ARIZONA COOT by Pete Wrublewski

ARIZONA COOT by Pete Wrublewski

PICTURES FROM ARIZONA: Coot

Note: This is my first time on the computer in weeks, because I’m still pretty sick from my accidental (and idiotic) exposure to toxic quantities of metal dust. These photos were taken by my son when he visited Phoenix last October. I’ve never seen a coot, myself – although I want to!

Member of the Flickr Bird Brigade
Activists for birds and wildlife

Posted by NatureFramingham on 2011-01-30 23:23:19

Tagged: , ARIZONA , October , 2010 , Phoenix , Coot

arizona says phoebe

arizona says phoebe

PICTURES FROM ARIZONA: Says Phoebe by Pete Wrublewski

Note: This is my first time on the computer in weeks, because I’m still pretty sick from my accidental (and idiotic) exposure to toxic quantities of metal dust. These photos were taken by my son when he visited Phoenix last October. I’ve never seen a Says Phoebe, myself.

Posted by NatureFramingham on 2011-01-30 23:23:17

Tagged: , ARIZONA , October , 2010 , Phoenix , Says Phoebe

Eastern Sierra Sunrise Timelapse

Eastern Sierra Sunrise Timelapse

I have a lot of timelapse sequences that I haven’t gotten around to processing yet, but here’s one from sunrise this morning!

Timelapse videos are easy to create on your DSLR. There are many software packages which will facilitate the process, some better than others, but I’ll describe the simple and relatively low cost workflow that I currently use. You’ll need software on your PC which can convert a sequence of JPEG files to timelapse video. I use VirtualDub (free download) to create an AVI format video, then I use MPEG Streamclip (free download) to convert the huge .AVI file to a much smaller (albeit lower quality) MPEG-4 for online use. Here’s the process from shooting to finished video:

Clean your camera sensor. It is hard enough to remove dust from one image… picture having to do that 300 times. Even copying dust removal from one image to the others, the data changes over time (from shot to shot), so it really won’t work well across the whole sequence. It’s far, far better to remove the dust up front. Clean your camera sensor!.

Put your camera on a sturdy tripod. Install a fully charged battery and a blank, freshly-formatted memory card which can handle several hundred images.

Compose your image expecting to lose some of the vertical information if you’ll convert the sequence to HD video with a narrow HD shape (16:9 aspect ratio).

Manually focus your camera and switch off automatic focus. If you forget to do this, your camera will insert delays in the sequence as it hunts for focus, making the playback jerky at best. Worst case, your camera may lose focus and you’ll end up with a whole lot of blurry images.

Make some test shots to determine best exposure. If practical, set exposure manually so it won’t change from shot to shot and cause flashing (flicker) as different exposures come up during playback. If the light will change a lot during shooting (sunrise and sunset), you can use automatic exposure, but then the exposure during the video is artificially stagnant, and you’ll need to to "deflicker" the timelapse to reduce flashing from frame to frame when producing the video. You will learn some very interesting and important things about your DLSR in this process! When your DSLR changes the exposure up or down 1/3 stop from shot to shot, simply "fixing" the exposure during editing will not result in similar-looking images from shot to shot! Even adjacent images taken a fraction of a second apart may have different white balance, and a slight exposure change also affects contrast, color saturation, and so on. Once you’ve gone through the process a few times your whole approach will change and you’ll try to maximize quality and consistency in-camera, not during editing.

Shoot several hundred images in a row. You can make the timing from frame to frame consistent using an Intervalometer Trigger (external timer), or you can simply hit the shutter release over and over (perhaps use the display of the prior image on the camera rear LCD as your cue to trigger the next shot and keep them at a fairly consistent rate). Remember that your finished product will be 30 frames per second, so you’ll need 300 images for each 10 seconds of video. I recommend shooting in RAW format so you can adjust the exposures during editing, especially if you shoot at sunrise or sunset where the light will change over the course of your timelapse.

