“The apricot’s botanical name is Prunus armeniaca, which means ‘plum from Armenia,’ but apricots originated in China, where they were cultivated from ancient times for their blossoms, fruits, and kernels. They most likely traveled to the Middle East, along with other Chinese commodities such as silk… and Alexander the Great might have brought them home.
“The ancient world was familiar with apricots; their common name probably comes from the Arabic al-barquq. When they were grown in Spain by the Moors their Spanish name became albaricoque. But apricots ripen early, and some etymologists suggest that their name perhaps comes from the Latin praecox (‘early’) and apricus (‘ripe’).”
All the seasons run their race In this quiet resting-place; Peach, and apricot, and fig Here will ripen, and grow big; Here is store and overplus — More had not Alcinous!
“In England the kitchen-gardens of gentlemen are enclosed with walls from ten to sixteen feet high; but this, though it is useful; and indeed necessary, in the way of protection against two-legged intruders, is intended chiefly to afford the means of raising the fruit of Peaches, Nectarines, Apricots, and Vines, which cannot, in England, be brought to perfection without walls to train them against; for, though the trees will all grow very well, and though a small sort of Apricots will sometimes ripen their fruit away from a wall, these fruits cannot, to any extent, be obtained, in England, nor the Peaches and Nectarines, even in France, north of the middle of that country, without the aid of walls….
“Hence, in England, Peaches, Nectarines, Apricots, and Grapes, are called Wall-Fruit. Cherries, Plums, and Pears, are also very frequently placed against walls; and they are always the finer for it; but, a wall is indispensably necessary to the four former.”
Hello!
As far as I know, I had not previously photographed these blossoms before, on a tree that PlantNet tells me is an apricot tree. While it’s a very useful resource, it’s always a bit speculative to rely on PlantNet (or any other internet source) as a way to identify unfamiliar foliage — simply because so many flowers look like so many other flowers (especially in the early spring!), and naming conventions can be very confusing. There is an approximately equal chance that these are the blossoms of a wild cherry tree or almond tree — though after a while (a long while, of comparing random other-people’s images), I convinced myself that it was most likely an apricot. There was only one tree with blossoms like this that I could find at the gardens — and I could identify the cherry and almond trees — so that’s my story and I’m stickin’ to it!
“Finally the earth grows softer, and the buds on the trees swell, and the afternoon becomes a wider room to roam in, as the sun moves back from the south and the light grows stronger. The bluebirds come back, and the robins, and the song sparrows, and great robust flocks of blackbirds; and in the fields blackberry hoops put on a soft plum color, a restitution; the ice on the ponds begins to thunder, and between the slices is seen the strokes of its breaking up, a stutter of dark lightning. And then the winter is over….”
There are tiny hard fruits already on the plum trees.
The purity of the apple blossoms is incredible.
As the wind dies down their fragrance
Clusters around them like thick smoke.
All the day they roared with bees, in the moonlight
They are silent and immaculate.
From “Millennial Spring” by Charles Goodrich in The Ecopoetry Anthology, edited by Ann Fisher-Wirth and Laura-Gray Street:
The plum tree in full blossom —
slower than this
time
does not go.
Hello!
I took the photos below on a mostly cloudy day in late February, which worked out well because whenever the sun came out, these new plum blossoms reflected the sunlight too much. With the sun filtered through the clouds, however, the flower petals showed off their truer color, even if it’s only slightly more colorful than pure white.
I had this sense — while standing beneath the plum tree, as one does — that I was surrounded in a cloud of plum-colored mist: even my hands holding the camera took on the purple/pink hue that bounced about the branches, leaves, and flower petals of this delightful tree. The leaves especially — as you can see in the pair of larger matching photos below — exhibit one of the richest colors to be found in late winter or early spring blooms. The last photo in this series — where some of the color from the rest of the tree is apparent in the background — might give you the same sense I had under the tree: that I could stand there all day, and just be like a plum!
“Take a look at a handful of your favorite photographs and become aware of the path your eye takes. Generally it will begin at one point and follow the same path around the image before returning to the starting point. That is the hierarchy of visual mass in your image….
