SKU: 39983799608

Burgon & Ball FloraBrite® Fluorescent Hand Fork

Sale price$13.94 Regular price$15.49
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Description

Burgon & Ball FloraBrite® Fluorescent Hand ForkThe FloraBrite Hand Fork is the soil work partner to the secateurs and snips in our FloraBrite range properly serious stainless steel for weeding, cultivating, lifting bulbs and loosening soil, with the same anti loss bright handles in pink or yellow that make every FloraBrite tool impossible to misplace. At 15. 49 it's the right tool for the everyday soil work that fills a gardening afternoon, particularly the weeding and cultivating routine that's

The FloraBrite® Hand Fork is the soil-work partner to the secateurs and snips in our FloraBrite range — properly serious stainless steel for weeding, cultivating, lifting bulbs and loosening soil, with the same anti-loss bright handles in pink or yellow that make every FloraBrite tool impossible to misplace. At £15.49 it's the right tool for the everyday soil work that fills a gardening afternoon, particularly the weeding-and-cultivating routine that's hard to do without bending over and constantly setting your tools down.

From Sheffield toolmakers Burgon & Ball, who've been making proper garden tools since 1730 — nearly three centuries of British toolmaking heritage. RHS-endorsed, with the proper build quality you'd expect from a heritage British toolmaker.

What it's for — soil work, not cutting

The hand fork is the dedicated soil tool of the gardening trio. Where the secateurs cut and the snips harvest, the hand fork digs, loosens, and lifts:

  • Weeding — the headline everyday use. Particularly good for getting deep-rooted weeds (dandelions, docks, bindweed) out properly rather than just snapping off the top growth. Tines work into the soil around the root, levering the whole thing out cleanly
  • Loosening compacted soil — aerating around the base of plants where the soil has crusted over from rain or watering
  • Cultivating — mixing in compost, fertiliser, or soil amendments around established plants. Lighter and more controlled than a full-size border fork
  • Lifting bulbs and small plants — for dividing perennials, moving seedlings, or harvesting onion sets and shallots. The tines slide under the rootball without damaging the plant
  • Working compost into raised beds — fluffing the top layer when topping up beds in spring
  • Weeding between close plants — the narrower head fits into spaces where a trowel or full fork would damage neighbours
  • Carrot and root vegetable harvesting — gentle lifting to bring up the crop without snapping the roots

For thicker soil work or larger beds, you'll want a full-size border fork. For surface tidying and lifting small things, this is exactly the right tool.

Tough stainless steel tines

The tines are hardened and tempered stainless steel, which matters for hand-fork work specifically:

  • Resists rust — constant soil contact and damp conditions destroy lower-quality steel quickly. Stainless stays useable across many seasons
  • Doesn't bend — cheaper hand forks have tines that splay outwards after a few weeks of weeding heavy clay. Hardened stainless holds its shape
  • Tackles root tangles — for the proper grip-and-pull weeding action you actually need
  • Cleans easily — just wipe or rinse; doesn't accumulate the rust-and-dirt mix that ages cheap tools

This is a tool that's built to be in regular use for decades rather than years.

Why fluorescent handles — the anti-loss design

  • Easy to find against soil — hand forks have a habit of disappearing into the very soil you're working. Bright handles solve this properly
  • Easy to find against foliage — set down for "just a moment" between the courgettes and the cucumbers, the bright handle still catches your eye
  • Reflective highlights — catches light under torchlight or at dusk; useful for the late-evening allotmenteer or anyone gardening in fading light
  • Easy to identify in a shared tool basket — particularly useful in community gardens, family households where tools are shared, or allotment sites where everyone's kit gets mixed at the shed door

The whole FloraBrite range exists because gardeners lose tools. Once you've used them for a season, the bright colours feel necessary rather than decorative.

Ergonomic balance — properly considered

The angled neck (or tang) of the fork is precisely forged for optimal balance — the small detail that means the weight of the tines sits properly in the hand rather than fighting your wrist. Most cheap hand forks have straight necks that force the wrist into an awkward angle during digging; the angled forge eliminates this. Less wrist strain through long weeding sessions, more comfort over an afternoon of garden work.

Soft grip handle (in the fluorescent colour) for cushioned comfort during extended use. The kind of small refinement that matters significantly over a properly long weeding session.

Choose your colour

  • Sunny yellow — the highest visibility against green foliage and dark soil. The "I won't lose this in the bed" choice
  • Vivid pink — softer aesthetic, still highly visible. Properly distinctive in the tool basket

Both colours have identical engineering. Purely a colour preference.

