Wetland words

What is a wetland? According to new book Swamp by Anthony Wilson (Reaktion Books), wetlands are “in-between areas, mixtures of water and earth, land and liquid.” Let’s explore these murky hinterlands...

  Image by Conor Beary

Image by Conor Beary


Renowned as places of abject mystery, the foreboding boat snares we call ‘swamps’ are defined by their ability to support woody plants, such as mangroves and cypress trees, and are permanently saturated by water.


The smaller and more cumbersome relative of the swamp, ‘marsh’, although very similar, is built up of non-woody plants and nutrient-rich soil that allows all manner of reeds and sedges to flourish.


Taking many centuries to form, these small patches of spongy wetland are characterised by the appearance of partially decayed plant matter called peat. They’re also home to the illustrious British pastime, bog snorkelling.


Traditionally known as ground that can’t support a man’s weight, the term ‘quagmire’, or ‘mire’, encompasses both bogs and fens. Although similar, ‘fens’ are more nutrient-rich, less
acidic and support a higher diversity of life.


Derived from the amalgamation of the Native American word for ‘small stream’, bayuk, and 19th-century French colonialism, a ‘bayou’ is a slow-moving swamp-like section of a river or lake that is filled with fresh or salt water.

Words by Matt Iredale

This article features in issue 7 of Ernest Journal, on sale now.

Issue 7
Add To Cart

Remapping the frozen continent

In issue 7 of Ernest Journal, writer and humanitarian Carol Devine shared the story of her mission to compile a list of female place names in Antarctica – some old, some new, some lost to a rapidly changing climate – and chart them on a new map of the frozen continent. To accompany her words, we commissioned map-maker and illustrator Aidan Meighan to create Carol's vision. It's fair to say we were stunned by the result...

 'Mapping Antarctic Women', illustrated by Aidan Meighan, © Carol Devine. 

'Mapping Antarctic Women', illustrated by Aidan Meighan, © Carol Devine. 

Aidan, when we first approached you to illustrate Carol Devine's map of Antarctic women, what was your initial reaction? 

I eagerly await all of my Ernest briefs and this one from Carol was particularly exciting! I loved having the opportunity to involve myself in all her incredible research. Maps are often snapshots of history; changing landscapes, politics and territories – this map not only shows history but amends it. It was a joy to map the success of these inspirational women explorers, scientists and innovators. 

What are your feelings towards this remote, frozen continent at the bottom of the world? 

It sounds like something out of science fiction – a continent made of 99% ice, with temperatures reaching −89.2 °C! I've always been a keen environmentalist and I think it's of paramount importance that we look after our frozen friend down south. Global warming and the world's biggest lump of ice... what could possibly go wrong? I've always been interested in the people brave enough to explore this hostile part of the world. But it wasn't until creating this map that I realised so many of them were women. We've been seeing Antarctica through male-tinted glasses for many years – so many maps of the past have neglected to mention the inspirational women explorers, scientists and innovators who journeyed there.

Tell us about your design process when it comes to illustrating a map.

With all maps I start by thinking of the most effective way to display the key content. From there I think about its message and how it should look and feel. Then I begin to harmonise the content with the design – it begins to get really satisfying, polishing it up until it becomes something special. In this case I thought it was important for Carol's research to do the talking. I wanted to draw influence from classic maps of the continent, while shifting the perspective to highlight those underrepresented in the past. 

You also illustrated a few other maps and images for issue 7 – tell us a bit about them. 

I LOVED illustrating for issue 7 – I could really get my teeth into it. One of my favourites was the little map of Doggerland for the East Anglia special - it's such a fascinating place and I was pleased with its aesthetic. It's really nice to get into multiple illustrations on a theme, such as East Anglia, partly because you can get into a groove from a design perspective, but also I love learning about new places. My head is full of hundreds of bizarre facts and stories, including the Orford Merman!

What's your favourite map (not one of yours!) and why?

Hmm, that is tough! There are so many to choose from and in so many styles.  Maps I love range from Ptolemy's world map, to modern maps such as Grayson Perry's A Map of Days and the extremely practical and classic design of the OS maps. Right this very minute though I'd probably go for Walter Goodacre's Map of the Moon (below), a hand drawn map of the moon's surface, drawn in 25 segments, with the total diameter measuring 77" (1910).

Walter Goodacre Moon Map 1910.png

Where would you most like to travel?

Iceland, Japan or New Zealand. The landscapes in Iceland look otherworldly – I'd love to go there and do some drawings of the mountains, lava fields and geysers.

You're currently redesigning your website - how's that going? Any other exciting developments/projects you'd like to tell us about?

