Tag Archives: conservation

Compensating for ecological harm

Economic development can have adverse effects on the natural environment. Nowadays, many developments involve mitigating negative effects or compensating for them by ‘trading’ a positive outcome in return for permission to proceed.

But how effective are these compensatory efforts in New Zealand?

Answer: oftentimes, not very, according to one of the talks at the recent New Zealand Plant Conservation Network conference.

Video of Marie Brown’s conference talk.

Blog post on the NZPCN conference.

This is particularly topical as the Environment Court ponders its final decision about the proposal for a mine on the Denniston plateau. The Court has said “much will ultimately turn on whether appropriate conditions can be worked out.” Marie’s talk is thought provoking in this context.

Within the site of the proposed mine at Denniston.  Photo Leon Perrie. (c) Te Papa.

Within the site of the proposed mine at Denniston. Photo Leon Perrie. (c) Te Papa.

Perhaps some of the concern about the effectiveness of mitigation/compensatory efforts would be alleviated if positive outcomes were achieved before the negative activity commenced. For instance, if new and sustainable populations of rare plants and animals could be successfully established at other suitable sites, there should be less concern about their elimination at the development site.

Money spent on upfront mitigation/compensation could even be more cost-effective than lengthy legal battles.

This assumes, however, that suitable and relevant mitigation/compensation is actually achievable. It may not be for some of the populations that would be affected by the Denniston mine, at least from my understanding of them, but I would like to be proved wrong in this respect.

What do you think? Develop/destroy and then attempt to fix, or develop/destroy only after the compensatory measures have been shown to work?

Plant Conservation Conference and weedy native plants

I’m just back from the 2013 conference of the New Zealand Plant Conservation Network, where I presented a talk about weedy native plants.

The programme of talks included updates on the conservation status of New Zealand’s plants, and the new system being implemented by the Department of Conservation to prioritise management of ecosystems and species. Another talk detailed the significance of the Denniston area for New Zealand’s liverworts.

There were several inspiring accounts of hands-on intervention successfully stabilising threatened native plant populations or even bringing about their recovery. One example involved using lawnmowers and herbicides at a high altitude site to control aggressive weeds!

Others reported their investigations of the ecology and/or relationships of New Zealand plants.

Programme of talks.

Videos of most of the talks.

Hoheria populnea (houhere, lacebark) is native to the northern North Island. But after being cultivated more widely, it has spread to the wild in many parts of central and southern New Zealand, and has become a problem weed in several places. Photo Leon Perrie. © Leon Perrie.

Hoheria populnea (houhere, lacebark) is native to the northern North Island. But after being cultivated more widely, it has spread to the wild in many parts of central and southern New Zealand, and has become a problem weed in several places. Photo Leon Perrie. © Leon Perrie.

I was invited to give a keynote address in the symposium on ‘weedy natives’. My focus was on native plants growing outside their natural range within New Zealand.

Many New Zealand native plants occurred in only part of the country. Humans have now moved some of these further afield, and some of these native plants are flourishing in parts of New Zealand where they did not occur naturally.

In some cases, non-local native plants are threatening locally-native species.

Pittosporum crassifolium (karo) is native to the northern North Island. However, it has been widely cultivated, and is now spreading aggressively in many places. In Titahi Bay, karo threatens to displace locally-native species, including some of conservation significance. In the photo, karo is overtopping, and will eventually displace, the locally-native Melicytus obovatus. Photo Leon Perrie. © Te Papa

Pittosporum crassifolium (karo) is native to the northern North Island. However, it has been widely cultivated, and is now spreading aggressively in many places. In Titahi Bay, karo threatens the survival of locally-native species, including some of conservation significance. In the photo, karo is overtopping, and will eventually displace, the locally-native Melicytus obovatus. Photo Leon Perrie. © Te Papa

Communities and land managers have decisions to make about how to deal with the spread of non-local native plants.