Particularly good for

  • Raised bed gardeners — the hand fork is properly the right scale for raised-bed work; the bright handles mean you can find it among other tools at the bed's edge
  • Container gardeners — ideal for working in pots and planters where a full border fork is too large
  • Allotmenteers — the every-visit weeding tool; the bright colours mean less tool-hunting and more growing
  • Community garden gardeners"this one's mine" identification in shared tool sheds
  • Households sharing tools — pink for one person, yellow for the other; instant identification of who left what where
  • Older gardeners — the bright colour visibility helps when bending and looking around is harder; the ergonomic angle reduces wrist strain
  • Anyone working at dusk or early morning — the reflective highlights catch low light
  • As a gift for someone who's mentioned losing their hand fork, or for a community-garden gardener — the most considered possible response

The FloraBrite trio

This hand fork is the third member of our FloraBrite tool range — the soil-work tool to pair with the cutting tools. Together they cover the three main everyday garden jobs in coordinated anti-loss design:

  • FloraBrite Hand Fork (this) — £15.49. Soil work: weeding, cultivating, lifting
  • FloraBrite Flower & Fruit Snips — £13.49. Soft work: harvesting, picking, deadheading
  • FloraBrite Bypass Secateurs — £23.49. Cutting work: pruning, woody stems

All three in matching colour (pink or yellow), all properly engineered, all RHS-endorsed, all anti-loss design. The trio together at £52.47 covers everyday gardening properly — cut, pick, weed — with three coordinated tools that you actually find when you put them down.

How it fits in our hand tool range

The hand fork sits naturally alongside our other hand tools:

  • FloraBrite Hand Fork (this) — bright anti-loss, stainless tines, £15.49
  • Sophie Conran Gift-Boxed Trowel — the planting partner; beechwood handle, brass ferrule, ~£18
  • Sophie Conran Gift-Boxed Dibber — the bulb-planting tool, ~£18.49
  • Flora & Fauna Gift Set — trowel + secateurs in coordinated heritage design, £33.99

For everyday working use, the FloraBrite Hand Fork plus the FloraBrite Snips makes the genuinely useful pair for daily kitchen-garden work (weeding + picking). Add the FloraBrite Secateurs when proper pruning starts in spring and autumn.

Specifications

  • Brand: Burgon & Ball (FloraBrite® range, RHS-endorsed)
  • Type: Stainless steel hand fork for soil work
  • Tines: Hardened and tempered stainless steel
  • Handle: Lightweight ergonomic shape, soft grip, fluorescent coating
  • Colour: Sunny yellow OR vivid pink (selectable variant)
  • Features: Precisely forged angled neck for optimal balance; reflective highlights for low-light visibility
  • Endorsement: Royal Horticultural Society (RHS) endorsed
  • SKU: GFBHFYELL (yellow) / GFBHFPINK (pink — confirm)

About Burgon & Ball

Burgon & Ball are one of Britain's oldest toolmakers, founded in Sheffield in 1730 — nearly three centuries of British toolmaking heritage. They're RHS-endorsed, supplier to the Royal Horticultural Society, and the chosen manufacturer for the Sophie Conran licensed garden tool collection. We stock their range because they make proper garden tools the proper way — tested in real working gardens, built to last decades rather than seasons.

As a gift

At £15.49 the FloraBrite Hand Fork sits at the considered-but-affordable gift price point. Particularly suited to:

  • A community-garden gardener — the bright colour means "this one's mine" in the shared shed
  • An allotmenteer — the daily tool that always vanishes; the anti-loss design solves this
  • A new gardener — a proper hand fork that won't bend or rust, in a design they won't lose
  • Mother's Day, Father's Day, birthdays — properly affordable, genuinely useful
  • Households sharing tools — pink for one person, yellow for the other, both happy
  • Older gardeners — the ergonomic balance and the high visibility both help
  • Christmas stocking — substantial enough to feel considered, affordable as one item in a larger gift
  • Paired with seeds, a pot of herbs, or other FloraBrite tools — turns into a complete kitchen-garden gift

A small thought: there's a particular satisfaction in pulling a stubborn dandelion clean out of the soil, root and all, with one confident lever of the fork. Cheap hand forks bend and split; you end up snapping the root and leaving most of it behind. Proper stainless tines that don't bend let you finish the job in one go. The FloraBrite design adds the small everyday pleasure of always finding your fork where you set it down. Together, they're the kind of small improvements that quietly compound across years of gardening — less tool-hunting, less re-doing of jobs, more time actually growing things.