Read your camera’s files into your editing software and crop them to the 16:9 aspect ratio of HD video. Remember that you have far more resolution in your DSLR than you need for HD video, so you can perform a "digital zoom" and focus on only a portion of your original camera image. Software strong in batch editing such as Adobe Lightroom (free trial available) will enable you to apply a consistent crop, exposure adjustments and even spot removal across the entire sequence of images. You’ll also want to impose one consistent white balance across the entire sequence. Some video processing software (such as Adobe Premiere I believe) will even let you specify a starting crop and a different finishing crop, then calculate a zoom and pan across your sequence of images.

Save your files in sRGB JPEG format at 1280 x 720 resolution for video to be used on sites like YouTube or Flickr that only allow smaller 720p HD format video, or save them at 1920 x 1080 resolution for 1080p video to be uploaded to sites such as Vimeo. If you’ll use the VirtualDub software, it will want you to point to the first image in the sequence then look for a sequential numbered file, so if you used automatic exposure bracketing while shooting you may be editing and saving every third file, but you can rename them sequentially so VirtualDub can order them properly.

Read the sequence into VirtualDub. It’s important to notice when trying to import them that in the dialog box where you’re looking for the first file to select, the file format has a drop-down menu which enables you to specify that it should look for an image sequence in JPG format.

Add filters as desired, in the order that you want them to apply. For example, Virtualdub can crop and resize larger JPEGs, perform sharpening at the new lower resolution, and you can search for and install a third party "MSU deflicker" filter to improve image consistency from frame to frame across the whole video. Check your frame rate and for maximum quality (but shorter result) change the default 10 frames per second to 30.

Save the video in AVI format. That’s a very high quality format, so it may save a file of a gigabyte or more! Enjoy this high quality file on your computer (or read it into video editing software to burn it to Blue-Ray DVD).

To create smaller files for online sharing, read your .AVI file into MPEG Streamclip. Save to MPEG-4, playing with quality vs. file size tradeoffs until the results are what you want.

Upload your results to your favorite video sharing site. That’s it! It takes a little more planning to pull off well and a little more time to produce the finished result, but you can produce some amazing videos.

For more information on shooting timelapse sequences, I recommend browsing the discussion forums over on www.Timescapes.org.

A slightly expanded version of these instructions, with links to the software downloads, may be found on my blog, MyPhotoGuides.com.

Posted by Jeffrey Sullivan on 2010-11-19 06:45:12

Tagged: , sunset , timelapse , HD , 720P , video , Monitor , Pass , clouds , Jeff , Sullivan , landscape , nature , California , USA , photo , Copyright , November , 2010 , Eastern , Sierra , Canon , EOS , 5D mark II

156/365 Dust Destroyer #project365 6/5/10

156/365 Dust Destroyer #project365 6/5/10

Only for general use, for your non-general dust destroying needs please look elsewhere.

I learned a valuable lesson today. When chimping and deleting photos off your camera MAKE SURE you’ve copied them to your computer first. I lost potential ‘Project 365’ photos because of my carelessness and was left with only the Dust Destroyer.

Posted by Alan Rappa on 2010-06-08 15:25:29

Tagged: , 7d , 2010 , air , canon , compressed gas , dust destroyer , duster , eos

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Related Replicant Urbanism Articles

3. C. & N.W. R.R., Mrs. Irene Bracker, mother of two children, employed at the roundhouse as a wiper, Clinton, Iowa (LOC) 1943

3. C. & N.W. R.R., Mrs. Irene Bracker, mother of two children, employed at the roundhouse as a wiper, Clinton, Iowa (LOC) 1943

www.flickr.com/photos/library_of_congress/2178451099/

I have to admire Frank Delano, the man who took the photos I used for these first three paintings (and more). This photo would stand out if the others weren’t also so fine; the details he’s able to capture and the expressions on these women’s faces—it’s all gold. Frank’s photographs became quite famous over the years, iconic even. My painting of Irene is his composition with no real changes except I cut off the bottom few inches. Again, I wanted more emphasis on the face.

Irene has an open and earnest face. I can’t tell if that’s sunlight shining down on her or a photographer’s lighting. Irene is sweating and flushed, stray wisps of hair plaster to her forehead, which seems to bulge a bit while she tucks her chin in, doubling it and giving her the impression of a straight-backed, sober and serious young woman. She also despises her situation, but prefers not to dwell on it. Her situation is the same as the rest: children at home (probably with mother or neighbors or friends or at school?), man at war. 1943 was a tough year.

