To start, could you share a little about your background: where you grew up, your travels, and what first led you toward noticing fungi in the world around you?

Absolutely! I’m Róisín and I started Mycological Memories earlier this year. It’s a project exploring the cultural, natural and mythological roles fungi play around the world, based on my research and fieldwork as I travel.

I’m from Ireland, where I spent many summers hiking and camping. I only became curious about fungi after I found my first mushroom when I was studying Biotech in University. After finishing my Masters, I wanted to work with mushrooms and found a position with a mycology focused start-up in Scotland, and later in Australia. That work taught me so much and really supported my curiosity in mycology.

This year, my partner and I decided we wanted to take some time to travel, but I didn’t want to give up my passion for mycology. I decided to research fungi in every country I visited, which grew into the idea for Mycological Memories. I had no idea how it would go, but the project has led to many incredible experiences of meeting experts, conversations with locals, foraging trips and gathering many stories through interviews and surveys.

It’s been more rewarding than I could have imagined, slow traveling through Indonesia, Thailand, Vietnam and China already. Now I can’t picture traveling in any other way!

In your post “How I Met Mushrooms…and We Fell in Love”, you describe your first encounters with fungi in a very personal way. How has that moment continued to shape your relationship with mushrooms today?

Yes, in that story I describe the moment I found a mushroom for the first time. Up until then, mushrooms were only the white buttons at the shops. I had always loved nature, but I guess I hadn’t been paying full attention. On the day I found the mushroom, it was so peculiar and unexpected. I knew so little about mushrooms then that I even thought touching one would be poisonous. It sparked my interest in mushrooms but it also made me curious, what else had I not been seeing?

After that, I continued to notice fungi more and more and each sighting brought its own set of questions; why is this one pink? Why does this have pores? Why is this growing out of a log? Each question led to another and the answers were never obvious.

Now, I’m always scanning everywhere I go for fungi, but in this practice I noticed many other changes too. My enthusiasm to find mushrooms brought me outside more - not just when the sun was shining but into cold autumn rains and down muddy trails. It forced me to slow down.

The slower you move, the more mushrooms you see, and the more everything you see. I started noticing so many insects, sprouting saplings, burls on trees and it revealed a whole new layer of reality.

It also forced me to be present and my slow mushroom walks became meditative. I happily stroll for hours, humming while looking under leaves. But also discovering fungi has led me to many connections. Walking with friends, family or strangers and looking for mushrooms is pure magic. It’s very special watching that child-like excitement reveal itself again when someone finds their first mushroom.

You’ve named your Substack Mycological Memories. What does memory (whether personal, cultural, or ecological) mean to you in the way you tell stories about fungi?

Well, up until recently I really only worked on mushrooms from a scientific perspective. Although I love the science side, I felt like there was this other unexplored aspect of fungi.

Humans have always been connected to nature. We have developed stories to make sense of the world and culture to interact with it. This intersection between human and nature is well explored with animals, trees and even mountains and rivers - and I thought even if I couldn’t feel it right now, the same connection must exist for fungi.

When I moved to Australia for work I was perplexed by the paradox of first nations people being here for >50,000 years and yet so little about Australian fungi is scientifically known. I was struck by a comment I heard, that some aboriginal groups would be upset if certain mushrooms were picked. Information like that should be part of the wider discourse in science; we should be aware of these cultural caveats and they should be considered in research.

Memory to me has a few layers. There is the first layer of personal memories, the moments that shape our experiences, good or bad. Like finding your first mushroom, or that special meal you had with foraged fungi. The second layer is a cultural memory. The imprint fungi have had in tradition, the wisdom passed down through generations, the medicinal therapies developed within families, the common names and their meaning. And the last layer is the fungi themselves. They have been on this planet much longer than we have and they have a lot to show for it!

They have conquered all continents, made relationships with countless organisms, survived extinctions and just done bizarre things like learning how to glow! I like to think I can share a bit of that memory. Together, all these layers create a collective memory of our experience with fungi.

Some of your travels have taken you into unexpected fungal landscapes, like in “Desert Highway, Dreaming of the Dead-mans foot mushroom, Pisolithus.” What did those experiences teach you about resilience and adaptation, both in fungi and perhaps in ourselves?

Well, when I moved to Australia for work - although I knew I was going for mushrooms, something in me didn’t believe it. Mushrooms grew in cold wet forests and I couldn’t picture it any differently. But I was absolutely wrong as I quickly discovered. In Australia, mushrooms were fruiting in dusty dry landscapes.

Seeing the Pisolithus fungus fruiting under this heat amazed me. Pisolithus is a great example of this ability to adapt to extreme environments. It has learned to deal with high temperatures, high UV, low pH and grows comfortably around heavy metals.

What I learned while traveling so far is that when it comes to nature, there really are no rules. I’ve thrown all my preconceived notions out the window. From seeing mushrooms growing in deserts to seeing evergreen oak trees - if there is a niche available, something is going to grab it!

You talk about encountering bioluminescent mushrooms in “The Glowing Spirit of Our Forests.” What was it like to see them in person, and how did you write about that strange experience for your readers?

When I found the ghost mushrooms, it was in daylight, so I brought some back to my house. I assumed they probably wouldn’t glow anymore once picked, but to my surprise when I shut myself into a dark cloakroom with them, they still emitted their green glow.

It really does feel like magic, seeing something like that. I tried to photograph them, but my camera was not good enough. It almost made it more special, since this green glow was only going to be visible to me in this present moment.

I imagined how mushrooms like this would have captured the imagination of anyone who saw them. It’s easy to forget that before electricity, light came only from the sun or fire. Something like a fungus producing its own green glow would just be mystical to anyone. So, I tried to picture that feeling.

Then I did some deep research. I wanted to first understand the fungus; why does it glow? Which, like many things in mycology, is understudied. Then, I wanted to understand the cultural context. Luckily, I was able to find some brilliant first hand accounts of the first colonisers to Australia finding this mushroom and the fear it induced for them and the first nationals people. I liked to imagine this mushroom was giving them a warning.

“James Drummond, however, recorded that O. nidiformis was referred to as “Chinga”, believing that the spirits of ancestors resided within the mushrooms. For this reason, they avoided camping near them at night, and looking directly at their glistening green glow.”

Finally, I added in my own observations - why do I always see Omphalotus in commercial pine forests? It seemed to me like another act of defiance, fighting against the logging industry that has removed so much of Australia’s unique old growth forests.

From there, the story reveals itself. A spooky mysterious tale. A mushroom that is both poisonous and ghostly. I like to weave in personal experiences to give it flow and let the reader connect to me too.

Your piece on the Australian giant red gum highlights the unseen fungal networks supporting those towering trees. Has learning about these hidden connections changed how you explore and experience forests?

Finding out about the underground network did not surprise me. Maybe because I had already studied ecology and microbiology; but I knew nothing works alone. The mycelial networks are incredible, but fungi are only part of the wider system.

The network only exists because of the trees that feed it, the trees only exist because of the insects that spread their seeds, the insects only exist because they can munch on the mushrooms growing from the network…and on it goes. Everything is entangled, everything is entwined.

I guess for me, it’s realising that you are part of the network, not outside of it.

We like to think we are separate from nature, but we are part of it. Travelling this year I have been able to see that more clearly, since people live so close to the land in many parts of Asia. I guess, once you realise that, walking through the forest becomes a lot more personal. You’re not just an onlooker, you are experiencing part of yourself.

When you die, you will return to the forest, to the soil and literally be fed through the mycelial network. You’re welcomed home and the cycle continues! Once you’ve established that familiarity, it is very hard not to care about your surroundings, and I’ve yet to become bored while exploring nature.

In Finding Wild Mushrooms at the Market in Khun Yuam, Northern Thailand, you capture fungi in a social, everyday setting. Do you see fungi as a bridge between the ordinary and the extraordinary?

Well, I see it in two ways. The mushrooms, how they are in nature and the way we interact with them. In Khuan Yuam for example you are surrounded by these stunning tropical forests teeming with biodiversity. But seeing how the locals have become intertwined with those forests by bringing that biodiversity into their food and customs is really interesting to me.

Maybe not a bridge between the ordinary and extraordinary, but a bridge to see the ordinary as extraordinary. The transient nature of mushrooms sets them apart from flora.

When an abundant summer plant blossoms no one really notices, but when it is that one time of year, when mushrooms fruit, everyone goes crazy. It creates an urgency, like a gold rush - to get out and pick them before they are gone!

Mushrooms are also unlike plants because they are either difficult or impossible to grow. Many of the most prized edible fungi such as chanterelles and boletes, only grow when connected to their mycorrhizal tree partner. Often these relationships need to have been established for years before a mushroom will fruit, so when they finally grow it is extraordinary!

This is just how fungi work - they are as ordinary as any other part of life; but to us, who see things more commonly from the perspective of plants, they seem really bizarre and extraordinary.

What I love about a story like Khun Yuam, is how the locals have turned something pretty ordinary, like the natural fruiting of fungi, into an extraordinary tradition and endeavor. Because of the seasonality of fungi, these people must have other jobs most of the year.

But for those few weeks in June, they are out in the forests at 4 am collecting mushrooms to sell on the side of the road. They are basically collecting free food, and turning it into money. Nothing will be more delicious than the taste of rarity and exclusivity.

