"Pay attention to the world." -- Susan Sontag
 

Category: photography and imagery

Black Iris Variations and Observations

 , , , , ,

From Classic Irises and the Men and Women Who Created Them by Clarence E. Mahan:

“Amos Perry gave the name ‘Black Prince’ to the first iris he put into commerce because of the color of the flowers. ‘Black Prince’ has flowers with intense blue-violet standards and deep purple, almost black, falls, which have the texture of velvet. The color pattern of ‘Black Prince’ is called ‘neglecta.’ Other irises of this type were available when ‘Black Prince’ was introduced in 1900, but none with falls so dark and of such rich texture.

“The name ‘Black Prince’ was appropriate because of the color of the iris, but the name was also a stroke of advertising genius. What English heart could resist a ‘black iris’ named for the legendary warrior prince? The Royal Horticultural Society gave late-flowering ‘Black Prince’ an Award of Merit the year it was introduced. ‘Black Prince’ soon acquired a reputation for being a ‘slow grower,’ but its alleged lack of vigor did not diminish the desire of English and American gardeners to acquire it.

“Some unscrupulous nurserymen — not Perry — sometimes sold other irises, especially ‘Kochii,’ under the name of ‘Black Prince.’ So common did this practice become that gardeners had reason to believe that the iris’s name evoked another ‘black prince’ mentioned by Shakespeare in All’s Well That Ends Well, namely, ‘the black prince, sir, alias, the prince of darkness; alias, the devil.’

“Some iris experts believe that ‘Black Prince’ is one of the parents of Arthur Bliss’s famous iris progenitor ‘Dominion.’ Perry also thought this to be true. But Bliss did not really know the parentage of ‘Dominion’ and the truth of the matter remains, in the language of Scottish legal verdicts, ‘not proven.'”

Hello!

The first twelve photos in the galleries below are of some irises from Oakland Cemetery’s gardens that I’ve photographed and written about before — see Black Iris Variations (and Hallucinations) — and the remaining images are of a similar iris I’d not seen previously, but appears to be a related variant. All of them show similar and quite striking black color in their unopened buds and the standards and falls of opened flowers, and they all stand tall on stems ranging from two to four feet high, populated with clusters of blooms.

I was never quite satisfied with the colors I reproduced in that previous post, so with this trip to the gardens I tried to more accurately photograph and represent them as I saw them. Here, for example, is the original version of one of the photos as the camera interpreted it…

… which closely matches how I saw and remembered them. Worth noting here is that it was an overcast but fairly bright day, conditions which provide (in my opinion) the best lighting for flower photography. In this case especially, the diffused sunlight ensured that there were no harsh shadows between parts of the plant. That also had a countervailing effect, however: the flower and its colors appear somewhat neutral and the tonal range of the image seems limited, giving it a flat (could I say lifeless?) appearance, something that is often common with RAW images before any post-processing.

To my eyes (and in my brain), this initial version of the photo shows why this flower is commonly and locally referred to as a “black iris” — even if, botanically speaking, it’s not officially a black iris, of which there are very few since most are dark-dark purple rather than black. And in post-processing, that’s exactly how Lightroom sees it: colors my eyes interpreted as black actually contain various shades of dark purple (and dark blue). Here’s what happens when the only change I make in Lightroom is to increase the photo’s overall brightness…

… and Lightroom exposes the purple (and blue) that the camera actually captured. If I keep increasing brightness, the flowers get even purplier (!!) — making The Photographer wonder what colors are correct, and suggesting that variations between how we perceive color and how a camera can interpret it may be wildly different.

But that takes us back to what I — and not the camera — experienced: irises whose colors appeared mostly as black, especially so on this overcast day. So this becomes the challenge: how to represent the flower as a black iris, yet still create an image that has some interesting color variations, without over-purpling (!!) it. Here’s where I ended out, after experimenting with varying the hue, saturation, and luminance of purple and blue colors, while coming up with a combination of brightness and contrast that preserved the swaths of black. Now you see the colors as I experienced them, especially how each flower petal shifts from shades of purple at the outer edges (and at the stem) towards black at each petal’s center and on their undersides. And by adding a touch of extra detail in Lightroom to each of the blossoms, even the “velvet texture” described in the quotation at the top of this post comes through.

All of the photos in this series got similar treatment, though for each one I made different adjustments to the color variables, since even the slightest changes in cloud cover, background color, or reflected light (as from nearby statues) created variations in purple and blue intensity when the photos were taken.

Overall, this was a fun experiment with color, one that started on a fine spring day when freshly blooming irises were plentiful at Oakland Cemetery’s gardens. The number of blooms and color variations were surprising (even to me!) and I’m currently working through a backlog of iris photos in shades of brown, orange, peach, white, yellow, more blue and purple, and some with distinct color variations between their standards and falls — like white and purple or yellow and burgundy. The color wheel will be well-represented in all these photos as I post them — along with more history of this regal plant.

Thanks for reading and taking a look!

