacks as bulrushes on the menu, you might feel it worth staying on shore. But then a canoe can also take you to islands dotted with untouched cep, chanterelle, blackberries or wild garlic. It can also propel you to quiet and overgrown sections of lake or river, inaccessible to the land-tied forager or angler. In the same way that the canoe once provided access to areas beyond those picked bare by the hungry pedestrian, today it is possible to reach virtually unvisited sections of shore where elderberries and even rabbits and trout flourish untouched.

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Despite all this, it is along and just off the coast that I devote most of my foraging efforts. Once an inbuilt love of the sea is taken into account, there are probably three reasons for this. Firstly, although I enjoy eating trout and even carp, eels and pike, I’d far sooner put something finny on my plate that has spent it days in the salty stuff. Secondly, I can go in search of bass, mackerel or plaice without worrying about rod licenses or permits. If you wish to fish on a river or lake (which will belong to somebody, or at least the fishing rights will) you will need both a rod licence (available from the Post Office and most fishing tackle shops) and permission from the owner (almost always at a cost). Sea fishing is much more easygoing. For the moment at least (and long may it continue) there is no need for a rod or fishing licence on tidal water – unless fishing for salmon or sea-trout. All this freedom suits me and while you can pick and gather all manner of wonders inland, that fishing needs paperwork. The third reason I tend to head for the coast for wild food is the appallingly limited access to our rivers and lakes. Only 3% of river miles in England and Wales are available to canoeists. The maritime delicacies on offer to the coastal canoeist can be broken down into five basic groups – fish, shellfish, crustaceans, plants and seaweed.

Canoe assisted foraging

I imagine that if you fancy the idea of casting a float, weight or fly from a canoe you’ve already given all this fishing malarkey a good go. In terms of tactics everything is therefore fairly simple, and you can pretty much just keep doing the same thing, only with a pleasant paddle at either end.

A good fishing platform. Spinning for bass

You also know how to handle your craft, or should do. Canoes can be tricky little whatsits for a beginner to handle at the best of times, without introducing a rod to the slightly out of control mix. One solution though - and as much a benefit to the experienced paddler/ angler as the novice - is to set out to catch fish with an assistant. Casting with one hand while steering with another can be testing (if ultimately rather fulfilling when it works), but sitting or kneeling and thinking about fish, while a co-pilot sits or kneels while thinking about wind-direction, currents, tides or approaching jet-skies, is much the better plan. Of course you can both fish, sharing angling pleasure and lookout duties.

One useful alternative for the solo paddle-fisher is either to find a spare buoy to tie up to for a while, or to Baiting lines on Loch Hourn use an anchor. I like buoys, but those little umbrella type anchors do the job well and store out the way when not needed. One word of warning though. Everything may seem very calm before you drop anchor in any sort of current or tidal movement, but once those flukes bite, and the canoe is suddenly held taught and skittish at the end of a straining rope, things can sometimes turn a little too interesting. The closest I've come to genuine concern in a canoe was In fact, the successful collection trying to weigh anchor off Instow of not one of these is dependent on the north Devon coast while a on a canoe, least of all the plants powerful ebb tide tried to climb over and seaweed. That said, the the side of our shuddering craft. canoe’s ability to move you off the beaten track (literally) has But enough of self-inflicted and its benefits, as mentioned. They avoidable alarm, what about my usual certainly make the effort more canoe-supported angling experiences? fun. Well I'm pleased to report the fishing has been pretty good. I've found that Fish can be caught from the my craft of choice makes a very good shore of course, but in my platform for fly-fishing, spinning, experience the results are often trolling or use of a float or ledger. much better even only a few While usually a sea (the protected bits yards beyond the usual casting at least) or estuary angler, I do also distance. Fancy beach-casting fish in lakes and rivers. Catches have rods can be abandoned in favour included brown trout, grayling, sea of shorter lighter versions, or trout, pollock, mackerel, flounder, perch, bass, plaice, oh and a even a simple handline. The cost and frustration of tackle lost to weed or rocks can also often be avoided by the simple expedient of weaver fish (but the less said about that the better). The loss of a fine Swedish arctic char was my fault not the canoe's. paddling just beyond them.

BUSHCRAFT & survival skills magazine • 53

CANOE FORAGING

In terms of tackle, while a truly vast amount can be dropped into your load-carrying canoe, most of the fish I've caught have been taken on a simple handline. It’s almost routine for us to offer something gaudy, trolled on the end of a line as we paddle from one beach to another. Left to their own devices these little eye-catching (if you’re a fish) contraptions can often improve dinnertime. Canoe cruising speeds seem well suited to attract pollock, mackerel and bass, but sea trout and plaice feature amongst other fish that have fallen to a trolled spinner or lure. Space is lacking to do justice to the more intricate details of fishing from a canoe, but I will offer these suggestions for successful and easy trolling.

fun, the handline frame can't make it past the karabiner. This saves fish, tackle and tempers.

Keeping it simple. A typical handline setup

Trolling for mackerel off the Devon coast

Take a standard handline (the lurid combination of orange plastic frame and braided line available at so many seaside shops will do, but it’s easy and fun to make your own), tie on a brass swivel and loop a largish stainless steel clip through the eye now tied to the braided line. This clip can be used to hold a lead weight of suitable size (down to experiment I'm afraid). Attaching the weight here also holds the swivel steady to ensure a twist free fishing line. Tie a good long length of stoutish monofilament to the free swivel eye (say 10-15 lb breaking strain) and then add a lure to the remaining loose end. Having worked my way through much that’s on offer, I keep returning to silver Mepps or brass Toby lures. Once afloat, and in deep enough weed-free water, chuck it over the side – holding on to the frame! Now here are the useful bits. To leave your hands free, after letting out a good length of line (experiment again), put the frame under your foot. And to ensure that the whole lot doesn't go over the side if you hook something interesting, clip the line above your foot through a large climbing karabiner, itself attached to a thwart (to those in the know, an old HMS is good). Even if your foot comes off the frame during all the paddling