A lot of your postings mix mythology, archetypes, and the spiritual meaning of mushrooms. How do you keep your interest in science and your love of myth and story in balance?

Yes, it is a constant consideration! From my experience the conversation on fungi generally falls into two categories. Either heavy scientific literature or more free-form spiritual writing. Both have their place, but I’m trying to land somewhere in the middle. Because of the extremity of both sides, mycology is often inaccessible to most people.

If you manage to learn the complex terminology, you’ll still have to deal with most literature papers being pay-walled and you probably won’t have the time to read through it all anyway. I love reading about mycology and so it is satisfying to bring that information to more people in an easier to digest format. If there is a topic that I’m exploring that is out of my depth, I often reach out directly to the authors to clarify things or learn more.

I get frustrated when I read things presented as fact that are not based on evidence. When I talk about anything scientific in my work, I ensure everything said is backed up by literature. That includes being honest when the answers are unclear. This makes it particularly challenging to talk about topics related to medicine or beauty for example, because that landscape is rife with misinformation, poorly interpreted science and sometimes just lies.

A problem for mycology also is that so much is understudied. The more questions you ask, the more you realise how little is actually known. Sometimes that can be unsatisfying but you just have to stay true to the science. The beauty of science is that the facts actually show you how remarkable and magical our world actually is - no need to make things up because it already is incredible all by itself.

So that’s the science and research; but there is also the story aspect! A major part of this project is covering real life stories and voices of people connected to fungi. I gather this information by meeting wonderful people in person or through my online survey.

The parts of my work coming from these interactions are not based on scientific evidence, but based on my honest lived experience. If a local man tells me a story that doesn’t check out scientifically, but has been part of his lived experience; then that is absolutely true for him.

The way I approach writing these first hand experiences is fundamentally different to how I write the scientific factual side. For example, in Thailand I talked to a man who told me “All small white mushrooms are edible”. I know that this is not true, especially the world over - but practically and from his lived experience, it was valid. He was mainly referring to Termitomyces microcarpus, a small white edible mushroom.

Just because it’s not academically researched doesn’t mean it’s not important or interesting. It’s just important to distinguish between the two.

Weaving all of this together in prose makes it easier to understand to a wider audience and more enjoyable to read. I hope that when people read my posts, they will learn something new about mycology and be inspired by the story to look at their environment differently.

Your writing has a beautiful and thoughtful tone. Do you have a specific way of writing or a ritual that helps you get across what you call the “spirit” of mushrooms?

Thank you so much! With the pieces I write for Substack and for my book, I try to focus everything around a story. Before I go to a new location, I do online research about the fungi in the region. I also try to reach out to people who might be interested in meeting and discussing their work or their passions.

At that stage, I don’t know what I will write about until I find it through field work and online research. If I’m meeting someone for example, I prepare some questions that I want to explore with them.

Writing is a skill I am new to, so I’m going through a lot of trial and error. I bring my field notes, research and ideas together using the Notion software. For my book this really helps me join the dots on different themes and topics as I explore.

When I start to write a story, I drag and drop all the relevant information into a separate page and begin to write! I find relevant papers covering mycology, ecology, ethnomycology, folklore and culture and then look for secondary sources like blogs. I keep a master bibliography to track all my citations across my work. Then, I see where I can tie in any personal experiences with that topic.

Once I have the structure of the story together, I like to see if I can find a unique theme or angle to make the story more interesting to read. For example, when researching for my recent post on Termitomyces mushrooms I loved how the termites themselves farmed the mushrooms. I decided to write from the perspective of the termite, showcasing their active relationship with the mushrooms.

I like to add in emotions and descriptions to bring the story to life and make it a narrative literary piece instead of just non-fiction. What I aiming for at the end is a dynamic overview of whatever fungi or topic I am exploring. That is the spirit of the mushroom, not one dimensional, but multifaceted in so many ways.

You called Substack “a soft landing” when you initially joined. What has been the most surprising thing about getting people to read about fungi and memory with you?

The first surprising thing has been that people are interested. The idea for this project came from my own desire to read more about fungi from different perspectives. I thought, if that information isn’t already out there, then maybe people don’t want to hear it! But I’ve been pleasantly surprised to see that there is some interest there.

Secondly, I have been blown away by the kind and welcoming nature of the people I have met along the way so far. When I reached out to people at the beginning explaining my project and asking if they would like to chat or meet, I just assumed I would never receive a reply. But, the opposite often happened. Although fungi is a niche topic, those already involved in it are always very passionate and willing to share.

What topics, fungus, or sceneries are you most looking forward to writing about in your next essays? And how do you think your writing will change as your readers become more interested?

I’m lucky to have come across so many interesting topics over the months, so I have slowly been researching and writing those. In particular, I am really interested to share my experiences in Yunnan, China. I have also met and interviewed some really interesting people so I’m looking forward to weaving their stories into upcoming work! Soon I will travel to China, Korea and Japan where I’m sure to find some more mushrooms to explore.

In the long term, I’m excited to see how this project grows with Substack and how it will influence my writing. I am not an expert writer by any means, so I am looking forward to honing the craft of writing as I go.

Ultimately, my main focus is on writing my book which I will continue to research in the field and online until probably mid next year. My travels next year plan to take me to South Asia in places such as India, Sri Lanka, Nepal and Pakistan. There is a strong culture of ethnomycology in these places that I’m keen to explore.

Using Substack allows me to stress test some of my ideas and stories and guides me through feedback into what resonates and what doesn’t. It makes this book project feel more like a living breathing project even when it is still in the research phase! In the future, I do have an aspiration to work on a project focusing on Ireland and our relationship to fungi. But that will come once I am settled back at home.

If Róisín’s stories have sparked your curiosity about the hidden world of fungi, you can follow her ongoing journey on Mycological Memories on Substack.

She’s also gathering stories, traditions, and encounters with mushrooms from around the world, you can share your own by filling out her short survey here.

And if you happen to cross paths on her travels, she’d love to meet fellow fungi enthusiasts in the field.

He digs into where names like chanterelle come from and what they reveal. He’s helped chefs, restoration ecologists, and labs apply fungal science.

In his “Names of Mushrooms” series, he breaks down the history and culture behind each name. Learn how he picks the next mushroom to feature. Discover the technical challenge, like mastering focus stacking, that shaped his photography and the image he’s proudest of.

See how he balances writing, consulting, and macro photography. Read about a field encounter that shifted his perspective on fungi. Uncover the ecosystem roles most people overlook. And finally, get his top tips for starting in mycology.

You're from Mexico, led a mycology club in California, and hunted mushrooms across North America and Europe. How has that shaped your work?

I left Mexico for the United States when I was 4 and always maintained a strong tie to the country and culture. My father is from the northern Mexican state of Sinaloa, and my mother is from France, meaning I grew up in a very multicultural environment.

This said, after living most of my life in the United States, including my most formative years, I am no doubt culturally very American despite not having residency or papers in the country.

Regarding my experience in mycology, well, that all started while studying at Humboldt State University in northern California. Within the first couple of weeks, I attended a mycology club meeting and was hooked.

I was already into botany and had done a peek into the world of mushrooms, but only superficially. The mycology club, comprising eccentric and knowledgeable personalities, became the hub of my social community during my studies there, until I eventually became president of the club. We did routine walks and trips to the nearby mountains looking for all sorts of mushrooms. We also did a bit of cultivation workshops.

This part of the world is really a mecca for mushrooms, as it has a mushroom season 365 days a year if you know what you’re doing. Temperatures rarely fall below zero, there’s moisture year-round, and there’s a diversity of habitats and altitudes at an arm’s reach.

After graduating, I genuinely tried to stay in the country and sought potential work opportunities. This proved somewhat challenging in the environmental field (the focus of my studies), given my visa status.

Most of my peers secured jobs working in government agencies or non-profits, both of which typically only hire non-citizens in exceptional cases, and not usually for entry-level positions.

After several interviews in the private sector, I realized it would be significantly challenging to secure a work visa. Despite these potential employers wanting to hire me, the challenges of the immigration system made it difficult, especially since they were looking to fill these positions as soon as possible.

Dispirited by the job search, I decided to return to Mexico and see what life I could make for myself there. I went back to Mexico and eventually traveled through Central America, and eventually found myself working at an Environmental Education center located in Costa Rica.

There, I helped in many areas, including teaching courses related to mushrooms and permaculture. For several years, I went between there and Mexico, always looking for mushrooms along the way. I regularly visited Mexico during the summer mushroom season to attend mushroom festivals and travel around the country looking for mushrooms.

Mushroom season in Mexico (about June-September) is fantastic for many reasons, but one of which is that the country is incredibly diverse.

Mexico has the highest biodiversity of Oak and Pines, two plant genera recognized for their ability to form ectomycorrhizal relationships with fungi. You get an exciting mix of tropical and temperate species in the country, many times in the same environments, meaning you get an incredible plethora of plant and mushroom species.

You also have some of the most mycophilic cultures on the planet, who have ancestral traditions of gathering and cooking many wild mushrooms, making mycology an exciting cultural and gastronomic experience.