Actually we are a tad behind schedule trying to get it just right, but it will launch in May sometime, which is very exciting. As well as editorial maps for the likes of Ernest, I also draw customised maps of people's homes and favourite places. The new website seeks to marry the two a little bit and basically become a map extravaganza. The page I'm most excited about introducing is 'Maps by Aidan', which will showcase the eclectic range of maps I've drawn for Ernest and other publications, such as the map of Brutalist buildings in London, bothies in Scotland and the new maps in issue 7.

Tell us a bit about your work space. What do you like to have around you? Do you listen to music or a particular station?

I've just moved house from Bristol (an incredible place to have spent the last 12 years and started my illustration career) to the green and tranquil Quantock hills in Somerset. Right now from my studio window I see a shed, a few ancient oak trees and about 20 cows that come up to our garden fence to say hello every morning. I like to be surrounded by greenery. In Bristol, without a garden, the number of houseplants in our collection got a bit out of control. My desk is usually pretty tidy, but here's an inventory of what's on it today!

A History of the World in Twelve Maps by Jerry Brotton
A hakisak
Two yoyos (a pro yo and an X brain)
A tin of earl grey tea
Three pots of Quink ink and 1 Windsor and Newton (3 black, 1 blue)
A spirit level
A hammer
A tile with a crude painting of a man riding a horse
Some big old headphones
Two terrariums and two potted succulents
Two tea-dregged 'Habitat Connor' orange mugs
...and of course my computer

I flit between podcasts (RadioLab, Ear Hustle, etc) and get my music fix on BBC 6 Music.

  Photo by Poppy French, Studio Grabdown

Photo by Poppy French, Studio Grabdown

You can see more of Aidan's work, in issue 7 of Ernest Journal, on sale now. 'Mapping Antarctic Women' is an ongoing project and Carol is keen to add to her map. Join the conversation on Twitter and Instagram using the hashtags #ernestjournal and #MappingAntarcticWomen

Follow Aidan on Instagram @whereabouts_maps, on Twitter @whereaboutsmaps and at whereaboutsmaps.com



Shooting the eerie East

For issue seven of Ernest Journal, photographer Colin Nicholls accompanied editor Jo Tinsley on her journey along the East Anglian coast, exploring ghost towns, eroding sea cliffs and the abandoned laboratories and weapons testing facilities of Orford Ness. Colin tells us about his experience photographing these extraordinary locations

  Sizewell Nuclear Power Station. All images by Colin Nicholls

Sizewell Nuclear Power Station. All images by Colin Nicholls

Colin, what did you shoot with?

I took my Fuji XT2 and my 16mm, 23mm, and 56mm lenses. This is pretty much the standard kit for most of my work – the really small size of the camera, and the overall quality of the pictures all add up to a very nice working system. The XT2 is a mirrorless camera and much smaller and lighter than a standard DLSR setup. It's all weather sealed, which proved very useful while at Orford Ness.

How did you find shooting East Anglian landscapes, in comparison with other landscapes you've photographed? Were there any challenges?

The biggest challenge was shooting landscapes that were very minimal. Usually I look for a leading line or some way of composing the image to take the viewer's eye into it, but when there is very little you have to think a bit differently. As such, I embraced the minimal landscapes and shot in a way to show the viewer the sparse landscape in all its glory.

What surprised you most about the places you visited on your trip?

Pretty much everything we did was a massive surprise and really great fun. I’d never been to the east coast of England before, so it was nice to get the chance. I think the biggest surprise was seeing how the sea takes back the land so indiscriminately.

What was your favourite location and why?

Definitely Orford Ness. Getting to go inside the weapons testing facilities and see areas that few visitors get to see was incredible. I really enjoy those kind of raw concrete structures.

Anything you didn't enjoy quite so much?

Night walking. You just can’t see anything at all; you just follow the person in front of you. It was actually quite a fun experience, especially getting to see hundreds of glow worms, but the rain that accompanied us definitely was not. When I got back to my tent everything was wet, so I had to sleep in my car instead.

Where will you be going next with your camera?

I'm currently planning a two-week tour of Iceland, which will be my fourth trip to this wonderful place. This time it’s a solo journey and I’m hoping to get a lot done in the two weeks, particularly things that aren’t the standard tourist destinations. I’ll be documenting the whole thing so I’m hoping to put together a short film by the time I’m done.

What's on your bedside table?

Only a red anglepoise lamp, which my father bought when he was 21 and gave to me when I was a teenager. I like things quite minimal.

