5-10-5: Matt Lobdell, Head of Collections and Curator, The Morton Arboretum

Interview conducted by Eric Hsu

Photography by Matt Lobdell

 

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Matt Lobdell taking notes on a clipboard during the 2015 plant hunting expedition in Alabama.

Please introduce yourself
Matt Lobdell, Head of Collections and Curator, The Morton Arboretum


The arts or horticulture?
I appreciate the arts, but I’d have to say horticulture!


How did you become fascinated with plants?

My fascination with plants grew as I became more aware of their diversity. Through high school and my early undergraduate years I was generally aware of the differences between oaks, maples, and other trees, but my interest was really piqued when I took an ecology course during my sophomore year that involved a tree survey as a final project. I was fascinated to learn that there could be as many as 20 distinct tree species in a small transect and became curious about the characteristics used to diagnose one from another. This survey led me to take an internship at the Polly Hill Arboretum in Martha’s Vineyard, where I would learn even more about tree diversity.


Martha’s Vineyard is better known as the affluent summer playground, but it has a year-round resident community comfortable with island life. I imagine that growing up on the island enabled you to partake recreational activities outdoors. Can you single out natural areas that were impressionable?

I remember the area around my parents’ house, which was only about a half mile away from the Manuel F. Correllus State Forest. When exploring the area, I encountered both oak trees and seemingly impenetrable bear oak thickets, as well as the occasional sassafras, pitch pine, or beetlebung (our regional common name for Nyssa sylvatica). I found the ecosystems at some of the beaches interesting, particularly at Lambert’s Cove Beach where I’d often pick something I called “beach plum”, but would later realize was just Rosa rugosa. At least I got the family right.


Margaret Mead the distinguished anthropologist once remarked: “Anthropology demands the open-mindedness with which one must look and listen, record in astonishment and wonder that which one would not have been able to guess.” How did you find your anthropology degree applicable to your methodology towards plants?

What I found most rewarding about studying anthropology was the integrated approach the field takes to studying and understanding a topic. As a Curator, I try to also take an integrated approach to studying and learning about plants. I strive to both understand what make a plant significant from a botanical perspective, as well as understand its historical utilization in order to assist with the interpretation of its significance to the visitor.


Eventually your minor in environmental studies influenced you to pursue opportunities to intern in public gardens. Polly Hill Arboretum was the first public garden where you interned in 2005 as its garden intern and 2008 as its first collection management intern. What were several invaluable skills at Polly Hill you took away?

During my initial internship there I learned some basic horticulture and grounds management skills which I was able to build upon in later positions. As a collections management intern I gained exposure to plant records, accessioning, evaluating plants within the collections, and some other basic skills that would cement my decision to pursue a career as a curator.


Your experience in public arboreta makes it clear that woody plants are your forte. What is it about woody plants that you find appealing? Their sense of permanence?

I think that definitely has something to do with it! However, I think the size of trees in particular also provides shade, stability, and other services that allow one to interact with it in a manner they wouldn’t necessarily be able to do with other types of plants.


For two years you had worked as a horticulturist for the Rose Fitzgerald Kennedy Greenway Conservancy which transverses Chinatown, Financial District, Waterfront, and North End neighborhoods in Boston.This position is more community-oriented and amenity-centered rather than the collection- and scientific-focused of your current job. What lessons did you take away from being a public parks horticulturist that other experiences did not provide?

The Greenway was the only position I’ve had that put me in a true urban area, so it was interesting to learn just how many challenges trees have to face when growing in those conditions, and truly impressive that some are able to grow there at all.


Your masters dissertation at University of Delaware examined Styrax in cultivation. How did Styrax, as opposed to other woody genera, come to become the focus of your research?

I was looking for a group of ornamental woody plants that might benefit from a general survey-type study, and was looking for something that hadn’t already been overdone. My advisor, John Frett, suggested either Itea or Styrax and I chose the latter. We were both surprised to learn the genus had approximately 130 described species, so we chose to focus on those with some history of cultivation in order to keep the study manageable.


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Styrax hemsleyanus (Hemsley Snowbell) native to central China.

Styrax japonicus and S. obassia are commonly represented in cultivation. What other members of the genus would you wish to see more grown in gardens?