Setting a shrimp net

Laver and bacon burgers. Ok, so the we didn't collect the oats and bacon

54 • BUSHCRAFT & survival skills magazine

For the gathering of all sorts of edible plants, seaweeds and shellfish, the canoe can take you to the best and hopefully least gleaned spots. Importantly, a canoe can also take you away from the homes of other human foragers. Particularly in the case of shellfish, but even with seaweeds, this can be very useful indeed and your insides will thank you for it. Wonderfully tasty as many shellfish are, they do tend to have one rather troublesome characteristic. As filter feeders, or in the case of dog whelks for example, feeders on filter feeders, these little beauties may taste good, but can occasionally come packed with all the unpleasant stuff we continue to chuck into the sea. This can include some worryingly virulent and unwanted dieting aids and even such nasties as heavy metals and organophosphates. The further your foraging patch lies from human habitation the better. If that hasn’t put you off (and it shouldn’t as good clean locations for wild food collecting are still plentiful and easy to find), your canoe can now carry your spoils back to the pan or van. You might even choose to eat some before arriving and there can be little more satisfying, (at least to a simple mind like mine) than building a small fire from beach-combed wood in some secluded bay before cooking the results of your little forage. I think my favourite beach meal to date must be bass wrapped in tin foil, their gutty bits replaced with wild fennel from the overhanging clifftop (note – a good knife and a roll of tinfoil are always worth having about your person. Oh yes, and a lemon). Mind you there was also a very good brown crab, caught close to a low cliff near Torquay. This was memorable perhaps not so much for the resultant meal, which was very good, as for seeing Susannah race to win her tasty prize. We'd spotted this rather ample crustacean pottering amongst the seaweed across a narrow rock platform about four or five feet down. The problem was so had a large grey seal swimming through deep water alongside. Susannah took one look at the crab, another at the seal (which made the mistake of hesitating) before she was in - resurfacing moments

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later with her catch. I'm not sure whether the look on the seal's face showed surprise or admiration. If bass and brown crab don't do it for you, perhaps the following fare will – cockles, winkles, shrimps, prawns, the lovely and underrated razor clam and lobster. Many edible coastal plants and seaweeds take some cooking, but small amounts of the fresh new growth from sea purslane, sea beet or perennial wall rocket can make a good addition to a salad. Gutweed may not sound very appetising, but is worth the effort (just), while dulse, the easy to identify red seaweed, is simple to collect and cook (steam lightly) and really is very Picking Dulse enjoyable. Laver, or 'what a paLaver' as it is known in the family, tastes pretty good (although not all agree), but unless Bringing one in to the side you have a range idling away in the kitchen, it is pretty hard to justify as a meal considering the vast amount of fuel needed to cook it properly. Lovers of a variety of crustaceans will enjoy the ease with which their canoe will put them in touch with remote and rarely foraged shrimp and prawn homes. All that's needed is a suitable net. A canoe really comes into its own when used to transport a pot or two to a quiet location. Proper crab and lobster pots are fairly big, but you'll easily get at least one in. Prawn pots are smaller, especially the canoefriendly collapsible versions. Not forgetting that prawns won't be found in close to the beach until late spring, and gone again in autumn, a well-placed pot can provide a satisfying meal. Remember though that there are a shrinking number of hard-hit fishermen trying to make a living from these tasty wee (and not so wee) beasties. Try not to use any spot more than once, at

least in any summer. And it might be worth attaching a label to your marker-buoy or pot explaining this, and the fact that you are only after something for your own table. Sadly, this may still not stop a pot disappearing if you set it out of sight. I suggest laying it within view of your campsite or afternoon picnic spot. And so to the ludicrously complicated matter of rules and regulations. You may think that anything on the shore, or just off it, is fair game, but it's not as simple as that. For a start all shore or beach is owned by someone – although free access is usually accepted (and now enshrined in law in bonnie Scotland). On the other hand, anyone who tells you that any form of foraging is unlawful has also got the wrong end of the stick. The truth lies somewhere between the two, wrapped up in all sorts of legal fuss that only British lawyers could sustain, further complicated by various regional and local rules and bylaws.

Preparing to cook the results of a good day's fishing

What I can say is that collecting plants is fine. Assuming you only cut off a little of each, don't damage them or dig anything up, (which rules out sea holly roots for example) and you leave rare things such as wild cabbage alone, (well perhaps the very occasional leaf), plants are on the menu. Seaweed is a grey area, (which doesn’t sound appetising). While plant collection is fine under common law and statute, (fruit, fungi, flowers and foliage are in), seaweed isn't classed as a plant in law, at least in the matter of collection (metaphorical throwing up of hands). Collecting shellfish is classed as fishing, and therefore permissible within tidal waters. Watch out though, bivalves such as oysters and clams, even mussels, are often grown within private fisheries. It's best to check. While you're at it, find out if there are any local bylaws, and check the minimum size limits, closed seasons and even net mesh sizes for shellfish and crustaceans. These too can vary from area to area. Size limits and other restrictions also apply (quite rightly) to many fish, not least the hard hit bass. And while aware that I could put you off trying any of this foraging and I really don't want to, I must mention the risk of poisoning. Sadly, this is no idle threat and people really do manage to inflict some nasty mischief on themselves every year, even those that should probably know better.

BUSHCRAFT & survival skills magazine • 55

CANOE FORAGING Mistaking hemlock water-dropwort for innocent tasty alexanders, for example, is a mistake you'd probably only make once. So the old adage – eat only things that you are absolutely certain about – is one well worth adhering to. The best way to gain this knowledge is to spend a fair bit of time in the wild with someone who knows, (really knows), what they are about. After all this I must stress that the pleasure to be had from collecting your own food from the sea edge is well worth it, particularly if you have given your canoe a chance to shine in its

true calling. Free food can be yours, and extremely good food at that. If you don't have a wild food specialist amongst your friends, the next best approach for increased safety and fun is a collection of good books. If you refer to these constantly and leave anything you are still even vaguely unsure about, you really should be fine. We bought Food for Free, written by Richard Mabey, back in the '80s. It's a good place to start. Ray Mears (you may have heard of him) can always be relied on. Finally, John Wright's Edible Seashore is a star and I wish I'd had a copy in a dry bag years ago.

