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Substrate: probably Acer platanoides.
Eesti punase nimestiku liik, ohualdis (VU).
Undla, Lääne-Virumaa.
handmade pottery, ceramic, dinnerware, a variety of glass, copper beads, smalti, and mirror on a hand built, cement based substrate.
The growth of yellow fungus from the cut stump of a tree is not a common occurrence, but it is possible. Fungi are diverse organisms that can colonize various substrates, including decaying wood. Here are a few points to consider regarding yellow fungus growing on a tree stump:
Identification: Identifying the specific type of yellow fungus is essential because there are various species of fungi with yellow-colored fruiting bodies. Some common examples include Fuligo septica (also known as "dog vomit slime mold") and Tremella mesenterica (commonly referred to as "witches' butter"). These fungi have distinctive appearances.
Environmental Conditions: Fungi require specific environmental conditions to thrive. Yellow fungi often grow on decaying organic matter; moisture, decaying wood, and organic nutrients can contribute to their growth. A tree stump may be susceptible to fungal colonization if it provides these conditions.
Tree Health: The fungi on a tree stump may also indicate that the tree was unhealthy or already decaying before it was cut down. Fungi typically play a role in the decomposition of dead or dying trees.
Potential Issues: While some yellow fungi are harmless and primarily involved in decomposition, others can be pathogenic to plants. If you notice a yellow fungus on a tree stump in your garden or landscape, it's a good idea to monitor it and consider removing it if it seems to be spreading or causing damage to nearby vegetation.
Safety: When dealing with fungi, it's essential to take safety precautions. Some fungi can release spores that may be harmful if inhaled. Consider wearing gloves and a mask if you need to remove or handle the fungus.
If you encounter a yellow fungus growing on a tree stump and are concerned about its impact on your garden or landscape, it may be a good idea to consult with a local arborist or horticulturist who can provide specific guidance based on the situation. They can help you determine whether any action needs to be taken and how to manage the situation appropriately.
ChatGPT generated the above text. I fine-tuned it with Grammarly.
PXL_20230721_094635542
I'm a big fan of the various species of the so called "ant plants"; plants which have developed symbiotic relationships with ants. In some species (such as the Myrmecodias and Hydnophytums) the plants produce highly modified stems which naturally develop hollow internal chambers which provide living spaces for ant colonies. The ants in turn benefit the plants by protecting their host from insect pests and providing nutrients derived from decomposing detritus from the ant colony. In addition to the previous examples there are a few members of the greater milkweed family which produce modified leaves which also provide sheltered sites for ants to establish their colonies. Some species, such as Dischidia pectinoides and D. major produce modified pouch-like leaves which serve as nesting sites. Other species produce large leaves which provide shallow, dome-like enclosures between the leaf and the substrate which can serve as a living site for ant colonies.
Hoya imbricata is one particularly attractive example of this last type of plant. It is an epiphytic plant with long, thin climbing stems which cling to tree trunks and branches, and bear very large succulent, plate-like leaves (reputedly measuring from about 2 inches, to nearly 10 inches in diameter in some varieties), which clasp the vertical surfaces upon which they grow. These leaves typically grow rather close together, slightly overlapping one another like roofing shingles or fish scales (the specific epithet "imbricata" alludes to this similarity to roofing tiles). Ants colonize the spaces beneath these leaves, often using adjacent leaves to serve as "nurseries", food storage and other specialized rooms or chambers for the ant colony. The spaces beneath the overlapping leaves may also serve as a protected highway, by which ants can travel from the ground to the upper branches of forest trees. This Hoya produces roots all along the length of the stems - those which are located just beneath the leaves will absorb nutrients from the detritus from the ant colony - providing the plant with a significant portion of its fertilization. The plant may also absorb a significant percentage of the carbon dioxide exhaled by the ants - providing the plant with vital carbon necessary in the production of sugars, proteins, and lipids.
Mature plants can grow many yards in length, and will branch and re-branch to produce intricate networks giving its host tree the appearance of being covered with shingles, or giant fish scales.