Why did I paint Irene? When I searched for things to paint, I’d sift through thousands of old photos for something to catch my eye. Often when I’d find a photographer I admired, I would paint many of his or her photos, as you’ll see. This is the beginning of my artistic process: searching for what I want to paint. Learning to “see” as an artist is something I’ve had to develop. Often, I will paint something or someone because I already painted it in my head—or in other words, I already solved all the painting’s problems. Putting the paint down after that is just sort of the cake. Other times, I’ll begin with a color or an emotion I want to portray…. and other things.

I think I ended up painting strong women because they were what I wanted to look at. They were what I wanted to see and to be.

Part of my process for painting ladies was to project the photo wall sized so I could see all the details. When I’m able to see a photo as large as that, I see things a small photo on a computer screen doesn’t reveal. My discoveries are usually delightful, sometimes disturbing, and once made me quit painting it altogether…. but I’ll get to those ladies….

What did I discover gazing into the face of Irene Bracker? Her false eyelashes. In this world where she is literally surrounded with soot and filth and black coal dust everywhere, there are few opportunities for self-expression. I measured her eyelashes, and there was no way they were natural. I mean, what a place to wear false eyelashes. They must have brushed her goggles, they were that long.

This is why in my painting I emphasized the false eyelashes—so you could see what’s actually there but couldn’t see in the photo. And actually, it’s difficult to paint make-up on a painting of a face. Make-up is meant to augment certain features and seeks to trick the eye in various ways. Painting works in much the same way, so painting make-up is a bit like painting someone else’s painting—or like applying make up to any face.

Back to Irene. In my painting, I made the eyelashes and lipsticks more visible. Her rigid demeanor comes off as a slightly more Frankensteinish. Also, I did not do a very good job of blending the lines around her nostrils. But if you can ignore all that, I suppose I get my point across…. This may be another case where I think the photo displays more interesting complexity than I was able to capture in my version, but my painting also emphasizes certain features to make my own point—the way a director can interpret a script. Her make-up makes her look more feminine, that’s for sure. Though everything else about her is manly—including her frank stare.

One big change between photo and painting is that I did not use black in this one—though black dominates the photo. I wonder how my photo would change if I inked out the trains and gray mist to her side—made it all black coal and iron? If I did that, Irene would glow in her shaft of noonday sun, like a goddess on fire. Might be interesting to try….

I like Irene’s yellow scarf wrapped around her head. The goggles never get old. And then those false eyelashes and ubiquitous lipstick. In my painting, I wanted to emphasize the disparity of the details—to show the woman’s social norms of beauty observed amidst this degree of filth and manual labor. Her make up contrasts the simple lines of her sweater and rough denim work shirt. I like how the shadow of her goggles falls across her chest and forehead and her grip on that wooden handle—like it’s holding her up—her hand revealing the wedding ring and her commitment to America’s institutions.

I’m aware that the photo Frank Delano took of Irene is already art. I don’t seek to replace his photo, but to use it as a vehicle by which I can express her emotion and my own emotion and agendas. I use the details of Irene that Frank recorded with his camera. I am literally seeing Irene through his eyes. And when I paint her, we are all seeing his Irene through my eyes and down my arm and onto my paint brush. In this way, I am her—I suppose in the same way a novelist is each of his characters but not really.

When I paint a lady, I translate her. I think that’s why I always felt that these ladies are mine.

Source: Flickr / library_of_congress

Posted by xinem on 2010-08-26 20:17:23

Tagged: , artprize , 2010 , haiku , original , art , ladies , mixed , media , watercolor , gouache , ink , acrylic , oil , downtown

Arnold Arboretum, 18 May 2010: Pollen-laden pine cones (conelets?) atop Bussey Hill

Arnold Arboretum, 18 May 2010: Pollen-laden pine cones (conelets?) atop Bussey Hill

These cones (proto-cones?) were full of pollen — with a gentle puff of air, they’d fill the air with dust. I tried to capture this in the photo, but I’m not sure if you can tell just how much dust they were giving off in this photo.

The Arboretum has an interactive map on their web site. This map is found at the Arborway Gate.