I dared suggest that, in the Wellington context as an example, non-local native plants like karo and (northern) houhere (and perhaps karaka, where outside sites of cultural significance) might be viewed in the same light as exotic (not native to New Zealand) ecological weeds such as pink ragwort, boneseed, brush wattle, and Darwin’s barberry; and that they should be managed accordingly.

I finished by suggesting that anyone can help by learning what plants are locally-native to their region, and then observing and reporting non-local plants ‘behaving badly’.

We also might take more care with what we plant. Non-local native plants make for fantastically interesting gardens; I have lots in my own garden. But we might forgo those species whose weediness has already been demonstrated.

Video of my talk.

Would you mine a rare population?

The Escarpment Mine on the Denniston Plateau has been tentatively approved by the Environment Court, subject to suitable mitigation plans. One of the issues that may be under consideration is what to do about the site’s population of the Sticherus tener umbrella fern.

Scoop news report: “…tentative nod for Denniston mine plan”.

Sticherus tener has a conservation ranking in New Zealand of Nationally Critical. That is as rare as you can get without being extinct.

The umbrella fern Sticherus tener at a site within the planned Escarpment Mine on the Denniston Plateau. Photo Leon Perrie. © Te Papa.

The umbrella fern Sticherus tener at a site within the planned Escarpment Mine on the Denniston Plateau. Photo Leon Perrie. © Te Papa.

Destroying a population of a species so threatened in New Zealand has to be weighed against the economic benefits of the proposed mine. Of course, the Denniston area’s natural values are far greater than this one fern species. A factor in any consideration specific to Sticherus tener is that it is common in Australia. In that context, it is similar to the white heron or kōtuku (Ardea modesta), which graces our $2 coins. The white heron is also Nationally Critical in New Zealand, but Secure Overseas. Would New Zealanders accept a development destroying part of the white heron population in New Zealand?

Our paper detailing the status of Sticherus tener in New Zealand has just been published. Sticherus tener was known in New Zealand only from one 1980s record from Fiordland. Department of Conservation staff have recently made additional records from Fiordland. Furthermore, Te Papa’s botanists realised that some of the plants in the Stockton and Denniston areas are actually Sticherus tener.

Abstract from the New Zealand Journal of Botany.

Email me if you would like a pdf of the paper.

Te Papa’s collections of Sticherus tener, with more photos.

Our paper also recognises Sticherus urceolatus in New Zealand for the first time. Sticherus urceolatus is closely related to Sticherus tener, and also is Nationally Critical in New Zealand while being common in Australia. Sticherus urceolatus occurs at Stockton (but not Denniston), near Takaka, and apparently in Fiordland.

Te Papa’s collections of Sticherus urceolatus, with more photos.

The umbrella fern Sticherus urceolatus at Stockton. The frond segments of this species arise at a pronounced angle, while those of Sticherus tener are close to 90 degrees. Other differences are detailed in our paper. Photo Leon Perrie. © Te Papa.

The umbrella fern Sticherus urceolatus at Stockton. The frond segments of this species arise at a pronounced angle, while those of Sticherus tener are close to 90 degrees. Other differences are detailed in our paper. Photo Leon Perrie. © Te Papa.

Populations of Sticherus tener and Sticherus urceolatus in the northern South Island had previously been mistakenly attributed to Sticherus flabellatus. We now believe that Sticherus flabellatus does not occur in the South Island, but it is common in the northern North Island. When the Denniston population was erroneously attributed to Sticherus flabellatus, an issue for the proposed mine was the destruction of a population at the southern limit of a species common in New Zealand. The correct identification of the Denniston population as Sticherus tener, Nationally Critical in New Zealand, makes the conservation implications for the proposed mine more serious.

Te Papa’s collections of Sticherus flabellatus.

