During my Pinterest surfing adventures, I stumbled across a new-to-me technique called anthotype, defined by alternativephotography.com as “…a photographic process using plant-based emulsions and sunlight.”

This unique art form is created by placing objects on paper coated with an emulsion made from a plant-based pigment mixed with alcohol. The paper is then placed in full sun until the emulsion not protected by the objects is bleached out. The piece is then submerged in a solution made with Borax or baking soda and water which stops the reaction and turns the yellow into a brownish-orange hue.

Note: Turmeric stains EVERYTHING. Wearing gloves—plastic or rubber—and an apron or smock is a must for mixing and applying the turmeric emulsion.

EQUIPMENT

Two disposable plastic cups or glass containers

Popsicle stick or disposable spoon

Coffee filter

Foam paint brush

Cookie sheet

Piece of glass the same size as watercolor paper

Oblong cake pan

MATERIALS

1 tsp turmeric powder

3 tbsp 70%+ isopropyl rubbing alcohol

2 tsp baking soda or Borax

1/2 cup warm water

Waxed paper

Watercolor paper

Pressed flowers and leaves

1. Cover cookie sheet with waxed paper, then place watercolor paper on top.

2. In one cup, mix turmeric and rubbing alcohol with popsicle stick or spoon. Let sit for three to five minutes.

3. Place coffee filter in second cup. Pour turmeric mixture through the filter. Squeeze the excess liquid from the filter and discard filter.

4. In a dimly lit area, use foam brush to apply a thin, even coat of the turmeric mixture to piece of watercolor paper.

5. Place the tray in a dark room or a cupboard until paper is completely dry—preferably overnight.

6. In a dimly lit area, arrange pressed plant material in desired pattern on the watercolor paper. Add glass on top to prevent items from shifting.

7. Place tray outside in an area that receives full sun until the turmeric emulsion has faded. This takes several hours.

8. Mix baking soda and warm water in an oblong cake pan.

9. Remove plant material from watercolor paper. Place paper upside down in the baking soda mixture to stop the exposure, just until coated, then remove. Let your masterpiece dry right-side up on the tray.

Anthotypes remain light-sensitive and are best stored or displayed in a frame away from direct sunlight.

Cathy Monrad is the graphic designer for Upstate Gardeners’ Journal.

This article originally appeared in the September/October 2026 issue of Upstate Gardeners’ Journal.

There is a new trend in the bird feeding world, and it is one that I am excited to write about—attracting Crows to the backyard! Crows can be found in a large range of habitats, are intelligent and curious, and are even known to leave small objects for humans who regularly feed them. It is very understandable why the appreciation for them is growing.

Here in Western New York, we have four species of birds in the Crow family which are commonly found, and one has blue feathers! The American Crow, Fish Crow, Common Raven, and the most common backyard visitor, the Blue Jay. Blue Jays are easy to identify by their loud varied calls, blue plumage, and large feathery crest.

The Common Raven is the largest of this group of birds, with a wingspan measuring up to 46 inches long. They are entirely black birds with a thick neck and shaggy feathers on their throat. They are not as social as Crows and therefore are often seen alone or in pairs. Ravens typically have a deeper voice than Crows and their most common call is described as a gurgling croak.

The American Crow is smaller than the Raven, with a wingspan ranging from 33 to 39 inches long. They are very social and are often found in flocks, sometimes into the thousands. Although they have many different calls, their most common is the typical “caw” they are associated with. They will also form mixed flocks with the Fish Crow.

Fish Crows are slightly smaller than the American Crows, but this can be hard to decipher in a mixed flying flock of Crows. Their call is quite different however and sounds more nasal and high-pitched, often repeating a sound like someone saying “uh-uh.” While often found by water, they can be seen in varied habitats inland and even in cities.

Crows are extremely intelligent birds. New Caledonian Crows found in the South Pacific are well known for their ability to make tools out of plant stems, sticks, and leaves to gather food. Studies have been done on Crows which have shown Crows can differentiate human faces and can tell which humans pose a threat. Even more amazingly, Crows share this information with other Crows and their offspring and future generations carry on this knowledge of learned threats. Crows are very social creatures. They will flock from their nighttime roosting sites in the morning to their feeding sites and then back to their communal roosting sites for the night. These sites provide safety in numbers and warmth as the nights begin to cool.