Styrax japonicus and S. obassia are probably the most cold hardy and suitable for a variety of landscape conditions. I’m also partial to Styrax americanus, a southeastern US native. It’s a shrubbier species with pale green leaves and though the flowers are small, they have an interesting reflexed form. Styrax hemsleyanus is also a favorite, which is similar to S. obassia but most of them I’ve seen have slightly smaller leaves with prominent venation which can look interesting while vegetative.

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Stryax americanus showing its small reflexed flowers.

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The Morton Arboretum’s Malus ‘Dolgo’ whose fruits are considered suitable for making crab apple jelly.

 

You currently work as The Morton Arboretum’s head of collections and curator, which brings tremendous responsibilities for a 1,700-acre arboretum. What does your daily day look like?

I’ve found it to be a bit different each day! I’ve been involved with everything from selecting plants for the collections, planning wild collecting trips, applying for funding to assist with infrastructure improvements, and assisting with development of BRAHMS, a plant records database. I’ve never found there to be a shortage of projects to work on, but do try to carve out a bit of time each week to walk the grounds and check on the performance of the plant collections.


The Morton Arboretum is one of the few arboreta that actively engages in scientific education and research without the appending university affiliation (i.e. Arnold Arboretum of Harvard University, Morris Arboretum of U Penn, University of Washington Botanic Garden). How does your role/relationship fit with the science and conservation section, such as the ArbNet, the Center for Tree Science, and the Chicago Region Trees Initiative?

I remain available to share my knowledge of the collections with our science and conservation staff, and particularly encourage them to carry out research within our collections when possible, assisting with logistics as necessary.


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Magnolia collection in full flower at The Morton Arboretum.

The Morton Arboretum’s living collection contains approximately over 200,000 living plants which represent 3,925 taxa. The collection is arranged in three groups: geographic, taxonomic, and special habitats. Do you have specific areas in these groups you find yourself revisiting? 

The Magnolia and Oak collections are personal favorites as they are groups of my interest. I also like to explore our Plants of China collection which boasts a diverse assemblage of material due to our history of collaborating with NACPEC (North America-China Plant Collecting Exploration Consortium).

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Magnolia ‘Elizabeth at The Morton Arboretum’s magnolia collection.

If you were to take a friend or a family member around Morton Arboretum, what would be some of the outstanding trees you would take care to point out?

All depends on the time of year! However I would make sure they saw some of the large Acer miyabei on the Arboretum’s west side, as well as the Abies nordmanniana in the Central and Western Asia collection.


Most people see the Midwest as having prairies, not woodlands, and may be surprised to encounter the Morton Arboretum’s trees. What are the natural woodlands in Illinois that people can visit?

The eastern US forest extends into the Chicago region, though prairies become much more common as one travels west. Kankakee River State Park and Starved Rock State park are two must-visit sites in the area. Of course The Morton Arboretum also has an extensive restored woodland which is a must see as well.


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Subalpine meadows in the Tusheti National Park, Georgia.

Within two years of your job, you participated in your first overseas plant hunting expedition as part of the Plant Collecting Collaborative (PCC), Given its geographical position between the Black Sea and Caspian Sea and its two mountain ranges (Greater and Lesser Caucasus), Georgia has a floristic diversity that is beguiling for botanists and horticulturists alike. It is relatively underrepresented where plants are concerned in US plant collections, and has tremendous scope for woody plants like Crataegus pentagynaTilia cordata, and Fagus orientalis. What were some of the highlights in the trip?

Fagus orientalis, as you mentioned, is a spectacular tree and important component of the forests of the Caucasus. We were also able to collect from some of their oaks, including Quercus macranthera and Quercus hartwissiana, as well as two maple species I hadn’t heard about until I started looking into the flora of the region in detail: Acer ibericum and Acer velutinum. Overall, it was a fascinating country to visit and I feel fortunate to have been able to learn about their flora from the experts at the Georgian Institute of Botany who joined us for the expedition.

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Matt examining plants in Republic of Georgia.

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Acer ibericum in Georgia.

The Caucasus region is again the destination this year as planning is underway for Azerbaijan, one of Georgia’s neighbors. What would be the objectives of this expedition that would be different from those achieved in Georgia? 