For example, the Tlahuica-Pjiekakjoo communities in central Mexico recognize and consume nearly 200 mushroom species. Many communities host mushroom festivals during the rainy season, which are exciting places to learn and meet locals and very talented amateur and professional mycologists.

When the pandemic began, I was in Costa Rica working at the environmental education center I mentioned earlier. With the inability to receive guests, the place had to close down, and I decided to look for work online as a freelance writer.

I had always enjoyed writing and decided to sign up for various freelancing platforms and apply for gigs. With no portfolio or experience, I managed to secure some tedious and low-paying jobs writing about numerous environmental topics. Slowly but surely, I started raising my rates and finding more serious clients looking for quality work.

The pandemic was actually kind of a boom time for this, as many people had extra time on their hands and needed writers for their “pandemic projects.” Throughout the years, I’ve written a significant amount of content for blogs, websites, magazines, and internal documents for private companies and non-profit organizations. Since 2020, freelance writing has been my primary source of income and has given me the flexibility to travel and work from anywhere.

In 2022, I went with my ex-partner to Europe, where I spent over a year traveling while continuing my freelance writing gig. We did a bike tour of over 2,500 km traveling through Germany, Poland, the Czech Republic, Austria, Slovenia, Italy, and France.

In Germany, I got to try the Pheasants Back Polypore, in Poland, I tasted Macrolepiotas for the first time, in the Czech Republic, I had extensive conversations with the mycophiles of the region, and in Italy and France, I routinely saw the presence of wild mushrooms in the cuisine.

In France, I also attended various mycology-related events, including a 4-day mushroom festival in Normandy. It was the 60th anniversary of this event, and it was truly incredible to be part of such a well-developed and organized gathering, full of mycophiles with niche traditional and scientific knowledge.

I was impressed to learn that many of the mycologists in France were doctors or medical professionals, due to a legacy of mushroom identification being taught in their studies.

Historically, people could take mushrooms to pharmacies in France to verify the edibility of their harvests, meaning mushroom ID courses were required for pharmacists.

Outside of the mushroom season, I volunteered in numerous dairies in Spain and France, where I worked with animals and made cheese. I’ve learned a lot about the fungal microbiome of cheese as well. My ex-partner is an expert cheese maker.

Your “Names of Mushrooms” series goes into each name’s history and culture. What made you start exploring fungal etymology? How do you choose which mushroom to feature next?

Indeed, in my blog, you can find various texts in the “Names of Mushrooms” series. Some of these are admittedly prematurely published as they require a bit (quite a bit in some cases) of polishing.

These are texts that I have written when I’ve had gaps between work and something I do for my own pleasure. Eventually, I would like to publish these in a book. I’m working on this slowly, but it can be hard to find the time when I have paid writing gigs pending.

Considering I already spend enough time behind the computer, I usually like to spend any time outside of my projects walking through the woods or working in my garden. I’ve been told I should try and find a publishing company and make a contract to write the book, but it’s not something I’ve looked into seriously. If anyone has experience with this and likes the work, please feel free to reach out!

You upgraded your gear for focus stacking early on. How has that changed your style, which technical hurdle taught you the most, and which shot are you most proud of?

For a long time, I primarily used my phone for photography. I actually got a lot of great shots with a simple smartphone, and this got me started in my photography journey.

I had a DSLR, which was gifted to me, but without a macro lens, you can only get so far photographing fungi. Eventually, I got a macro lens and a tripod for my Nikon D3200 and managed to take slightly more “professional” shots.

I spent about a season and a half with this equipment, utilizing a small aperture and long exposures to get a nice depth of field with the shots. I initially used a focus rail for stacking, but soon realized the benefits of a camera that can do focus bracketing internally, and saved up for this.

This is a brilliant shot I got simply by utilizing my cell phone. I placed a black piece of cloth in the background for contrast and utilized a foil reflector to illuminate the gills. It came out fantastic.

About two springs ago, I went to the United States to go mushroom hunting and decided to upgrade my gear. After landing in San Francisco, the first thing I did was go meet two individuals from the Facebook marketplace to purchase a used Olympus OM-D E-M5 Mark II and an Olympus M Zuiko 60mm macro lens.

I was very fortunate to get a good deal on these since the sellers were motivated by my work. It honestly took a while to get the hang of focus stacking, but I eventually figured it out. It’s a bit tedious due to the quantity of post-processing needed, but it’s well worth the results.

I’m still learning A LOT about the art, especially extra details in the post-processing that I’m not entirely fluent in.

How do you balance art and scientific accuracy in each image?

I don’t really. Many of my favorite shots are simply artistic, trying to find the best angle and lighting for the most impressive and stunning image. In these shots, I’m not necessarily trying to get every detail or diagnostic identification feature.

I always attempt to take the shots in the most natural and intact environmental conditions, although in some cases I may move things around or place a mossy log in the background.

If I need some shots to identify the specimens, I’ll take some quick shots to review them later. Now, when I know I’m dealing with a unique species, that is rare or undescribed, I’ll take more taxonomy-oriented photos.

This usually involves finding multiple prime specimens so that I can display the morphological diversity expressed by a single species.

Afterwards, I lay them out in a way that all the unique features of the mushroom can be displayed appropriately.

Fieldwork can catch even seasoned mycologists off guard. What encounter in the wild shifted how you think about mushrooms?

One of the wildest mushrooms I had the chance to photograph, I didn’t find myself. I wasn’t even there when it was discovered.

I was working one sunny January afternoon when I got a call from a close friend of mine, Robert Kelly, who is a specialist on Cordyceps mushrooms.

For those who don’t know, Cordyceps are the so-called “zombie mushrooms” that parasitize a wide diversity of insect species.

These are more accurately known as entomopathogenic fungi, as they encompass a diverse lineage of fungal species. I’ve had a lot of fun photographing Cordyceps, and finding them is a whole thrill of its own!

Anyhow, when I answered the phone, Robert was intoxicated with excitement and overflowing with joy. I could barely understand him under the veil of his exhilarated delirium. This isn’t unusual for Rob, who has an eccentric personality, but this time I could tell he was REALLY excited.

He continued to explain that his friends saw something incredible in the depths of a cave, not too far from where we live. They claimed to have found a tarantula infected by cordyceps!

Not only is this an ominous place to find such a haunting duo, but it’s an extremely rare sighting. Cordyceps that infect tarantulas are mainly known from the Amazon Rainforest and other lowland tropical ecosystems.

They had never been documented from this high-altitude region of central Mexico, where we live, and where Robert has been documenting Cordyceps for over half a decade.

Several hours later, Robert and I made our way to the entrance of the cave near an old abandoned railroad line. Our canine companion, Suauripa, dared not enter the dark abyss and awaited outside like a noble bodyguard.

Feet first, we entered a hole just big enough to fit, and crouched down to make our way through the volcanic tunnel formed by the ancient flow of lava. With flashlights in hand, we made our way through passageways and rooms carved of sharp volcanic rock.

It’s difficult to calculate the distance, as we walked slowly and carefully, but about two hundred or so meters into the cave, in complete darkness, we found a fiery orange tarantula sitting on a rock ledge as though it had been placed there by the cordy-god herself.

To my surprise, the Tarantula's color had been completely transformed. Instead of its typical brown-earth tone, it looked like it had been refashioned by the costume designer of the original Oompa Loompas.

While orange is a standard color for many Cordyceps fruiting bodies, I’d never seen them transform the color of their host. Cordyceps militaris, a cultivated and medicinal species, exhibits bright orange coloration. Its mycelium also turns orange when exposed to light.

In the case of the Tarantula, it still impresses me that even the fine hairs on the specimen looked like they had been bathed in turmeric.

The Tarantula also had small orange fruiting bodies that grew from its abdomen, thorax, and legs. These fruiting bodies were perfectly ripe and were actually discharging microscopic spores that we could see glimmering in our lights as we did the photoshoot.

Like most ascomycota, Cordyceps eject their spores with significant force. I have a different video of this from a Cordyceps I found in Portugal.

Photographing it was a bit challenging. To begin, I had to utilize artificial lighting, which requires proper care to avoid an excessively synthetic look and sharp contrasts.

The sharp, rocky texture and irregular surfaces of the cave also made positioning my tripod difficult. Had I been more prepared or had more experience, I probably could have done this fungus more justice. Even still, I got some pretty good shots. We determined this was likely in the Cordyceps nidus complex.

Fungi do more than taste good or look cool. Which ecosystem or industry role do you wish more people understood?

I think people should appreciate fungi just for existing and being part of the amazing biodiversity we find on our planet.

All living things today represent the growing tips in the tree of life – the most recently evolved organisms of vast lineages that have survived countless extinction events.

That alone is amazing and of immense value.

Also, every fungus plays a unique role in ecosystems. Some help cycle nutrients from dead organic materials, while others form obligate relationships with plants. Most plant species, for example, depend on mycorrhizal fungi, and in some circumstances, even allocate close to half of the carbon they produce from photosynthesis to them.

Many fungi also provide unique food sources to niche insects and animals. In some cases, this can be quite significant, such as the western Flying Squirrels from the Pacific Northwest, which eat up to 20 different species of truffles that can compose 80% of their diet during certain times of the year.

I think when it comes to food, the “functional” aspect of mushrooms is something that’s not widely understood.

