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Freezing Specimens And How To Mitigate Freezer Burn.

Written by Jazmine Miles Long, Taxidermist. https://www.jazminemileslong.com, Twitter: @TaxidermyLondon; Instagram: @Jazmine_miles_long

In my opinion there isn’t one system to do things correctly in taxidermy, every museum or taxidermist may have their own preferences and strategies already in place. This is simply a guideline that works for me, and I hope it can help others to mitigate some of the problems I encounter when working with skins that have been frozen in a way that has accelerated freezer burn. Following this advice might get more time out of frozen specimens and give you a greater chance that they can be mounted once the budget or staff time is there to pay for taxidermy or processing cabinet skins.

What is freezer burn?

Freezer burn happens when the moisture is evaporated out of the animal’s skin and muscles over time in the freezer. Most specimens even if they are well packed in the freezer will still get some freezer burn over a long period of time but it will be much worse if the specimen is poorly packaged or has something absorbent (like a paper label) inside the bag with it.

You can tell if a specimen has freezer burn because it will look white and dry in areas such as the feet, hands, around the eyes, ears, and mouth. And when you start skinning the skin will be yellowed and hard to remove rather than red, fleshy, and easy to peel away.

Firstly, I advise to always freeze your specimens before handling or skinning them. At a minimum you could record the specimen’s weight before freezing as this measurement is affected slightly after freezing. I personally would not take any other measurements until after they have been thoroughly frozen (unless you want to collect live parasites). As the animal dies, any parasites on the skin of the animal will leave the body as it cools and hop onto the next willing subject which will be you or any living creature in your lab! A note that fleas are not killed over night, if you freeze a fox for example leave it in there for at least two weeks before defrosting. It completely depends on the temperature of your freezer however so if you start to defrost an animal the fleas will defrost first, so if there is movement you know to refreeze! Obviously very large animals may need to be skinned straight away, so in this case my advice is wear appropriate PPE.

Great Spotted woodpecker. Image by Jazmine Miles Long.
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The ‘Social History of Natural History: People and Plants’ Workshop One

March 11th 2022, Powell-Cotton Museum

Written by Alexandra Slucky (Assistant Heritage Consultant & Environmental Archaeologist, Atkins, York Office) and Fiona Roberts (Collaborative ESRC PhD student, Cardiff University & Amgueddfa Cymru-National Museum Wales).

Decolonizing collections has been at the forefront of museums for quite some time. Thinking beyond the Western museum structure, many institutions have taken new opportunities to view indigenous knowledge from indigenous perspectives by revisiting old collections of anthropological material intermixed with botanical specimens. Four years in the making, Workshop One is part of a one-year project called ‘People and Plants: reactivating ethnobotanical collections as material archives of indigenous ecological knowledge‘, beginning in January 2022. It is led by National Museums Scotland, Royal Botanic Gardens, Kew, and the Powell-Cotton Museum, and funded by the Arts and Humanities Research Council (AHRC).

Entrance to Powell Cotton Museum, Birchington-on-Sea, England, Photo by Alexandra Slucky

The main aim of the project is to engage with three unique indigenous collections located in UK institutions; Somalian, Amazonian, and Aboriginal Australian. The project examines the value and relevance of ethnobotanical collections, both in the present and the future, aiming to bring academics, researchers, museum professionals, botanists and indigenous knowledge holders together in conversation. To focus on sharing authority, it gives a museum voice to women of colour through a process of reactivation, recovery, and relationships, with the result creating more inclusive conditions for future collections.

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NatSCA Digital Digest – June 2022

Compiled by Glenn Roadley, NatSCA Committee Member, Curator of Natural Science at The Potteries Museum & Art Gallery.

Welcome to the June edition of NatSCA Digital Digest.

A monthly blog series featuring the latest on where to go, what to see and do in the natural history sector including jobs, exhibitions, conferences and training opportunities. If you have any top tips and recommendations for our next Digest please drop an email to blog@natsca.org.

Sector News

NatSCA Lunchtime Chats

The new lunchtime chats are for members only and run on the last Thursday of every month. In our last session we heard from Hannah Clarke at the University of Aberdeen, presenting ‘The Marvellous Molluscs Project – Lessons Learnt So Far’.

This series is supposed to be informal, no fancy equipment is needed, it will be put out over the NatSCA Zoom platform and there is no fixed format. There will be shaky walks through stores by mobile, demos, plain pieces to camera or traditional PowerPoints if that’s the best way to share images and info. For those who want to take part please email training@natsca.org to put forward your idea; if a stable internet connection for what you want to achieve is tricky we can put up a pre-recorded video and then speakers can jump in at the end for the discussion.

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Unravelling the Golden Thread: The Silk and Cocoon Collection at the Manchester Museum

Written by Piotr Korpak, Visitor Team Assistant, Manchester Museum, The University of Manchester.

Last August saw the Manchester Museum entering the final phase of its capital project called hello future when it closed to the public for over a year, until February 2023. Major redevelopments like this tend to be quite stressful for most institutions, but also bring a lot of excitement and many valuable opportunities for individuals. Being closed to the public meant no visitors and so I was able to support work in other departments. Always interested in natural history collections, I welcomed the chance to work with the Curatorial Team in the Entomology Department with true delight.

The Museum’s arthropod collections are amongst the top three in the UK, with over 3 million specimens, out of which about 2.5 million are insects (Logunov and Merriman, 2012). As is the case with many museums, the collections are vast, the staff numbers small, and it can be difficult for curators to catch up with the backlog of past acquisitions and historic materials. No doubt one could find boxes, cabinets, and all other imaginable storage units full of specimens still awaiting their official accessioning, cataloguing, research, and digitisation in any museum.

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Vertebrate Collections of the Institute of Biology, UNAM, Move to the New Building of the National Biodiversity Pavilion in Mexico City.

Written by Fernando A. Cervantes, Professor and Curator of Mammals, Department of Zoology, Instituto de Biología, UNAM.

Mexico is a megadiverse country and has 10% of the world’s species. The Institute of Biology of the National Autonomous University of Mexico (IBUNAM) houses the National Biological Collections (NBC), which contain the largest and most important representation of museum specimens of Mexican biodiversity in Mexico. These include 10 zoological collections, a herbarium, and a botanical garden (Zambrano and Reynoso, 2003). Among the highlights are the National Insect Collection (CNIN), with more than 3,000,000 specimens, the National Herbarium (MEXU), with more than 1,500,000 specimens, and the living collections of the Botanical Garden. They all collaborate in the elaboration of the national biological inventory and their specimens provide knowledge on the presence, distribution, and evolution of biological diversity (Cervantes et al. 2016).

   The NBC are located at the IBUNAM facilities in the Ciudad Universitaria campus, south of Mexico City, Mexico, where they have been for approximately 22 years now. However, the rapid growth in the number of specimens in each of the collections over the last few decades has meant that the space in which they are currently housed is no longer sufficient. At the same time, the number of academic personnel associated with the NBC, students, equipment, and materials have grown in parallel and demand the need for more space to allow for the proper functioning of the NBC.

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