There are a number of varieties of this species in the wild, but the specific traits which distinguish the different varieties are not entirely clear to me - nor have I been able to find a listing of all of the recognized varieties in my research. Some varieties have closely spaced leaves which overlap, blanketing the trunks upon which they grow, while at least one variety is said to have long internodes with more widely spaced (non-overlapping) leaves. Most have comparatively small leaves (2 to 5 inches in diameter), while at least one variety produces leaves to about 10 inches across. In some, the leaves are of a uniform green coloration, but in others, the leaves are a dark green and are attractively marbled in pale greenish/grey tones. The leaf undersides of all varieties bear magenta to purplish pigments - which in many other plant species, is usually an adaptation to lower light levels - the purplish undersides to the leaf act as an accessory pigment to chlorophyll, which enables the plant to make use of additional wavelengths of light.
The flowers are produced in loose dangling umbels, which in my plant, measured to about 2 inches across. Larger, more mature plants will probably produce larger umbels with more flowers than this. The flowers are quite attractive, bearing "furry" greenish/cream colored petals. Other portions of the flower are of the same coloration, but are glossy and polished looking, earning them the common name for the genus, "Wax Flowers". While the flowers of other Hoya species can be highly fragrant, to my nose, the scent of this species is extremely faint: it is slightly sweet, with a trace of a musty under-tone. My plant has only flowered once: I am uncertain what combination of cooler temperatures, reduced light intensity, shorter daylight hours and less humid conditions may have helped initiate the formation of flower buds, but my plant flowered in November, about 2 months after I brought it indoors for the winter.
Hoya imbricata is not the easiest plant to maintain under typical household conditions. In my 19 months of growing this plant, I have struggled to discover which conditions best suits it: in summer, my plant usually produces a modest flush of growth, but it remains dormant through much of the other 9 months. It responds well to the increased light levels and higher temperatures of summer, especially when I move it into my unheated greenhouse in late spring. This species requires warm temperatures, bright but diffuse light, and quite humid conditions. Without high humidity, my plant languishes in a sort of persistent dormancy, and in winter, it has the tendency to loose moisture from its leaves and abort roots and young stems until humid conditions are restored. It is only when humidity exceeds about 60% that my plant even begins to show signs of growth: at levels closer to 90%, it seems to produce its most rapid growth. I am presently growing cuttings in a sealed 2 liter soda bottle with a soil-less mixture of peat moss and vermiculite watered with a weak solution of Miracle Gro fertilizer. This terrarium is kept just below two 40-watt fluorescent lights (the bulbs actually resting on the surface of the bottle). Because of the proximity of the lights, the temperature inside of the terrarium can rise to as much as 95 degrees Fahrenheit by day. At night (when the lights are off), temperatures typically fall to about 72 degrees. Conditions are very moist, so the sides of the container are perpetually drenched in condensation. This combination of warmth and moisture would rot practically any other plant, but my plant seems to thrive under these conditions, quickly responding with renewed, vigorous growth. After just a few weeks, one small cutting has produced 4 new stems, and the beginnings of at least 2 new leaves. Following this initial success, I started another cutting (a single leaf with several branching stems) under similar conditions. This cutting had been dormant for nearly one year - but within one week of this treatment, I observed the initiation of new growth at two nodes - probably the beginnings of two new vines; about a week later, it is producing the beginnings of new roots. Larger plants can be grown in a sort of mini greenhouse - I am growing my "main" plant horizontally in a long plastic storage container (the type designed for under-the-bed storage) with a pane of glass placed over the top to provide a more or less sealed environment (to ensure high humidity levels). I place fluorescent tubes on top of this (with the tubes resting just a few inches above the plant), and maintain light for approximately 14 hours a day. Even though I grow my plants on the basement floor (the coolest location in the house), temperatures inside of this container will rise to approximately 80 degrees by day, and cools to about 68 degrees at night (conditions which are probably a bit cooler than optimum). It would probably be best to place a 1 inch layer of very moist blend of Vermiculite/Perlite on the bottom of the container to provide adequate humidity, but any moisture retentive medium (such as peat-moss, or sterilized potting soil) will do.