“Notice how your eye doesn’t do much more than give passing notice to the background. It does this because it takes only a glimpse to perceive that the background holds nothing of interest.
“Your eye will tell you naturally how the areas of pull, or mass, are distributed in your image. Now the point to all this: is this the way you want people to look at your image? If my eye goes to a bright triangle of light in the lower-right corner and kind of gets stuck there, is that where you want my eye to go? No? Then you need to do one of three things — exclude that white corner with a crop, diminish the pull of that white corner with a vignette, or provide me with an area of greater visual mass to pull my eye from that spot….”
“A white background allows you to show off the delicacy and transparency of your flower subjects…. A black background is also great for flower photographs and it is perhaps the most dramatic setting for floral imagery. On black, you can still photograph with the aim of displaying delicacy; yet it also provides opportunity to bring out the drama in flower coloration.
“When photographing flowers on a white background, I normally overexpose and aim for a rightward-biased histogram. The opposite is true when I photograph flowers on black: I underexpose and aim for left-biased histograms. Some underexposure deepens the black background and adds to the saturation of colors in the flowers.“
As the first quotation above explains, we often discount the content of a photo’s background when looking at it — giving it attention, perhaps, only if the background creates additional context for the photo or adds compelling shapes or color elements. A photo of a flower singled out from other flowers or plants in the background is perceived differently from, say, a photo of a flower in front of stone or concrete structures, where the stone provides color and texture that contrasts with the typical delicacy of the flower blooms. My third post in this year’s daffodil series (The Daffodils are Here! (3 of 4)) shows some examples: in the first gallery on that post, I positioned the camera intentionally to include parts of the nearby statues (partially out of focus) to create such a contrast, whereas most of the other photos feature only foliage in the background — and in those images the background provides mainly a perception of color (green!), with the background forms providing some shapely uniformity that is largely irrelevant.
Still, I often reconstruct parts of a photo’s background in Lightroom, using spot removal or healing brushes to replace distractions — especially since, when photographing outdoors, I have little control over light and some excessive highlights will often break through the darker areas, appearing as bright blobs that our eyes might latch on to. Since patterns of color and shape often repeat in nature photographs, it’s fairly straightforward to remove a distracting blob by replacing it with a leaf, or even eliminate larger objects (sticks, for example) that have captured too much light by replacing them with a batch of leaves, grass, or other elements so that the background ends out more consistent in appearance. I’ll also typically mask the entire background behind the photo’s main subject and add the appearance of additional bokeh by reducing noise and decreasing texture and sharpness, to give the background a smoother, softer appearance and further differentiate it from the subject.
With black backgrounds, of course, I don’t need to do any of that, for the obvious reason that nothing in the background will show through anyway. I still make decisions about what elements of the subject to include in the photo: in some of the photos below, I’ve kept stems or leaves, in others I’ve left them out. That depends on how much of the subject and immediate surroundings are in focus — like in the first yellow daffodil below — since the black mask will cause anything that’s blurry or out of focus to be more obviously so. So, for example, if in that same first photo the stem was blurrier, I would likely have excluded it from the final version of the image, or made it so dark that it appeared to fade to black.
How much of a photo is in sharp focus also helps me determine whether or not it’s suitable for this black background treatment: if individual blooms in the white daffodil clusters below were out of focus, I would typically decide such photos were unsuitable for this treatment. And since I’ve previously used masking to defocus the background of the original photo, it’s simple to flip the background I’ve already masked to black and check to see if the subject — especially around its edges — is adequately in-focus to look right as it contrasts strongly on pure black.
In the second quotation above, Harold Davis describes how you can use underexposure to create more saturated colors. This is very true, and works especially well for colors like yellow, orange, white, or green, where even slight underexposure deepens the colors and captures more texture in the shadows. It’s less effective with colors that are already highly saturated — like reds or purples — which will often need some saturation reduction in Lightroom to keep them from offending your eyeballs. I almost always use exposure bracketing so that the camera creates three images from each scene: one at my chosen exposure, one overexposed, and one underexposed, so that I can then choose the one with the level of color saturation (and focus) that I like the best. With flower photography, the underexposed photo is almost always the version I’ll end out using, whether I’m keeping the background intact or removing it entirely.
