Garden Tripod 35

GTARDEN RIPOD ART Issue 35 September 2015

www.gardentripod.com Horticultural Science Technology & Art contact .. info@gardentripod.com

All The Materials Contained May Not Be Reproduced, Copied, Edited, Published, Transmitted Or Uploaded In Any Way Without the artist/photographers Permission. These Images/writings Do Not Belong To The Public Domain. All images and information within the Garden Tripod magazine are the responsibility of the owner/artist/ writer/photographer & not the Garden Tripod magazine 2012-2015


GTARDEN RIPOD ART Issue 35 September 2015

Cover Image An Ageless Place by MLabuda

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5 6 8

Editor’s Review

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Language of flowers

Office News Hound Rabiah Seminole

15 All That Will Be ~ Mitch Labuda 28 Abstract Photography 32 Into abstract with Denise Clark 39 Flowers 43 Flower heads challenge catalogue 89 aetherius

GTARDEN RIPOD ART Editor’s Review

Hi Folks, First I must give a big thank you to Jan who kindly gave her permission to allow her late husbands images to be featured in this edition of the Garden Tripod.

Mitch Labuda was a well known member of the RedBubble community forums., always on hand with advice for new members of RB. Mitch also hosted a group in RedBubble that his wife Jan is hoping to revive after being left dormant for a while .. the group is titled Pictorialist Photography and is emphasizing forms instead of details with an eye to the works of the 19th century.

In the Country Gardens come grow with us group we have a brilliant collection of flower head images in the Challenge .. congratulations to our all our Top Ten winners.

In the Into .. section this month we have a solo exhibition from Denise Clark focusing on her abstract photography, Once again we are looking for new advertisers to join the Garden Tripod. So if you know of any garden and/or art related businesses that would like to join the Garden Tripod do please let us know. This is a free to view and free to produce worldwide e-publication, so there is no charge made to any of our advertisers for inclusion in the Garden Tripod.

The Tripod is going through changes .. So watch this space .. and we will keep you updated as things happen. As always .. we are keeping the text real, so spelling mistakes and grammatical errors are all here for free.

Ed

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GTARDEN RIPOD ART Hi Folks,

Office News Hound

September almost out and there is a cold bite to the air now .. My winter jackets are being aired ready to wear very soon.

I love the look of snow when it arrives .. but gosh how cold it makes my toes.. and my nose .. Still we need the changing seasons, something to do with life cycles and the trees dropping leaves to have a sleep in the winter. I dunno ~ I am a hound.. so very deep thinking is way beyond my capabilities !

This was me last year ‘playing’ in the garden in the snow .. It was o so very cold Stay Safe Princess Summer

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www.bluehorsemukwa.org

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Gitchie And The Sunrise Rabiah Seminole

Gitchie the horse that started it all at Blue Horse Mukwa Equine Retirement and Rescue Center All proceeds the from the sale of this image will go to the www.bluehorsemukwa.org

Blue Horse Mukwa Equine Retirement and Rescue Center

Love at First Sight Rabiah Seminole

All proceeds the from the sale of this image will go to the www.bluehorsemukwa.org

Blue Horse Mukwa Equine Retirement and Rescue Center

Advertisement

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Blue Horse Mukwa Equine Retirement and Rescue Center

gofundme They are trying to raise funds for a fence replacement project at

My name is Rabiah Seminole. I live in Chase City, Virginia. I am the Founder/ Director of Blue Horse Mukwa Equine Retirement and Rescue Center. We are a 501 c 3 non profit organization that has been going strong since 1999. We are the permanent home to 40 horses. We also rescue dogs and rehome them to suitable families.

All of the proceeds from my photos will go to the rescue.