It was an internet photo that first alerted me to the possibility of Sticherus at Denniston being more complicated that everyone thought. I was trying to find more information about Denniston for our 2012 field work surveying for the then-undescribed Gleichenia inclusisora tangle fern; this Naturally Uncommon species also occurs at Denniston. I came across a report containing a photo from Denniston labelled “Sticherus flabellatus”. I was immediately sure that the photo did not show Sticherus flabellatus, but instead some other species of Sticherus. However, determining the correct identity as Sticherus tener took several more months. This involved a revision of existing herbarium specimens from the northern South Island that were labelled “Sticherus flabellatus” (all actually either Sticherus tener or Sticherus urceolatus), DNA sequencing, and field work to visit the sites ourselves.

Blog post on our 2012 field work in the South Island, targeting Sticherus and other ‘problem’ ferns.

Blog post on the recently described new species of tangle fern, Gleichenia inclusisora.

Interestingly, the Forest and Bird-organised BioBlitz of the Denniston Plateau in 2012 did not detect Sticherus tener. That this medium-sized fern was missed by such a concerted effort to document the area’s biodiversity is a cautionary indicator of how difficult it is to make well-informed land management decisions.

Forest and Bird’s BioBlitz at Denniston.

The amazing longfin eel

This week the Parliamentary Commissioner for the Environment released a report on the status and management of the longfin eel. It was entitled “On a pathway to extinction?” The report found that the management of longfin eels by New Zealand government agencies was inadequate and failing. It further recommended the cessation of commercial fishing of longfin eels.

The Commissioner’s report.

A longfin eel.  This female hasn't bred yet, and she will do so only once, after swimming to somewhere between New Caledonia and Fiji.  Photo (c) Alton Perrie.

A longfin eel, in a stream near Thames. This female hasn’t bred yet, and she will do so only once, after swimming to somewhere between Fiji and New Caledonia. Photo (c) Alton Perrie.

Longfin eels (Anguilla dieffenbachii; tuna is Maori for eel) are amazing animals. They breed only once and then die. The adults found in New Zealand’s waterways have yet to breed. When mature, which may take 80 years, they swim to somewhere between Fiji and New Caledonia to find a mate. The prospect of finding a mate in a far-flung ocean presumably becomes less likely as numbers decline because of human impacts. After breeding, the adults die. The young larvae then drift back to New Zealand, and make their way upriver. The amount of suitable habitat for eels in New Zealand is now much decreased.

The Commissioner highlighted this unusual lifecycle as complicating the management of eels.

The Department of Conservation rates the threat status of longfin eel as “At Risk/Declining”, while the Ministry for Primary Industries allows the annual commercial harvest of more than 100 tonnes of longfin eel. The inability to reconcile these two facts is at least partially behind the Commissioner’s call to stop the commercial fishing of longfin eels.

Earlier this year, Te Papa’s NatureSpace hosted the Travelling Tuna Tapestry project.  The aim of this project was to inspire children to be interested in the conservation of the longfin eel. The tapestry grew during its travels around New Zealand as children contributed panels; one panel came from visitors to NatureSpace.

A Department of Conservation site about the Travelling Tuna Tapestry.

Many New Zealanders will be concerned that an endemic New Zealand species is effectively being managed to extinction. According to the commissioner, “Longfin eels need urgent help from the agencies that are responsible for their management and protection.” How will those agencies respond? Will they do enough to get the longfin eel off its pathway to extinction?

Help with floating fern

I’ve recently learnt that the introduced Azolla pinnata (ferny azolla) has been found in the Wellington region. I’m interested in its distribution and would be grateful for help in looking for more. Azolla plants are fairly easy to spot: look for a red plant covering still bodies of water.

Azolla plants often become red in full sunlight, and they can become so abundant that they carpet ponds, drains, and other still bodies of water. This is Azolla rubra in a pond on Mana Island, Wellington. Photo Leon Perrie. © Te Papa.

Azolla are ferns, believe it or not! They are free floating, and while individual plants are only a few centimetres across, they can proliferate in good conditions to ‘carpet’ large areas of water surfaces.

There are two species in New Zealand: the native Azolla rubra (Pacific azolla, previously known as Azolla filiculoides); and the exotic Azolla pinnata, which is an introduction from the tropics.