Pasting from Wikipedia: Arnold Arboretum:

• • • • •

The Arnold Arboretum of Harvard University is an arboretum located in the Jamaica Plain and Roslindale sections of Boston, Massachusetts. It was designed by Frederick Law Olmsted and is the second largest "link" in the Emerald Necklace.

History

The Arboretum was founded in 1872 when the President and Fellows of Harvard College became trustees of a portion of the estate of James Arnold (1781–1868).

In 1842, Benjamin Bussey (1757–1842), a prosperous Boston merchant and scientific farmer, donated his country estate Woodland Hill and a part of his fortune to Harvard University "for instruction in agriculture, horticulture, and related subjects". Bussey had inherited land from fellow patriot Eleazer Weld in 1800 and further enlarged his large estate between 1806 and 1837 by acquiring and consolidating various farms that had been established as early as the seventeenth century. Harvard used this land for the creation of the Bussey Institute, which was dedicated to agricultural experimentation. The first Bussey Institute building was completed in 1871 and served as headquarters for an undergraduate school of agriculture.

Sixteen years after Bussey’s death, James Arnold, a New Bedford, Massachusetts whaling merchant, specified that a portion of his estate was to be used for "…the promotion of Agricultural, or Horticultural improvements". In 1872, when the trustees of the will of James Arnold transferred his estate to Harvard University, Arnold’s gift was combined with 120 acres (0.49 km2) of the former Bussey estate to create the Arnold Arboretum. In the deed of trust between the Arnold trustees and the College, income from Arnold’s legacy was to be used for establishing, developing and maintaining an arboretum to be known as the Arnold Arboretum which "shall contain, as far as practicable, all the trees [and] shrubs … either indigenous or exotic, which can be raised in the open air of West Roxbury". The historical mission of the Arnold Arboretum is to increase knowledge of woody plants through research and to disseminate this knowledge through education.

Charles Sprague Sargent was appointed director and Arnold Professor of Botany shortly after the establishment of the institution in 1872.[2] Together with landscape architect Frederick Law Olmsted he developed the road and pathway system and delineated the collection areas by family and genus, following the then current and widely accepted classification system of Bentham and Hooker. The Hunnewell building was designed by architect Alexander Wadsworth Longfellow, Jr. in 1892 and constructed with funds donated by H. H. Hunnewell in 1903. From 1946 to 1950 the landscape architect Beatrix Farrand was the landscape design consultant for the Arboretum. Her early training in the 1890s included time with Charles Sprague Sargent and chief propagator and superintendent Jackson Thornton Johnson.[3] Today the Arboretum occupies 265 acres (107 hectares) of land divided between four parcels, viz. the main Arboretum and the Peters Hill, Weld-Walter and South Street tracts. The collections, however, are located primarily in the main Arboretum and on the Peters Hill tract. The Arboretum remains one of the finest examples of a landscape designed by Frederick Law Olmsted and it is a Frederick Law Olmsted National Historic Site) and a National Historic Landmark.

Robert E. Cook is the seventh and current Director of the Arnold Arboretum. He is also the Director of the Harvard University Herbaria located in Cambridge, Massachusetts.

Status

The Arboretum is privately endowed as a department of Harvard University. The land, however, was deeded to the City of Boston in 1882 and incorporated into the so-called "Emerald Necklace". Under the agreement with the City, Harvard University was given a thousand-year lease on the property, and the University, as trustee, is directly responsible for the development, maintenance, and operation of the Arboretum; the City retains responsibility for water fountains, benches, roads, boundaries, and policing. The annual operating budget of $7,350,644 (fiscal year 2003) is largely derived from endowment, which is also managed by the University, and all Arboretum staff are University employees. Other income is obtained through granting agencies and contributors.

Location

The main Arborway gate is located on Route 203 a few hundred yards south of its junction with the Jamaicaway. Public transportation to the Arboretum is available on the MBTA Orange Line to its terminus at Forest Hills Station and by bus (#39) to the Monument in Jamaica Plain. The Arboretum is within easy walking distance from either of these points.