A perk for humans about attracting Crows is they will sometimes leave small gifts and trinkets to those who regularly feed them. These tend to be small shiny or colorful objects like coins, earrings, beads, and glass, but they also may leave things like bones, twigs, leaves, and even items they would consider food like small insects and mice.

If you have been feeding birds, you may already know how much Blue Jays love peanuts, especially peanuts in the shell. This is the same for American Crows. If you are putting out peanuts for Blue Jays or Crows, make sure that the peanuts are unsalted and raw or roasted. Crows are omnivorous and eat a wide variety of foods; they eat seeds, fruits, insects, eggs, carrion, and even small animals like mice, fish, and crayfish. Because of this, you could also offer unsalted walnuts, almonds, berries, and even pet food in your crow feeding setup. Consistency is key with attracting Crows. For best results, make sure you add food to the feeder at the same time each day.

Crows are large birds and won’t come to a traditional tube or hopper feeder like Blue Jays will. Instead, they will need a wide platform to fit on. You can get hanging platform feeders, but the best way to attract Crows is a platform feeder that is stationary and mounted on a pole. These platforms should be at least 12x20” in diameter so multiple birds can land on it at once. The pole it’s mounted on should be at least five feet high with a baffle on it to keep squirrels from climbing it and getting to the food. Most platform feeders can easily be mounted to a one-inch-round pole or wooden 4x4 post, both of which can have baffles easily attached. Mounting the pole in the ground doesn’t have to be cumbersome either! Cementing it into the ground usually isn’t necessary but getting a ground socket that is 15” or longer should keep the pole in the ground securely.

All four species of Crows we regularly see in this area are year-round residents, so you can try to attract them any time of the year. If there is a certain time span you tend to see them flocking into your neighborhood, that is a good time to start providing food regularly. Crows are usually quite skittish to humans, so make sure to give them their space until they begin to get comfortable with the feeding station and those around it. Each individual bird can have its own personality and sometimes be recognized, which makes attracting new Crow friends to your yard even more fun!

Liz Magnanti is co-owner of the Bird House in Brighton.

This article originally appeared in the September/October 2026 issue of Upstate Gardeners’ Journal.

During mid spring through early summer, five distinct groups of peonies are the stars of my garden. They stimulate the senses with stunning blooms, exciting colors, and intoxicating fragrances. But only one species produces a show-stopping seed head in early fall!

WOODLAND PEONY

The parade begins in late April with Paeonia obovata, commonly referred to as the woodland peony. It is an understory, herbaceous plant which photosynthesizes by absorbing sunlight before the shading leaves emerge on the deciduous trees above it. As a result, these early season, shade loving peonies are the first to bloom. Delicate fragrant flowers rise above shrubby foliage growing just two feet tall. Woodland peonies are low maintenance, hardy in USDA zones 3 to 8, and will naturalize along the woodland’s edge.

If you do not deadhead the flowers, triangular pods develop over the summer and eventually split open. They reveal the shiny indigo fertile seeds alongside the contrasting bright scarlet infertile seeds. A true miracle of nature! Eventually the seeds will mature and fall to the ground. Keep in mind that peony seeds are slow to sprout and it may take two years to see visible seed leaf growth. You can recognize the seedlings by their pinkish-tinted leaves and stems. Be patient—seed-grown peonies take three to five years to produce blossoms.

I discovered that the woodland peonies are rare and nearly impossible to buy. My friend Gail was kind enough to send me a division from her peony and my friend Elissa sent me seeds. After several years of experimentation, I now nurture sixty-six woodland peonies throughout my garden. Most are just one to two years old, but several are flowering.

TREE PEONIES

The bloom sequence marches on with three classifications of tree peonies. P. suffruticosa is one of the largest groups with the most genetic diversity. It is highly fragrant with colors ranging from white to pink, magenta, and deep maroon.