Essentially, eating mushrooms is REALLY good for you. Edible mushrooms produce many secondary metabolites that improve immune health, cognitive function, and overall well-being. For example, many mushrooms have ergothioneine, an amino acid that acts as a very potent antioxidant.

In a couple of clinical trials, it has been shown to improve cognitive function and potentially even help prevent cognitive decline in elderly individuals. Ergothioneine is unique because our cells have unique uptake mechanisms specifically designed for it.

We can actually store Ergothioneine and utilize it in times of high oxidative stress. This is unlike any other antioxidant. Ergothioneine is almost exclusively found in fungi, and it’s only found in plants due to their associations with mycorrhizal or endophytic fungi!

I’ve studied the health benefits of mushrooms quite a lot. I have a website called mushroomclinicaltrials.com, which is a compendium of the clinical research that has been conducted on functional mushrooms.

I believe there's a lot of misleading hype surrounding mushroom supplements, but I also recognize their potential health benefits and therapeutic applications. They will rarely cure anything on their own, but they can be part of a healthy lifestyle or holistic treatment.

I personally have experienced positive benefits from Reishi and Cordyceps mushrooms. For transparency, I do promote certain vetted, high-quality, and reputable products on my page and do receive a commission.

How do you stay on top of so many topics? Which resources or habits keep you learning?

The internet is a fantastic tool, but it’s so full of junk content. It can be difficult for anyone to navigate the vast amount of low-quality and false information that exists here. This is particularly evident now with the advent of artificial intelligence, but honestly, there was a lot of slop already before this. This is why finding credible resources is so important.

For identification, I often utilize David Arora's "Mushrooms Demystified" or Michael Kuo's website, mushroomexpert.com, as an entry point.

These are AMAZING resources, although they have their limitations, especially considering the evolving world of mushroom taxonomy. Since there are few comprehensive guidebooks in Mexico, and none for my specific region, these are often a good start.

The United States, Europe, and Asia have TONS of excellent guidebooks, something you shouldn’t take for granted if you live in these areas!

If I need a further opinion, I might refer to Index Fungorum, which is the very best place to find updated information about the most recent taxonomic changes. It can also be really useful because many species on there have links to the original descriptions. These are the descriptions that have the ultimate authority about whether the species name is accurate or not. It’s incredibly common that species names are misapplied.

Obviously, inaturalist.org is also extremely useful, but users should also be aware of its limitations and errors. This is especially true for rare or unique species. I know for sure there are a handful of taxa on there whose “profile” has been built around erroneous identifications that do not align with original descriptions set out by the authors. This isn’t a harsh criticism towards the platform, as I think it’s fantastic, but users should understand that it’s a sort of “work in progress,” especially as fungal taxonomy gets sorted out.

Lastly, I’ll search the scientific literature a lot using Google Scholar. Here you can get access to thousands of peer-reviewed research papers on almost any subject you want. Some of these can be highly technical, but if you look carefully, you can often find some more approachable texts about general topics.

I also really enjoy reading old mushroom books (I saw tons of these in Europe), or I utilize a digital database like archive.org, where you can find many digitized books.

Old texts like this can be really interesting to gain unique insight not found on the rest of the internet. The way I see it, a considerable portion of the internet is like an unregulated game of telephone. Information simply gets regurgitated over and over again from one blog to another, and eventually to social media and beyond. In contrast, books can contain novel information that either hasn’t entered the “autophagic” metabolism of the internet.

Additionally, I’ve subscribed to nearly every mycological society's YouTube channel I could find. This provides me with a decent feed of lectures and talks that I can tune into when I want to learn something new. I also really enjoy The Mushroom Hour Podcast, which has some brilliant interviews.

If someone is just starting out with mycology or mushroom photography, what practical tips would you give on identification, field technique, or making connections?

The best way to learn something is to find people who are already doing it.

Hopefully, they are nice and you can befriend them. Look for a local mycological society, go to a mushroom festival, or simply convince anyone you meet who knows more about mushrooms/photography than you to let you tag along. Having a good teacher, in person, is the fastest way to learn any skill.

For photography, practice makes perfect.

I’m still learning a lot every time I go to the field. When you're first getting started, it can really help to stage some shots in your home, especially if you're unfamiliar with and utilizing a DSLR camera.

It’s well worth it to familiarize yourself with your gear in the comfort of your own home, instead of troubleshooting out in the field when there are mosquitoes, rain, and ominous thunder that’s creeping up on you.

Where will you take Encountering Fungi next? What new series, consulting projects, or collaborations are on your roadmap? How can people connect with you?

Encountering Fungi is a bit of my personal website, but also a portfolio for my freelance writing gig in the mushroom niche. While I’ve been pretty fortunate to have consistent freelance work, I have noticed a significant decline in demand. This started at the end of the pandemic and then more so after the release of AI chatbots.

While the general decline in writing gigs has been a bit worrying, I honestly see it as an opportunity. A lot of the work that AI is replacing is the low-tier, low-paying gigs. This is generic writing work that people don’t really want to pay much money for, to begin with. I admit, I’ve done a lot of this work. I offer relatively affordable rates, and my writing isn’t necessarily published in prestigious magazines, newspapers, or journals.

This said, I’m motivated to expand my writing into new frontiers. This could mean trying to get a book contract or simply pitching to more respected publications. I’ve had a tiny bit of luck pitching articles, and while I rarely get responses, that’s just the nature of the game, from what I understand.

I really like the idea of moving more towards a journalistic writing style and writing about topics that sincerely interest me, like fungal ecology and conservation. Since these gigs tend to be a bit better as well, it gives me the liberty to really focus and invest in creating a written piece of art. At the very least, the clients I am able to maintain are genuinely interest in having high-quality and human-written content.

If anyone wants to contact me, they can do so via email at timendez@gmail.com. You can also view more of my photos on Instagram at @organicultura or on my website, encounteringfungi.com.

In this interview, you’ll hear how she tracked giant otters in Peru, woke up to a carpet of Termitomyces mushrooms in Zambia, and balances science with a poet’s wonder.

Jess grew up in Colombia, Burkina Faso, and the Netherlands and now shares a 17th-century farmhouse south of London with three generations of her family.

You’ll learn what drives her curiosity and why she invites you to protect our planet in her newsletters Beastie and The Nature of Things.

Early Inspirations

You’ve lived in places such as Colombia, Burkina Faso, and Tanzania. How did all that moving around spark your love of the outdoors?

I’m incredibly fortunate that my parents have always been intrepid and enterprising. Having two small kids never hindered them in any way. My father’s work for international development organisations took them to Bogota, Colombia, where I was born, and later to Burkina Faso and Tanzania.

I loved nothing more than going on long road trips, especially to the wildlife-rich National Parks. In between, my father fulfilled a lifelong dream by building a ferro-cement boat and setting sail with the family for two years. My brother and I spent most of our waking hours swimming, snorkelling, and beach combing.

I’m sure these places and associated travel had a lasting impact on me.

I read in an article somewhere that children who experience Nature before the age of 11 are more likely to grow up caring about wildlife and natural surroundings. Even if they don’t remember, kids subconsciously absorb and retain impressions of their environment like sponges. They become imprinted.

I also grew up without a TV or any other screen. So, Nature was the source of all fun and adventure, and discovery for me. That kind of unfettered childhood can’t fail to engender a close bond with the natural world, and I will always be grateful to my parents for the gift.

Can you recall a moment in your childhood or early career when you realized you wanted to work in or write about nature?

I was about 12 years old when I decided I wanted to be a wildlife vet when I grew up. I loved to read, and it was the books by Gerald Durrell and James Herriot that did it for me. Those same books, along with many others, usually featuring animal protagonists, also sparked a passion for the English language.

I published my first poem, about our cat, in my school’s literary magazine around that time. Seeing my work and name in print was thrilling. I recall winning an award for English shortly after and needed no more encouragement: I’ve been writing on and off ever since.

However, rather than becoming a vet, I eventually embarked on a career in wildlife conservation, focusing on understanding and protecting wild Nature, as well as managing human activities in natural environments.

Storytelling and Photography

After years in the field as a biologist, what drew you into storytelling and photography?

I am drawn to creativity. Sadly, I can’t sing, play an instrument, or paint to save my life. But the numerous books I read as a child and the camera I received as a birthday gift when I was about 14 opened up the possibility of expressing myself through writing and photography.

And because I have always been able to lose myself in a good book or a stunning photo, I also understood how powerful both can be in generating emotion and empathy in others, in opening eyes and hearts to new worlds. Especially when combined.

Moreover, when you have once-in-a-lifetime experiences in the field, you want first to record them for yourself and then to share them. Both are ways of re-living them, which is wonderful. However, by sharing them, I also hope to bring others pleasure and to inspire a sense of curiosity, awe, and love for Nature.

When you’re out with your camera, how do you recognize the shot or story you really want to capture?

I’m very much an amateur, but I think the best stories and most compelling photos emerge from full engagement in the experience, an understanding of the subject, and diligent practice.

Over time, you begin to develop an instinct for what works. And when you spend days or weeks observing a landscape or animal, you learn how to show it to advantage.

By way of example, I recently saw a trio of photos of a river scene shared by J. Paul Moore on Substack.