T-shirt campaign The Blue Horse Mukwa Equine Retirement and Rescue Centre is starting a new t shirt campaign These were designed by Katrina Burch ~~~~~ There is no minimum order & the shirts are white with blue ink Get yours today and be a fashionista These are unisex You can email the Blue Horse Mukwa Equine Retirement and Rescue Center for more info

Copy's available via the Garden Tripod web page atwww.gardentripod.com All profits go to the Blue Horse Mukwa Equine Retirement and Rescue Center

www.bluehorsemukwa.org Blue Horse Mukwa Equine Retirement and Rescue Center

Language of flowers

13 Language of flowers From Wikipedia, the free encyclopedia The language of flowers, sometimes called floriography, is a means of cryptological communication through the use or arrangement of flowers. Meaning has been attributed to flowers for thousands of years, and some form of floriography has been practiced in traditional cultures throughout Europe, Asia, and the Middle East. Plants and flowers are used as symbols in the Hebrew Bible, particularly of love and lovers in the Song of Songs, as an emblem for the Israelite people and for the coming Messiah. In Western Culture, William Shakespeare ascribed emblematic meanings to flowers, especially in Hamlet, Prince of Denmark.

Interest in floriography soared in Victorian England and in the United States during the 19th century. Gifts of blooms, plants, and specific floral arrangements were used to send a coded message to the recipient, allowing the sender to express feelings which could not be spoken aloud in Victorian society. Armed with floral dictionaries, Victorians often exchanged small "talking bouquets," called nosegays or tussie-mussies, which could be worn or carried as a fashion accessory.

History The renewed Victorian era interest in the language of flowers finds its roots in Ottoman Turkey, specifically the court in Constantinople and an obsession it held with tulips during the first half of the 18th century. The Victorian use of flowers as a means of covert communication bloomed alongside a growing interest in botany.

The floriography craze was introduced to Europe by two people: Englishwoman Mary Wortley Montagu (1689–1762), who brought it to England in 1717, and Aubry de La Mottraye (1674–1743), who introduced it to the Swedish court in 1727.

Joseph Hammer-Purgstall's Dictionnaire du language des fleurs (1809) appears to be the first published list associating flowers with symbolic definitions, while the first dictionary of floriography appears in 1819 when Louise Cortambert, writing under the pen name 'Madame Charlotte de la Tour,' wrote Le langage des Fleurs.

Floriography was popularized in France about 1810– 1850, while in Britain it was popular during the Victorian age (roughly 1820–1880), and in the United States about 1830–1850. La Tour's book stimulated the publishing industry especially in France, England, and America, but also in Belgium, Germany, and other European countries as well as in South America.

Publishers from these countries produced hundreds of editions of language of flowers books during the 19th century.

British floral dictionaries include Henry Phillips' Floral Emblems published in 1825 and Frederic Shoberl's The Language of Flowers; With Illustrative Poetry, in 1834.

Shoberl was the editor of the popular annual "Forget Me Not" from 1822 to 1834. Robert Tyas was another popular British flower writer, publisher, and clergyman, who lived from 1811 to 1879; his book, The Sentiment of Flowers; or, Language of Flora, first published in 1836 and printed through the 1840s, was billed as an English version of Charlotte de la Tour's book. One of the most familiar of the language of flower books is Routledge's edition illustrated by Kate Greenaway, The Language of Flowers. First published in 1884, it continues to be reprinted to this day.

In the United States the first print appearance of the language of flowers was in the writings of Constantine Samuel Rafinesque, a French-American naturalist, who wrote on-going features under the title "The School of Flora," from 1827 through 1828, in the weekly Saturday Evening Post and the monthly Casket; or Flowers of Literature, Wit, and Sentiment. These pieces contained the botanic, English, and French names of the plant, a description of the plant, an explanation of its Latin names, and the flower's emblematic meaning. However, the first books on floriography were Elizabeth Wirt's Flora's Dictionary and Dorothea Dix's The Garland of Flora, both of which were published in 1829 (though Wirt's book had been issued in an unauthorized edition in 1828).

https://en.wikipedia.org/wiki/Language_of_flowers

History

continued

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During its peak in America, the language of flowers attracted the attention of the most popular women writers and editors of the day.

Sarah Josepha Hale, longtime editor of the Ladies' Magazine and co-editor of Godey's Lady's Book, edited Flora's Interpreter in 1832; it continued in print through the 1860s.