Next are the Gansu tree peonies (AKA Rockii) which are a subgroup of the suffruticosa group. According to the Peony’s Envy Website these peonies are “distinguished by a purple flare at the center of each flower petal. Originally from the Gansu region of China, these plants are also referred to as Rockii peonies, as Joseph Rock helped make them famous outside of China. These plants are fast-growing for tree peonies, exceptionally hardy, and grow up to 7 feet tall. This group has thin billowy leaves that give a more informal appearance. They tend to cross-pollinate and produce wonderful seeds that can be grown into new cultivars.”

The yellow tree peonies, classified as the Lutea Hybrids, are the last tree peonies to bloom. “Sometimes referred to as Delavayi, this group is a Tibetan species that has a wide variety of yellows, bronzes, and oranges,” says Peony’s Envy.

Tree peonies have woody stems that persist above ground and develop buds for early flowering. They are unlike the herbaceous varieties that die back to the ground in winter. Tree peonies grow three to six feet tall with voluminous early blooms.

FERN LEAF PEONY

The peony parade continues with the fernleaf herbaceous peonies. These include P. tenuifolia, a species peony with dark red, single flowers with a double layer of cupped petals surrounding a cluster of canary yellow stamens. The feathery, dissected fern-like foliage creates a compact, mounded habit. It grows fifteen to twenty inches tall, blooms earlier than standard garden peonies and thrives in zones 3 to 8.

P. tenuifolia crossed with P. lactiflora produce hybrids with strong stems and vibrant blooms. P. ‘Merry Mayshine’ is a vigorous grower and increases rapidly. It is a reliable bloomer with single fragrant, crimson flowers. The stout clumps hold up well during inclement weather. The American Peony Society has recognized ‘Merry Mayshine’ with the Award of Landscape Merit.

Online sources include Peony’s Envy (peonysenvy.com) in New Jersey; Hollingsworth Peonies (hollingsworthpeonies.com) in Missouri; and Adelman Peony Gardens (peonyparadise.com) near Salem, Oregon.

WOODLAND PEONY

Paeonia obovata

Paeonia obovata subsp. japonica

• Prefers shade

• Fragrant 3” blooms

• White, soft pink, rosy pink or deep purple-red flowers

• 2' tall

• Viable from seed

• Amazing seed pods in the fall

• Blooms from late April to second week in May

FERN LEAF PEONY

Paeonia tenuifolia

Paeonia tenuifolia x Paeonia lactiflora

• Prefers full sun

• Requires good drainage to avoid root rot

• Fragrant

• Red, dark red, crimson flowers

• 15 to 20" tall

• Blooms from mid May to mid June

INTERSECTIONAL PEONY

Itoh Hybrids—Herbaceous x tree peonies

Paeonia lactiflora x Paeonia suffruticosa

• Massive fragrant blooms

• Unique colors including yellows, apricots, pastel pinks, vibrant reds, and rich purples

• Does not require staking

• Foliage lasts until autumn

• Remove seed heads. Seeds are not viable.

• 2 to 3' tall

• Blooms from late May to mid June

TREE PEONY

Paeonia suffruticosa

• White, pink, magenta, and deep maroon blooms

• Extremely fragrant

• 3 to 5' tall

• Blooms from late April to mid May 

Paeonia suffruticosa Gansu & Rockii

• Purple splash on petals

• Fast growing

• Some as tall as 7'

• Blooms from late April to mid May 

Paeonia suffruticosa lutea

• Yellow, bronze, orange, and gold flowers

• Needs shelter from strong winds

• Dislikes root disturbance

• 3 to 5' tall

• Blooms from late April to mid May

HERBACEOUS PEONY

Paeonia lactiflora

• Hundreds of cultivars & hybrids

• Fragrant, large flowering

• Clump forming

• Slow growing

• Long-lived

• Needs support

• 2 to 3' tall

• Blooms from mid May to mid June 

Paeonia lactiflora x Paeonia officinalis

• Deep red, soft peach, coral, apricot, and magenta blooms

• 24 to 32" tall

• Blooms from mid May to mid June

CLASSIC HERBACEOUS PEONIES

The quintessential peonies, the Lactiflora group or Chinese peonies, are the old-fashioned, fragrant, large flowering species. They are clump-forming with perfumed flowers that bloom in late spring and early summer. Chinese peonies are slow-growing and may take up to three years to bloom, but they are long lived and may survive 100 years or more. Use stakes and twine or metal peony supports to prevent stems from flopping over after heavy spring rains. I purchased some heavy duty wrought iron supports at arusticgarden.com.