The first was taken on a sunny day, which produced deep shadows and harsh contrasts. The second was shot under an overcast sky, but the river surface in the foreground was too busy. The final picture was taken on a still morning with soft light.

That photographer recognised what he wanted from the start, but it took three attempts to achieve the dreamy composition he had envisioned. The last shot speaks volumes.

As with photography, where composition, light, and exposure make the image, writing, too, requires that essential components align. When they do, you’ll know you have a good story.

Fungal Discoveries

Your poem about waking up to Termitomyces mushrooms in Zambia was excellent. What details from that night stand out most in your memory?

Thank you for the kind compliment! I rarely write poems, and suffer from impostor syndrome when I do. If the poem is any good, it’s only because I was inspired by what I witnessed.

My husband and I were staying at a tourist lodge in Kasanka National Park, and I recall walking from our rondavel along a dirt path to the dining area for meals, and vaguely noticing a termite mound under a shrub each time I passed by.

One night, it rained steadily for hours, but the sky was clearing by the time I headed to the lodge for breakfast. To my utter astonishment, the innocuous termite mound had erupted overnight into a mushroom city.

It seemed inconceivable that mushrooms could grow so fast and in such profusion.

And each was a bright, pure white. Nature had never seemed so exuberant, so alive, and yet so fragile all at once. The sight filled me with joy and hope.

Beyond Termitomyces, have any other surprising fungal finds caught your eye recently?

Fungi are endlessly varied and fascinating. The mushrooms I just described, even in their abundant perfection, would have paled into insignificance beside the largest Termitomyces specimen I’m ever likely to see.

My husband purchased it from two small boys on the road in rural Zambia for the going rate of 5000 Kwacha, or about USD 1.60 (at the time).

The photo shows just how large it was. Enough to feed a camp of twenty people, as I described in my post here on Substack.

And then there was the time I came across a cluster of tiny red mushrooms on a damp rainforest trail at the Manu Wildlife Centre in the Peruvian Amazon. They glowed like drops of fresh blood. A friend thought they might be Vermilion waxcaps (Hygrocybe miniata), but I would love your readers to confirm that for me.

Writing Balance

In your Beastie and Nature of Things newsletters, you balance wonder and concern. What keeps that balance for you when you write?

The future of my children, who are now young adults on the cusp of independence, is always uppermost in my mind.

Between 1970 and 2020, the average size of vertebrate wildlife populations worldwide fell by a catastrophic 73%.

When I first read this statistic, I felt like I’d been punched. All the more so because this decline happened within my lifetime (I was born in 1972). Which means that I’m partly responsible. And we’re talking about the world’s most charismatic species here, the tigers and dolphins and frogs of this world.

If we can’t protect the cuddly or dramatic ones, what hope is there for more obscure and less loved species?

And what do the next 50 years hold in store for us? What kind of planet are we leaving our children and grandchildren? For their sakes and for future generations of all life forms, it is imperative that we restore and safeguard the integrity of the natural world.

To achieve this, we must understand, deep in our bones, that Nature’s fate is ours, because we are inseparable from Nature. It’s become a cliché, but I can’t say it more plainly: we are Nature and Nature is us.

Storytelling, whether through words, images, or other means, can and should evoke a strong sense of responsibility and urgency, as well as compassion and intimate connection.

This is why, through my writing and photography, I strive to share both the joy and beauty of Nature, and of lives filled with Nature, as well as our fear, regret, guilt, rage, despair, and grief (so many emotions!) at what we have inflicted on the natural world. I believe and hope this tension between reverence and profound concern is what motivates each of us to act in the myriad ways that are possible and necessary.

Family and Home

Living with three generations under one roof must be lively. Does that family dynamic influence how you experience or photograph nature?

Most of us are passionate about Nature and spend a lot of time outdoors. My parents have had a huge influence in that regard. Before I moved to the UK from Peru in 2021, I didn’t realise a gardener was lurking inside me.

Fast forward four years, and like my mother, I can’t relax now on the terrace without weeding around the base of my chair. But I’ve been so busy discovering the delights of creating and growing a garden, I haven’t yet had the opportunity to photograph it.

It was my father who encouraged my brother and me to take up photography. He’s a keen and very good photographer himself, especially of people and landscapes. He’s 82 now, but still regularly goes for photography walks and hasn’t lost his eye for composition, light, and story. He often reports interesting Nature finds, like these cup-shaped fungi.

My brother and husband are rewilders. Together, we have planted several hundred trees, created a wildlife pond, and installed nest boxes for owls and other birds.

The main problem I have is that there is so much to do and so many things I want to explore that I don’t set aside enough time to quietly immerse myself in Nature. I hope that my old passions of writing and photography will help to remedy this.

Looking Ahead and Advice

What projects, travels, or new naturalist skills are you most excited to explore next?

I recently joined Substack and rekindled my writing after a five-year hiatus. I can’t believe it took me so long to discover this place! I’ve already subscribed to over 150 publications. So much of the writing here is lyrical, authentic, courageous, and intriguing, or all the above. It’s a revelation, and, frankly, a bit overwhelming.

Though I know I’ve found my calling –writing for Nature– I feel like I haven’t quite identified my niche or how best to go about it. That’s what I’m most excited about right now: exploring, through Substack, how I can inspire a will to protect and regenerate our true home in new audiences.

If someone is just discovering mushrooms or wildlife photography, what one tip would you share?

I’ve been photographing wildlife and landscapes, on and off, since I received my first SLR camera at the age of 14. Best birthday present ever. However, I was simultaneously too impatient to start photographing and too lazy to learn how to use it properly. I didn’t think there could be much to it. So, for the longest time, I just snapped photos, and if they were good, it was mostly because I’d been lucky.

One morning, after spending hours on a lake taking what I imagined would be breathtaking images of giant otters and herons, I was dismayed to find only mediocre shots of blurry and poorly exposed animals. I was so frustrated with myself. I also couldn’t figure out what had gone wrong.

That was the push I needed to finally do my research and begin experimenting with depth of field, shutter speeds, and exposure, adjusting the settings, and recording and comparing the results.

All this is a roundabout way of advising a beginner to do the obvious: take the trouble to really get to know your camera (each has its foibles) and understand how its functions interact with one another.

Once you’ve got a proper grasp of the basics, your photography will improve significantly because you’ll know how to extract the best out of an opportunity. And just because mushrooms are generally small, that does not mean they are easier to photograph. Photographing small is a whole art in itself, one I’m only just beginning to master.

Many thanks to Jess Groenendijk for sharing her incredible stories, insights, and deep reverence for the natural world. To keep following her adventures and reflections, be sure to subscribe to her Substack: Nature’s Blue Hour

What inspired you to pursue food mycology, and how did your interest in fungi as a biomaterial begin?

As I narrowed my search for PhD programs last year, I had a few nonnegotiables: the program title must include "food,” the research project must have a sustainability component, and I had to be compatible with my advisor.

Based on those criteria, I applied to seven programs in food science that offered projects in alternative proteins, waste valorization, and agricultural sustainability; only one of those projects focused on food mycology, using fungi as a biomaterial.

My interest in biomaterials came before my interest in fungi, though! As an undergraduate researcher, I worked with hydrogels, which are water-based, semi-solid materials used in biomedical research and tissue engineering. They look and feel a lot like gelatin!

My first exposure to mycology was a close friend of mine who picked up mushroom foraging in college. I’ve never been a fan of the outdoors, and I couldn’t understand why he was so interested in fungi. I never thought I’d become a mycologist myself (albeit an amateur one).

2. Can you share a bit about your journey as a PhD student working on alternative proteins? Have you made any unexpected discoveries or encountered any challenges along the way?

Alternative proteins are food technology alternatives to conventional protein, and they can be plant-based, microbial-based, cell-cultivated, or even things like insect protein.

Alternative protein scientists call it “alt protein” for short.

I started in alt protein in June 2022 researching cultivated meat, which is meat grown from cells rather than farmed from livestock. I was an undergraduate researcher in the chemical engineering department at Lehigh University, where I earned my B.S. in Integrated Natural Science and Engineering in May 2024.

I was very lucky to land in a PhD program that both met my criteria and expanded on my undergraduate work—it’s not typical to perform graduate research on a topic you’ve studied before, so I had a bit of a head start.

Fungi in Food Technology

How does fungal mycelium compare to other alternative protein sources in terms of sustainability, scalability, and nutritional benefits?

Let’s start with some background to set the stage.

I use fungal mycelium as a “scaffold” for animal cells to grow cultivated meat. Scaffolds are 3D networks that provide structural support for cells; they make up the “fibrous” or “stringy” part of meat.

Think about the texture of ground beef vs. a ribeye steak; a steak has marbled muscle and fat, while ground beef is more of a mixture. Scaffolds are important for achieving that “structured” meat texture.

Other competing scaffolds in cultivated meat are hydrogels (which I researched in my undergraduate work), plant-based scaffolds like spinach leaves and soy, bacterial cellulose (used to make paper), and some animal-derived materials like gelatin or collagen.

In terms of cost, plant-based, fungal, and bacterial scaffolds are the cheapest; synthetic scaffolds like hydrogels are extremely costly, and animal-derived scaffolds will have to be made with expensive recombinant DNA technology since the ultimate goal with cultivated meat is to reduce animal slaughter.