In spite of the purple/magenta pigments on the underside of its leaves, (which is usually an adaptation to low light levels), Hoya imbricata seems to thrive when provided with bright but indirect light. When grown outdoors, bright dapple shade is probably best, but indoors, plants should be maintained just a few inches beneath fluorescent lights. Extended exposure to direct sunlight will tend to bleach and scorch its leaves.
Hoya imbricata requires a good support and a more or less solid surface upon which to grow in order to assure typical growth, otherwise the leaves of unsupported vines tend to roll in upon themselves (imagine a paper plate rolled into a cylinder). Cork-bark slabs, osmunda fiber slabs and posts, even long sections of logs and thick tree branches are good supports. For my own plant, I take two sections of black plastic mesh "gutter guards", and sew these along their sides and bottom to produce a long "sock". I fill this with an orchid potting mix consisting mostly of chipped coconut husk and cork bark. This mix retains moisture much better than cork-bark slabs, and may provide more humid conditions under the leaves than cork slab would alone. This support is rigid enough for the leaves to "clasp" normally, although I have found that it is best to wire new growth against it to assure good contact with the growing medium, at least until roots become established enough to hold the new leaves in place.
As with all Hoyas, this species requires warm temperatures to thrive: 80 to 90 degrees seems to be best, although it will tolerate higher temperatures than this: Extended periods of cooler temperatures (68 to 52 degrees) will tend to send plants into dormancy, and freezing temperatures will practically kill it instantly. While I have not tested its ultimate tolerances to cold, it will likely die if exposed to temperature in the 40's for any more than a few days, so if you do move your plants outdoors in summer, be prepared to bring it back indoors at the first predictions of cool weather.
It seems that only a few conservatories, and dedicated hobbyists grow Hoya imbricata here in the United States. Exceedingly few nurseries stock any of the varieties of this species, so it may sometimes be easier to acquire cuttings from other growers than it is to find in trade. My plant (Hoya imbricata var. basirotunda), for example, was originally acquired as cuttings generously provided by Myron Kimnach. The scarcity of this species in the trade is unfortunate, as this is an exceptionally interesting, and (in my humble opinion) one of the most attractive Hoya species that I know of. Perhaps its reputation as an "ant plant" works against it. While plants which are grown outdoors in the tropics and subtropics may sometimes become colonized by ants, it has been my experience that plants grown in more temperate climates do not attract ants, and can be grown without the presence of ants without ill effects. In nature such symbiotic relationships tend to be fairly specific, and usually involve a relatively few ant species; most ant species from northern latitudes would not colonize this plant. Grown indoors, particularly when grown in a more or less sealed environment, the chances of ants colonizing this species are virtually nil.
The specialized growing needs of Hoya imbricata will probably forever relegate this plant to dedicated growers only, particularly those from non-tropical climates. But for those growers who are not daunted by the challenges of providing year-round warm temperatures, high humidity and bright light, this species may very well be the plant for you. Its distinctive growth habit, attractive foliage (particularly those varieties with attractively marbled leaves), attractive "furry" flowers, and its fascinating adaptations to live symbiotically with ants will make it a standout in any collection. And it is unquestionably the most attractive "ant plant" which I have ever grown.
"Therapy"
Original Painting by Cara Buchalter of Octavine Illustration
Painted in gouache on Plywerk, a hand-crafted substrate wood board handmade in Portland, Oregon.
*The Inspiration*
My friend Dani is an art therapist. When looking at my work she always analyzes me, rather than my art. She pointedly asks, "What were you thinking when you drew this?" Or, "How does this image make you feel." I simply chuckle at her, smile and ignore telling her to stop shrinking my brain.
Her comment on this piece includes the psycho-babble that I love her for: "This is really a significant piece. I love the tension between the green and the diagonal red and wine colors. This piece must have come from deep in your subconscious..."