A FEW ADDITIONAL HINTS AND SUGGESTIONS: Carry lots of bags to avoid everything getting mixed up – plastic keeps everything in the canoe dry, but isn't always the best thing for your catch (fabric bags can breathe). A big plastic bucket is very useful to put your bags in (empty or full) – and also makes a good baler.

Pollack from Narvik Fjord

A knife or scissors are good for seaweed collection, (if you leave the stem and only take some of the fronds, they can grow you another meal). Mind you, as you are probably rather fond of your knife, which might also have been quite expensive, remember to wash it off in fresh water as soon as possible – or use something cheap instead. In the same vein, try to take only a small proportion of any wild food - and find out about size limits and closed seasons, (for fish and shellfish). With shellfish, stick to the old 'only collect when there's an R in the month' adage (and because canoeing needs you, learn how to clean your shellfish before cooking). At the risk of going on a bit – keep an eye on the tide. And once again for good measure – if you're not sure, please don't eat it.

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HOW TO

MAKING YOUR OWN ATLATL For this month’s project I thought we would take a look at the build, history and technology of an ancient weapon, the Atlatl. At first glance this historically important weapon, which developed after the thrusting spear and the throwing spear but which predates the bow and arrow looks like quite a simplistic weapon, however its simple complexities are fascinating. This weapon helps to demonstrate that our ancient Homo Sapien ancestors were really very little different to our modern day selves, and once again belies the “primitive” label that we are beginning to understand is not an accurate reflection of ability.

I

often find myself around the campfire with my instructors hypothesising about how such items were conceived, created and utilised. Regularly I find as a team we start with what we know and then one or two of us will take the process further and re work and re work until we have made such fine tune improvements, ultimately going on to devise something better than we could alone. Now through my own observation of my team, I can imagine our ancestors doing exactly the same sitting around the fire. “I have a spear… But it’s hard to get close to prey with consistent results. I need to be able to propel this spear further. I have produced this launcher, it increases the distance of the throw but not with great speed or accuracy. I’ll thin and increase the length of the (now) dart, It seems to work better with the launcher at 1/3 of the length, it’s still slow, a bit of flex in the dart increases the speed initially, how about a bit of flex in the launcher, what about a weight here… etc.” Now although this dialogue is fiction it nonetheless represents a process of development that may well have taken place, albeit stretched over generations.

So what do we actually know as FACT? As with most items in the archaeological record, the debate is widespread. Dating is becoming more accurate however there are still variances. In her book The Incredible Human Journey (2009) Professor Alice Roberts investigates the use of what she terms ‘spear throwers’ (although there are others that disagree with this terminology) in the Gravettian period (28-22 KYA or thousands of years ago). The design of which were a “stick, half a meter in length in order to propel the spear twice the range of a hand held spear”. Other commentators put the development of the weapon further back in the Upper Palaeolithic to c. 30 KYA. Most archaeologists agree secure dating of the use of “spear throwers” to around 21-17 KYA although the earliest actual physical example of one that I can find is dated to 17.5 KYA and was found at Combe Saunière, France. (Source: Encyclopedia of Prehistory Volume 4: Europe edited by Peter Neal Peregrine and Melvin Ember, 2001). There is evidence that the use of the Atlatl was widespread by its presence in Africa, Europe, the Americas, Asia and Australia. The current line of thought is that Neanderthals were using thrusting spears and ultimately moved on to throwing spears; however the use of the Atlatl is exclusive to Homo Sapiens, our own species. As Alice Roberts writes; “Stone age expert John Shea has argued that the development of true projectile technology is key to our species’ success in terms of both hunting and seeing off rivals from other

58 • BUSHCRAFT & survival skills magazine

AUTHOR PROFILE:

Jason Ingamells Jason Ingamells needs little introduction, renowned as one of the UK's leading authorities on bushcraft skills and owner of Woodland Ways. He takes pride in teaching to the highest standards on courses at home, abroad and mentoring his staff. Jason writes on the subject in books and magazines and is a highly skilled woodsman and overseas adventurer. His skills have been gleaned through extensive personal applied experience, practicing and developing these skills in real circumstances. 

species and indeed our own”. There is no doubt that the ability to kill prey from a distance helped us to become top of the food chain in history, particularly for a species such as ours that cannot sprint for long distances. It has to be said though there are many arguments put forward for the success of our species’ evolution and none can be evidenced in isolation as the turning point. However the significance of the ability to target at speed with accuracy and at a distance cannot be ignored. I alluded to the fact above that not all commentators agree with the terminology of the Atlatl as a “spear thrower”, the most well known being Professor William Robert Perkins. An expert on the history of the Atlatl he argues that a spear is a rigid shaft for throwing or thrusting and as the dart which is ejected from the Atlatl must be thin and allow for flex calling it a spear is an inaccurate description.

The mechanics of the Atlatl The accepted line of thought as for the advantages to the use of the weapon, with or without the weight, is that the Atlatl allows for a greater accuracy and speed over a long distance than the throwing spear, through its mechanical advantage. Although I have never had the ability to record my own speeds there are widespread references to dart speeds in excess of 100 mph being recorded in experiments. Craig Ratzat’s essay on Atlatls in the book Primitive Technology (ed. David Westcott, 1999) puts across an interesting view point for the addition of a weight in that it “does not improve the performance of the weapon in terms of the distance that the dart (not spear) will travel but yet it allows a better centre of balance to hold the weapon in the launch position for a longer period of time, therefore measuring success on number of kills rather than length of travel”. Once built, the whole complexity of the weapon becomes apparent. As the shaft of the Atlatl is propelled forwards the energy that is created is stored up in the flex of the dart, this energy is increased by the weight of the tip of the dart pushing back through the dart onto the spur. As the shaft comes to the end of its trajectory this stored energy is released through the dart as it pushes itself off the spur. When compared with a normal throw of a spear, it is the speed of the dart at the moment of release that makes it travel further. As the dart is launched you will notice that the flight pattern is different from that of an arrow from a bow. The flex in the dart oscillates the projectile in a distinct flight pattern. The later development of the bow and arrow improved the accuracy over a greater distance with a more rigid arrow and different styles of fletching.