Azolla pinnata has largely replaced the native Azolla rubra in the northern North Island. It is therefore a concern that A. pinnata was found near Waikanae in recent weeks, after being found near Whanganui a few years ago. It seems it is continuing to spread south.

The introduced Azolla pinnata has very regular branching. Plants can be red or green depending on whether they are in the open or shade, respectively. The green ovals are Lemna duckweed (a flowering plant). Photo Leon Perrie. © Leon Perrie.

The branching of the native Azolla rubra is irregular. Photo Leon Perrie. © Te Papa.

Can you help please?

I would like to better document the distribution of the two Azolla species in New Zealand, and particularly the spread of the introduced A. pinnata. The southern North Island is the primary interest, but anything that adds to what we already know would be useful (see the link to the map below).

Map of Te Papa’s collections of Azolla.

If you see Azolla (either species), you could post a comment or send me an email. If you have landowner permission, you could make a collection for possible addition to Te Papa’s specimens: post me 20-30 plants enclosed within a watertight plastic bag, with locality details, and your contact details. My address is: Leon Perrie, Te Papa, PO Box 467, Wellington 6011.

Thanks very much.

Behind the Scenes of Angels and Aristocrats

Te Papa’s latest art exhibition, Angels & Aristocrats, opens on the 20th October in the Level 5 galleries.  The exhibition draws on a number of collections from around New Zealand including artworks from Te Papa’s collection which you will see on display.  Some of these paintings required attention in the conservation lab before the exhibition began, to allow them to be fully appreciated on display.  As paintings age they begin to deteriorate and changes occur in their appearance and condition.  Both deterioration and change are a result of the interaction of all the materials which make up a painting and the environment around them.  Therefore, as conservators we sometimes have to intervene and carry out treatment to repair and stabilise the art work.

Image

Mrs Humphrey Devereux; 1771; Copley, John Singleton. Ultra-violet examination of the painting during cleaning. The varnish fluoresces a bright blue colour which indicates a synthetic varnish layer. The painting is partially cleaned at this point hence the patchy nature of the fluorescence. You can also clearly see the test cleaning spots and two areas of damage which appear as white marks in the image, 2012, Photograph by Katherine Campbell. © Te Papa

Conservation procedures aimed at preventing or slowing deterioration include repair of tears, correction of canvas distortions and consolidation of flaking paint.  Restorations may also be performed when the aesthetic appearance of the painting and the intention of the artist have been compromised, and can include the removal of discoloured surface coatings and the filling and retouching of loss.

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The rectangular shape on the subject’s face is a cleaning test which reveals the original colour of the composition beneath, 2012, Photograph by Katherine Campbell. © Te Papa

 

One of the paintings that underwent conservation before the exhibition was Mrs Humphrey Devereux painted by John Singleton Copley in 1771.  The varnish layer on this portrait, applied in the 1960’s during a previous conservation treatment, had diminished the tonal ranges of the work as it became very degraded and matte over time, therefore requiring removal.  The varnish removed from the portrait was very dark yellow and quite thick and it took several weeks to complete the removal using a solvent mixture arrived at through a testing regime to ensure its effectiveness without any damage to the underlying paint. 

Image

Before varnish removal, 2012, Photograph by Katherine Campbell. © Te Papa

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Removal of the old varnish had a dramatic effect on the overall colour, balance and depth of the painting, 2012, Photograph by Katherine Campbell. © Te Papa

 

The painting was re-varnished with a clear, synthetic resin to emulate the original surface.  The varnish selected is one that has been developed specifically for the conservation profession and is known to be stable and reversible which ensures that any future cleaning will not need to be repeated for a long time and if it does eventually become necessary, it can be done with the least possible intervention. The final part of the treatment was to carry out inpainting or retouching over the areas of old damage and then a final layer of varnish was sprayed onto the painting before it was refitted into its frame.