Shipping Notes
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SKU: 39983799608

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4.3 ★★★★★
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mojo_navigator
Louisville, US
★★★★★ 5
Excellent Blu-Ray Transfer - Big Improvement to the DVD
I've been a big fan of this movie for many years, long before the advent of DVD let alone Blu-Ray. I used to go and see it at the repertory cinema often - the first time, I was stunned by the quasi-hallucinatory cinematography of it. A totally unique film that's never been replicated before or since (although The Limey was a good attempt) Frankly the story is incidental and not worth summarising or even paying much attention to. The cinematic style of it is what makes it so riveting both then and now - an excellent psychedelic time-capsule of late `60s LA punctuated by stunning performances from the likes of Marvin, Dickinson and others. The DVD was a huge let-down when released. Despite the accolades that it had at the time, it had a "watery" non-filmic quality which made it dull and tiresome to watch even once. Without capturing the garish color and mind-bending trippiness of the film, you were reduced to following the plot which, like I said, is the least interesting aspect of it. The Blu-Ray is MILES superior to the DVD. The integrity of every component in this movie that I've discussed above is perfectly captured; the emotional power of it is all there in bucketloads. The colors are strong and vivid and in true Blu-ray style you notice subtleties that you hadn't noticed before (e.g. the green chairs in the corporate offices, Angie Dickinson's expression after the "what's my last name" exchange). The overall quality is very filmic (no DNR etc) and good grain where appropriate. It looks like a strong 35 mm print that has been run a few times but has plenty of life left. So no Criterion day-it-was-released look but more than satisfactory. Ideally, I would like Criterion to get hold of this as I think they would clearly be able to make an improvement but this is a minor quibble. For fans of `60s cinema and experimental film-making, this Blu-Ray edition will thoroughly satisfy. I no longer feel the need to see this in a movie house anymore unless there's a full restoration of the original 35mm print (which does happen from time to time)
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Reviewed in the United States on September 26, 2014
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KEITH
Los Angeles, US
★★★★★ 5
Displeasure And Distance
The movie 'Point Blank' is like staring at a visual of Alcatraz prison from the opposite shore. Meaning accumulates over landmarks when we are suspicious about the details. On such a sound the channel of moving water has a stationary dock. A metal walkway connector bridge glows in unnatural radiances; the sun seems set on it, at dusk. These sea shore implements, at Alcatraz or at another bay denote civility and schedules of operation. When money and it's acquisition exist in our brains as enticements the places become spectrums with loose enthusiasms and burnished red-glows. Walker(Lee Marvin) the anti-hero of the movie 'Point Blank' is a tall, laconic, dark-suited figure. Walker's parted white hair gets swept up in the wind, unstraightened, but his bushy eyebrows are solid supports of displeasure and distance. 'Point Blank' directed by John Boorman is a 1967 classic crime film and is the story of a solo struggle-Walker's-to reconnect and recover the money that was stolen from him by his ex-partner Mal Reese(John Vernon). Walker importunes abandoned places, like an Alcatraz prison cell with questions: "How did it happen?" He is ruminating over incidents that are seen in flashback entries, but these brief remonstrance are also plot points on a scheme of surreal adventuring. Lynne(Sharon Acker), Walker's wife, has reproachments about herself, her 'past', but the enviable story is told. Lynne's monotonous sentiments recall a walk on the pier in the rain, with herself and Walker in mild drunkeness. Lynne's voice is synthesized to a soft, dreamy intercession; another vision from Walker's life, also an evocative impression of a stoic wanderer's accentuated provocateur encounters. In his film direction Boorman takes the novel "The Hunter" written by Donald Westlake and gives weight to a story about the cavorting of a slick, popular, caper anti-hero named Parker (From "The Hunter" , also other serial books written by Hunter under pseudonyms like Richard Stark). This story is recreated by Boorman for Parker of the novel and his hyperbolic lurid situations. 'Point Blank' invests visuals with sensual revelations of mystery. The breaths of relaxed reflection give toxicity to moods and the imagination has righteous experience of titillation. The viewer is invited to understand the whisperings of breezes brushing against one another at random convexes-these are soft exposing indescrepancies. At a reunion, another recounting of Walker being hailed over by Mal Reese is one twist. At another rally, in a room in San Francisco, that is similar, Walker warns his target bluntly: "If you don't, I'll kill you." There is an abrupt appearance, also in a semi-populated venue, of assistance made towards Walker. This inviting frenemy says: "If you're looking for Carter, I may be able to help you." This is Yost played by Keenan Wyn. The themes of thrifty fantasy contrive to bounce off Walker. In sunlit rooms and concrete runs ambush attacks set by Walker realize glib confrontations. One such scene involves Brewster(Carroll O'Connor) in an amorous exchange with Walker that suggests that the veritable energies of excitement between Walker and Brewster were procured and transcribed for 'Point Blank' from other products of fictitious dealings. 'Point Blank' co-stars Angie Dickinson as Chris and Lloyd Bochner as Frederick Carter.