Since Chinese peonies have a long history of cultivation there are many hundreds of cultivars as well as hybrids. P. lactiflora ‘Bowl of Beauty’ is a fragrant, award-winning, early bloomer with bicolored pink flowers with frilly yellow centers. P. lactiflora ‘Green Lotus’, introduced in 1995, features pale, lime-green petals with soft pink edges. Its cactus dahlia-shaped blooms look exotic. Breck’s (brecks.com) offers many bare root peonies including ‘Green Lotus’.

True red herbaceous peonies include the officinalis hybrids. They bring intense, brilliant colors into the garden, including deep red, soft peach, coral, apricot and magenta. Many hybrids are robust and self supporting since they inherited strong stems that can handle wind and rain much better than the traditional heirloom peonies. P. lactiflora x P. officinalis ‘Red Charm’ was introduced in 1944 and is thought to be one of the best red cut flowers. Picture a lovely vase of the legendary ‘Red Charm’ on your kitchen table in June.

ITOH PEONIES

Last but not least are the intersectional peonies also referred to as the Itoh peonies. Toichi Itoh made the first successful cross between an herbaceous peony and a tree peony in 1948 thus producing the intersectional peonies. They extend the flowering season alongside herbaceous peonies providing the much cherished yellow color that is rare in herbaceous peonies and foliage that lasts until autumn. Their massive blooms sit atop sturdy stems that never need staking. The buds do not open all at once, giving way to two or three flushes of blooms over a two to three week period.

‘Bartzella’ was my first Itoh peony and is my absolute favorite. The plants are vigorous with lemon-yellow blooms highlighted in the center by a hint of red. I enjoy the spicy-sweet fragrance for three to four weeks depending on the weather conditions.

Fall is the recommended time for dividing, transplanting, and planting bare root peonies. Keep in mind that the woodland peonies and pot grown herbaceous peonies can be planted in spring as well. They thrive in nutrient rich soil with good drainage. Bury each peony eye no deeper than 2" below the soil line. Plants may not flower or fail to produce growth in the spring if the roots are buried too deep.

When I visited Sara’s Garden Center (sarasgardencenter.com) in July, potted Itoh peonies included ‘Old Rose Dandy’, ‘Lollipop’, ‘Julia Rose’ and ‘Court Jester’. For pots or small gardens, try P. lactiflora ‘Rome’, a patio peony growing just 2' tall with 5" blooms and hardy to zone 3! Several ‘Plena’ fernleaf peonies were waiting for a good home as well as P. suffruticosa ‘Shimadaijin’, a highly coveted purple flowered Japanese tree peony.

Palmiters Garden Nursery in Avon, New York (palmitersgardennursery.com) has been growing peonies for more than thirty-five years. A visit to their garden in May/June to see established mature plants is a must for peony lovers. The family does a gentle close in the fall, reducing their hours in September and October. A quick call is advised if you want to add to your collection with a fall planting.

Your garden can bloom from early spring to summer with enchanting, vibrant, fragrant flowers. Cooler weather will prolong the blooms, while hotter weather shortens the bloom time. The finale of the peony season ends with the striking seed heads of the woodland peony. What peonies will you plant to extend your season? To learn even more about peonies visit peonysenvy.com. 

Colleen O’Neill Nice is a horticulturalist who is passionate about plant propagation and enjoys nurturing her garden in Clarence, New York.

This article originally appeared in the September/October 2026 issue of Upstate Gardeners’ Journal.

Ah, the -ber months are here! While I am looking forward to a weeding respite and enjoying cozy indoor time of the colder months, there are a few autumn traditions I like to do before tucking the garden beds in for the off season.