Mrs Humphrey Devereux; 1771; Copley, John Singleton. After treatment, 2012, photograph by Kate Whitley © Te Papa

Kōrero Kākahu: Weaving Worldviews

by Matariki Williams

A highlight for me in Kahu Ora is a kākahu that is in the process of being cleaned by Textile Conservator Anne Peranteau. This kahu kurī is from between 1750 and 1840, of unknown provenance, and is made from strips of the pelt of a kurī (Polynesian dog) sewn onto a finely twined foundation of muka (flax fibre).

Kahu kurī of highest prestige were made from whole pelts of kurī sewn together. One of the only known examples, on loan from Puke Ariki, is currently on display in Kahu Ora. Given the value placed on the kurī, other kākahu were made using the pelts in a more economic way, like this cloak sewn from strips of dogskin.

Kahu kurï (dog skin cloak), 1750-1840, New Zealand. Maker unknown. Bequest of Kenneth Athol Webster, 1971. Te Papa

This kākahu is currently on display in a partially cleaned state effectively displaying the difference in what lies beneath the build-up of years. This is notable as it is unusual practice for Te Papa to showcase this process and this photo does not really do it justice. By viewing the kākahu in person you get to see the real difference in the immense amount of work that has been carried out and the unquantifiable value of this work is evident.

The work of Te Papa conservator Rangi Te Kanawa and her whānau background is a very interesting merging of tikanga Māori with the conservation ideals of the Western world. Rangituatahi Te Kanawa comes from a line of esteemed weavers including mother, the late Diggeress Te Kanawa, and grandmother, the late Rangimarie Hetet.

Her inherent knowledge adds to her expertise and understanding of the intricacies of kākahu. Given her upbringing and connection to two expert weavers, it comes as no surprise that Rangi Te Kanawa is also a weaver, a fact that only adds to her connection with the taonga: “I have a huge appreciation of the craftsmanship in this work. Because of my background, I know exactly what a whatu (twining) stitch is. I know how many whatu stitches are in each weft (horizontal) row.” The following video shows Rangi talking more about her background and gives some information about the conservation work she does with her particular interest in the degradation of natural fibres due to being dyed in iron-rich mud.

What these two stories display for me is the merging of two worldviews and the kinds of breakthroughs in understandings that this partnership affords descendants and practitioners alike. This is especially significant when there has been such a huge loss of customary knowledge. Through the hands-on work of weavers and the investigations into the chemical elements of the dyes and fibres of kākahu, we are able to regain some of what has been lost and continue this documentation of knowledge for future generations; something that Whatu Kākahu builds on.

Donna Head, Kohai Grace and Clare Butler. Photograph by Pamela Lovis. Te Papa

Donna Head, Kohai Grace and Clare Butler. Photograph by Pamela Lovis. Te Papa

Last weekend saw the final Weavers’ Studio to feature Ngā Tapuwae o Hine-te-iwaiwa after their month-long residence. It’s been a pleasure walking through Kahu Ora and seeing visitors interact with them and watching weaving in action. Ngā mihi mahana ki a koutou.

Kohai Grace. Photograph by Pamela Lovis. Te Papa

Kohai Grace. Photograph by Pamela Lovis. Te Papa

This week another group will be in the Weavers’ Studio, Raranga Kākahu, Raranga Tāngata, Raranga Whakapapa. This group includes Mark Sykes, who is also a Te Papa Collection Manager Māori, Matthew McIntyre-Wilson who made the pākē featured in an earlier post, also Sorrel Kemp and Hiri Crawford. Come in and meet them from Wednesday.

Caring for our photographic negatives

We have an enormous collection of photographic negatives and transparencies on glass and film, going back to the 1870s. They include all sorts of images from studio portraits to holiday snaps, landscapes, photographs of sports teams, and artists’ negatives and transparencies.  

Moa bone and skin, New Zealand. Burton Brothers, Maker unknown. Te Papa

Moa bone and skin, about 1880, by the Burton Brothers, New Zealand, collodion glass negative. Te Papa (C.014977)

Many negatives are chemically unstable and, if left in an uncontrolled environment, will deteriorate to the point where you can no longer ‘read’ the image they carry. 