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Illustrations by Kevan Palmer

So how can I make one?

simple dog leg in the shaft, with an artificial or manmade recess will work, as indeed will a carved down shaft with a notch cut in, simply achieved by creating a stop cut and carving up to it. The addition of finger loops is well worth the time spent to throw with confidence.

Despite regional variations in the design and materials used in the production of the Atlatl, the main components are all similar - a shaft with a spur, sometimes with a specific handle and a dart. On some designs a weight is added. Length and weight of both the shaft and the dart are dependent from Ash on personal choice and availability of Carved down atlatl shafts materials.

Carved dart launcher

In order to make a Simple Dog Leg simple branch shaft with spur you will need to go hunting for the right material. You are looking for a piece which has a side fork coming out at 35 to 40 degrees from the main stem. In light of this you can discount some species, for example Sycamore and Ash will mainly be forked at too steep an angle, so look for Hazel as a good starting point.

For our project here we will be working with a forked shaft. The side fork wants to be cut so that it is protruding enough for your dart to slot onto the end and be held horizontally along the length of the shaft resting between your thumb and forefinger. This is best achieved by cutting the fork down to a chisel point for accuracy and making the same shaped recess on the dart. The length and diameter of the branch is one of personal choice, with most seeming to fall within the range of 20-25 inches however you can make them much smaller or indeed much larger should you wish.

Thumb Loops from Buckskin

However you do not have to have a forked shaft, I have included here a few different designs that some of my instructors have produced in the past and as you can see, a

BUSHCRAFT & survival skills magazine • 59

HOW TO

You will find what length suits you best. There is ongoing debate as to whether the actual shaft should be able to flex or not. The studies undertaken so far on the shaft appear to point that there is a minor improvement with flexibility albeit marginal. In essence the shaft is now ready to go as it is, however a few further improvements can be made to improve its effectiveness.

Forked piece of hazel

I remember reading somewhere many years ago that it works best if the dart is about three times the length and our courses do seem to back this theory up, although do select as long a straight piece as you possibly can. If you have any kinks in the material you have selected then heat it up over the fire for a moment and bend the material over your knee in the opposite direction to straighten the shaft out. I would also suggest removing the bark once it has been straightened to as smooth a finish as your knife will allow. At one end cut the notch for the dart to sit on the shaft, then at the rear we need to fletch the dart. Fletch in a straight line rather than with a curve as you would an arrow as this will allow for less wind drag and will not interfere with the oscillation of the dart. With three feathers cut off the smaller side of each, glue and tie the feathers in place using a spiral lash. A bit of glue to hold the lash in place at the start and end will help. At the other end of the dart affix your projectile point. Here I have used a flint tip, however producing these is another skill set in itself. The end does benefit from a bit of weight and so a metal tip or as you can see from the other example a piece of Antler will work (although this is difficult to keep in place on impact). However, if you do not have anything available then a simple pointed stick hardened over the fire will suffice. I have bound the flint tip here on with artificial sinew.

You may decide to thin the edges of the Atlatl down for comfort if you have selected a larger piece, here my piece is of the correct diameter and so all I have done is removed the bark so that it does not interfere with me launching the dart as it ages. A neat trick to measure the length of the handle is to form your hand into a shadow puppet shape of a canine, then mark where the top of the thumb is to give you an idea of balance of the Atlatl. Although not all historical Measuring the depth of the handle designs had finger loops they certainly add confidence to your throw and ensure the launcher does not launch itself out of your hands. Here I have simply formed finger loops with an old scrap of leather and tied them onto the shaft. The next stage is to select a piece of material for your dart There are a large number of historical references as to the material to use for your dart, in the Americas the materials of choice are bamboo or river cane… none of which grow in my nearest woods here in the UK! You can So that it fits in your hand see here a couple of darts made from both of these materials; however without a trip down to the garden centre you may not have access to these. So look for material that is likely to grow straight, is light, and will allow for flex. Young Ash saplings work well, as does Willow. Here I have selected a piece of Sycamore and tested it to make sure it has enough flex. I have in the past also experimented with Elder, however I found that when not seasoned it did not have enough structural strength to it, and when seasoned it became too brittle.

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Remove the bark

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River cane and bamboo dartInstructor Martyn Tudhope

Applying pressure onto the dart

Continue round and through the feathers Cut the notch for the launching platform Starting the fletching

So you are now ready to throw! When in hunting mode you would want to be at the throw position already, one benefit to having a weight on the shaft for balance. However, as it is illegal in the UK to hunt with such a weapon we do not have to worry about this. Notch the dart onto the shaft and hold it between your thumb and forefinger through the loops. If you are looking for accuracy then a level hold with the dart adjacent to the ground is your stance, if you are looking for distance then an arc over the shoulder is better. Let go at the end of your reach and the finger loops will keep the launcher in your hand. With practice you can become very

Flint tip and Antler tip- Instructor Martyn Tudhope Bind your arrow head in place

Completed dart

The grip

The Throw accurate with this weapon, however always be safe… make sure you know where the dart will be going, but plan for it go in any direction. Make sure your friends stay back and give yourself plenty of space…

BUSHCRAFT & survival skills magazine • 61

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BUSHCRAFT & survival skills magazine • 67

TRACKING

SIMPLESTEPSTO BASICTRACKING WITH POWDERS & DUST

AUTHOR PROFILE:

As a small boy I was shown many tracking and survival skills by my legendary father, survival “Guru” Eddie McGee. I have gone on to develop these and add new skills over the years. In this article we will learn how to look for contaminants and use powders and natural resources whilst tracking outdoors.

