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

Tag: summer

Martagon Lilies (1 of 3)

 , , , , , , 7

From “Lily” in Flowers in History by Peter Coats:

“L. martagon (the word comes from the Turkish martagan, a special form of turban adopted by Sultan Muhammed 1) is sometimes thought… to be an English native; but the Turk’s Cap lily is more likely to have been brought by early travellers from Italy, Spain or Turkey….

“It is a tall graceful lily, with many small flowers in pyramidal clusters, each with reflexed petals, which give the individual flowers their likeness to a turban. In color the martagon is usually a rich freckled purple, an unusual mahogany red or waxy white.”

From “There Are Different Gardens” by Carl Sandburg in The Complete Poems of Carl Sandburg:

Flowers can be cousins of the stars.
The closing and speaking lips of the lily
And the warning of the fire and the dust —
They are in the gardens and the sky of stars.
Beyond the shots of the light of this sun
Are the little sprinkles, the little twinklers
Of suns to whose lips this lily never sent
A whisper from its closing and speaking lips.

Hello!

Last year when I learned that the Martagon Lilies featured in this post (and the next two) were commonly called Turk’s Cap Lilies (see, for example, Turk’s Cap (Martagon) Lilies (1 of 3), where I first discussed it), I took it for granted that “Turk’s Cap” and “Martagon” were interchangeable names for the same plant — which seemed perfectly reasonable until I found out that other lilies (like Lilium superbum) have also been doffed “Turk’s Cap.” This ambiguity — which is present in the Peter Coats quotation uptop — always bugged me a bit, mainly because I try to get better at correctly identifying the plants and flowers I photograph, even while getting help from sources like PlantNet. So this year I did a little more digging around, to see if I could clear up my name fog over “Turk’s Cap.”

In the book Lilies: Beautiful Varieties for Home and Garden, author Naomi Slade explains that “the classification of lilies is… a bit of a headache.” She continues:

“Generally speaking, [lilies] are placed in one of nine divisions depending on their parentage, then assigned a series of letters that are designed to indicate the shape and habit of the flowers.”

She then describes the nine divisions, pointing out that three of these divisions — Division 2, Division 3, and Division 4 — include lilies with flowers in the Turk’s Cap shape. I was tempted to conclude that only these three divisions contained Turk’s Caps, but pretty quickly discovered that lilies in other divisions — such as Lilium cernuum in Division 5 and Lilium michiganense in Division 6 — bloom in Turk’s Cap shapes too. Ah, well, now I understand why Slade got a headache; but I think the best way to think about this is that “Turk’s Cap” is more properly thought of not as the name of a flower, but as the characteristic shape of some flowers, and what any of us know to be a “Turk’s Cap Lily” is more of a colloquialism, an informal way of referring to specific lilies that may also be localized to where you live (or where you see the lilies).

Slade’s description of the lily divisions is too long to quote here, but Wikipedia also describes the nine divisions (closely mirroring Slade’s explanation) at Lilium: Classification of garden forms — where the photos for lilies in each division are very helpful for visualizing how the similarities among variants get them classified as they are. For my purposes, I think I’ll get in the habit of trying to figure out what lily variant I’ve actually photographed when its shape is a Turk’s Cap, and I landed on Martagon for these lilies because of their dominant purple-red colors; the presence of dark purple (nearly black) spots on some of the flower petals; and the smaller size of the individual flower blooms. Further (though you can’t tell from the closeup photos below) the plant itself stood nearly six feet tall with several dozen blooming stems — both characteristics of (though not exclusive to) Martagon Lilies.

Thanks for reading and taking a look!

Daylilies, Lilies, and Amaryllis on Black (5 of 5)

 , , , , , 0

From “Places of Awe” in Places of the Heart: The Psychogeography of Everyday Life by Colin Ellard:

“On Christmas Eve, 1968, Apollo 8 astronaut William Anders took a photograph that was destined to become one of the most famous images in human history. As the tiny spacecraft that he shared with astronauts Frank Borman and Jim Lovell rounded the moon and revealed the blue globe of planet Earth, Anders raised a Hasselblad camera, exclaiming with all the enthusiasm one is likely to ever hear from a fighter pilot with the United States Air Force: ‘There’s the Earth coming up. Wow is that pretty.’