Catharine H. Waterman Esling wrote a long poem titled, "The Language of Flowers" which first appeared in 1839 in her own language of flowers book, Flora's Lexicon; it continued in print through the 1860s. Lucy Hooper, an editor, novelist, poet, and playwright, included several of her flower poems in The Lady's Book of Flowers and Poetry, first published in 1841. Frances Sargent Osgood, a poet and friend of Edgar Allan Poe, first published The Poetry of Flowers and Flowers of Poetry in 1841, and it continued in print through the 1860s. Osgood also edited a special gift book, The Floral Offering, in 1847. Sarah Carter Edgarton Mayo, author of several flower books, was associate editor of the Universalist monthly The Ladies' Repository in Boston from 1839 to 1842. Her book, The Flower Vase, was first published in 1844. She also edited the books Fables of Flora in 1844 and The Floral Fortune Teller in 1846. C. M. Kirtland is probably Caroline Matilda Kirkland, editor of the Union Magazine of Literature and Art from 1847 to 1851 and the Unitarian weekly Christian Inquirer from 1847 to 1852.

First published in 1848, Kirkland's Poetry of Flowers continued to be in print at least until 1886. One of the more comprehensive books, its 522 pages contain an extensive dictionary and numerous flower poems.

Meanings The significance assigned to specific flowers in Western culture varied — nearly every flower had multiple associations, listed in the hundreds of floral dictionaries — but a consensus of meaning for common blooms has emerged. Often, definitions derive from the appearance or behavior of the plant itself. For example, the mimosa, or sensitive plant, represents chastity. This is because the leaves of the mimosa close at night, or when touched. Likewise, the deep red rose and its thorns have been used to symbolize both the blood of Christ and the intensity of romantic love, while the rose's five petals are thought to illustrate the five crucifixion wounds of Christ. Pink roses imply a lesser affection, white roses suggest virtue and chastity, and yellow roses stand for friendship or devotion. The black rose (actually a very dark shade of red, purple, or maroon) has a long association with death and dark magic

https://en.wikipedia.org/wiki/Language_of_flowers

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Mitch Labuda Sharing a photographic vision As an artist with a camera I’ve come to judge my success, not in sales but in connecting with people by our interactions and conversations Mitch Labuda

An Ageless Place, 2009 Mitch Labuda, 1956 - 2013 Mitch suddenly died in July of 2013.

He had caught flu and just a few days after he was gone.

May he forever live through his love of photography and has left many of us with deep connections to his soul.

In fact, some of his ashes were spread at the tree of the image of ‘An Ageless Place’ A fitting resting place.

Jan Labuda

Mitch Labuda

A

Northwest, Ohio.

ll That Will Be

Is all around us, if we look and listen

Mitch Labuda

Mitch Labuda

Mitch Labuda

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The Hesitating Moment - An Abstract Expressionistic Photograph When you prepare to crossover and remember all that was and think to what could be

Mitch Labuda

Mitch Labuda

Mitch Labuda

Mitch Labuda

George Seeley (1880–1955, American) and those of the Photo-Sessionists present the world in other worldly terms. They pushed the ideals of the p h o t o g r a p h i c establishment at the time and still do to this day

A homage to Photosessionist George Seeley Mitch Labuda

Mitch Labuda

Mitch Labuda

Mitch Labuda

19 In the Lou Campbell State Nature Preserve Split Toned Photography

Ferns simplicity and beauty of nature

Mitch Labuda

Mitch Labuda

Mitch Labuda

Mitch Labuda

In the Lou Campbell State Nature Preserve Monochrome & Split Toned Photography

October

Farewell to the sun

The Lou Campbell State Nature Preserve

The area, In honour of Toledo-area naturalist Lou Campbell, was acquired in the last quarter of the 20th century by Ohio Division of Natural Areas and Preserves.

Mitch Labuda

Mitch Labuda

Mitch Labuda

Mitch Labuda

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Birch Tree

Facing west

Monochrome & Split Toned Photography In the Lou Campbell State Nature Preserve

Mitch Labuda

Mitch Labuda

Mitch Labuda

Mitch Labuda

In the Kitty Todd Nature Preserve Split Toned Photography

Storm Clouds

The Kitty Todd Nature Preserve Is a Nature Conservancy site and is home to beautiful wild flowers, an endangered butterfly, the Karner Blue, and has sand dunes and cactus along some of the trails.