I

laughed inwardly when I recently read a blog comment from someone who should know better that they had “invented” a new method of tracking using powders. Tracking with natural substances and using environmentally friendly substances to enhance sign, have been in existence since our ancestors used them for hunting prey. Indeed recorded examples, ancient sketches and cave paintings show tracking methods using powders and dust as far back as prehistoric times. I will illustrate just a sample of methods of enhancing sign using powders and dusts and, more importantly, how identifying contaminants can assist the bushcrafter whilst tracking. I will also try and demonstrate just how easy the practice of using powders and dusts is. I was introduced to powder and dust tracking by my father back in the1960s, as he showed me and a few mesmerised soldiers the basics. He taught us the importance of careful examination. He told us “Always when hypothesising sign or signs on any track,

68 • BUSHCRAFT & survival skills magazine

Perry McGee Son of the late Eddie McGee, Perry is no stranger to the wilds. With over 40 years experience in survival training and leadership, he has endured survival training and situations in all types of terrain and climates, gaining knowledge of survival scenarios all over the world. Perry loves helping others learn these skills and willingly assists others where possible. Perry is founder of the National Tracking School and author of a number of books including The Tracking Handbook.

route and trail…” and at this point he paused and proceeded to manoeuvre carefully around some indistinct footprints and began to repeat a phrase that I will never forget. I recall it being one of those magical moments in tracking that anyone who has ever done any decent dirt time, (time spent tracking) will tell you, when it all comes together. He continued ....“Every time a subject connects with a surface, contaminants are passed...they are not always instantly visible to you and me, but they can be enhanced, all you need to do is investigate.” With this prophetic phrase my father then produced an old decaying fungi (see later) from his jacket pocket and continued; “Never be afraid to stop and never bluff, always know your stuff.” And with a well practised act, he proceeded to blow across the top of the decaying fungi, directing

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the fine inner spores right at the ridge surface of the visual ground sign. As if appearing from nowhere, a detailed footwear impression developed in front of our shocked eyes. Amazingly the tiny particles rested on the ridges and crests causing shadows or depressions as the spores connected with the outline. I then distinctly remember him, whilst crouching over the ground sign, turning his head around, looking me straight in the eye and then winking and smiling and saying, “Pretty cool eh, now you have a go.” This was it for me; this was the moment it all began. A defining moment in time had just occurred and it was as if I had just been allowed into the inner secrets of some magic circle. I just had to have a go and to try it for myself, and from that day to this, 40 years later, I am still doing it and it still never ceases to amaze. For the novice tracker reader, powders and dust most definitely can be adapted and used to assist in tracking subjects and not just on ground signs. It can be used or adapted to enhance natural sign such as cobwebs, fingerprints, animal traits and all manner of other substances. Since my father’s introduction much has developed in the world of tracking with powders and having experimented with various methods of forensic tracking, here at the National Tracking School we have mastered most of the skills needed for contaminant treatment and recognition. The details are too vast and detailed for this article but I will share some of the basic powder and dusting techniques and translate them into easy learning steps which can be adopted by anyone.

adage “Nothing ventured, nothing gained.” After all without trying to enhance the sign, you will never know the outcome and having some visual image or enhancement is better than none at all. Bear in mind the reason you are trying to enhance the sign, to improve or expand on the information already available. Enhanced sign(s) can with practice assist in identifying the subject’s height or weight, direction of travel, as well as being a calculation for speed of travel. STEP THREE – This is probably the most important step and a most useful tracking point to remember. When any two surfaces are connected or collide together contaminants transfer from one surface to another and although sometimes invisible, (known as a latent contaminant) they can be enhanced. Visible debris or other matter transferred from one surface to another (known as true contaminants) may not require enhancement but can still be improved upon. These contaminants may also be in various forms, liquid, scat, blood or urine and may be in solid particle form such as dust or debris or fine vegetation. Insect trails or spiders webs, minute Example of liquid positive contaminant transfer

STEP ONE - Before I begin to explain how to use the basics of powder and dusting techniques, it is important to understand the purpose and necessity of enhancing the sign. To assist you, here is a quick ready reference, whenever you are tracking and you are thinking about using powders and dust, but are not sure, use this mnemonic to decide if it is appropriate.

Significant reason for improved sign enhancement Increased intelligence or information resolved as a result of sign enhancement Gained or enhanced hypothesis as a consequence of using the powders and dust Necessity or reason for enhancing the sign STEP TWO – The next step is to decide or define which powder or dust in the circumstances should be used. What is to hand, in your equipment or tracking kit or growing in your environment are all options. Most dry natural substances can be pounded or crushed into fine powders. Using two hard surfaces such as boulders, knives etc. or even crushing leaves into a container such as a mess tin can help produce finer powders or dusts. With powders or dusts, knowing where, when and what to apply is the key to success. Some applications of powders will fail, however at the National Tracking School we use the

Example of solid negative contaminant transfer

barely visible natural aspects of nature can be brought to life and enhanced in some way that otherwise we would not have detected. To make matters more complicated these transferred contaminants are then divided into two further separate entities: POSITIVE – Where the subject’s contaminants are transferred from one surface to another NEGATIVE – Where the subject removes contaminants from a surface which then leaves a sign or partial sign representing the subject’s presence . But what has all this to do with me as a Bushcrafter, following sign in the wilderness? Well it’s simple, by detailed and further examination of

BUSHCRAFT & survival skills magazine • 69

TRACKING

any sign you gain a clue to the subject’s behaviour and by adding all the clues together, the mystery becomes solved. If, for example an animal’s sign is suddenly halted at the foot of a tree and by using powders or dust on cobwebs or claw marks on the tree it can be deduced that the animal ascended the tree then the area of ascent and descent can be traced. STEP FOUR – ASSESSING THE ORIGIN OF CONTAMINANTS – Where a subject creates a sign and a contaminant has been transferred, you need to assess the origin of the contaminant. If, for example the transferred contaminant is wet or dry then vital information may be gleaned from the contaminant source. The best analogy being if a human subject walks from dry land into water, the water will adhere to his footwear and clothing etc and as he leaves the water back onto dry land then the water will transfer from his footwear and clothing back onto the land. The more the water transference, the deeper the subject has been in the source. The deeper the subject has been in the source the more agility or effort used whilst crossing the water. The connotations are endless. Even though the most likely contaminant to transfer or adhere to another sign is from a wet or damp surface, it is also the most likely to evaporate and therefore one of the most difficult to record or interpret when dry. However some wet but then dried contaminants can still be enhanced by powders and dust. The best sign for any tracking unit to follow and assess are those changing contaminants. Here, an injured Rhino has brushed against a tree showing a positive wet origin sign. Its injury can be assessed by the colour, texture and density of the blood, but also the location of the transferred sign is indicative of its height and possible desperation, as it brushes against trees.