REFLECTION AND ORDER

Can you remember back to those dreamy winter months circling oodles of eye-catching plants in seed catalogs? I am a self-diagnosed seed hoarder, and every year I just can’t help but load the shopping cart up with many amazing seeds to start come winter’s end. There are always a few super dazzlers that I get excited about, but I try to limit my new picks to three or four so I don’t overwhelm myself. Each spring I endeavor to track their progress closely to see if they’ll make the permanent garden resident list. Early in the year, I am armed with a garden journal, meticulous seed-starting notes, and ambitious plans to log my garden’s growth. Alas, in the heat of the growing season these journals have melted into the mass of empty pots, six-packs and disconnected grow lights, and I’m lucky to find a working pen on my germination bench in July.

I remember Buffalo garden writer Sally Cunningham once describing a gardener’s “Neatness Scale,” and how we all develop our own level of tolerance for mess in our gardens. I tend towards the end that has zero clipped topiaries, paths that meander through and sometimes disappear into edges of plants that brush at my legs, to which the tactful kindly call “naturalistic.” My work areas, however, I consider clearly exempt from this scale, and they are never part of the garden tour. Much like my sink of dishes, the note taking, container organizing, and general horizontal surface discovery is an area of chaotic neglect in summertime.

But as the cooler months roll in, a sense of returning to order comes back over me, and while I do not tidy up my garden much in autumn, I do spend time cleaning and organizing my pots, tools, storage area, and germination workroom. Amidst the mess I always find my ambitious spring notes and seed catalog picture collages. It’s always interesting to see what met, exceeded, or took a nosedive from my spring expectations.

SEED COLLECTING

I grow a great deal of plants that produce viable seeds, and autumn is when I collect and dry seeds for next season. While I don’t consciously earmark specific plants to collect from, I slow down on deadheading as the season winds down, and naturally, seeds develop. Some plants, such as dill and feverfew, self-sow abundantly into my garden, so I don’t collect their seeds for indoor storage.

Among my favorite seeds to collect from the garden are calendula, cosmos, marigolds, basil, purple hyacinth bean vine, and zinnias. My seed collecting methods are similar to my other gardening habits, not very strict, but rather foolproof in their simplicity. I cut whole seed heads directly into paper bags, and leave the bags in a cool, dry place until I can separate the seeds and sort through them. This is best done on a dry day, in the afternoon, to ensure the least amount of moisture. If I am concerned with moisture or the seed heads were quite green when collected, I will spread them out on a newspaper-covered tray for a few weeks to dry. Then, I store them in labeled paper bags, later to be divided up for my winter seed swap gathering and personal collection for planting next year.

SEASONAL STARS

As autumn arrives, I like to pick out three top performers for the year. Sometimes my new introductions become my seasonal stars, but more often than not, my top three surprise me. This year, the clear winners are ‘Silver Plate’ eucalyptus (Eucalyptus polyanthemos), ‘Summer Pastels’ yarrow (Achillea millefolium ‘Summer Pastels’), and Cephalanthus occidentalis (buttonbush).

I’ve been growing eucalyptus from seed for three years now, but 2026 was my first growing ‘Silver Plate’. I chose this variety to satisfy my cut flower projects that required its dramatic draping foliage, like cascade bridal bouquets, and I loved the added dramatic flair of a reddish hue in its stems and growth tips. Eucalyptus is a slow growing plant, maturing at about 150 days from germination, so I started their seeds in late January. They were ready to harvest starting in early August and were a stunning addition to bouquets. There are also several ‘Silver Plate’ bunches drying for fall wreaths and seasonal decor projects. If you’re thinking of trying eucalyptus, I’d say it’s totally worth the wait, and other than having to monitor seedlings for a long time and increase their pot size once or twice, they are not that difficult to grow from seed. 