Hours

The grounds are open free of charge to the public from sunrise to sunset 365 days of the year. The Visitor’s Center in the Hunnewell Building, 125 Arborway, is open Monday through Friday 9 a.m.–4 p.m.; Saturdays 10 a.m.–4 p.m.; Sundays 12 p.m.–4 PM. The Visitor’s Center is closed on holidays. The Library, located in the Hunnewell Building, is open Monday through Saturday, 10 a.m.–4 p.m.. The Library is closed on Sundays and holidays. Stacks are closed and the collection does not circulate.

Area

Two hundred and sixty-five acres (107 hectares) in the Jamaica Plain and Roslindale sections of Boston, Massachusetts, located at 42°19′N 71°5′W / 42.317°N 71.083°W / 42.317; -71.083, with altitudes ranging from 46 feet (15 m) in the meadow across the drive from the Hunnewell Building to 240 feet (79 m) at the top of Peters Hill.

Climate

Average yearly rainfall is 43.63 inches (1,102 mm); average snowfall, 40.2 inches (102 centimeters). Monthly mean temperature is 51.5 °F (10.8 °C); July’s mean temperature is 73.5 °F (23 °C); January’s is 29.6 °F (-1.3 °C). The Arboretum is located in USDA hardiness zone 6 (0 to −10 °F, −18 to −23 °C).

Collections (as of September 14, 2007)

At present, the living collections include 15,441 individual plants (including nursery holdings) belonging to 10,216 accessions representing 4,099 taxa; with particular emphasis on the ligneous species of North America and eastern Asia. Historic collections include the plant introductions from eastern Asia made by Charles Sprague Sargent, Ernest Henry Wilson, William Purdom, Joseph Hers, and Joseph Rock. Recent introductions from Asia have resulted from the 1977 Arnold Arboretum Expedition to Japan and Korea, the 1980 Sino-American Botanical Expedition to western Hubei Province, and more recent expeditions to China and Taiwan.

Comprehensive collections are maintained and augmented for most genera, and genera that have received particular emphasis include: Acer, Fagus, Carya, Forsythia, Taxodium, Pinus, Metasequoia, Lonicera, Magnolia, Malus, Quercus, Rhododendron, Syringa, Paulownia, Albizia, Ilex, Gleditsia and Tsuga. Other comprehensive collections include the Bradley Collection of Rosaceous Plants, the collection of conifers and dwarf conifers, and the Larz Anderson Bonsai Collection. Approximately 500 accessions are processed annually.

Collections policy

The mission of the Arnold Arboretum is to increase our knowledge of the evolution and biology of woody plants. Historically, this research has investigated the global distribution and evolutionary history of trees, shrubs and vines, with particular emphasis on the disjunct species of East Asia and North America. Today this work continues through molecular studies of the evolution and biogeography of the floras of temperate Asia, North America and Europe.

Research activities include molecular studies of gene evolution, investigations of plant-water relations, and the monitoring of plant phenology, vegetation succession, nutrient cycling and other factors that inform studies of environmental change. Applied work in horticulture uses the collections for studies in plant propagation, plant introduction, and environmental management. This diversity of scientific investigation is founded in a continuing commitment to acquire, grow, and document the recognized species and infraspecific taxa of ligneous plants of the Northern Hemisphere that are able to withstand the climate of the Arboretum’s 265-acre (1.07 km2) Jamaica Plain/Roslindale site.

As a primary resource for research in plant biology, the Arboretum’s living collections are actively developed, curated, and managed to support scientific investigation and study. To this end, acquisition policies place priority on obtaining plants that are genetically representative of documented wild populations. For each taxon, the Arnold Arboretum aspires to grow multiple accessions of known wild provenance in order to represent significant variation that may occur across the geographic range of the species. Accessions of garden or cultivated provenance are also acquired as governed by the collections policies herein.

For all specimens, full documentation of both provenance and history within the collection is a critical priority. Curatorial procedures provide for complete and accurate records for each accession, and document original provenance, locations in the collections, and changes in botanical identity. Herbarium specimens, DNA materials, and digital images are gathered for the collection and maintained in Arboretum data systems and the herbarium at the Roslindale site.