on the amount; blood will slowly dry out, and can be indicative of the time the subject left the contaminant. Apart from obvious forensic applications (DNA extraction), adding luminal powders and derivatives to stains and blood smears can enhance or highlight the presence. STEP FIVE - USE NATURAL ELEMENTS - There are many natural fine powders and dusts readily available and others that can be adapted to assist in sign enhancement. Using old army issue foot powder, crushed leaves and dry vegetation, cold crushed carbon from fire beds, flower seeds, powdered snow and fine sands are all options. Try wherever possible to choose a powder or dust that is in contrast to the colour of the background of the sign to amplify the visual representation. Dark curry powder on green vegetation is a good example. Probably the cheapest and most useful tracking powder is flour, which also allows a good contrast on darker materials. The fine constituents allow it to be carried and stored easily within a tracking rig or back pack. Flour can also be easily adapted for use in making castings or impressions. Also be aware that some thicker or denser powders will not travel through the air towards the sign, whereas others may be too light to distribute. In urban tracking, my area of expertise, specialist forensicallyenhanced luminescent or magnetised dusts are administered, usually applied with the use of fibre glass application brushes or syringes. STEP SIX – SIMPLE APPLICATION - The best method or technique for learning how to use powders and dust to enhance sign is practice. Repetitive trial and error on unrelated and unconnected sign should become the norm and soon allow you to find the best method and become adept. Start by locating and securing the sign to be enhanced, ensure that you are facing downwind. If necessary cover your eyes and gently blow the selected powder or dust across the surface of the sign, allowing it to gently settle and increase the ridges and crests. Avoid blowing too much powder or dust all at once. Once you have blown the powder move your position in relation to the sun or light and alter your visual distance by kneeling or lying prone etc. to increase your vision of the enhanced sign.

Another consideration is the actual surface on which the sign is created, which can be separated into two categories, porous and non porous. As a general rule, the smoother the surface on which the sign was created the greater the possibility of finer detail within the sign. USING POWDERS AND DUST ON CONTAMINANT STAINING – As we know, the transference of wet contaminants can occur on most surfaces and the ability to visualise the transference, may become more difficult if the contaminant are exposed to the elements, time, or other debris. Exposed stains and contaminants can also be reduced in colour, size and texture. Blood is a good example, left at the scene and exposed to the sun, dependent

70 • BUSHCRAFT & survival skills magazine

Other methods of delivery include the use of a small plastic syringe to initially suck up the fine powders and then blow them across the sign. The inclusion of any syringe is a must in every survival pack as the uses are endless. They also double up as water retracting devices from fluid filled sign or difficult locations and can be used to insert fluids into smaller areas. A good tip when using a syringe is to gently blow at the same time as the tube is depressed. Other easy methods include that most useful and inexpensive of tracking equipment the surgical rubber or cheap plastic glove. This is another very useful survival and tracking tool and every kit should contain many pairs. Simply partially inflate or make larger the glove and then fill it with your selected fine powder. Tie a knot in the open end trapping the air towards the enclosed fingers. Cut a small hole in the finger end and gently squeeze the air through the glove and into and out of the small cut hole and across the sign.

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The spores have been traditionally added to cobwebs for cleaning and covering wounds. Lay the cobweb on the wound first and then squeeze the contents of the puffball fungi onto the wound. Layered cobwebs are the best option.

Examples of wet and dry positive and negative contaminant transference onto footwear sign

One classic tracking technique taught by some tracking schools is the use of the puffball fungi. The puffball or Lycoperdon fungi is non-poisonous, easily recognisable and is from the division of the Basidiomycota. It has a distinguishing feature in that, when the fungi matures it has a dry brown soft outer skin which if squeezed emits millions of tiny spores and the spores can be blown over sign.

A very useful survival and tracking tool and every kit should contain many pairs

So there you have it, a brief insight into using powders and dusts when enhancing contaminant sign. These tracking powders are known by different names in differing regions of the world (Poeiers in Afrikaans and Bubuk in Indonesian), but essentially, all have the same effect. So the next time you are out foraging and bushcrafting and you come across sign that needs enhancing, consider using a natural powder or dust and remember the simple steps to sign enhancement. Safe Tracking !

UNUSUAL SUBSTANCES MADE INTO TRACKING POWDERS OR DUSTS • Stone or dentalpowders – useful for casting • Climbing chalk or substitues • Crushed insects • Ground up dog biscuits • Crushed curry and tea powder • Chocloate powder • Ground date fruits • Pounded leaves • Ground sands • Ash and debris from fires • Dried dandelion heads • Ground and pounded animal bones and blood • Cocunut fibres • Dried bannana leaves

BUSHCRAFT & survival skills magazine • 71

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It is that time of year that gives you the opportunity to celebrate the achievements and success throughout the bushcraft industry, considering the extraordinary lengths undertaken to teach forgotten skills, provide excellent bushcraft resources and superb kit.

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he Best in Bushcraft Awards are your opportunity to thank and acknowledge people and companies who have personally benefited your life! You do not have to vote in all the categories for your vote to be valid, however there is a new criteria to vote this year in that you must have had personal experience of what you are voting for in 2013. For example, in order to vote for the best bushcraft course, you must have been on that course during 2013.

Award Categories • Best Bushcraft Course • Best Bushcraft School • Best Bushcraft Instructor • Best Bushcraft Retailer Online • Best Bushcraft Retail Store • Best Bushcraft Online Content • NEW for 2013 Best Bushcraft Product

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BUSHCRAFT & survival skills magazine • 75

BEST IN BUSHCRAFT

The Best in Bushcraft Winners for 2013 receive a bespoke handcrafted award that will be presented to them at The Bushcraft Show 2013 by John ‘Lofty’ Wiseman. We are looking to commission an artist/craftsperson to create the awards for the winners of the Best in Bushcraft Awards for 2013. If you work with natural materials or know of someone who has the skills to create a bespoke award that also captures the essence of bushcraft then please get in touch by emailing [email protected] Closing date 8th December 2013 – 00:00. The winner will be announced in Issue 48 (Jan/ Feb 2014) of Bushcraft & Survival Skills Magazine.