To be honest, I have no idea where my inspiration is derived from. Most of the time, I find a model--a photograph, magazine clipping or even a poem and start from there; my creativity a force unto itself.
For more information please visit my blog:
www.octavineillustration.blogspot.com
©2008 Cara Buchalter. Please don't take and use the images without permission, thanks.
The beginnings of the giraffe sculpture. 44" tall. Styrofoam cut to shape and glued together.
#kimlarsonart
Substrate: Quercus robur.
Eesti punase nimestiku liik, äärmiselt ohustatud (CR). LK II.
Rakvere, Lääne-Virumaa.
Seda seent ootasin täpselt 3 aastat. 2015 oli vana viljakeha, 2016 ja 2017 ei olnud üldse.
The fungus I was waiting to appear for three years.
24" substrate with 12" mirror I have covered in a mosaic of glass tile, stained glass, glass gems and tempered glass.
One of the many fascinating projects I was involved in, as London Underground's Design & Heritage Manager, was conservation and restoration of many of the historic structures that the Tube owns and still operates. Out of over 275 stations over 80 are statutorially Listed, including this one, many more are Locally Listed and nearly all have some Heritage Features as assessed by London Underground itself.
Many stations still have faience facades of a type of construction that the Central London Railway (1900) and the Underground Electric Railways of London (1905/6 and later) utilised. The Metropolitan Railway also used faience on many of its early 20th Century reconstructions.
The basic construction methodology is sound - the use of load bearing steel framework and a cloak of effectively mass produced faience blocks - in this case made in Leeds by the Burmantofts Works of the Leeds Fireclay Company. However, some defects can occur if the facade is not waterproof, when moisture meets the steelwork, corrodes and spalls, or if the fireskin of the faience blocks themselves is damaged (such as through hole drilling or physocal damage). The latter tends to invite frost freeze and thaw, further destroying the material.
At South Kensington the issues were compounded by the removal, several decades earlier, of any internal wall finishes when the ticket hall and lift landings. along with the lify shaft, were stripped out for use as a passive ventilation shaft. Some earlier spot repairs, using 'plastic' fillers over wire mesh and coloured resin fillers had also started to fail badly - these tend to be prone to UV failure. All in all the structure and facade was a mess - and first we had to gain Listed Building Consent to undertake intrusive surveys and condition surveys to see what was actually going on.
To cut a long story short we realised we needed to physically reconstruct almost 85 - 90% of the facade, such was the deterioration of the sub-strate and the facade. We had undertaken similar work on other stations and so were able to call on expert manufacturers (Darwen Faience & Terracotta) and construction contractors. The manufacturing of new blocks is not simple as you have to allow for shrinkage in firing, colour matching older and now illegal glazes along with firing temperature variations in colour. To ensure a lack of uniformity - as you don't actually want a 'blank' colour the manufacturer has to also consider glaze weight. The setting out has to be precise - no 'cutting' like tiles, and the new blocks were correctly back-filled with inert packing and tied structurally back to new substrate. All in all - a helluva job and I'm still pleased as punch with it. It was and to some building conservators still is contentious as traditonal restoration aims to reatin as much original material as possible. However on highly used buildings such as these I am of the view that when such structures are life-expired options such as careful recreation, with a full understanding of the materials, architectural detail, integrity and context are weighed against retention (some 15% of the original is still here) then this is a valid approach.
First ambrotypes with the Rockland Colloid reversal developer. This is a dry plate ambro using Fujifilm Art Emulsion on a substrate of glass coated with gelatin. Exposure 60 second in daylight from a single window on an overcast winter afternoon.
Suggestions for the collection, examination and
photography of rock dwelling Patella species.