My main objective in Azerbaijan would be to collect some of their endemic taxa, particularly those such as Acer hyrcanum and Parrotia persica found in the Hyrcanian forest. This would allow a different portion of the flora of the Caucasus to be collected separate from that in Georgia.


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Magnolia pyramidata, one of the big-leafed magnolias native to eastern US.

What is your desert island plant?

If I could choose just one it would be Magnolia macrophylla. I often accuse it of being the tree that got me into horticulture. Once I saw the size of the leaves and flowers and learned it was something that could be grown outdoors in New England, I found myself really curious about plant diversity and wanting to learn more about trees.

 


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Matt preparing a herbarium specimen of a magnolia collected in Torreya State Park, Florida.

Do you have advice for those aspiring for a career in public horticulture, especially in the curation and collection-based areas?

I  found it helpful to work at a variety of botanical gardens in order to learn both a diverse assemblage of plants, as well as several different ways to approach curation and plant records techniques. I’d also encourage those to seek out someone with a job that sounds interesting to them and ask them how they got to where they are. I’ve found most people are generous with their time and more than willing to share their experiences.


Thank you for the interview, Matt!

Curators in Gardens

by Eric Hsu

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The Botanical Garden by Raoul Dufy

What does a curator do in a garden? It is a common question visitors ask during meet and greet sessions.

In an art museum, a curator organizes exhibitions, writes educational materials, and oversees restoration. He or she becomes the spokesperson for the museum’s work as much as the director or CEO does. However, overseeing the management and direction of an art collection is not different from that of a plant collection. Depending on the institution’s mission, a curator may be focused on the aesthetics of plants, i.e. designed for color or texture, – after all it is the beauty after edible use that are the plants’ draw cards.

It may be implausible to point out the similarities because whereas art or artifacts are inanimate objects, plants are ever dynamic living organisms whose success or demise cannot be predicted. As custodians of plant collections, curators must call upon themselves and the talents of horticulturists to secure the survival and conservation of plants. They may lead plant hunting expeditions to expand the extant germplasm or uncover exciting ornamental plants. Their drive for conservation and acquisition is the same in art museums where collections simply cannot be ossified for preservation, but must be open or exchanged for interpretation. Plants, like artwork, are a reminder of our cultural heritage – when Ben Stormes, the University of British Columbia Botanical Garden’s Curator of the North American Collections heads into the Cascade Mountains, he is returning with new ideas to express the importance of  the forest ecosystems to the public. Or when Matthew Pottage, Curator of RHS Wisley, sets out to educate the public about alternatives to boxwood, which is badly decimated from box caterpillar or box blight. Peter Zale, Curator of Plants and Plant Breeder, is building up Longwood Gardens’ boxwood germplasm as insurance. As the Head of Plant Collections, Matt Lobdell has access to different scientific and public education initiatives at the Morton Arboretum, Illinois.

Floral Fridays: Antipodean Arrangement

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The seedheads of Dietes grandiflora (South African iris relative commonly known as fortnight lily) break up the round contours of the protea flowers and Corymbia ficifolia capsules.

 

Book Review: The Amaryllidaceae of Southern Africa

by Eric Hsu

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While South America claims the distinction for the center of diversity for the amaryllis family, South Africa holds it own with 18 genera and approximately 240 species. Ever since the Europeans began navigating new oceanic trading routes in search of new colonies, the ornamental appeal of the South African Amaryllidaceae has been well known to gardeners. Foremost in advancing the study of the Amaryllidaceae was the British horticulturist, botanist, and artist William Herbert who specialized in these bulbs at his Spofforth, Yorkshire home. Herbert undertook the ambitious project of delineating and describing all the known members of the Amaryllidaceae in a work that remains the only publication on the family. Subsequent work from other botanists and horticulturists examined specific genera like Cyrtanthus, Nerine, and Haemanthus – the advent of molecular work has elucidated relationships especially for a family that has witnessed intense speciation. Only in 1999 did a general picture emerged when Piet Vorster researched and published the geographical distribution and concentration of the South African Amarylliadaceae. The same publication  African Plants: Biodiversity, Taxonomy and Uses included a paper on growth and flowering from Deirdre Snjiman. Now the Amaryllidaceae of Southern Africa (Kew Publishing, 2016) has come to step into the gap that brought different information previously scattered in disparate sources.