Keeping the works cold

 A very cold environment helps to preserve them – so we keep our negatives in two walk-in cold storage vaults. One vault is kept stable at 2 degrees Celsius and 35% relative humidity. This vault is used to store negatives and transparencies on a film base. The second vault is kept at 13 degrees Celsius and 35% relative humidity, and is used to store negatives on glass plates.

Cellulose acetate film was used for negatives from the 1920s. It tends to break down to acetic acid, causing the film to shrink. This makes the binder layer form channels and spots, and the image becomes difficult to read.

Within the cool stores, the negatives are stored in lockable drawers for earthquake protection. 

 

Making more space

Steve McStay and Paul Simpson slide an empty drawer into the plan chest unit.

The existing drawers in our cool store have been filled, so we’ve begun a project to create more storage space. We’ve just finished installing the first group of new drawers, in the film vault.  

We decided to move the existing cabinets as well as add new ones. In the new layout, the drawers go up to near ceiling height, except where we need to leave space for the cooling or air filtration plant. 

The drawers are heavy as they’re made of steel and are constructed to take a lot of weight. We enlisted the help of our building-management team to get them into the store.

New drawers for slides and colour prints

One of the biggest new cabinets is an oversize drawer unit to hold mounted 35mm slides. Our next job is to transfer thousands of slides from a range of cupboards, drawers, and boxes into the new drawers. 

We also want to store our collection of older colour prints in 2-degree storage because they can fade at room temperature. We’ve included a big set of plan drawers for those.  

The new slide drawers, with one of the many boxes of slides waiting to be transferred to their new home.

Next steps

Our next step is to install new drawers and cupboards in the 13-degree vault, where we store glass negatives.

Along the way, we’ll do some small but important projects, like making special card folders (called sink mats) for glass plates that came to us broken. We’ll also be photographing over 1,500 glass plate negatives made by Berry & Co, a Wellington photography studio that operated in the 1910s and 1920s, and adding the images to Collections Online.  See more about Berry & Co WWI soldiers in our collection.

West Coast Fern Fieldwork 2012, 1 – what we were doing

I’m just back from 10 days collecting ferns in the South Island’s West Coast.

From previous collections, we knew of several currently unrecognised species of fern that occur on the West Coast. We investigated these records, visiting the sites to collect more material for our studies and to assess the plants in the field, including gauging population sizes for conservation rankings. Most of the previous records were old and lacked detailed locality information. This meant they took a lot of re-finding, but we were successful in most cases.

Gleichenia ferns often grow entangled with one another and with other plants; hence their common name of tangle ferns. But our understanding of them is also in a tangle. Two or three species are currently recognised in New Zealand, but I think there are at least five. The picture is of a new species. It looks similar to the others from above, but very different when viewed from below. I hope to formally describe it in a year or so. Then I will be able to show you the differences. Our fieldwork significantly extended the known occurrences of this fern. Photo Leon Perrie. © Te Papa.

Some of these poorly known ferns are uncommon. While we found some to be more widespread than previously thought, others appear to be teetering on the cusp between the Department of Conservation’s rankings of ‘At Risk’ and ‘Threatened’.

We also collected specimens of several ‘problem’ fern species, whose boundaries are unclear. They need further study, including with genetic analyses, which our new collections will facilitate.

Altogether, we collected about 170 specimens. These will begin to appear on Te Papa’s Collections Online in the next few weeks. However, there are some that we won’t be able to confidently identify without a lot more work.

With me were: Patrick Brownsey, Te Papa Research Fellow; Wendy Hogg, RSNZ Primary Science Teacher Fellow; and Mike Gemmell, VUW postgraduate student.

Other blog posts about our West Coast fern fieldwork cover:

Where we went.

Sticherus (umbrella ferns).

New, problematic, and interesting species.

Favourite photos

Animal miscellany

Te Papa’s Collections Online.