Mitch Labuda

Mitch Labuda

Mitch Labuda

Mitch Labuda

23 In the Kitty Todd Nature Preserve Abstract Photography

Along A Trail

Mitch Labuda

Mitch Labuda

Mitch Labuda

Mitch Labuda

In the Kitty Todd Nature Preserve Impressionist Photography

An August Afternoon

Mitch Labuda

Mitch Labuda

Memory of an August afternoon

Mitch Labuda

Mitch Labuda

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A field of grasses

Prairie Colors in September

Impressionist Photography In the Kitty Todd Nature Preserve

Mitch Labuda

Mitch Labuda

Mitch Labuda

Mitch Labuda

What we try to forget On a cold rainy fall day

Mitch Labuda

Mitch Labuda

Mitch Labuda

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When we let go - an abstract expressionism many things leave and many more enter

Mitch Labuda

Mitch Labuda

Mitch Labuda

Mitch Labuda

Abstract Photography

29 Abstract Photography From Wikipedia, the free encyclopedia Abstract photography, sometimes called nonobjective, experimental, conceptual or concrete photography, is a means of depicting a visual image that does not have an immediate association with the object world and that has been created through the use of photographic equipment, processes or materials. An abstract photograph may isolate a fragment of a natural scene in order to remove its inherent context from the viewer, it may be purposely staged to create a seemingly unreal appearance from real objects, or it may involve the use of color, light, shadow, texture, shape and/or form to convey a feeling, sensation or impression. The image may be produced using traditional photographic equipment like a camera, darkroom or computer, or it may be created without using a camera by directly manipulating film, paper or other photographic media, including digital presentations.

Defining abstract photography There has been no commonly-used definition of the term "abstract photography". Books and articles on the subject include everything from a completely representational image of an abstract subject matter, such as Aaron Siskind's photographs of peeling paint, to entirely non-representational imagery created without a camera or film, such as Marco Breuer's fabricated prints and books. The term is both inclusive of a wide range of visual representations and explicit in its categorization of a type of photography that is visibly ambiguous by its very nature.

Many photographers, critics, art historians and others have written or spoken about abstract photography without attempting to formalize a specific meaning.

Alvin Langdon Coburn in 1916 proposed that an exhibition be organized with the title "Abstract Photography", for which the entry form would clearly state that "no work will be admitted in which the interest of the subject matter is greater than the appreciation of the extraordinary. The proposed exhibition did not happen, yet Coburn later created some distinctly abstract photographs Photographer and Professor of Psychology John Suler, in his essay Photographic Psychology: Image and Psyche, said that "An abstract photograph draws away from that which is realistic or literal. It draws away from natural appearances and recognizable subjects in the actual world. Some people even say it departs from true meaning, existence, and reality itself. It stands apart from the concrete whole with its purpose instead depending on conceptual meaning and intrinsic form....Here’s the acid test: If you look at a photo and there’s a voice inside you that says 'What is it?'….Well, there you go. It’s an abstract photograph.”

Barbara Kasten, also a photographer and professor, wrote that "Abstract photography challenges our popular view of photography as an objective image of reality by reasserting its constructed nature....Freed from its duty to represent, abstract photography continues to be a catchall genre for the blending of mediums and disciplines. It is an arena to test photography.”

German photographer and photographic theorist Gottfried Jäger used the term "concrete photography", playing off the term "concrete art", to describe a particular kind of abstract photography. He said: • "Concrete photography does not depict the visible (like realistic or documentary photography); • It does not represent the non-visible (like staged, depictive photography); • It does not take recourse to views (like imageanalytical, conceptual, demonstrative photography).

• Instead it establishes visibility. It is only visible, the only-visible.

• In this way it abandons its media character and gains object character.” German photographer and photographic theorist Gottfried Jäger used the term "concrete photography", playing off the term "concrete art", to describe a particular kind of abstract photography. He said:

https://en.wikipedia.org/wiki/Abstract_photography

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•

•

•

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"Concrete photography does not depict the visible (like realistic or documentary photography); It does not represent the non-visible (like staged, depictive photography); It does not take recourse to views (like image-analytical, conceptual, demonstrative photography).