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Reviewed in the United States on July 17, 2025
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Parker
Grantham, US
★★★★★ 3
Dated, but....
Compared to the novel on which it is based, this movie is a complete letdown, so fans of the Parker series of novels who are drawn to this book may want to think twice about watching the film if they are looking for a faithful adaptation of the first Parker novel. That being said, it was not the intention of the director John Boorman to adapt Richard Stark's excellent novel, "the Hunter" to film, but rather to create an entirely new piece of fiction from the skeleton of the original story, so one most try to judge the movie on its own merits, which is difficult to do. As in other reviews, I must commend the directing. The style of the film is way ahead of it's time, with stark visuals, stylized fight scenes, and prolonged moments of silence. I love the long Walk lee Marvin takes thru the a multi-colored corridor where his footsteps drown out all other sound. Marvin's performance is also very strong, and he shows himself to have been an actor who took chances with his image and, in this case, used his clout to make a movie which otherwise would not have been so memorable. In the end, one must ask the question "Why?" Why not faithfully adapt "The Hunter" into film? It certainly would not have stifled the film's creativity, and nothing in the movie's script was any better than what was in the book. There is also the annoying occurrence of changing the protagonists' name from Parker to something else; in this case, Walker. This trend continued in another six film adaptations of the Parker novels, the last of which was 1999's Payback, starring Mel Gibson as Porter.
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Reviewed in the United States on July 1, 2011
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Clare Quilty
San Leandro, US
★★★★★ 5
A stark, brutish "Petulia" with a pistol in its pocket
It's about time this movie got released on DVD. It's odd that a film could spawn a remake ("Payback"), a glib nod ("Grosse Pointe Blank") and countless homages ("The Limey," among others) and still be as underseen as "Point Blank." The lack of a disc certainly didn't help its low profile, but of course this is a challenging, idiosyncratic movie, even three decades later. The plot is simple -- a crook is betrayed by his wife and partner and spends the rest of the movie trying to get what he's owed -- but the editing and narrative structure is unusual. What in the world did audiences possibly make of this back when it was first released? It's a remarkable film, as startling and innovative as Richard Lester's "Petulia," although admittedly it's thematically much less complex. This edition is excellent, too. Great sound, great picture and a fantastic commentary by director John Boorman and big-time "Point" fan Steven Soderbergh, who laughingly admits to Boorman that he's ripped this movie off more than a few times. Their chat is more technical than gossipy and deals heavily with the editing, the production (the script was only 70 pages long), the studio's concerns about the picture, the actors, violence, surrealism (is it all a dream?) and Boorman's elaborate use of color (the tones of clothing and sets intensify over the course of the film). I've gotten a lot of good DVD's this year but in terms of content, presentation and extas, this is one of the best.
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Reviewed in the United States on August 1, 2005
J
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Joe Movie
Whiting, US
★★★★★ 4
One of Marvins better offerings
Like the Killers before marvin was almost destined to play the part of Walker in this fast moving gut wrenching but always realistic thriller brilliantly collaborated by Marvin and Boorman who had no peer in this type of film.For those unenlightened souls who downplay Marvins career this was the one that to my mind surpassed most of his prior efforts with the exception of the Killers which was above par in all respects.Marvin was ahead of the pack in the 60s playing this type of hard nosed no nonsense gangster type, no other actor came close and type casted him to some extent in this type of role which unlike may actors became a positive in his career. Just to show his brilliance as an actor he gave us later comedy roles which produced more acting accolades than that material for which he was better known namely what we see in Point Blank.He carries the whole movie as did all the great actors of that era and many since which in itself is the hallmark of greatness. Marvin was a man who so perfectly personified the parts he was playing that often other actors looked wooden in comparison.He was one of the rare individuals who could take a small co starring role and end up being the star of the movie, no mean feat when you were up against the best in the business at that time and there were plenty in the 60 and 70s.To my mind Point Blank will always be a MARVIN film and this is not to downplay other good workmanlike performances in the film but it will always rank highly in Marvins body of work which is a cut above his contemporaries in the roles for which he was known and appreciated.As for the film it played out in fairly predictable fashion until the final scenes under the golden gate brige which gave a nice twist and left the viewer unsure whether Walker did in fact take his money or simply leave the scene of the set up empty handed. The obvious answer is that he waited till the coast was clear and took his money. It is hard to accept that he did otherwise.In retrospect a movie that stands up 40 odd years later and is just as watchable as it was in 67. No mean feat.
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Reviewed in the United States on May 20, 2010

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