“Although very few of us have been lucky enough to travel into space and experience awe by looking at the Earth from a remote viewpoint, everyone has had experiences that they would categorize as ‘awesome’ (and not just in the recent banal sense of that word). When awe strikes us, we are certain of it. We can be overcome by awe when we encounter a dramatic natural phenomenon such as an inky starlit sky, a thunderstorm, or a majestic view of a mountain range or canyon, or even by simple reflection….

“[We] can also be overcome by awe in built settings…. Such experiences bring us outside the narrow confines of the body space, encouraging us to believe that our existence constitutes more than just a beating heart inside a fragile organic shell. We have a sense of boundlessness as the limitations of time and space that hold us aground are suddenly swept aside.”

From “As Imperceptibly as Grief” in The Selected Poems of Emily Dickinson by Emily Dickinson:

As imperceptibly as grief
The summer lapsed away,–
Too imperceptible, at last,
To seem like perfidy.

A quietness distilled,
As twilight long begun,
Or Nature, spending with herself
Sequestered afternoon.

The dusk drew earlier in,
The morning foreign shone,–
A courteous, yet harrowing grace,
As guest who would be gone.

And thus, without a wing,
Or service of a keel,
Our summer made her light escape
Into the beautiful.

Hello!

This is the fifth of five posts where I’ve taken this summer’s daylily, lily, and amaryllis photographs, and recreated them on black backgrounds. This post features a last batch of amaryllis.

The previous posts are Daylilies, Lilies, and Amaryllis on Black (1 of 5), Daylilies, Lilies, and Amaryllis on Black (2 of 5), Daylilies, Lilies, and Amaryllis on Black (3 of 5), and Daylilies, Lilies, and Amaryllis on Black (4 of 5).

The poem from Emily Dickinson above is thematically about the ending of summer — a bit of wishful thinking on my part since we’ve been subjected to more days with excessive heat warnings in July and August than I’ve experienced since moving to the southeast. It does make a guy long for the cooler, breezier days of autumn — and even though those are quite a few weeks off, the slightly shorter days with earlier sunsets are good reminders that the seasonal change will come, just not quite yet.

Thanks for taking a look!

Daylilies, Lilies, and Amaryllis on Black (4 of 5)

 , , , , , 8

From “Old Pictures” in Living, Thinking, Looking by Siri Hustvedt:

“Photographs have long been seen as markers of the past, a way of preserving what was in what is….

“Unlike paintings, which can invent a subject, photographs preserve a subject in a real moment in time. Despite the fact that well before the era of Photoshop, camera images were manipulated (remember the Cottingley fairies), it is an idea that has had long-standing power. What fascinates me most about photographs are their personal and public uses as tokens of memory and the fact that their efficiency, or lack of it, in terms of seeing and remembering, works precisely to the degree that they are not like visual perception and memory in the brain. Photographs are produced mechanically, which means that, unlike painting, they are created outside human perception, but, like paintings, they exist as representations outside our bodies. At the same time, we look at photographs with our eyes. The vagaries of human vision apply to photos just as they do to all other perceived objects….

“Perception and its crucial cohort, memory, are complex dynamic systems in the brain and have both implicit (unconscious) and explicit (conscious) features. Although scientists once subscribed to a primitive notion of memory storage — you perceived an object and then lodged it intact in your memory — neuroscientists now believe that when you retrieve a memory, you are not retrieving an original memory but rather the memory you last retrieved. In other words, we edit. Memory changes. It is now obvious that the brain is not a camera; it is not a computer; it is not a machine. Despite the fact that new technologies are developing seeing-machines that can recognize people and objects, and many of us work with remembering-machines, our computers, every day, there is little lust for machines that, to use the neuroscience term, reconsolidate memories over time, that unknowingly rewrite or reconfigure the scenes and faces of the past. Digital alteration is a tool for the conscious, not the unconscious mind.”