Screen Shot 2018-04-19 at 12.02.54 PM.png
Screen Shot 2018-04-19 at 12.03.50 PM.png
Screen Shot 2018-04-19 at 12.06.56 PM.png
Screen Shot 2018-04-19 at 1.41.46 PM.png
Screen Shot 2018-04-19 at 12.04.37 PM.png
Screen Shot 2018-04-19 at 1.35.56 PM.png
Screen Shot 2018-04-19 at 1.50.21 PM.png
Screen Shot 2018-04-19 at 12.05.16 PM.png
Screen Shot 2018-04-19 at 12.05.53 PM.png
Screen Shot 2018-04-19 at 1.46.58 PM.png
Screen Shot 2018-04-23 at 10.36.24 AM.png
Screen Shot 2018-04-23 at 10.37.30 AM.png
Screen Shot 2018-04-23 at 10.38.13 AM.png
Screen Shot 2018-04-23 at 10.40.34 AM.png
Screen Shot 2018-04-19 at 1.53.57 PM.png
Screen Shot 2018-04-19 at 12.06.11 PM.png
Screen Shot 2018-04-19 at 1.44.22 PM.png
Screen Shot 2018-04-19 at 1.56.22 PM.png
Screen Shot 2018-04-19 at 1.46.30 PM.png
Colin Nicholls.jpg

Colin is a photographer specialising in weddings and editorial work, with a passion for landscape and street photography. 







You can see more of Colin's images and read our guide to East Anglia in issue seven of Ernest Journal, on sale now.

Issue 7
Add To Cart

Issue seven is ready to meet the world

We’re delighted to announce that issue seven is available to order!

Before we dive in and tell you what’s coming up – an explanation as to why we’ve been off the radar recently. Over the past nine months, Ernest Journal has been undergoing a quiet evolution. When we first launched in early 2014, independent publishing was just beginning to flourish. Now we find our journal nestled between countless new titles and while it’s wonderful to be part of such a thriving subculture, it’s also time to reflect on what makes Ernest distinctive and how we can refine things a touch. 

And so, ever since issue six came out, we’ve been boiling Ernie down. Among other more subtle changes, we’ve stripped away categories to create space for long reads, launched a series of essays and grown our ‘destination’ section to a whopping 40 pages. To be honest, we’re not entirely sure how we found the space. Ernest is clearly a TARDIS. 

This looser structure has allowed us the freedom to focus on the sort of storytelling that, we think, makes Ernest unique. We’ve highlighted some of the articles we’re most excited about below and we’ll be sharing further insights over the coming weeks.

Thank you so much for your patience and for continuing with us on this journey – we know that many of you have been awaiting this edition for some time and we're sorry to have kept you waiting.  

Also, a special thank you to everyone who has been with us from the very beginning and to the completists who have been staunchly collecting back issues. It makes us beam with pride to think of Ernest Journal stacking up on bookshelves around the world. 

Subscribers, we will post your copy out fresh from the printers in about two weeks' time. You can also order issue seven from our online store, or wait for it to arrive with your local indie magazine retailer. In the meantime, we’d be over the moon if you could share news of the new edition with your friends and followers. And please do get in touch with any queries and to let us know what you think!

Right, let's have a look at what's inside... 

Inventory I

A treasury of artefacts, specimens and curious tales including the immortal jellyfish, subterranean mail trains, disappearing sounds, cryptic messages, ghost net goods and techniques for cooking with shed tools.

Mapping Antarctic women

In a bid to celebrate the vital roles women have played in shaping our knowledge of the Antarctic, humanitarian writer and researcher Carol Devine is re-mapping the frozen continent, shining a light on female place names and sharing their little-known stories.

Bread making in space

A team of engineers, scientists and food researchers is striving to bring the simple pleasures of (crumb-free) bread to homesick astronauts.

The Kearton Brothers

Meet the Victorian duo who developed the photographic hide through a series of absurd devices.

Route 500

Journey with photographer Sarah Mason as she finds a tonic for her anxiety in the wild landscapes of Scotland’s north coast.

The evolution of sea charts

Today we rely on GPS devices to navigate, but it wasn’t so long ago that nautical charts told of coastal topography, off-lying islets and even mythical islands – and of course, guided us safely through the high seas. C.C. O'Hanlon navigates the history of nautical cartography, from tactile maps to medieval charts.

Prince Philip: volcano god

Travel to the Melanesian island of Tanna where residents worship Prince Philip as a 'garden god'.

Inventory II

A smörgåsbord of photography, apparel and wild food, including a journal of winterscapes, the etymology of wetlands, swimwear made from waste, how to make jerky, a tent hammock and how to create a mountain cyanotype.