Ian F. Smith, April 2020
Casual photographs of the shell exterior of Patella species are unreliable evidence for differentiation and are likely to be declined as records by verifiers on iRecord, especially when they would alter the established distribution patterns. In north-west Europe, if a lateral view shows that a shell has a height 50%, or more, of its length, it can usually be accepted as Patella vulgata (but it often has a lower shell). Otherwise, the interior of a fresh shell may suffice but, often, a view of the foot and peripheral pallial tentacles is needed. This requires removal, without damage, of a live limpet from the substrate.
Collecting equipment
Dining knife with a strong, broadly rounded tip (sharp point risks damage).
Plastic box, lined with polythene, part-filled with seawater.
Collecting method
Please be sparing in how many you take, especially if limpets are not locally common.
Carefully approach a limpet in a pool or on damp rock; its shell will probably not be applied with full force to the substrate. Sudden movement or shadow may cause it to clamp down. When close enough, quickly force the knife, angled into the rock under the shell and foot. A horizontal thrust risks lethal damage. If the rock is soft, try to push the knife tip into its surface. Complete the removal by striking the handle of the knife with your free hand, as if hitting a chisel. If your first thrust fails to go under the limpet, abandon the effort as it will have clamped down and be impossible to move without damage. Try another one.
Place the removed limpet, sole down, in the lined box in water sufficiently deep to cover the shell; there should be air left in the box. Leave the box undisturbed for the limpet to settle and grip the polythene before transporting it. Upturned limpets are likely to die, so check as soon as home is reached that it is still upright. If collecting more than one, place each in a separate box as if one dies it will foul the water and kill its companions. If processing is delayed, keep in a refrigerator at about 7°C.
If you decide to examine/photograph the limpet on the beach you can dispense with the box. If replacing a limpet, it should be at the spot where found.
Examination equipment.
1. Container about 4 cm deep with base painted with black bituminous paint (or clear base on top of black polythene).
2. Piece of glass that will fit inside container.
3. Four identical flat supports about 15 mm thick (e.g. dissection blocks).
4. Sea water.
5. Spirit-levelled work surface. e.g. an aquarium stand with top of toughened glass such as door off old audio system cabinet. On the shore do your best to level the container.
Examination method.
Take the polythene with limpet out of its box and slide the limpet off it onto the glass.
Place the glass on the supports in the container with seawater deep enough to just cover the glass.
When limpet has gripped the glass, turn glass over and replace on supports. If the limpet moves to the edge you can usually slide it to the centre without it detaching.
The expanded foot will now be visible. When the limpet has settled down it will likely extend its head and you may see the mouth open, and the radula make feeding strokes. Eventually, the mantle will expand to the shell’s rim, and the peripheral pallial tentacles will extend and be visible against the black base of the container.
Compare what you see with images in the accounts at flic.kr/s/aHskokisge and flic.kr/s/aHskqnXPqt ; both contain comparative images of P. vulgata. Magnification and good lighting will help.
Photography
If the shell height is 50%, or more, of the shell length, an untilted side-image showing its profile is usually sufficient evidence for P. vulgata in north-west Europe. Otherwise, a clear photograph of the vacant shell interior may be enough. If foot and pallial tentacles are used for positive identification, a clear record photograph is needed for acceptance as personal judgement about what is opaque white or translucent is subjective, especially until the different species have been experienced. (From this cause I initially made mistaken records which had to be removed from NBN maps.)
Cameras vary widely in what they can do. A digital SLR with manual focus, rack and pinion tripod and two side flashes, as in the image above, is ideal but expensive. A separate sheet is available for Nikon 300s which may be of use with other DSLRs. This article is to guide you to general principles that I hope you will find useful with automatic compact cameras, mobile phone cameras etc, as well as DSLRs.
If about to buy a compact camera, one that is put to very good use by many is the Olympus Tough TG series shop.olympus.eu/en_GB/cameras/tough/tg-6 . It can withstand being dropped and can even be used submerged in a pool. It can be used by divers to moderate depths, but may have a short life if used without a camera housing. It has a 12 megapixel image sensor. Cameras with fewer pixels will take poorer images, those with more should do better.