Recombinant DNA technology means making collagen by taking the collagen-encoding DNA from an animal, giving the DNA to a controlled cell type (usually a yeast or bacterium), and then synthesizing large amounts of collagen without the need for the animal.

Soy has recently become a popular scaffold choice in academia, but it’s a known allergen that could prevent a large segment of the population from eating cultivated meat.

Bacterial cellulose and plant-based scaffolds are promising candidates because they add nutritional value to the product compared to a synthetic scaffold, but preparing these scaffolds can be costly; a lot of processing and treatments are needed to take a spinach leaf and make it into a suitable scaffold.

That’s where fungi come in—we can grow fungal scaffolds in just a few days, and little treatment is needed to prepare them because the mycelium already has that “fibrous” shape that we want for meat! Fungi also add nutritional value to the product, and they can be grown on agricultural waste streams like sawdust and coffee grounds, helping to create a circular food system.

What unique properties of fungi make them especially suited for creating alternative proteins?

There are three major benefits to using fungi for alternative proteins:

1. fungi have a comparable protein content to animal meat

2. they naturally create a fibrous structure similar to that of whole-cut or “structured” meat products, and

3. they grow fast! This makes fungi a nutritional, sensory, and affordable hero for alt protein.

You might have heard of Quorn, a fungal-based protein available in most grocery stores in the freezer aisle. Quorn is made using extremely large cultures of Fusarium venenatum, and by itself is a complete protein—meaning it contains all 9 essential amino acids!

Can you explain how changing species, growth conditions, or heat treatments can alter the material or taste properties of fungal-based proteins?

While my interests are in alternative proteins, another major reason I’m using fungi as a scaffold is to investigate the effect of evolutionary diversity on material properties.

• Are fungi that are farther away on the evolutionary tree just as different in terms of material properties?

• Do species from one family produce denser, stiffer scaffolds?

These are questions that help drive my research beyond just food.

Changing species can have profound effects on material properties. Preliminary data for my project, conducted by another student about a year ago, demonstrated that two species far apart on the evolutionary tree, Phanerochaete chrysosporium and Rhizopus oryzae, had different material properties. Generally, species that grow denser mycelium will be stronger, which affects their texture when eaten.

Fungi grown in submerged media vs. in a flat, square dish at the air-liquid interface can result in dramatically different morphologies!

Changing nutrient composition can also change morphology; this study demonstrated that Ganoderma lucidum grows radially when supplemented with lignin, a structural component in the plant cell wall; the same species grown without lignin had randomly distributed growth.

Fungi Beyond Food: Biomaterials for Packaging, Fashion, and Construction

Beyond food, how do you see fungal biomaterials being used in fields like construction, packaging, or even fashion?

Several companies like Ecovative Design, MycoWorks, Bolt Threads, and Myceen are working in these areas using fungal mycelium to make leather, bricks, food packaging, and even biomedical scaffolds for health research.

Fungal biomaterials are cheaper and more sustainable than petroleum-based plastics—it’s just a question of finding the right species and tuning the properties for the target application.

What are the most exciting applications of fungal mycelium that could transform the food industry in the next decade?

I’m biased to say fungal mycelium for cultivated meat, but that’s realistically a very small corner of the food industry. I think fungi for food packaging could get pretty big in the next 10-20 years.

A lot of research is still needed to identify the right species and growth conditions to make packaging suitable for different kinds of foods, though.

What role do you think fungi can play in addressing global issues like food insecurity, environmental degradation, or climate change?

You’ve probably heard of mycoremediation—using fungi to remove pollutants from the environment. Fungi have been shown to be capable of removing oil and heavy metals from soil and water. Some fungi can even break down plastics.

While these are promising results, the one problem is that the contaminant usually remains in the fruiting body of the fungus and will have to be disposed of, likely in a landfill.

Because fungi are so resilient and fast-growing, they can be great options to combat food insecurity in low-income areas. A past project, “GRO Mushrooms,” at my alma mater, Lehigh University, developed a commercial oyster mushroom production system for use in Sierra Leone, Africa. There are still lots of opportunities for developing large-scale mushroom cultivation systems still out there.

Advancing Fungi-Based Proteins: Insights from My Current Work

Could you share some highlights from your current research on fungi-based proteins? What aspect excites you the most?

Generally, fungal scaffolds are unexplored for my niche in cultivated meat. There are only a handful of researchers who have published in this space so far, but the results are promising.

Animal cells have been shown to grow, proliferate, and differentiate on fungi, and we’re working to understand how we can specifically tune material properties of mycelium to better support animal cells and recapitulate the texture of conventional meat.

Are there any specific species of fungi you work with regularly? What makes them ideal for your research?

Because the end goal of my work is to produce cultivated meat, I work with “generally regarded as safe” (GRAS) fungal species. These are fungi that have been used in the food industry for many decades (or longer) and recognized by the FDA as safe for consumption, like Aspergillus oryzae (soy sauce fermentation), Rhizopus oryzae (fungus in tempeh), Pleurotus ostreatus (oyster mushroom), and other edible species that produce mycelium.

Have you experimented with “unconventional” fungi or species that surprised you with their properties?

I personally haven’t—in science, we try not to run into surprises! The species choices for my project are very intentional, based on food safety, evolutionary diversity, and projected material properties. I’m certain there are commercial products made from unconventional species, but a lot of that information is proprietary and kept internal. Generally, fungal biomaterials are about as mechanically strong as foams.

The diversity of the fungal kingdom continues to surprise me though, like the zombie-ant fungus Ophiocordyceps unilateralis (featured as a mutant in The Last of Us)!

Overcoming Barriers: Taste, Texture, and Cultural Acceptance of Fungi-Based Foods

What are the biggest challenges in making fungi-based foods appealing to consumers (e.g., taste, texture, cultural acceptance)?

Texture and appearance are major scientific obstacles.

Humans are extremely good at detecting small textural differences in food, especially foods we eat frequently and in large portions, like meat.

“Good enough” isn’t really good enough for consumers; alternative proteins need to taste like meat if we want people to buy them. And, of course, they need to be cost-competitive or cheaper than conventional meat. Mycelium can definitely help close the texture gap.

Public acceptance will be harder to achieve. A lot of people perceive cultivated meat and other alternative proteins as “ultra-processed” foods. A food being processed doesn’t inherently make it bad or unhealthy—chocolate, alcohol, protein powder, and packaged foods are all “processed,” but their nutritional value doesn’t come from being processed. Several states and countries have preemptively banned the sale of cultivated meat, including Alabama, Arizona, Florida, and Italy.

What innovations or breakthroughs in fungal biomaterials are you hoping to see in the near future?

Electronic waste, or e-waste, has a large margin for waste reduction, and we haven’t really figured out how to cut down on waste from circuit boards, microchips, sensors, and other electronics. There are few available recycling streams for phones, computers, printers, large batteries, heavy machinery, and other devices. As an electronic tinkerer myself (I build custom mechanical keyboards), it would be amazing to have access to more sustainable electronics.

Are there misconceptions about fungi-based proteins or biomaterials that you’d like to address?

From the fungal perspective, a lot of people think foods made with fungal mycelium are (bad) mold, forgetting that their blue cheeses and bloomy cheese rinds are full-on mold (that you can safely eat).

Many U.S. government agencies, farmers, and meat producers feel threatened by cultivated meat and alternative proteins. Realistically, I don’t expect that cultivated meat will completely phase out conventional animal meat, but we need to invest in diverse protein sources to build a robust food supply.

Pandemics, global conflict, and climate change are all threats to our food supply chain; with alternative proteins, we can relieve stress on the food system, mitigate climate change, and combat food insecurity. It can’t hurt to have more protein options available to consumers.

How to Get Involved in Alternative Protein Research

How can readers learn more about fungi in food technology? Are there any resources, organizations, or projects you’d recommend?

I love the Controlled Mold blog about fungi in food! I believe one of the authors is on paternity leave, so there aren’t many recent posts, but they have great content on fungal fermentations, bioreactors, and home science.

For more hardcore food mycology, The International Commission on Food Mycology is the major professional association for food mycologists.

I also touch on food mycology and fungal food technology topics on my own Substack, Biotech Trash Talk.

If someone wanted to get involved in this field, where should they start?

If you’re looking to get into alt protein, I’d recommend searching through The Good Food Institute’s alternative protein researcher directory; there, you can find research topics spanning plant-based, microbial, and cultivated proteins and identify leaders in the field! My contact information is listed in the directory if you ever want to chat alt protein.

I’ve also found many colleagues through my LinkedIn. I’d recommend that any high school graduate or current college student make a LinkedIn page and start building their network while the community is still small. As for what to study if you’re still deciding, alt protein is an extremely diverse field that pulls from expertise in chemical engineering, bioengineering, agriculture, molecular biology, food science, and non-STEM fields like business & marketing, political science, and communications—we’ll always need good writers!

Our complementary interests, with her fascination in slime molds and mine in fungi, further enriched these expeditions. Whether under the damp shadow of a log or among the foliage, each outing was a treasure hunt filled with the anticipation of unveiling an unseen organism.