Issue 7
Add To Cart

Making an Exhibition of Themselves

A stiletto umbrella for defensive purposes, a pen knife with 80 blades and an envelope folding machine – just three of the items unveiled at the Great Exhibition of 1851, the greatest show and tell session the world had ever seen...

Screen Shot 2018-01-08 at 11.07.29 AM.png

Lewis Carroll said the Great Exhibition was “like a sort of fairyland”, while essayist Walter Bagehot wrote that it was “a great fair under a cucumber frame”. The Crystal Palace was built especially for the show – over 30 metres high and the size of 15 football pitches, with over 10 miles of aisles. 

The exhibition was the brainchild of Prince Albert and was opened by Queen Victoria on 1 May 1851. During the six months its doors were unlatched, visitors consumed 28,046 sausage rolls, 1,000 gallons of pickles and 37 tons of salt. Six million people paid entry to walk among its exhibits from all over the world, including a piano that could be played by four people at once, papier mâché furniture, and a dressing table that doubled as a fire escape. 

Visitor Mary Smith was recorded marvelling over an invention that may have inspired Wallace and Gromit: a bedstead fitted with an alarm that on the set hour would fold itself up, hurling the sleeper out of slumber. Another display was a glass case holding 200,000 live bees, which brings to mind Damien Hirst’s formaldehyde installations. But what other Great Exhibits left their mark? 

Screen Shot 2018-02-08 at 12.24.47 PM.png

The Tempest Prognosticator
By Dr George Merryweather, museum curator
Whitby, England

This elaborate apparatus was developed by Dr George Merryweather after he observed that leeches became agitated when there was a storm approaching. To harness this phenomenon, Merryweather placed 12 glass bottles around the base of a circular stand, at the top of which was a bell surrounded by 12 hammers. He placed a leech in each bottle, and as the leeches became agitated by an approaching storm, they would crawl up the bottle, dislodging a piece of whalebone, which would make the bell ring. Merryweather explained the reason for the bottles’ positioning was so the leeches could see their fellow inmates and “not endure the affliction of solitary confinement”.

This invention may have had an unpredictable influence, not just on natural barometers that followed, but also on subsequent studies into human barometers that looked at how approaching weather formations affect mental health.

You can see a replica of the Tempest Prognosticator on display at Whitby Museum. 

Screen Shot 2018-02-08 at 12.25.42 PM.png

The Yacht Piano
By William Jenkins, inventor and manufacturer
London, England

What does every gentleman’s yacht need but a piano? And with William Jenkins’ clever design displayed at the Great Exhibition, a collapsible keyboard meant the notoriously cumbersome instrument could, when folded, measure just 131⁄2 inches from front to back. Made from walnut – and carved and ornamented in the Elizabethan style – Jenkins exhibited it as an “Expanding and Collapsing Pianoforte for gentlemen’s yachts, the saloons of steam-vessels, ladies’ cabins, etc.”

Various companies went on to make yacht pianos, including Chappell & Co and Crammer & Co, as well as London department stores like John Barker and Whiteleys. Some models were elaborately decorated for the most wealthy yacht owners.

Jenkins’ Yacht Piano may even have influenced later designs. In 1866, Charles Hess filed a patent for a ‘convertible bedroom piano’, which, as well as being a fully functioning instrument, came complete with a hidden couch, a closet for bedclothes, a wash basin and a music stool containing a writing desk and looking glass. 

Screen Shot 2018-02-08 at 12.25.23 PM.png

The Comical Creatures
By Hermann Ploucquet
Stuttgart, Germany

Besides the Koh-i-Noor diamond from India, one other exhibit that was said to really capture the attention of the crowds was that of taxidermist Hermann Ploucquet. Even Queen Victoria herself described Ploucquet’s display as “really marvellous”.

Ploucquet’s tableaux featured a large number of stuffed animals in human scenarios. Among the scenes were duelling dormice, ice-skating hedgehogs, a frog carrying an umbrella, and six kittens serenading a piglet underneath her window.

A reviewer from the Morning Chronicle wrote,“The animals borrow exaggerated expression without losing their brute looks and the rationale of the irresistible risibility which they excite is the wondrous union of brute face with human expression.”

Plouquet’s exhibit was so popular, his book The Comical Creatures of Wurtenburg was rushed out in the same year. His work is thought to have had a great deal of influence on subsequent artists, such as taxidermist Walter Potter, as well as on a fair few greetings cards since. 

Words: Lela Tredwell, Illustrations: Johnathan Montelongo

Read the full feature in issue 6 of Ernest Journal, on sale now.

Print issue 6
Add To Cart