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The Amaryllidaceae of Southern Africa is certainly a magnum opus on Southern Hemisphere geophytes that spans 45 years, 28 of which were devoted to botanical illustrations by Barbara Jeppe. Jeppe’s daughter Leigh Voigt continued the work for the next 16 years. Graham Duncan is highly qualified to pen this monograph as he has been the Curator of the Indigenous bulb collection at the Kirstenbosch National Botanical Garden. He has the uncommon dual talent of being a botanist and horticulturist, which allows him to understand the geophytes thoroughly. If his prior monograph The Genus Lachenalia (Kew Publishing, 2012) is a good indication, then there are no doubts about the quality of  Amaryllidaceae of Southern Africa (Kew Publishing, 2016). Topping 710 pages, the book weighs 1.7 pounds (0.77 kg), making it impractical to carry in the field. However, the production justifies its price of US $100, being that the paper is thick and smooth, a purple ribbon bookmark is bound to the spine, and color appears faithful to the illustrated plants.

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Gardeners will already recognize Amaryllis, Clivia, Crinum, and Nerine amidst the less familiar Apodolirion, Gethyllis, and Stumaria. In mild climates, Amaryllis belladonna has become naturalized, flowering leafless in autumn. However, even within the familiar garden genera are relatively unknown or less common species. Few know the rarer and less easily cultivated Amaryllis paradiscola, which is restricted to one population in the Richtersveld National Park.  Clivia miniata is the most horticulturally significant representative, yet other species C. caulescens, C. gardenii, C. mirabilis, and C. nobilis possess the same resilient qualities that make them good houseplants. Graham Duncan calls Crinum acaule ‘a most beautiful species wit large, showy flowers and a strong sweet fragrance’, but it has yet reached the popularity of C. bulbispermum or C. mooreiNerine sarniensis better known as Guernsey lily now sparkle conservatories and greenhouses with their jewel-like flowers. It sits squarely among 30 or so taxa that are found in South Africa.

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The book is peppered with color photographs depicting plants in the wild, such as thie one of Cyrtanthus verntricosus after fire. Photograph courtesy of Amaryllidaceae of Southern Africa and by John Manning.

The book is peppered with color photographs depicting plants in the wild, such as the one of Cyrtanthus verntricosus after fire. Each color botanical illustration accompanies each species, showing the diagnostic characteristics of the infloresence, individual flower, foliage, seeds, and the bulb. Because leaf development does not always synchronize with flowering, Jeepe and Viogt would examine the specimens over the course of a year. It is a welcome change to defer to the time-honored tradition of using botanical illustrations when color photography has become the norm in monographs nowadays. Information is organized under the following subheadings: description, synonyms, etymology, flowering period, brief history, distinguishing features and affinities, distribution, habitat and life cycle, conservation status, and cultivation.

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The alphabetical organization of the genera rather than a phylogenetic one makes the book easy to reference for specific species. However, the minor oversight is the placement of the keys in the back (pages 660-677) rather than the front before the genus and species treatment. It is a departure from other monographs or floras that have keys prefacing the descriptions. Following the keys are sections outlining cultivation of these amaryllids, which can be confusing for a novice grower. Duncan is careful to differentiate the amaryllids in winter rainfall and summer rainfall regions because their cultivation requirements are dissimilar. The inclusion of cultivation guidelines for those gardeners in the Northern Hemisphere is welcome as well. Asexual and sexual propagation is both covered, with seed for the former and  the offsets and twin scaling for the latter. Every geophyte have their insectivorous nemesis, and the lily borer (Brithys crini) feeds voraciously on the foliage before moving downwards into the bulb. However, with due vigilance, the borer larvae can be controlled mechanically or with a carbyl-based insecticide. Duncan makes it clear that viral disease and bacterial soft rot can do undue damage and death in amaryllids. A glossary and an index of plant names (including synonyms) is included in the last couple pages.

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Gethyllis ciliaris subsp. ciliaris. Photo by Graham Duncan

Graham Duncan must be applauded on the herculean task of writing such a thorough and systematic treatment of the Southern African Amaryllidaceae. It would be a disservice not to honor the mother-daughter team Barbara Jeppe and Leigh Voigt whose unfailing commitment and patience in illustrating these geophytes inspired the book in the first place. The Amaryllidaceae of Southern Africa will continues confidently in the tradition of botanical references that document the Cape Flora.