Research

Research on plant pathology and integrated pest management for maintenance of the living collections is constantly ongoing. Herbarium-based research focuses on the systematics and biodiversity of both temperate and tropical Asian forests, as well as the ecology and potential for sustainable use of their resources. The Arboretum’s education programs offer school groups and the general public a wide range of lectures, courses, and walks focusing on the ecology and cultivation of plants. Its quarterly magazine, Arnoldia, provides in-depth information on horticulture, botany, and garden history. Current Research Initiatives

Plant Records

Plant records are maintained on a computerized database, BG-BASE 6.8 (BG-Base Inc.), which was initiated in 1985 at the request of the Arnold Arboretum and the Threatened Plants Unit (TPU) of the World Conservation Monitoring Centre (WCMC). A computerized mapping program (based on AutoCAD (Autodesk)) is linked to BG-BASE, and each accession is recorded on a series of maps at a scale of 1-inch (25 mm) to 20 feet (1:240) or 1-inch (25 mm) to 10 feet (1:120). A computer-driven embosser generates records labels. All accessioned plants in the collections are labeled with accession number, botanical name, and cultivar name (when appropriate), source information, common name, and map location. Trunk and/or display labels are also hung on many accessions and include botanical and common names and nativity. Stake labels are used to identify plants located in the Leventritt Garden and Chinese Path.

Grounds Maintenance

The grounds staff consists of the superintendent and assistant superintendent, three arborists, and ten horticultural technologists. A service garage is adjacent to the Hunnewell Building, where offices and locker rooms are located. During the summer months ten horticultural interns supplement the grounds staff. A wide array of vehicles and modern equipment, including an aerial lift truck and a John Deere backhoe and front loader, are used in grounds maintenance. Permanent grounds staff, excluding the superintendents, are members of AFL/CIO Local 615, Service Employees International Union (SEIU).

Nursery and Greenhouse Facilities

The Dana Greenhouses, located at 1050 Centre Street (with a mailing address of 125 Arborway), were completed in 1962. They comprise four service greenhouses totaling 3,744 square feet (348 m²), the headhouse with offices, cold rooms, storage areas, and a classroom. Staffing at the greenhouse includes the manager of greenhouses and nurseries, the plant propagator, two assistants, and, during the summer months, two horticultural interns. Adjacent to the greenhouse is a shade house of 3,150 square feet (293 m²), a 12,600 cubic foot (357 m³) cold storage facility, and three irrigated, inground nurseries totaling approximately one and one-half acres (6,000 m²). Also located in the greenhouse complex is the bonsai pavilion, where the Larz Anderson Bonsai Collection is displayed from the middle of April to the end of October. During the winter months the bonsai are held in the cold storage unit at temperatures slightly above freezing.

Isabella Welles Hunnewell Internship Program

The living collections department of the Arnold Arboretum offers a paid summer internship program [2] that combines hands-on training in horticulture with educational courses. Intern trainees will be accepted for 12- to 24-week appointments. Ten interns will work with the grounds maintenance department and two in the Dana Greenhouses.

As part of the training program, interns participate in mandatory instructional sessions and field trips in order to develop a broader sense of the Arboretum’s horticultural practices as well as those of other institutions. Sessions and field trips are led by Arnold staff members and embrace an open question and answer format encouraging all to participate. Interns often bring experience and knowledge that everyone, including staff, benefits from. It is a competitive-free learning environment.

Horticultural Apprenticeship

The Arboretum created the horticultural apprenticeship program in 1997 to provide hands-on experience in all aspects of the development, curation, and maintenance of the Arboretum’s living collections to individuals interested in pursuing a career in an arboretum or botanical garden.

The Living Collections department of the Arnold Arboretum offers a summer internship program[4] that combines practical hands-on training in horticulture with educational courses. Fourteen Interns/Horticultural Trainees are accepted for twelve to twenty-four week appointments. Interns receive the majority of their training in one of three departments: Grounds Maintenance, Nursery and Greenhouse, or Plant Records.