Instead it establishes visibility. It is only visible, the only-visible.

In this way it abandons its media character and gains object character.”

More recently conceptual artist Mel Bochner hand wrote a quote from the Encyclopedia Britannia that said "Photography cannot record abstract ideas." on a note card, then photographed it and printed it using six different photographic processes. He turned the words, the concept and the visualization of the concept into art itself, and in doing so created a work that presented yet another type of abstract photography, again without ever defining the term itself

History Some of the earliest images of what may be called abstract photography appeared within the first decade after the invention of the craft.

In 1842 John William Draper created images with a spectroscope, which dispersed light rays into a then previously unrecorded visible pattern. The prints he made had no reference to the reality of the visible world that other photographers then recorded, and they demonstrated photography's unprecedented ability to transform what had previously been invisible into a tangible presence. Draper saw his images as science records rather than art, but their artistic quality is appreciated today for their groundbreaking status and their intrinsic individuality.

Another early photographer, Anna Atkins in England, produced a self-published book of photograms made by placing dried algae directly on cyanotype paper.

Intended as a scientific study, the stark white on blue images have an ethereal abstract quality due to the negative imaging and lack of natural context for the plants.

Another early photographer, Anna Atkins in England, produced a self-published book of photograms made by placing dried algae directly on cyanotype paper.

Intended as a scientific study, the stark white on blue images have an ethereal abstract quality due to the negative imaging and lack of natural context for the plants.

The discovery of the X-ray in 1895 and radioactivity in 1896 caused a great public fascination with things that were previously invisible or unseen. In response, photographers began to explore how they could capture what could not been seen by normal human vision.

About this same time Swedish author and artist August Strindberg experimented with subjecting saline solutions on photographic plates to heat and cold. The images he produced with these experiments were indefinite renderings of what could not otherwise be seen and were thoroughly abstract in their presentation.

Near the turn of the century Louis Darget in France tried to capture images of mental processes by pressing unexposed plates to the foreheads of sitters and urging them to project images from their minds onto the plates.

The photographs he produced were blurry and indefinite, yet Darget was convinced that what he called "thought vibrations" were indistinguishable from light rays

A photogram of Algae, made by Anna Atkins as part of her 1843 book, Photographs of British Algae: Cyanotype Impressions, the first book composed entirely of photographic images.

https://en.wikipedia.org/wiki/Abstract_photography

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deflorare Charlie Mclenahan

Into abstract with Denise Clark

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Afternoon Light

by Denise ClarkÂ

Clean Start

by Denise ClarkÂ

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The Green Man Weeps

by Denise ClarkÂ

Scribbled Abstract

by Denise ClarkÂ

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Leopard Tree Bark Abstract 5

by Denise Clark

Golden Cane Palm Abstract 2

by Denise Clark

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Flowers

Flower From Wikipedia, the free encyclopedia A flower, sometimes known as a bloom or blossom, is the reproductive structure found in flowering plants (plants of the division Magnoliophyta, also called angiosperms). The biological function of a flower is to effect reproduction, usually by providing a mechanism for the union of sperm with eggs. Flowers may facilitate outcrossing (fusion of sperm and eggs from different individuals in a population) or allow selfing (fusion of sperm and egg from the same flower). Some flowers produce diaspores without fertilization (parthenocarpy). Flowers contain sporangia and are the site where gametophytes develop. Flowers give rise to fruit and seeds. Many flowers have evolved to be attractive to animals, so as to cause them to be vectors for the transfer of pollen.

In addition to facilitating the reproduction of flowering plants, flowers have long been admired and used by humans to beautify their environment, and also as objects of romance, ritual, religion, medicine and as a source of food.

Morphology Floral parts

The essential parts of a flower can be considered in two parts: the vegetative part, consisting of petals and associated structures in the perianth, and the reproductive or sexual parts. A stereotypical flower consists of four kinds of structures attached to the tip of a short stalk. Each of these kinds of parts is arranged in a whorl on the receptacle. The four main whorls (starting from the base of the flower or lowest node and working upwards) are as follows: Vegetative (Perianth) Collectively the calyx and corolla form the perianth (see diagram). • Calyx: the outermost whorl consisting of units called sepals; these are typically green and enclose the rest of the flower in the bud stage, however, they can be absent or prominent and petal-like in some species. • Corolla: the next whorl toward the apex, composed of units called petals, which are typically thin, soft and colored to attract animals that help the process of pollination.