From “Fairies” by Rose Fyleman in The RHS Book of Garden Verse by the Royal Horticultural Society:

There are fairies at the bottom of our garden!
It’s not so very, very far away;
You pass the gardener’s shed and you just keep straight ahead —
I do so hope they’ve really come to stay.
There’s a little wood, with moss in it and beetles,
And a little stream that quietly runs through;
You wouldn’t think they’d dare to come merrymaking there —
Well, they do.

There are fairies at the bottom of our garden!
They often have a dance on summer nights….

Hello!

This is the fourth of five posts where I’ve taken this summer’s daylily, lily, and amaryllis photographs, and recreated them on black backgrounds. This post features a first batch of amaryllis.

The previous posts are Daylilies, Lilies, and Amaryllis on Black (1 of 5), Daylilies, Lilies, and Amaryllis on Black (2 of 5), and Daylilies, Lilies, and Amaryllis on Black (3 of 5).

I had never heard of the Cottingley fairies until reading about them in the book of essays by Siri Hustvedt, quoted above. This fascinating episode in the history of photography and image manipulation very nearly sent me down a new rabbit hole — or fairy hole (how rude!) — but for now I stuck with just reading the Wikipedia article and taking a quick look at the book The Coming of the Fairies by Sir Arthur Conan Doyle (of Sherlock Holmes fame) and a few other sources. Having never read a Sherlock Holmes book — I’ve only seen various adaptations of Doyle’s Holmes in films and television series — I didn’t know that Doyle was interested in spiritualism, and, as such, was an early adopter of the fairies-do-exist meme. Doyle was highly influential in his treatment of the images as real, along with Edward Gardner of the Theosophical Society — who infamously stated that the images were “straight forward photographs of whatever was in front of the camera at the time.” This delightful equivocation is a fine example of how ambiguity about manipulated images helps move them into mainstream thought to get treated as realistic, when in fact they are not.

The Cottingley fairies hoax emerged during the late nineteenth and early twentieth century interest in spirit photography, the belief that cameras were capable of capturing images of ghosts and other supernatural entities, though the fairies were posited as real rather than as examples of characters from the spirit world. It was only in the 1980s — recent enough! — that the two girls that created the original five fairy photos publicly admitted they had faked the photographs, despite prior investigations that described how the images had been manipulated. It’s certainly a testament to the enduring power of images — even faked or manipulated images — that the genesis of these five photographs was still being discussed for decades after they were first produced.

I was going to post the five images in a small gallery here, then learned that the copyright status of the images is disputed — they’re not necessarily in the public domain — but you can see them in sequence with a concise overview of their history at The Cottingley Fairies as well as in the Wikipedia article.

Thanks for reading and taking a look!

Daylilies, Lilies, and Amaryllis on Black (3 of 5)

 , , , , , , , , , , , 4

From “Daisy Chains” in A Field Guide to Getting Lost by Rebecca Solnit:

“The technology and conventions of photography have given a particular look to each generation’s images, while history, fashion, and food have left their impressions on each body, so that nearly everyone in a given era has a kind of kinship to each other they don’t to other generations….

“Before the 1960s, light and air themselves seem to have had an almost undersea depth and luminosity, in which skin glowed opalescently and everything seemed to have a faint aura slaughtered by the newer black-and-white films made with less silver in the emulsion. I think most Americans who didn’t live through it think the Depression took place in a world of rough-hewn but secretly seductive black-and-white surfaces, as though texture itself could be a wealth to counter all that poverty. And the early part of the last century, when light was harsh and came from high above, was full of hollow-socketed stern faces above bodybelying clothes….

“There are fossils of seashells high in the Himalayas; what was and what is are different things.”

From “Laughing Corn” by Carl Sandburg in The Complete Poems of Carl Sandburg:

There was a high majestic fooling
Day before yesterday in the yellow corn.

And day after tomorrow in the yellow corn
There will be high majestic fooling.

The ears ripen in late summer
And come on with a conquering laughter,
Come on with a high and conquering laughter….

Some of the ears are bursting.
A white juice works inside.
Cornsilk creeps in the end and dangles in the wind.
Always — I never knew it any other way —
The wind and the corn talk things over together.
And the rain and the corn and the sun and the corn
Talk things over together.

Over the road is the farmhouse.
The siding is white and a green blind is slung loose.
It will not be fixed till the corn is husked.
The farmer and his wife talk things over together.