 

 

 

 

 

“At every step a different plant appeared…

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“At every step a different plant appeared; and it is not an exaggerated description if it should be compared to a botanical garden, neglected to grow in a state of Nature; so great was the variety everywhere.” ~ William Burchell

“If you could peel the years from a man’s life…”

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Goulding Constable’s Flower Garden (courtesy of Wikipaintings)

“If you could peel the years from a man’s life, as you do the leaves from a globe artichoke, you would find him having his happiest time between the ages of fifty and sixty-five. The awful anxieties of youth have resolves themselves–he no longer jumps at shadows…competitors are not treading upon his heels…achievement has not yet lost its glamour…ultimate success, glorious and satisfying, lies just around the corner….A golden, mellowing period which brings out all that is best in a man. Kindliness creeps incheerfulness spreads its warming rays; even a little humor….”  ~ Reginald Arkell, Old Herbaceous (1950)

“You can cut all the flowers but…”

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“You can cut all the flowers but you cannot keep Spring from coming.” ― Pablo Neruda

Sunday Clippings

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Sunk Garden, Great Dixter

We now return to our regularly scheduled program of Sunday Clippings, with the second half of our favorite recent articles. Enjoy and have a wonderful week.- Plinth et al.

5-10-5: Claire Takacs, Garden Photographer

A seasoned traveler (it must be an Australian imperative to have a passport and see the world!), Claire has the enviable position of photographing beautiful places, namely gardens, throughout the world when she is not home in Victoria, Australia.  I met her when she was in the East Coast US photographing gardens from New England to the Mid-Atlantic region.


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Please introduce yourself.

I’m an Australian freelance garden photographer who travels 6-7 months of the year based out of England when not in Australia and to the US and Europe. I work mainly for magazines such as Gardens Illustrated and Garden Design and contribute to books.


The arts or horticulture?

It would have to be a fairly equal combination of both.

I studied art at school, with a keen interest in landscape painting and then completed a bachelor degree in Environmental Science.

I often see gardens as works of art and feel compelled to capture their beauty and I find light brings it all to life.

I have a great appreciation of nature and are always seeing plants I have never seen before. However,  I am not driven by knowing all of the details of plant names etc. It’s more about the bigger picture and feelings that gardens evoke when skilfully planted and created by expert and passionate gardeners and garden designers.


How did you first become interested in photography, especially garden and landscape photography?

Upon completing my science degree, I left Australia with a one way ticket to London.  This flight was the first time I really had freedom and time to explore the world and I became really interested in photography and constantly wanted to capture what I saw along my travels. I was often disappointed at how my images turned out when they came back from the lab, and really wanted to learn how to take better pictures that represented what I saw.

When I returned to Australia, I decided I wanted to do garden design or photography. Science was never really in the picture, but rather it was always a love of nature and wanting to work outdoors from the beginning.

I chose photography, and completed a two year full time course, beginning at 26. Initially I was really drawn to photographing landscapes and capturing light, which was about beauty in nature.

During the course, one of my projects resulted in photographing a garden, Cloudehill. Cloudehill is one of Australia’s best gardens by owner Jeremy Francis who inspired by the famous Arts and Crafts gardens of the UK. It just happened to be ten minutes down the road from where I’d grown up, but I’d never seen it until now. Francis’s garden reminded me of the great gardens I’d seen in the UK.

It was an absolute revelation having this garden all to myself at sunrise one morning and photographing it as I would for a landscape. There was just such beauty in this garden and I couldn’t believe how no one else was there capturing the moments. Cloudehill then became my initial inspiration for garden photography and the beginning of it all for me. It was the first garden I got published in Gardens Illustrated and it was the front cover image on the inaugural International Garden Photographer of the Year Competition, which I won in 2008.

Garden photography has been the focus for my life and travels ever since and it has taken me on such an interesting path to endless beautiful and amazing gardens and people throughout the world. I still love landscapes, but often I prefer just to enjoy them and concentrate my work on gardens. I find it’s so interesting to see what people at a really high level in horticulture are doing all around the world. I’m constantly surprised by the gardens I see. I too have a great love of gardening myself and I understand what it is to be totally swept away and consumed by gardening.