Gim Siew's work offers a stunning spotlight on the overlooked yet extraordinary world of myxomycetes. With a relentless drive to document and share the diversity of slime molds, Gim Siew has made substantial contributions to both the scientific community and public awareness of these fascinating organisms.

In this interview, we’ll explore Gim Siew's journey – from her first awe-struck encounter with a tiny pink blob to her discovery of unique species unreported in Malaysia for nearly a century.

Alongside, we will share some of her incredible photographs, each one a testament to the remarkable diversity of myxomycetes. I am genuinely excited for you to join us on this adventure into the hidden world of slime molds.

How did you first become interested in myxomycetes, and what inspired you to photograph them?

I am an avid hiker and am always intrigued by the beauty of fungi. One day, while checking out a log for fungi, I came across a pink blob, which I almost missed because it was very small. From the live view screen of my camera, they looked like a group of pink beads, and I had never seen anything like that before! Later, I learned it was a myxomycete (myxo in short), commonly known as slime mold.

I photographed more slime molds over some time using my ultra macro lens, and I was amazed to see intricate details - different shapes, sizes, colors, and textures. They simply undergo what I call a magical transformation during their maturation process to produce and release spores.

However, they were mostly ignored, unnoticed, or mistaken as fungi. I am determined to showcase the diversities of this miniature structure through my macro shots.

Can you share a particularly memorable encounter with a rare or unique myxomycete species?

In December 2019, I spotted a group of white slime molds on a well-decomposed log in Bukit Wawasan. They looked like hundreds of white trees bearing pearls, and I was completely awestruck to see such beauties growing on the dark forest floor.

I took many close-ups using my Olympus Tough TG-6, a pocket camera I still love using now. I posted some of those photos on my Instagram account (@mymyxos.my) and the Slime Mold Appreciation and Identification group on Facebook.

A well-known slime mold expert, Dmytro Leontyev, identified it as Alwisia bombarda. In the same post, another world-class myxo expert, Edvin Johannesen, indicated that this species hadn't been reported in Malaysia since 1922!

It is not a rare but rather unique species because there are only 4 known species in Genus Alwisia, and this is a tropical species. I was beyond thrilled to report the find in iNaturalist and Global Biodiversity Information Facility 97 years after its last observation in our country.

What challenges do you face when photographing these tiny organisms, and how do you overcome them?

Photographing slime molds in the field can be challenging because critters and bad weather conditions will ruin a stack of photographs. I prefer to photograph slime molds in my 'studio," which has more controllable shooting conditions. Sometimes I take multiple trips to a location to monitor a slime mold's maturing process, especially if it is a new find for me.

I like to know more about the subject I photograph, and identifying slime molds can be very challenging! I am pretty new to microscopy work, and there is so much to learn about sample preparation and the interpretation of the micrographs.

The Slime Mold Identification and Appreciation group on Facebook is a great learning platform. I also have a group of like-minded slime friends with whom I share and exchange information, ideas, or methodologies on slime mold photography.

What equipment and techniques do you find most effective?

I use a technique called focus stacking and do my slime mold photography in my studio. I use a Laowa 25mm f2.8 2.5–5X ultra macro lens to get the magnification I want. This is a fully manual lens, which, in my opinion, is a great lens and affordable. With such high magnification, the depth of field is quite shallow.

What’s your methodology for capturing extreme macro photos of myxomycetes?

• To create a sharp image of the entire fruiting body, I mount my camera on an automated focus rail and take multiple images at different depths of field.

• The camera is moved forward in increments of 20–50 microns between each image, depending on the magnification and aperture opening of the lens.

• Then those images are stacked with specialized software that combines each image's in-focus parts into a composite.

This composite will have the whole fruiting bodies in focus from front to back. This process may take 20 to 45 minutes, but it's worthwhile, in my opinion, because the final image can reveal the tiny details and intricacies of the tiny slime mold.

How do you locate and identify new or rare species of myxomycetes? Are there any specific habitats or environments you focus on?

Slime mold likes humid habitats. They can be found on well-decomposed logs, leaf litter, and any organic materials in the rainy season or near streams in parks and forests. I even find some in my compost heaps and on the mulch in my home garden from time to time.

Slime molds are tiny (0.3 to 5 mm) and can be hard to spot. Big colonies are easier to find because they will appear as a patch that doesn't belong to the log. As for the scattered slime mold, I would go through the leaves or check the side of a log.

I feel that every find is like a new one for me. I may have photographed a slime mold before, but it could have a different look the next time I spot it, so each photo is always unique. As for the rare species, which I call an unreported or undescribed species, I only found it once to date, and it was totally by chance!

How has your work in photographing myxomycetes contributed to the scientific understanding of these organisms?

I guess more people in Malaysia know more about the existence of slime molds now, at least among my circle of friends. I tried to include some scientific information about the slime molds I post on social media.

I hope others can appreciate and develop an interest in this amazing organism. Also, I record my findings and observations on iNaturalist and hope the slime mold communities from other parts of the world will have some knowledge of the types of slime molds we have in our country.

What advice would you give to budding photographers or mycologists looking to explore the world of myxomycetes?

Go to your yard, any park near your house, or a forest, and check out any well-decomposed logs during the wet season. That's the best place to start. Train your eyes and learn what they look like and where to look for them. And if you find a slime mold on a log, it will likely have more.

Get a decent camera (I started with Olympus Tough TG-6, which I think is a great and affordable camera) or a phone that can shoot in macro mode.

Can you share a story from your adventures in the field that you think our readers would find particularly fascinating?

Once, I spotted a huge colony of slime mold that looked like yellow noodles in Chinese chow mien.

They were hanging from the side of a wooden plank on a very busy hiking trail at Bukit Gasing. Many passersby wondered why I was in the middle of a flight of ascending steps. I spent quite a bit of time photographing them and monitoring them over two days.

The slime mold was later identified as Fuligo aurea, an uncommon species! After dehiscence (the splitting or bursting open), they looked like coils of springs which were super cool!

How do you envision the future of myxomycete research and photography, and what role do you hope to play in it?

I think there are not many findings or reports of slime molds from some parts of the world, such as Africa or some countries in Asia. I believe that many slime molds are yet to be discovered in these countries. As a citizen scientist in Malaysia, I hope to keep an archive of slime molds from our country and collect specimens for the local herbarium for future research.

Lastly, are there any upcoming projects or endeavors you'd like to share with our readers?

I will have my online gallery of slime mold from Malaysia soon! At the same time, I am expanding my slime mold photography to microphotography, which involves using at least a 10X microscope objective lens.

Gim Siew's work is a wonderful combination of passion, curiosity, and scientific exploration. She doesn't just take stunning photos, she helps us understand the world of slime molds a little better.

We're excited to see her upcoming online gallery and her continuing adventures in photography. Whether you're a photography enthusiast, interested in science, or just love learning new things, we hope Gim Siew's journey will inspire you to find and appreciate the hidden wonders around you.

For centuries, bonsai has held a significant place in the world of art, with its intricate cultivation techniques and delicate balance of patience and persistence. 

Today, we're excited to explore a fresh and innovative take on this timeless art form – bonsai fungi.

By combining the cultivation of mushrooms with the artistic principles of bonsai, this anonymous artist breathes new life into the tradition, all while presenting their creations in unique and eye-catching containers.

Let’s delve into the creative process behind this fascinating fusion of art forms and uncover the inspiration that drives it.

Exploring the Techniques and Inspiration Behind Bonsai Fungi

How did you get started?

I've always been fascinated by mushrooms. I started growing them after reading about all the edible species that were unavailable at my local grocery store.

The transition to growing mushrooms as art was born out of limitations in space and a desire to disprove misinformation about the conditions required for cultivation.

It's more effective to demonstrate mushrooms growing from an old shoe than to try to convince someone using words that sterility is more critical in some parts of the cultivation process than others.

How do you feel anonymity impacts your art and creative process?

Anonymity is a beautiful thing. By working anonymously, I separate myself from the art. I have no desire to be known, and the separation allows me to participate in civil disobedience with my art when I choose to.

I would much rather model my process on Banksy rather than Andy Warhol. Warhol was heavily influenced by his quest for fame and social validation; Banksy's art is often in direct defiance of the law and is heavily dependent on his/her/their anonymity.

Can you discuss the role of experimentation in your approach to cultivating bonsai fungi? Are there any memorable experiments that led to surprising or unique outcomes?

I do love a challenge when I am designing my grows. At this point, it's hard to look at an object without considering how I would go about growing mushrooms from it.

For a while, I was super curious about how small of a container I could produce mushrooms out of with the species I was growing most at the time. I went from a shot-glass to a tic-tac container, then a plastic bottle cap, and even a thimble.

Eventually, with the help of selectively breeding the fungus from generation to generation, I was able to produce a mushroom from a container that was barely bigger than a couple of grains of rice, but it was too small to photograph with the iPhone I use for my photography, and I moved on to other pursuits.

What are some of your favorite mushroom species to work with, and why? How does the choice of species influence the overall aesthetic of your bonsai fungi art?

Sometimes, I start with a species I want to grow and then select a container that matches the characteristics of that species; other times, I start with the container and choose the species based on what will most likely achieve the desired appearance.