Hello!

This is the third of five posts where I’ve taken this summer’s daylily, lily, and amaryllis photographs, and recreated them on black backgrounds. This post features a second batch of lilies.

The previous posts are Daylilies, Lilies, and Amaryllis on Black (1 of 5) and Daylilies, Lilies, and Amaryllis on Black (2 of 5).

Thanks for taking a look!

Daylilies, Lilies, and Amaryllis on Black (2 of 5)

 , , , , , , , , , , , 0

From “Photography: A Little Summa” in At the Same Time: Speeches and Other Essays by Susan Sontag:

“Photography is, first of all, a way of seeing. It is not seeing itself.

“It is the ineluctably ‘modern’ way of seeing….

“This way of seeing, which now has a long history, shapes what we look for and are used to noticing in photographs.

“The modern way of seeing is to see in fragments. It is felt that reality is essentially unlimited, and knowledge is open-ended. It follows that all boundaries, all unifying ideas have to be misleading, demagogic; at best, provisional; almost always, in the long run, untrue. To see reality in the light of certain unifying ideas has the undeniable advantage of giving shape and form to our experience. But it also — so the modern way of seeing instructs us — denies the infinite variety and complexity of the real. Thereby it represses our energy, indeed our right, to remake what we wish to remake — our society, our selves. What is liberating, we are told, is to notice more and more.

“In a modern society, images made by cameras are the principal access to realities of which we have no direct experience. And we are expected to receive and to register an unlimited number of images of what we don’t directly experience. The camera defines for us what we allow to be ‘real’ — and it continually pushes forward the boundary of the real….”

From “Elegy (1)” in The Poetical Works of Robert Bridges by Robert Bridges:

Many an afternoon
Of the summer day
Dreaming here I lay;
And I know how soon,
Idly at its hour,
First the deep bell hums
From the minster tower,
And then evening comes,
Creeping up the glade,
With her lengthening shade,
And the tardy boon
Of her brightening moon.

Hello!

This is the second of five posts where I’ve taken this summer’s daylily, lily, and amaryllis photographs, and recreated them on black backgrounds. This post features lilies, and the first post (of daylilies) is Daylilies, Lilies, and Amaryllis on Black (1 of 5).

One of my favorites is the fifth photo of the unopened flowers, where you see a single bud with a tiny vine twisted around its stem and growing toward the upper right corner of the photo. I wrote about that vine before — see Vines on Black / Vines in Films — where I described it as a creeper variation that quite successfully wraps itself around any other plant it encounters and shoots toward the sun, while rapidly invading the space it starts growing in. This was the first time I’d encountered it at Oakland Cemetery’s gardens, where I caught it in the act of “attacking” one of the lilies. With the photo converted to one with a black background, the presence of the tiny vine exerts additional prominence, whereas it might have gone largely unnoticed in the original photo.

Regarding the quotation from Susan Sontag’s At the Same Time above:

While On Photography is Sontag’s well-known book on photography and images, she takes up the subjects in most of her other nonfiction books and essays as well — one of the few writers I’ve read who embeds cultural analysis of images in writing on so many other subjects. Throughout her writing she attempts to address — often leaving us with more questions than answers — how images alter our understanding of reality, across the realms of documentary photography, art, and media information. She also regards images as always-manipulated — even those from the earliest history of photography — because at minimum they represent the photographer’s subject choice of what will be seen versus what will remain unseen; and, for documentary-style photography, she examines how the interpreted meaning of a photograph may change based on the words used to describe it. After reading this section of At the Same Time, I couldn’t help but wonder what she might think of our emerging AI capabilities, where images can be generated from text and have no necessary correspondence to any existing reality.

One of these days, I’d like to take on Benjamin Moser’s Sontag biography — Sontag: Her Life and Work — though I’ll admit that its 800-page length is a little intimidating. Still, I’d like to better understand how photography came to be such a gripping subject that she addressed it so often in her non-fiction writing, which I imagine the book will explain. I did recently learn that the biography is being adapted into a film, so maybe I’ll wait for the movie…. 🙂

Thanks for reading and taking a look!