Te Papa Curator Visits to Yamashina Institute, champions of Short-tailed Albatross Recovery project

The Yamashina Institute of Ornithology in Abiko houses the largest collection of birds in Japan, with over 60,000 specimens, including the newly discovered Okinawan Rail Rallus okinawae, New Zealand Kakapo, and one of the world’s rarest species, the Short-tailed Albatross. The exchange with the Institute in Tokyo is part of a programme of work to develop a major exhibition at Te Papa on Albatross biology and conservation.

Kiyoaki Ozaki of the Yamashina Institute of Ornithology in Tokyo and Susan Waugh, Te Papa Senior Curator of Natural Environment discuss latest work on the Short-tailed Albatross recovery programme being conducted by the Institute. Te Papa

Kiyoaki Ozaki of the Yamashina Institute of Ornithology in Tokyo and Susan Waugh, Te Papa Senior Curator of Natural Environment discuss latest work on the Short-tailed Albatross recovery programme being conducted by the Institute. Te Papa

The visit was hosted by Kiyoaki Ozaki, Chief Researcher of the Division of Avian Conservation and Deputy Director General of the Institute. In addition to collections of birds, the Institute conducts novel and highly effective bird conservation programmes. An example is the project to restore the Short-Tailed Albatross to non-threatened status, currently listed as Vulnerable by the IUCN. These birds were once one of the most common albatrosses but over the late 19th and early twentieth centuries many millions of birds were harvested to make feather bedding, with most of the feathers exported fromJapan. This industry supported hundreds of workers, with a village of 300 living on the main breeding site Torishima Island, an active volcano, 500km remote from the Japanese mainland. The species was thought to be extinct in 1949 but was rediscovered breeding in 1951 on Torishima, its sole breeding site.

Since that time, efforts by many researchers have been deployed to safeguard the birds, which numbered only 6 birds in 1951. Methods were developed to attract birds to safer breeding sites, away from landslides and the potential of eruptions. Decoys and sound systems have been deployed, and a second breeding site on a more stable piece of land at Torishima has been established, with the numbers of breeding birds using this area steadily rising over the last few years. Almost all the birds in the breeding population are banded. The Short-tailed Albatrosses experienced rapid population growth at 6-8% per year in recent times, and now there are somewhere near 400 breeding pairs in the population.

Yamashina Institute of Ornithology researchers transfer chicks to Mukojima Island, using specially constructed crates. Photo: Yamashina Institute of Ornithology.

Yamashina Institute of Ornithology researchers transfer chicks to Mukojima Island, using specially constructed crates. Photo: Yamashina Institute of Ornithology.

Further efforts have been made to transfer chicks from Torishima to a new site in the Ogasawara (Bonin) Islands at Mukojima Island, some 850 km from mainland Japan. Specialist equipment was developed to transport the chicks, to ensure they were not overheated, and stress was minimal on the birds.

Read about the transfer of the Yamashina Institute of Ornithology’s website

Short-tailed albatross juvenile translocated and photographed at Mukojima Island.

Short-tailed albatross juvenile translocated and photographed at Mukojima Island.
Photo USFWS Endangered Species

Birds were hand-raised at their adoptive site for four months. Researchers Tomohiro Deguchi and others at Yamashina Institute studied how to do this most effectively for Short-tailed Albatrosses. New Zealand researcher Lyndon Perriman, who looks after Royal Albatrosses and sometimes hand-raises chicks at Taiaroa Head, Otago Peninsula was part of the team that undertook this study

Read the research abstract about this project

Previous experiments in the techniques had been trialled on the less-threatened Laysan and Black-footed albatrosses, with chick transfers being successfully conducted by the Yamashina Institute research team. Short-tailed Albatrosses from the transfers are starting to return to their adopted site, with around 50% of the chicks raised by hand, returning to Mukojima Islands. These birds are starting to take part in courtship displays, and it is hoped that they may start to breed in the next year.

What the adults look like – Short tailed albatross adult and chicks. Photo Jlfutari at en.wikipedia

What the adults look like – Short tailed albatross adult and chicks. Photo Jlfutari at en.wikipedia

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