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When the first morning rays meet the mist: the Peacock Garden at Great Dixter, West Sussex, England.

Some photographers prefer the morning light for producing the best images, others the evening light. The majority of your images appear to be taken during early morning when the first rays of light breaks apart the horizon or the mist. Has your experience naturally steered you towards mornings?

Yes, generally I much prefer morning light. My favorite morning is a cool morning which is a little misty and then the sun breaks through the mist. I love photographing in autumn and cool climates when the light is softer. In Australia our light is often so harsh that you have to be very quick to photograph before the window of nice light passes. I find the gardens quieter in the morning and I am fresher, which really allows me to focus on the photography only. Generally the light is more atmospheric in the mornings; however, it does depend on the garden’s orientation, as some gardens have nicer evening light and the time of year can change it as well. If possible, I generally try to get both sunrise and sunset lights in the garden.


At times, weather can be uncooperative for photography, necessitating repeat visits until it is optimal. Given scheduling constraints, how do you circumvent the frustration of inclement weather?

Weather is probably the most difficult thing I have to deal with. Almost everywhere I go, I seem to get unseasonal conditions, or so gardeners tell me. Climate seems to be noticeably changing around the world and affecting flowering times in gardens.

For some gardens, I just don’t seem to be lucky with the weather and I will have three or four goes at it. However, it really depends on where I am and how flexible the owners and I can be. Often I am working freelance, sourcing gardens myself and working with writers remotely, so I have to weigh up how long I can afford to wait. Sometimes I will have to work with the conditions as they are, such as having two shoots – an evening followed by a sunrise shoot, which may might give five minutes of nice light, but sometimes that is enough for a double page opener for a feature. More often than not, it’s not plausible to get the whole shoot with good light, which is frustrating. There are certain conditions though, such as dark grey clouds and high winds that make it impossible to get good shots. I have photographed for hours in the rain underneath an umbrella for a couple of gardens yet this patience has resulted in published features. My winning IGPOTY shot was photographed in snow underneath an umbrella.

Generally I keep an eye on the weather closer to the date and ask for a little flexibility with owners if possible. If I really feel a garden is worth capturing in good light and the weather is just not cooperative, I will go out of my way to return to a garden and shoot in good light. I have been know to get up at 2am and drive 3 hours for a fourth attempt at photographing the one garden. I often also have 14 + hour days when traveling in summer, with a shoot in the morning, some scouting during the day, driving and then another shoot at night. It can get pretty exhausting, but it’s worth it if the gardens and light are good.


Do you have a preliminary session or discussion with the garden owners as part of your ‘screening’ process? I have heard that understanding the owner(s)’ philosophy and approach towards gardening can help the photographer hone on specific details that reflect the garden’s personality.

Yes, if possible I always have a preliminary visit and walk around the garden with the owner or designer.  It is important to have this time and get some understanding of the garden and the thought process and person behind it. There is much detail in gardens, thus it is helpful to have some special plants or specific garden areas pointed out. Then I like to take another walk around the garden by myself without my camera, look at it, and walk around it from different angles, so you can plan a bit mentally as to what you need to capture and some good spots to shoot from. I always make sure I know which direction the sun will be coming up and moving through the garden.


 

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Bryan’s Ground, David Wheeler and Simon Dorrell’s garden in Wales, United Kingdom.

Any photographic tips you wish to share with your readers?

Light – this aspect is the most important thing apart from timing. It is crucial to time the photography for a peak time in the garden, whether that be spring flowering or autumn color if possible. Once you have the visit’s timing right, light then is critical because it completely changes the mood or feeling of the images and captures the beauty of the garden. I like to follow the light around the garden as it moves throughout the morning or evening. It essentially dictates the shots I take. When the light is at its best early in the mornings, I focus on the wider landscape shots. As  it then moves around the garden, I use it to highlight certain parts or plants on the garden for closer, more detailed shots. Finally once it is too bright, you often can’t achieve those overall shots without too much contrast between shadows and highlights.

Composition – good light is great, but you need to pair it with good composition.  Look for a shot that is balanced, and for the wider shots to have detail in the foreground, mid ground and distance.