Lady Banks’ Rose (2 of 2)

 , , , , , , 2

From “Roses of Nature: Origins of the Species” in The Rose: An Illustrated History by Peter Harkness:

“All the roses of the world in their glorious variety descend from wild roses. These naturally occurring species have been recorded in literature and folklore for centuries, but their origins stretch back further beyond written history. Indeed, the very earliest roses known to science are fossils….

“There are at least three different stories explaining how [R. banksiae] came to Europe. One states that seed of R. banksiae alba-plena sown in Italy in 1869 germinated as R. banksiae normalis and was exhibited in Florence in 1874. Another story holds that the species was recorded in China in 1877 and came to Paris in 1884. There is also the tale that in 1796 a plant was taken from China to Megginch Castle in Scotland. It failed to flower due to a combination of unwise pruning and cold springs, but survived, and in 1905 cuttings were taken to the south of France where they proved to be R. banksiae normalis.

“R. banksiae normalis bears sprays of simple white or yellowish white flowers, which appear in great profusion in early summer on stems that can extend 40 feet (13m) or more. The flowers carry the scent of violets, and the effect is such that in its native China it is known as the ‘wood smoke’ rose, or ‘Mu-Hsiang’. Its preferred native habitats are valleys and rocky places near a source of water, and in Yunnan it is grown around paddy fields to help stabilise banks and keep livestock away….

“This ‘aristocratic and altogether splendid rose’ (to quote Graham Thomas) proved rather tender for the British climate, but in 1799 it was sent to the President of the United States, Thomas Jefferson, who was a keen rose fancier. It was so well suited to the dry south-east states that it became a serious environmental problem there. In Bermuda, where it also suckers freely, it is known as ‘the fried egg’, and the Bermuda Rose Society has issued a special warning to its members: ‘Think twice before planting!!'”

Hello!

This is the second of two posts featuring photos of Lady Banks’ Rose from Oakland Cemetery’s gardens. The first post is Lady Banks’ Rose (1 of 2).

If you’d like to read more than I included in the quotation above about Lady Banks’ and other roses at Thomas Jefferson’s Monticello plantation, see this article: The China (Rose Revolution) from the Thomas Jefferson Foundation’s Monticello web site.

Thanks for taking a look!

Lady Banks’ Rose (1 of 2)

 , , , , , ,

From “Renaissance and Romantic Roses: 1500-1800” in A History of the Fragrant Rose by Allen Paterson:

“[A] late eighteenth-century addition to our complement of roses… came from China and, although the first introduction is quite well documented, it took from 1796 to 1909 to flower. Now, while R. banksiae, for this is it, does take a few years to settle down to flower well, to take over a century is excessive. The story is that Robert Drummond brought it from the Far East whence he had accompanied his brother, Admiral Drummond. The rose was planted at the family home, Megginch Castle in Scotland. There it grew but, lacking hardiness, was so frequently cut down by the frost that it had failed to develop the three-or-more-year-old thornless stems which are necessary for it to flower. Eventually, cuttings from this specimen were grown in a garden in the French Riviera: this, Mr. [Graham] Thomas asserts, was the first time the single wild white form of Lady Banks’ Rose flowered in Europe.

“It obtained its name, however, from another form and another introduction, but close enough to the turn of the eighteenth and nineteenth centuries to make it permissible to mention it here. One of the earliest professional plant collectors was William Kerr, whom the Royal Society sent to China in 1803. He brought from a Canton garden the double white form of this rose. It flowered near Kew in 1807 and was named after the wife of the Royal Gardens’ director, Sir Joseph Banks….

“Subsequently, first double and then single yellow forms were discovered: all are most lovely plants, especially enjoying the warmth of a Mediterranean climate. To see the soft yellow forms cascading out of high olive trees in association with wisteria, in Corfu for instance, is a magnificent sight.”

Hello!

I first discovered this Lady Banks’ Rose plant at Oakland Cemetery’s gardens last year — which means I had either overlooked it previously (this happens more often than you might think) or it was a new planting. Let’s just say it was a new planting, so it sounds more like a discovery than the overcoming of the overlooking of something. To be fair to myself, though, it’s possible I had just missed its showy blooming season, after which it was a rather ordinary looking shrub that didn’t need to be photographed.

In last year’s post, I photographed the plant in its very early blooming stages — see Lady Banks’ Rose (and Rose Mania) — to emphasize how the flowers produced clusters of yellow cone-shaped blooms at the top of single stems. This year, I took some wider photos as well — and you can gather from the images how many branches and flowers the plant produces, especially as it easily doubled in height and ground coverage since it posed for me previously. The flowers at this stage gather in very dense bunches, yet the plant overall still maintains a certain shapeliness that I’ve attempted to highlight by photographing it from different perspectives and adding some light and saturation to emphasize its forms. It occupies the intersection between two of the garden’s pathways and is surrounded by ferns, as well as the hellebores, vinca, and some of the azaleas that I photographed this year.

Its history is fascinating, though somewhat confusing — but I’ve represented a little about its introduction to Europe in the quotation above. In the second of two posts featuring this plant, I’ll include a few more historical tidbits, and describe one of the ways Lady Banks’ Rose made its way from Great Britain to the colonial United States.

Thanks for reading and taking a look!