Camera Handbook It is essential to read the handbook to learn how to use different features on your camera. Keep a note of what you find useful. Use the camera for general photography before attempting close ups.
Focusing
For zoomed-in close ups the depth of field of focus is tiny. If the subject and lens surface are not parallel, one part may be in focus and the rest blurred.
1) Avoid tilting the camera or the subject/base of container (unless both tilted at same angle) if possible. The most reliable method is with camera facing vertically down mounted on a rack and pinion tripod with both work surface and back of camera levelled horizontal with a spirit level.
2) Avoid the slightest movement of the camera as the automatic focus is unlikely to adjust quickly enough to minor movement. Use tripod as in 1; otherwise use whatever is available to steady the camera with lens surface parallel to subject/container base. One impromptu shore technique used by A. Rowat when photographing with an Olympus TG, is to hold it in two hands and project his little fingers to rest against the substrate. If the telescopic legs are withdrawn to their minimum, a tripod is very stable and can be stood on a table with the subject raised for closer focusing on a rigid box on the table.
3) Zoom in (closeness possible varies with camera) to fill as much of the frame as is possible with the subject so the automatic focus adjusts to the subject rather than a larger expanse of background.
4) Keep the subject as close as possible to the background which is likely to be what it focuses on when it is not possible to fill the frame with the subject. Holding the subject in one hand and the camera in the other while standing on the shore is likely to give a focused image of the shore and a blurred image of the subject and hand, added to by unavoidable small movement.
5) Use flash, as with it the lens aperture will close to the minimum for the bright light it provides. Small apertures give sharper images than large ones. Images taken in weak light will cause the aperture to open wide and the result is likely to be blurred, or very dark if it doesn’t open.
Glare and reflection
In the open, a horizontal water surface reflects the sky, including clouds. This hinders what can be seen in the water and gives photos a milky appearance. Ask a companion to block the sky by holding a black umbrella, or similar, high above the container or pool containing the subject.
Indoors, a flash located on the top of a camera pointing vertically down emits light at 90° to the water surface, and the light reflects directly back on the same track into the lens causing glare. If the camera can be operated with flash units off the camera, two should be placed, one at either side, at c. 45° tilt to the surface. Flash units can be free standing or mounted on a lens bracket protruding right and left. The light then is reflected away at 45° in the opposite direction, not into the camera. If a single side flash is used, one side will be brilliant and the other in black shadow. To avoid this if only one is available, put a reflector of crumpled aluminium foil close to the subject on the side away from the flash. But many cameras only have the option of single top-mounted flash. In this case, deviate slightly from focusing item ‘1’ (above) by tilting the camera and flash up a little. Experiment to find the minimum tilt that will get rid of reflection; you may find that when zoomed in very close that the small distance between lens and flash is sufficient for the reflection to miss the lens, even when the camera is untilted.
Damp/wet shells have a curved surface that reflects at an infinite number of different angles. However you position the camera or light source, some light will enter the lens and cause glare. To avoid this, either dry the shell or submerge it completely and photograph it as above. If part protrudes from the water, the curved meniscus at point of emergence will cause glare.
Exposure
The automatic exposure of a camera sets itself according to brightness of what it senses in the frame. If a small dark subject is surrounded by a large white background the aperture reduces to avoid what it senses, mainly the white background, from being too bright. This results in a correctly exposed background and an underexposed dull dark image of the subject. To avoid this, try photographing with a black smooth background, such as a base painted with black bituminous paint or a clear base resting on black polythene. Avoid textured surfaces as they catch and reflect light. Different camera models vary, so you may need to experiment.
Editing
An editing suite can vastly improve images. Photoshop is the best known, but is expensive and complicated to use. A simpler, cheaper one may be easier to master.
There may already be some editing facilities on your pc; it is worth having a look. I use PhotoStudio 6, but it is no longer available for official sale. Features I find most useful are crop, rotate, auto enhance, sharpen, brightness, saturation, contrast, fill, clone, brush, text, and stitch. Practice is required to get the best from editing.