Tripod  – As  personal preference, I still always use a tripod with a shutter release for low light conditions to ensure my pictures are sharp and I find it helpful for careful framing of images.

Ladder – lately I’ve been really enjoying the perspective of gardens while shooting from ladders. Particularly with gardens with tall perennials it really helps to capture the scene.

Shoot into the light – if you position the camera so it is protected from direct flare (although sometimes this tactic can work) either behind a tree or plants in the frame and shoot into the light, you can get some nice lighting effects when the light is low.


Please pick at least 5 of your favorite or best images and explain why they appeal to you the most.

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Kenrokuen, Japan. Winner of inaugural IGPOTY 2008

This is probably my most favorite image. One that I don’t tire of looking at. It feels timeless and a beautiful/magical moment captured. Reminds me of a painting. I saw this shot and framed it with the bridge, but then the couple crossing at the perfect moment definitely made the shot, for which I was very grateful.

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Cloudehill, Victoria, Australia.

This garden is very special to me. My initial inspiration. I love the symmetry of this image. The beautiful planting and the soft light at sunrise. Your eye is really led to the seat in the distance and the path draws you into the scene.

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Windcliff, Indianola, Washington State, USA (Dan Hinkley).

Hard to imagine a more spectacular backdrop for a garden. I love the soft light at sunrise and the beautiful plants in Dan’s garden and how he frames the view of Mount Rainier. I love how the sunrise is capturing the tops of the trees on the top right of the image. I find it is a peaceful image, completely still and almost surreal.

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Gravetye Manor, West Sussex, United Kingdom.

I loved this garden and its setting. The planting by head gardener Tom Coward was spectacular. I find this image has a lot of depth to it as I tried to capture the many layers and paths in the garden and then the soft mist in the distance at sunrise. There is a lot going on in this garden, but with a beautiful subtlety that I tried to capture it here.

Blair garden Queenstown New Zealand

Blair garden, New Zealand.

I really loved this garden and its location. This was taken on the fourth consecutive day that I’d visited the garden and walked up the hill multiple times to get some nice light there, to show the setting of the garden surrounded by the majestic mountain backdrop. I waited until the light highlighted the grass in the foreground, which then leads your eye to the owners house and garden and then the distant landscape.


Thank you, Claire!  ~ Eric

Follow Claire on Instagram. Her photography can be reviewed on www.takacsphoto.com


Holiday Fruit Desserts: Quince Hazelnut Frangipane Tart

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I have made no secret of my quince love affair before on this blog. Each year I still purchase at least 2 to 3 lbs of fruits at the local produce market to experiment for cooking. Yotam Ottolenghi’s Jerusalem (2012) had quince stuffed with spice-flavored lamb mince, which was a time consuming endeavor to make, but proved worthwhile. However, devising or researching new desserts with quinces was my primary goal since the majority of recipes, especially Middle Eastern ones, were savory rather than sweet. The time-honored technique of slow poaching quinces is still the best way of gaining the most intense flavor; the challenge was to use the cooked fruit in pastries.

Cooking the quinces longer teases out those elusive anthocyanins, which have anti-cancer properties and give the cooked fruit a beautiful regal ruby hue. The first time I cooked quinces, I did not achieve that hue although the pale yellow to coral color was still striking. Leaving the oven on for 7 to 8 hours to slow-poach the ovens seems an excessive use of energy, although a slow cooker, if you have one, is a better alternative. As the quinces cook, the kitchen does become fragrant as if the damask roses in fields of Grasse or Bulgaria decided to flower in the hearth of your home. ~ Eric

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Quinces will not gain their ruby red color unless they have been slow-poached in an oven for more than 5 hours. Starting top clockwise: 7 hours of poaching; 2 hours of poaching; 4 hours of poaching

Slow-poached Quince

6 quinces, peeled and cored
2.25 liters light sugar syrup
1 vanilla bean
juice of 1 lemon

Optional spices: star anise, cinnamon quill, or cardamon pods

To make the light sugar syrup, heat 2 parts water to 1 part sugar and stir until the sugar has dissolved.

Preheat oven to 150°C (300°F)

1. Cut quinces into quarters and place in a bowl of acidulated water (lemon juice and cold water) to prevent browning. Cut out cores and tie loosely in a piece of muslin.