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BUSHCRAFT & survival skills magazine • 77

OUTDOOR LEARNING

NATURE'SPIGMENTS The milky blue of glacial melt water, the rainbow iridescence of a starling’s plumage, the purple of an angry sky, the yellow splodge of lichen on a rock - the natural world is completely awash with colour. Many natural materials, after a little coaxing, release colours we might use as paints or even dyes. People have been dyeing textiles for more than 6,000 years, and right up until the nineteenth century every dye came directly from natural sources, including plants (leaves, flowers, berries, stems or roots), insects, shellfish, and minerals. Perhaps the first dyers were inspired to add colours to their daily lives after noticing how berries left red stains on their fingers.

78 • BUSHCRAFT & survival skills magazine

AUTHOR PROFILE:

Fiona Danks & Jo Schofield Fiona and Jo are passionate about young people having the opportunity to explore and enjoy the natural world and each of their six books aims to entice children away from a screen-dominated world and into the outdoors for some fun and adventure.  They both live on the edge of the Chiltern Hills in Oxfordshire where they create many of their ideas for their books, articles, and workshops.

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C

onnie and Sophie had such a lovely messy time squashing and straining elderberries and they were convinced that the vivid purple liquid would be absolutely perfect for tie dying. They found a couple of old vests, tied them up with elastic bands and left them to soak in the elderberry juice. After rinsing the vests in cold water to remove excess colour, they tore off the elastic bands to reveal spectacular patterns on a purple background. But the next day they were bitterly disappointed – that wonderful vibrant colour had completely disappeared, leaving only a faded dirty grey; this activity clearly needed a bit more research! We collected blackberries, bark, acorns, bracken and dock and the children had a wonderful time crushing, chopping and mixing. The bracken produced a lovely bright green when ground with a pestle and mortar and mixed with a little water, and Connie spent ages chopping acorns into tiny pieces. We boiled each material and then simmered them for an hour or so. We tested the colours out on pieces of muslin - purple from the blackberries and beige from the acorns. But we still weren’t satisfied! We knew that many dyes can be made from plants, so, not wanting to repeat the elderberry experience, we attended an inspirational natural dyeing workshop run by Jenny Dean. Finally, we discovered a few simple ways to produce vibrant non-fading shades that reflect the colours of the natural world.

A few tips on natural dyeing Natural dyes Many common plants can produce dyes, but some require the addition of another substance (known as a mordant) to bond the colour to the fabric. To keep things simple, we recommend choosing dyes that don’t need a mordant; these are known as substantive dyes, and could include the following: From Trees – Birch bark (pinks), alder bark or cones (green), eucalyptus leaves and bark (rust and orange), walnut leaves (olive green) and ripe nut husks (brown), ripe oak acorns and galls (grey and brown – the acorns need to be chopped finely and soaked for several days before simmering). Only remove bark from trees that have been cut down or are dead. Other plants – comfrey leaves (green), blackberry leaves and shoots (green) and ripe berries (blue – but you need to simmer berries for half an hour then strain and heat the fabric in the dye bath before steeping overnight). Kitchen spices – try using turmeric as a dyestuff – it produces olive green shades.

Materials for dyeing Avoid trying to dye a synthetic fabric. We experimented on lengths of wool, silk and cotton and found that wool consistently absorbed more colour. When dyeing, bear in mind that cotton t-shirts may not absorb as much colour as you’d like them to. Always weigh the fibres or fabric beforehand so you can calculate how much dyestuff to use (the rule of thumb is half the weight of dyestuff to fabric). And you don’t have to stick to fabrics – have a go at dyeing other natural materials such as wood, shells or stones, stems of willow or leaves you plan to weave with, or even paper.

BUSHCRAFT & survival skills magazine • 79

OUTDOOR LEARNING

Colour Modifiers This was a revelation to us! Certain substances, including various everyday materials, modify colours on the fibres after they have been dyed, sometimes with startling results. So you can make several colours from just one dyestuff. Modifiers can either be added to a used dye bath or put in a separate pot of water.

Acidic modifier - use about half a cupful of clear vinegar or

lemon juice.

Alkaline modifiers – use 2 tablespoons of washing soda dissolved in a cupful of boiling water. Or make wood ash water by putting cold wood ashes from a fireplace to soak in a bucket of water for a week or so, and then gently pour off the water without disturbing the sediment. Iron modifier - soak rusty nails or an old horseshoe in a container of vinegar and water for a week or so; pour off the water to use as your modifier. Copper modifier - soak a length of old copper pipe in vinegar and water for a week or so. Pour off the water to use as the modifier.

What you need • Dyestuffs, modifiers and fabric • Selection of stainless steel, enamelled or glass heatproof bowls. All implements must be non-reactive; don’t use brass, copper or iron. • Use old equipment that’s no longer used for cooking • Plastic buckets • Wire mesh strainer or sieve • Old apron or old shirt to cover your clothes, and rubber gloves

Prepare your fabric Only use clean fabric. Put a splash of washing up liquid in a bowl of water, and then rinse the fabric until all the fibres are soaked. Squeeze the fabric to remove excess water.

Dyeing the fabric Place the wet fabric in the dye bath, adding more water if need be. Place the pan over a fire or stove and raise the temperature gradually; simmer for 30-45 minutes then leave to cool, preferably overnight.

• Old wooden spoons, or better still some sticks, for stirring with – you need separate ones for each dyestuff and each modifier

Remove the fabric from the dye pan; the rhubarb had dyed the fabric an orangey yellow shade.

• Weighing scales

Some dyes work better if left to soak for a day or two.

• Pestle and mortar

Modifying

The Dyeing process

Place the dyed fabric into a bowl of modifier, or add the modifier to the used dye bath and then soak the dyed fabric in that. Begin by using a small amount of modifying solution, adding more if you wish to enhance the colour change. Be careful to keep different modifiers separate to avoid cross contamination.