‘Summer Pastels’ yarrow was on last year’s underperformer list, having been sown in spring and never producing flowers. Honestly, I had planted them as an afterthought; I had already exceeded my space for 2025 seed starts, and I threw the whole packet in an open tray. They were relocated into the garden late and forgotten about for the rest of last year. Well, they came back wonderfully this spring, and yielded dozens of bunches of blooms in soft shades of cream, pink, and purple. I am dividing the patch in September, as it is a solid mass of probably every seed I sowed last year, and gifting several of the divisions to friends for fall planting.

Last year I heeled in six bare root shrubs into a temporary bed, planning to move them to a new garden space I was creating this spring. I had purchased pairs of three fairly resilient species as I’m still getting the lay of the land: Philadelphus lewisii (mock orange), Forsythia × intermedia (border forsythia), and Cephalanthus occidentalis (buttonbush) and planned to use them as structural “corners” in my new garden bed. Unfortunately, by the time I got around to making a place for them in early June, my buttonbush shrubs had not one a leaf on them. We had some really cold spells late into May this year, and I wasn’t sure if their barrenness was due to never budding out or the new leaves being killed by late frost. Having nothing to lose but time, I relocated the water-loving skeletal pair to a permanent location close to the nearby drainage ditch. Sure enough, a few weeks later, I had leaves on most of the branches. On this lovely fall day, my buttonbushes are still sporting their conspicuous fragrant blooms for which they are aptly named. Reflective, autumn me is grateful that the overly ambitious, sometimes too impatient spring me remembered to give woody plants a second chance. That’s one of gardening’s rewards: learning that there is often more life waiting to emerge than meets the eye.

Bonnie Warriner is a horticulturalist and budding flower farmer with a love for capturing beauty in pictures and words. You can find her among the wildflowers and goats on her family’s 150 acre farm in Jasper, New York.

This article originally appeared in the September/October 2026 issue of Upstate Gardeners’ Journal.

GARDEN COACHES AND CONSULTANTS—SHOULD YOU HIRE ONE?

If you are planning a garden from scratch, or you have an existing garden but you need hands-on help and advice, a coach could be just what you’re looking for. Unlike a landscaper who does the work for you, a coach can teach you how to develop and maintain your own garden, working with you on skills like pruning, soil preparation, watering, and mulching. They can do a walkthrough of your garden and possibly give you ideas you may not have considered, as well as recommending plant varieties and tools. And coaches are not just for beginners. “Clients benefit from a garden consultant’s extensive experience with plants that work well in upstate New York growing conditions, as well as a fresh set of eyes to help come up with new solutions to existing garden challenges,” says Chrys Gardener of Chrys Gardener Designs in Ithaca. Among the services that she likes to provide are “coming up with different ideas for garden layout including planting beds, paths and outdoor entertaining areas, and providing quick sketches on site to help clients visualize some of these ideas.”

A coach can prove far superior to online searches—nothing beats a knowledgeable person. “A garden coach gives you something Google can’t,” says Kathleen Kepler of Sara’s Garden Center in Brockport. And that is “personalized, on‑site guidance tailored to your yard, your goals, and your skill level.” Getting things right the first time using a coach could potentially save a lot of work and frustration—and even money. “Instead of guessing which plants will thrive, a coach helps you choose the right varieties for your sun, soil, and space,” Kepler explains. And before you give the task to an AI agent, you might want to consider human-based knowledge and creativity for your growing space. “We’ve seen more AI designs than ever this season,” Kepler says, “and they are 99% generating designs using the same plants over and over and over again!” She stresses the need for personalized choices over generic suggestions: “Your plant choices need to fit your garden conditions and ideas for maintenance. AI is not going to give you that.”

PLANT BULBS, BUT MAKE IT UNIQUE

Looking for something more inspired than planting a few more tulips and daffodils this fall? For a more colorful landscape when spring comes, branch out by trying out some cool bulb specimens that will add interest and dimension.

Alliums: Laurie Broccolo of Broccolo Tree and Lawn Care in Fairport loves alliums, and she points out that they aren’t limited to the tall globular specimens—they come in a huge variety of sizes, shapes, and colors. “There’s so many different kinds … there are shorter ones,” she says. She recommends checking out the “Mediterranean bells” variety, noting that they are beloved by hummingbirds.