I wouldn't say I have a favourite species, but some species are more appropriate in some situations than others. The most technically challenging species I've worked with is Mycena chlorophos. It is both challenging to cultivate and photograph with the resources I have available.

In what ways do you think your bonsai fungi art challenges conventional expectations of both bonsai and mushroom cultivation?

There are well-established methods of mushroom cultivation that vary slightly between different species.

Everything I do in my art is based on the knowledge and lessons learned by the cultivators who came before me, but with the understanding that mushrooms are beautiful and there are no wrong ways to grow mushrooms.

I will never be content with farming mushrooms as a crop, where maximum yields and efficiency are the goals. For me, the real value is in pushing the limits and showing off what is possible.

Can you describe the most rewarding aspects of creating and sharing your bonsai fungi art with your online community?

I find it incredibly rewarding to have received so many messages from people inspired by the grows I've done. Some people have told me they were inspired to take the leap and try growing their own mushrooms; others were inspired to branch out and grow in new and exciting ways.

I feel that a lot of people follow the instructions of mushroom growers who came before them and continue to repeat the process they are familiar with for consistent results.

There is something profoundly beautiful to me about abandoning the practical methods of growing mushrooms in bulk to apply their knowledge of cultivation to something entirely new.

Have there been any particularly memorable reactions or interactions from your followers that have encouraged or inspired you in your work?

Multiple tattoo artists have reached out to show off some of the flashes and tattoos they designed, which were inspired by my art. That people would be willing to have designs inspired by my work permanently tattooed on their bodies was profoundly moving for me.

One of the tattoos I saw a photo of has inspired me to do a new grow based on their tattoo, so the circle of art inspiring art continues to turn.

How do you approach the creative process of selecting and pairing containers with the mushrooms you cultivate? Are there specific visual or functional aspects you prioritize?

Size is a significant factor in the containers I use. The space I have available for cultivation of the art and the area I have available for photography are both small enough to be significant limiting factors.

If I attempted to grow from a full-sized guitar, for example, I would have nowhere suitable to colonize, fruit, or photograph the grow.

Are there any other art forms or creative outlets that you feel have influenced or contributed to your bonsai fungi art?

As you might have guessed, growing from small containers, as one of the staples of my style, was primarily influenced by the art of traditional bonsai.

I work over a much shorter timeframe of months, whereas traditional bonsai artists can spend years, decades, and even generations meticulously caring for the plants that grow into beautiful works of art.

What future developments or projects can your followers expect from your bonsai fungi art? 

I've begun working on a transition to more long-form video-based content. The intention will be to have a series of videos that take the viewer along with me on the journey of making some mushroom art from start to finish, along with some other supplementary videos on related topics like the history of mushroom bonsai, the difference between sterilization and pasteurization, and the lifecycle of mushroom-producing fungi.

Capturing Transient Beauty: The Everlasting Appeal of Bonsai Fungi Art

The anonymous artist behind this unique art form pushes the boundaries of both practices, creating stunning and thought-provoking pieces that challenge conventional expectations. By prioritizing experimentation and artistic expression over mass production, they inspire others to explore the limitless possibilities of combining art and nature.

As the artist continues to innovate and share their captivating creations, we look forward to witnessing the continued evolution of this art form and can't wait to see what new wonders our talented artist will bring to life.

You can see more of their work @bonsaifungi

It’s been over a year since, and we’ve remained in touch - exchanging photography tips and tricks, and discussing all things fungi.

She has recently discovered through long-exposure night photography a couple of unrecorded species not previously known to glow.

I got the chance to interview her this past week, and she shares her experiences, challenges, and the joy she finds in nature's hidden gems.

Can you tell us a bit about your background and how you became interested in mycology and mushroom hunting?

My background is in tourism, and I enjoy traveling. In China, I worked in media, including for a geographical magazine and a tourism weekly newspaper. After moving to New Zealand, I began studying professional photography. 

I have always been curious about the world, and the diverse shapes and fleeting existence of mushrooms fascinated me. The fact that there are so many undiscovered mushrooms in the world is also very attractive to me. 

Currently, I live in Fox Glacier, where there is a temperate rainforest that has existed for tens of thousands of years.

In this forest, I have encountered at least a hundred different types of mushrooms. It is easy to find mushrooms during the mushroom season without having to trek through difficult terrain, which is important to me.

What first sparked your interest in bioluminescent mushrooms, and how did you come across the new species you recently found?

I first learned about bioluminescent mushrooms in New Zealand on your website, and I had never photographed them before, so I thought they were very mysterious. I carefully read your articles multiple times and learned about how to test if a mushroom can glow and photographic techniques from your website. I am very grateful for all the knowledge I gained. 

I happened to discover two types of bioluminescent mushrooms last year while taking nighttime photos at Lake Matheson. They both grew on the same dead conifer tree. I felt very lucky to have photographed them.

Especially the first time I saw them, I was dancing with joy in the forest by myself, feeling that nature was truly magical. The wonderful connection with nature fascinated me.

Can you describe the unique characteristics of these new bioluminescent species? Are there any particular features that set them apart from other known species?

The first species I found was identified as Mycena sp. ‘Erua’ by Dr. Jerry Cooper, a mycologist at the University of Auckland, and with the help of RNZ journalist Anna Chin. 

It is very small, about 1-2 millimeters in size. Scientists already knew about this species, but they did not know that it glowed. So, I may be the first photographer to capture this species glowing. This makes me very excited.

The second species of mushroom has not yet been identified. It is also very small, about 1-4 centimeters in size, and is overall grayish-white in color. It also belongs to Genus Mycena. 

The one I found this year is very similar to the one I found last year, but there are some slight differences, so I am not sure if they are the same species. However, this mushroom also grows on specific conifer trees.

Besides the mushroom glowing, the tree trunk and needles where it grows also glow, so it is likely due to the mycelium.

What was your reaction when you realized you had discovered new bioluminescent mushroom species? How did you go about confirming their novelty?

When I first saw it, I thought my camera was broken. I tried several times to capture a small dot of light in the dark before realizing that it was coming from a very small mushroom. I was very happy and excited.

The second species has not yet been formally identified, but I am in the process of submitting it for identification to experts in the field.

The first thing that came to my mind was to share it with you, haha. I was even more excited when you said it could be a new species. There was also no record of it on iNaturalist.

What are some challenges you've faced when photographing mushrooms, especially bioluminescent ones?

One of the biggest challenges I face when photographing mushrooms, especially bioluminescent ones, is my own fear when alone in the forest at night. It's not so much a technical challenge as it is a personal one.

Sometimes, while waiting for the camera to take a long exposure shot in the darkness, I'll hear a possum walking through the leaves, making noise and getting closer and closer to me, and I feel like screaming.

Do you have any tips for capturing the best shots?

It really comes down to trial and error because it's difficult to find bioluminescent mushrooms in the first place. Having some mycological knowledge can help to find them during the day and then photograph them at night. 

What equipment and settings do you typically use when photographing mushrooms, both bioluminescent and non-bioluminescent species?

In terms of equipment, I use a Nikon D850 with a Nikon 105mm 2.8 macro lens. During the day, I try to use natural light and then stack shots with a big aperture.

Since each mushroom has a unique growing environment, different techniques may be required. If I use flash, I'll also bring a diffuser. I'm still learning and experimenting as a beginner myself.

How has your passion for mycology influenced your photography and vice versa? Do you find that one enhances the other?

I think they complement each other.

Through a lot of macro photography, my shooting skills and knowledge have improved, and these new skills can also be applied to the usual landscape photography that I also enjoy. For example, taking panoramic photos would be easier.

What advice would you give to those who are new to mushroom hunting or interested in exploring the world of mycology?

Stay curious, stay passionate. That's the most important thing; other things like photography skills are secondary.

Can you share any memorable experiences or encounters you've had while hunting for mushrooms? What keeps you coming back to this hobby?

I once found a rare species of mushroom that was on the IUCN Red List of endangered fungus species in my area. It was an incredible feeling of discovery and excitement.

That's what keeps me coming back - the thrill of the hunt and the possibility of finding something new and exciting.

The most memorable one would be a photo that won many awards last year. When the mushroom spores were dispersed, a gust of natural wind blew, forming a small tornado of spores. It was very magical.

I stayed with this mushroom in the forest for two days to take the photo, but I couldn't capture the same scene again. It was a once-in-a-lifetime lucky experience.

I joined some Facebook groups because I saw many mushrooms that I had never seen before and wanted to photograph them myself.

However, I think the more important thing is that discovering mushrooms, encountering them, and photographing them has given me a sense of healing from nature, and this process makes me very happy.

It's like going back to childhood, being able to explore freely in nature, and because photography requires concentration and focus, it can also help people forget their worries.

I think most mushrooms are very cute, and just seeing them can make me very happy.

Liu's journey into the world of mycology and photography showcases the remarkable beauty and diversity of fungi, especially the elusive bioluminescent mushrooms.

Her passion and dedication serve as an inspiration for others to embark on their own explorations and appreciate the wonders of nature. As we delve deeper into this captivating realm, we are reminded of the endless possibilities that await us when we stay curious and passionate about uncovering the hidden gems that nature has to offer.

To see more of Liu’s work, you can find her on Instagram @kathyliuliu