We had a go at dyeing with rhubarb root, to find out what effect the dye would have on cotton, silk and wool. You may wish to start out by testing small amounts of fabric until you discover which colours you like and which dyestuffs work the best for you. Natural dyeing involves a lot of trial and error - just have a go to see what colours you can conjure up!

We used the four modifiers described above to produce the following colours on our rhubarb-dyed fabrics.

Preparing the dye Always bruise or crush dyestuffs thoroughly – the larger the surface area of the dyestuff the more colour the fabric will be exposed to. Crush the dyestuff with a stone, or in an old pestle and mortar no longer used for cooking. We used dried rhubarb root chopped up into small pieces; if using fresh rhubarb root, putting it in the deep freeze helps break down the tough fibres. Weigh out the dyestuff (about half the weight of the fabric). Put the prepared dyestuff in a bowl and add boiling water. Leave overnight – if the colour isn’t strong enough, bring the mixture to the boil and let it simmer for a while. Leave to cool then strain off the liquid into a metal pan; this will be your dye bath.

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Clear vinegar solution – bright yellow wool and creamy yellow cotton Washing soda solution – pink shade Copper solution – rusty shade Iron solution – grey green shade

Finishing Add a little pH neutral washing up liquid to a bucket of water then rinse the dyed fabric thoroughly before hanging it up to dry. Materials dyed in rhubarb root and then soaked in different modifier s clockwise from top iron water, cop per solution, acid/vinegar solution , alkali/washing soda solution.

Make your own tiedye t-shirt Connie made this spectacular tiedye t-shirt in an indigo dye vat; anyone wishing to use indigo should follow our example and join a dyeing course! But how about making your own multicoloured tie-dye t-shirt with just one natural dye and a couple of modifiers? For example, it could be dyed yellow in a rhubarb dye, and then tied with elastic bands before soaking in a modifier. It could then be tied up even more and put it in another modifier – this would produce a three-coloured tie-dye pattern.

Rhubarb root colours from different modifiers, left to right iron, copper, alkali/washing soda, acid/vinegar.

Safety tips Don’t collect rare or poisonous plants. Use a plant identification book or go out with someone who knows about plants, and only gather modest quantities of plant materials. Never use the same pots or tools for food preparation and dyeing. Store all dyes and modifiers in clearly labelled containers. Careful when throwing away dyeing materials – dilute all solutions before pouring them down the drain. Wear rubber gloves when handling dyes and modifiers. Be careful when working with hot pans. Some dyes can be harmful if ingested; when dyeing indoors, ensure the room is well ventilated.

Colours from one bath of rhubarb root from left to right copper, alkali/washing soda, acid/vinegar, iron modifers).

BUSHCRAFT & survival skills magazine • 81

CAREER ADVICE & SITUATIONS VACANT

CAREERADVICE&SITUATIONSVACANT Dear Simon Ellar,   Reference your article “Looking for a job in the great outdoors?” Issue 45 Jul/Aug 13. I am currently trying to start a business here in Cornwall teaching Bushcraft, Traditional and Dying Crafts, Mountain Biking and Forest Gardening at a centre for people to both visit and learn some skills. No power tools used on site for teaching. I won’t be teaching the Bushcraft, I will be looking for people to teach as I’m not qualified in this area. Do you have any ideas for things that could be taught and names for tutors that I could contact, the more people available and different skills they can teach the better? I am having difficulty in finding funding and insurance to start up, do you have any suggestions.   Regards   Andy Bromley [email protected]

It sounds like you have a busy time ahead! There is lots involved with setting up a business and more so when you are working in the outdoors utilizing knives, axes and fire. By printing your letter here, hopefully some of the many freelance bushcraft instructors and companies local to you will make contact to discuss the provision of your bushcraft training. With regards to business setup, insurance and funding, insurance you could speak to your local enterprise centre who will have advisers on hand to give advice on all aspects of business start up and management, certainly insurance and funding. If you are seeking funding you will almost definitely have to have a business plan and financial projections. If you take a look at the following link: http://www.enterprisesupport.org.uk/useful-resources/ there are some useful links and templates for business plans etc. I wish you well with your proposed venture, All the best, Simon

Bushcraft Instructor Woodland Ways, the UK’s largest supplier of Bushcraft & Survival courses in the UK, is looking to recruit 3 instructors for a specific contract delivering a series of Survival Courses throughout 2014 and beyond.

SITUATIONS VACANT 2014

Volunteer for The Bushcraft Show 2014 How would you like to be part of The Bushcraft Show Team? See behind the scenes at The Bushcraft Show All sorts of volunteer positions available Perks: Free Weekend Entrance to The Bushcraft Show Limited Working Hours Discounted Food Staff Show T-Shirt To apply for this position send a letter to [email protected]

Bushcraft Instructor Do you have a position that you would like to advertise for FREE? This is a FREE facility so if you are a company or charity and would like to advertise your job vacancy to a target audience, please get in touch – [email protected]

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Dear Andy,

Woodland Ways has been contracted to deliver a brand new style of Survival Course for an international brand here in the UK. These courses will not be delivered under the Woodland Ways Brand, however you will be employed directly with Woodland Ways. The courses are delivered in a very different style to our existing course provision. You will have a background/interest in pure survival techniques, based on a get out alive scenario. From making fire and shelter in an emergency situation through to rope work and navigation your skill set needs to be of the highest level. Reporting directly to Jason Ingamells, Director at Woodland Ways, you will take full responsibility for the implementation and running of the course. Full training, equipment and uniform will be provided. Work begins with a guaranteed 8 weekends for 2014, however it is envisaged that work will expand dramatically and you will be expected to grow with the new contract. The ability to travel independently to our main venues in Oxfordshire, Derbyshire and Leicestershire is essential. Payment is pro rata in line with the woodland ways own full time starter instructor salary of £17.5k per year rising to £18k per annum after 12 months. Candidates will have a proven track record through either civilian or military survival training and will be expected to work with all age ranges. To make an initial application please send in your CV direct to [email protected]. Interviews will be held in November 2013.

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