Lilac Sunday

The second Sunday in May every year is "Lilac Sunday". This is the only day of the year that picnicing is allowed. In 2008, on the 100th anniversary of Lilac Sunday, the Arboretum website touted:

Of the thousands of flowering plants in the Arboretum, only one, the lilac, is singled out each year for a daylong celebration. On Lilac Sunday, garden enthusiasts from all over New England gather at the Arboretum to picnic, watch Morris dancing, and tour the lilac collection. On the day of the event, which takes place rain or shine, the Arboretum is open as usual from dawn to dusk.[5]

Associated Collections

The Arboretum’s herbarium in Jamaica Plain holds specimens of cultivated plants that relate to the living collections (ca. 160,000). The Jamaica Plain herbarium, horticultural library, archives, and photographs are maintained in the Hunnewell building at 125 Arborway; however, the main portions of the herbarium and library collections are housed in Cambridge on the campus of Harvard University, at 22 Divinity Avenue.

Publications

The inventory of living collections is updated periodically and made available to sister botanical gardens and arboreta on request; it is also available on the Arboretum’s website (searchable inventory). Arnoldia, the quarterly magazine of the Arnold Arboretum, frequently publishes articles relating to the living collections. A Reunion of Trees[6] by Stephen A. Spongberg (curator emeritus) recounts the history of the introduction of many of the exotic species included in the Arobretum’s collections. New England Natives[7] written by horticultural research archivist Sheila Connor describes many of the trees and shrubs of the New England flora and the ways New Englanders have used them since prehistoric times. Science in the Pleasure Ground[8] by Ida Hay (former curatorial associate) constitutes an institutional biography of the Arboretum.

Institutional Collaborations

The Arboretum maintains an institutional membership in the American Public Garden Association (APGA) and the International Association of Botanical Gardens and Arboreta. Additionally, members of the staff are associated with many national and international botanical and horticultural organizations. The Arboretum is also a cooperating institution with the Center for Plant Conservation (CPC), and as an active member of the North American Plant Collections Consortium (NAPCC), it is committed to broadening and maintaining its holdings of: Acer, Carya, Fagus, Stewartia, Syringa, and Tsuga for the purposes of plant conservation, evaluation, and research. The Arboretum is also a member of the North American China Plant Exploration Consortium (NACPEC).

See also

Larz Anderson Bonsai Collection, donated by businessman and ambassador Larz Anderson
The Case Estates of the Arnold Arboretum
List of botanical gardens in the United States
North American Plant Collections Consortium
Adams-Nervine_Asylum

External links

Arnold Arboretum Official Website
Arnold Arboretum Visitor Information
Harvard University Herbaria
American Public Gardens Association (APGA)
Flora of China
Virtual Information Access (VIA) Catalog of visual resources at Harvard University.
Garden and Forest A Journal of Horticulture, Landscape Art, and Forestry (1888–1897)
Boston’s Arnold Arboretum: A Place for Study and Recreation, a National Park Service Teaching with Historic Places (TwHP) lesson plan
The Emerald Necklace: Boston’s Green Connection, a National Park Service Teaching with Historic Places (TwHP) lesson plan

Posted by Chris Devers on 2010-05-18 17:20:00

Tagged: , spring , Arnold , Arboretum , tree , trees , forest , tree museum , Harvard University , Harvard , Boston , Boston MA , MA , Massachusetts , 2010 , Camera: Nikon D50 , Bostonist , Universal Hub , Bussey Hill , exif:aperture=f/5.0 , exif:exposure=0.01 sec (1/100) , exif:exposure_bias=0 EV , exif:flash=Off, Did not fire , exif:focal_length=18 mm , camera:make=NIKON CORPORATION , meta:exif=1274210952 , Arnold Arboretum , Emerald Necklace , camera:model=NIKON D50 , exif:filename=DSC_.JPG , exif:lens=18-200mm f/3.5-5.6 , exif:orientation=Horizontal (normal) , exif:shutter_count=43911 , exif:vari_program=Auto , meta:exif=1350398327

2010_0420 1664.. Purple future

2010_0420 1664.. Purple future

Like the side of a building as you’re flying by.

Posted by riffsyphon1024 on 2010-08-26 05:23:55

Tagged: , purple , green , dust , computer , computerlab , kstate , ksu , kansasstateuniversity , manhattan , rileycounty , kansas , KS , april , 2010 , april2010 , nikon , d3000 , nikond3000