2. Put sugar syrup in a large oven-safe sauce pot with vanilla bean (any optional spices), lemon juice and muslin bag, then add quince.

3. Cover tightly and bake in oven for at least 5 (and up to 8) hours until quince is deep red. Do not stir or the quince may break up.

In its sugar syrup, the quince can keep up to 2 weeks refrigerated. They’re excellent in yoghurt and cereals.


 

Sweet Tart Shell (adapted from Baking Chez Moi  and Smitten Kitchen)

1 1/2 cups (170 g) all-purpose flour

1/2 cup (62.5 g) confectioner’s sugar

1/4 teaspoon salt

1 stick plus 1 tablespoon (9 tablespoons; 4 1/2 ounces) unsalted butter cut into small pieces or cubes.

1 large egg

1. Pulse the flour, sugar and salt together in a food processor. Scatter the pieces of butter over the dry ingredients and pulse until the butter is roughly cut in. (the pieces will vary – some pea-sized, others flaky bits) Stir the egg to break up its consistency and add it slowly, pulsing after each addition. Once the egg is thoroughly mixed in, process in long pulses–about 10 seconds each–until the dough, which will look like granules after adding the egg, resembles cottage cheese curds. The sound of the blade against the dough will slow down and stop when it does. Turn the dough out onto a work surface and knead the dough very gently to incorporate any dry ingredients not mixed in. Wrap the dough in plastic and chill it in the refrigerator Chill the dough approximately 2 hours before rolling.

2. To roll the dough: Grease with butter a 9-inch fluted tart pan with a removable bottom. Roll out chilled dough on floured sheet of parchment paper to 12-inch round (make sure to lift and turn the dough because it can stick to the paper). Turn dough into 9-inch-diameter tart tin with removable bottom; peel off paper. Seal any cracks in dough. Trim overhang to 1/2 inch. Fold overhang in, making double-thick sides. To prevent puffiness, pierce crust all over with a fork.

Alternately, the dough can be pressed inside the tart tin as soon as it is processed: Press it evenly across the bottom and up the sides of the tart shell. The pieces should coalesce together, but not too tightly that its crumbly buttery texture is lost.

3. Freeze the crust for at least 30 minutes or longer before baking.

4. To partially bake the crust: Center a rack in the oven and preheat the oven to 190°C (375°F). Butter the shiny side of an aluminum foil and fit the foil, buttered side down, against the crust. No weights are needed since the crust is frozen. Put the tart tin on a baking sheet and bake the crust for 20 to 25 minutes. Note: pay attention to baking times since oven temperatures can vary – the crust can bake quickly without warning.

5. Carefully remove the foil. If the crust has puffed, press it down gently with the back of a spoon. Bake the crust about 5 minutes longer to partially bake it, or until it is firm and golden brown. Cool the crust in its tin on a rack to room temperature.

To patch a partially baked crust, if necessary: patch any cracks in the crust with some of reserved uncooked dough after you take the foil off. Slice off a thin dough piece, place it over the crack, moisten the edges and gently smooth the edges into the baked crust. If the tart does not need additional baking with its filling, bake for another 2 minutes or so to cook the raw dough.


 

Hazelnut Frangipane

125 g softened unsalted butter

100g (1/2 cup) sugar

2 tsp plain flour

2 eggs, beaten

1/2 tsp vanilla extract

135 g (1 1/4 cups) hazelnut meal

To make the hazelnut meal, finely chop whole hazelnuts in a food processor. Set aside.

Place the butter and 100 g sugar in a food processor and whiz until combined. Add the flour and whiz to combine. With the motor running, add the eggs and vanilla, then add the hazelnut meal and whiz until well combined.


 

To assemble:

1.Center the rack and preheat the oven to 180°C (350°F)

2. Cover the base of the partially-baked tart shell with quince slices (make sure that any excess moisture or juices have been dried off).

3. Evenly spread the hazelnut frangipane over the quince slices. You will have extra hazelnut frangipane left over.

4. Bake for 40 to 50 minutes until a skewer or toothpick inserted comes out clean.

5. Left the tart cool for 10 minutes before serving.

6. Garnish with a few of the poached quince slices.

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