Image by Mariana Ruiz, 2007

https://en.wikipedia.org/wiki/Flower

41 Reproductive •

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Androecium (from Greek andros oikia: man's house): the next whorl (sometimes multiplied into several whorls), consisting of units called stamens.

Stamens consist of two parts: a stalk called a filament, topped by an anther where pollen is produced by meiosis and eventually dispersed.

Gynoecium (from Greek gynaikos oikia: woman's house): the innermost whorl of a flower, consisting of one or more units called carpels. The carpel or multiple fused carpels form a hollow structure called an ovary, which produces ovules internally. Ovules are megasporangia and they in turn produce megaspores by meiosis which develop into female gametophytes.

These give rise to egg cells. The gynoecium of a flower is also described using an alternative terminology wherein the structure one sees in the innermost whorl (consisting of an ovary, style and stigma) is called a pistil. A pistil may consist of a single carpel or a number of carpels fused together.

The sticky tip of the pistil, the stigma, is the receptor of pollen. The supportive stalk, the style, becomes the pathway for pollen tubes to grow from pollen grains adhering to the stigma. The relationship to the gynoecium on the receptacle is described as hypogynous (beneath a superior ovary), perigynous (surrounding a superior ovary), or epigynous (above inferior ovary).

Structure Although the arrangement described above is considered "typical", plant species show a wide variation in floral structure. These modifications have significance in the evolution of flowering plants and are used extensively by botanists to establish relationships among plant species.

The four main parts of a flower are generally defined by their positions on the receptacle and not by their function. Many flowers lack some parts or parts may be modified into other functions and/or look like what is typically another part. In some families, like Ranunculaceae, the petals are greatly reduced and in many species the sepals are colorful and petal-like. Other flowers have modified stamens that are petal-like; the double flowers of Peonies and Roses are mostly petaloid stamens. Flowers show great variation and plant scientists describe this variation in a systematic way to identify and distinguish species.

Specific terminology is used to describe flowers and their parts. Many flower parts are fused together; fused parts originating from the same whorl are connate, while fused parts originating from different whorls are adnate; parts that are not fused are free. When petals are fused into a tube or ring that falls away as a single unit, they are sympetalous (also called gamopetalous).

Connate petals may have distinctive regions: the cylindrical base is the tube, the expanding region is the throat and the flaring outer region is the limb. A sympetalous flower, with bilateral symmetry with an upper and lower lip, is bilabiate. Flowers with connate petals or sepals may have various shaped corolla or calyx, including campanulate, funnelform, tubular, urceolate, salverform or rotate.

Referring to "fusion," as it is commonly done, appears questionable because at least some of the processes involved may be non-fusion processes. For example, the addition of intercalary growth at or below the base of the primordia of floral appendages such as sepals, petals, stamens and carpels may lead to a common base that is not the result of fusion

https://en.wikipedia.org/wiki/Flower

Structure continued …

Many flowers have a symmetry. When the perianth is bisected through the central axis from any point, symmetrical halves are produced, forming a radial symmetry. These flowers are also known to be actinomorphic or regular, e.g. rose or trillium. When flowers are bisected and produce only one line that produces symmetrical halves the flower is said to be irregular or zygomorphic, e.g. snapdragon or most orchids.

Flowers may be directly attached to the plant at their base (sessile—the supporting stalk or stem is highly reduced or absent).

The stem or stalk subtending a flower is called a peduncle. If a peduncle supports more than one flower, the stems connecting each flower to the main axis are called pedicels. The apex of a flowering stem forms a terminal swelling which is called the torus or receptacle.

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Flower Heads A Country Gardens Come Grow With Us Challenge Catalogue

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Night Landings by Mario Morales Rubi 


Purple Anemone by autumnwind

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Amaryllis by ienemien

Arctotis Orange ( 1 )

by Larry Lingard-Davis

Rain on blossom by Abi Latham 


Frilly Red & White Begonia by Marilyn Harris 


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So Red by Vicki Spindler (VHS Photography)

Cornflower Blue by GreyFeatherPhot

Colors of August by Nadya Johnson

Cone Heads by Monnie Ryan 


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Yellow Flowers by Rae Tucker

Day 60 by HannahT

Bicolor dahlia by bubblehex08

Radiant Dahlia by Joy Watson

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Dahlia by lezvee

KISSING THE WIND by marxbrothers

Full Bloom by David Lamb

Gerbera detail by ©The Creative Minds

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Hibiscus in focus by lensbaby

Fancy Tri-color Hibiscus ~ Magical by SummerJade

Pink hibiscus by hummingbirds

Flower by elliephant13 


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Hellebore Flower Heads by George Row

Black Christmas Rose by DavidsArt 


Hydrangea and a Rock Wall by AuntDot

Blue, Blue Hydrangeas by Sandra Foster

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Proud To Be Yellow by Alexandra Lavizzari 


Too Big for the Frame by wolftinz

Sunlit Passion By Lorraine McCarthy


by Lozzar Flowers & Art

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Many Hotties

by KazM

Mountain Laurel by Annlynn Ward

Heart of the Wetland

by John Thurgood

Orange nasturtium

by Ana Belaj

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Nelumbo. by Jeanette Varcoe.

The beauty and the blurry by Arie Koene

Ribbons of Pink ! by Elfriede Fulda 


Blue Star of Day by Mui-Ling Teh

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Pansy with Ears by ElsT

Dive Into My Soul by Sandra Fortier

Peony Glow by flowers2love

Peony flower head by Steven Valkenberg

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Blue Beauty by Marylou Badeaux

First Impression by Fay270

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exotic flower by spetenfia

Waratah - Strath Creek, Vic. Australia

by Margaret Morgan (Watkins) 


Place in the Spotlight by Bette Devine 


Red Roses by JHMimaging

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Rehmannia - Chinese Foxglove by AnnDixon

Strawflower by John Velocci

Big Bold & Beautiful by Martha Medford 


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amber sunflower by Tracey Hampton

"SUNSHINE" by waddleudo

Afternoon Delight by Laurie Minor 


Rising Sun by naturelover

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Sunflower tapestry by Celeste Mookherjee

Sunflower Sensation by TonyCrehan

Sturt Desert Pea by Penny Smith 


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Thorn by Nuno Pires 


Parrot Tulip by Elaine Teague

Spring Flower

by Rachel Jeffrey

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Whisper Sweet Nothings by Kerryn Madsen-Pietsch

Pink Beauty

by Caroline Lembke

Flower Heads A Country Gardens Come Grow With Us

53

Challenge Catalogue

Top Ten

79 Flower Heads Top Ten

A Country Gardens Come Grow With Us Challenge Catalogue

Purple Anemone by autumnwind

*1st Place

*One of Three First Places

Flower Heads Top Ten

A Country Gardens Come Grow With Us Challenge Catalogue

Rising Sun by naturelover

*1st Place

*One of Three First Places

81 Flower Heads Top Ten

A Country Gardens Come Grow With Us Challenge Catalogue

The beauty and the blurry by Arie Koene

*1st Place

*One of Three First Places

Flower Heads Top Ten

A Country Gardens Come Grow With Us Challenge Catalogue

Night Landings by Mario Morales Rubi 


*2nd Place

*One of Two Second Places

83 Flower Heads Top Ten

A Country Gardens Come Grow With Us Challenge Catalogue

Strawflower by John Velocci 


*2nd Place

*One of Two Second Places

Flower Heads Top Ten

A Country Gardens Come Grow With Us Challenge Catalogue

KISSING THE WIND by marxbrothers

*3rd Place

*One of Three Third Places

85 Flower Heads Top Ten

A Country Gardens Come Grow With Us Challenge Catalogue

Mountain Laurel by Annlynn Ward 


*3rd Place

*One of Three Third Places

Flower Heads Top Ten

A Country Gardens Come Grow With Us Challenge Catalogue

Dive Into My Soul by Sandra Fortier 


*3rd Place

*One of Three Third Places

87 Flower Heads Top Ten

A Country Gardens Come Grow With Us Challenge Catalogue

Gerbera detail by ©The Creative Minds

*4th Place

*One of Two Fourth Places

Flower Heads Top Ten

A Country Gardens Come Grow With Us Challenge Catalogue

Whisper Sweet Nothings by Kerryn Madsen-Pietsch 


*4th Place

*One of Two Fourth Places

89

aetherius

Abstract Garden life through a lens An ethereal view of life through a lens.

charlie-mclenahan.com

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Contributors

Founder & Editor C Mclenahan Treasurer V Gore News Hound Rabiah Seminole Cover image An Ageless Place by MLabuda

Written Features by https://en.wikipedia.org/wiki/ Language_of_flowers https://en.wikipedia.org/wiki/ Abstract_photography https://en.wikipedia.org/wiki/Flower Spotlight features Mitch Labuda charlie mclenahan Into abstract with Denise Clark

CGCGWU Flower Heads Night Landings by Mario Morales Rubi Purple Anemone by autumnwind Amaryllis by ienemien Arctotis Orange ( 1 ) by Larry Lingard-Davis Rain on blossom by Abi Latham Frilly Red & White Begonia by Marilyn Harris So Red by Vicki Spindler (VHS Photography) Cornflower Blue by GreyFeatherPhot Colors of August by Nadya Johnson Cone Heads by Monnie Ryan Yellow Flowers by Rae Tucker Day 60 by HannahT Bicolor dahlia by bubblehex08 Radiant Dahlia by Joy Watson Dahlia by lezvee KISSING THE WIND by marxbrothers Full Bloom by David Lamb Gerbera detail by ©The Creative Minds Hibiscus in focus by lensbaby Fancy Tri-color Hibiscus ~ Magical by SummerJade Pink hibiscus by hummingbirds Flower by elliephant13 Hellebore Flower Heads by George Row Black Christmas Rose by DavidsArt Hydrangea and a Rock Wall by AuntDot Blue, Blue Hydrangeas by Sandra Foster Proud To Be Yellow by Alexandra Lavizzari Too Big for the Frame by wolftinz Sunlit Passion By Lorraine McCarthy by Lozzar Flowers & Art Many Hotties by KazM

Catalogues

Mountain Laurel by Annlynn Ward Heart of the Wetland by John Thurgood Orange nasturtium by Ana Belaj Nelumbo. by Jeanette Varcoe.

The beauty and the blurry by Arie Koene Ribbons of Pink ! by Elfriede Fulda Blue Star of Day by Mui-Ling Teh Pansy with Ears by ElsT Dive Into My Soul by Sandra Fortier Peony Glow by flowers2love Peony flower head by Steven Valkenberg Blue Beauty by Marylou Badeaux First Impression by Fay270 exotic flower by spetenfia Waratah - Strath Creek, Vic. Australia

by Margaret Morgan (Watkins) Place in the Spotlight by Bette Devine Red Roses by JHMimaging Rehmannia - Chinese Foxglove

by AnnDixon Strawflower by John Velocci Big Bold & Beautiful by Martha Medford amber sunflower by Tracey Hampton "SUNSHINE" by waddleudo Afternoon Delight by Laurie Minor Rising Sun by naturelover Sunflower tapestry by Celeste Mookherjee Sunflower Sensation by TonyCrehan Sturt Desert Pea by Penny Smith Thorn by Nuno Pires Parrot Tulip by Elaine Teague Spring Flower by Rachel Jeffrey Whisper Sweet Nothings by Kerryn Madsen-Pietsch Pink Beauty by Caroline Lembke

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An Ageless Place, 2009 Mitch Labuda, 1956 - 2013

All The Materials Contained May Not Be Reproduced, Copied, Edited, Published, Transmitted Or Uploaded In Any Way Without the artist/photographers Permission. These Images/writings Do Not Belong To The Public Domain. All images and information within the Garden Tripod magazine are the responsibility of the owner/artist/writer/photographer & not the Garden Tripod magazine 2012-2015