Balkan anemone: Kepler states that this is a customer favorite for its “charming, sweet, daisy-shaped flowers that come in blue, white, or pink.” They are easy to grow, she notes, and “they reseed politely without overcrowding and once you plant some, you never have to do bit of maintenance.”

Camas: Broccolo is also a fan of camas, known as the camas lily, camassia, or Indian hyacinth. It’s a perennial native to North America and its spiky blue, lavender, or white flowers bloom in late spring or early summer.

Fritillaria: This is a plant genus that boasts dozens of varieties; Broccolo likes the crown imperial type for its unique shape.

Minor bulbs: Kepler makes a case for revisiting “the small early spring bloomers that you never think about until you see them in bloom,” including crocus, snowdrops, scilla, and species tulips. Aesthetically, “they’re powerful for layering,” she says, and “one of the easiest ways to add depth, rhythm, and surprise to your planting schemes.”

HELP YOUR TOOLS HELP YOU—CARE AND SAFETY

A well-stored, properly maintained garden tool is a safer bet for everyone.

Keep them dry: Always store tools dry. Keep them off the floor of your gardening shed or garage. Never leave them outside, even if you will be picking them up again the next day. This helps avoid rust and breakdown. “Just make sure that they’re clean of dirt and debris and things like that before [you] put them away,” says Lauren Domuracki, certified landscape technician and assistant manager at Broccolo. Wipe or spray them down with water and store them dry—if the day doesn’t lend itself to drying in the sun, use a rag or paper towel.

Keep them sharp: “Your spade better be sharpened,” Broccolo says. “You know, it’s a lot less stressful if it cuts right through the sod. And as we do a ton of edging so [we’re] sharpening those tools, constantly.” At their garden center, they sharpen frequently—once a year isn’t enough for a tool getting heavy use.

Use good quality and consider comfort: Felco is a favorite brand at Broccolo. If you have arthritis or issues with hand strength, Laurie Broccolo says, look for special tools such as the Felco 12 pruners, which have a revolving handle grip. Kepler also likes Felco pruners. “They’re a bit more money but worth their weight in gold,” she says. “You’ll use them often, so you want a well-made pair.” She also recommends Bully Tools, particularly the 12-gauge edging and planting spade. “The long handle version is easy on the back and provides better leverage. There’s a short handle one too, if preferred, and you can customize the handle material and grip design too!” She recommends purchasing on bullytools.com to avoid knockoffs. And of course, if a tool is broken, don’t keep using it—repair or replace it.

Pay attention: “One thing I would say about safety with your tools is making sure that you’re paying attention,” says Domuracki. “That and taking it slow. I was not doing both of those things one day, and I cut the tip of my finger off.” It’s crucial to slow down and consider “no matter how big or small it is, being conscious and appreciative of the fact that you’re working with a tool.

Carolyn Sperry is is a freelance writer in Rochester. She has published nationwide, won the Gotham Writers Stories Everywhere competition, and writes poetry featured in several journals.

This article originally appeared in the September/October 2026 issue of Upstate Gardeners’ Journal.

I like to think of this year’s gardening season as the season of lavender. I have never had so many lavender flowers, and I’ve made sure to dry as much as possible. I’ll use them as little tussie-mussie gifts, decor, tea, cooking, and aromatherapy. I think lots of people have used or at least smelled lavender essential oil, but there isn’t anything quite like the scent that wafts from gently crushing lavender buds in your hands.

But lavender isn’t the only lovely scent in my garden. I get to enjoy the subtle fragrance of my ‘Chicago Peace’ rose, the perfume of bergamot mint, the astringent aroma of garden sage, the absolutely wonderfully tangy smell of tomato leaves, and so much more. I think we all like to use our senses to enjoy our gardens, but, for me, scent is the most compelling. Even garden smells that are a little “weird” draw me in. Ever smelled feverfew or rue, for example? These aren’t exactly what I’d add to a perfume, but they are indeed interesting.

As we start to clean up our gardens to ready ourselves for winter, take a moment to enjoy the scents of your garden. What garden scent is your favorite? Let me know at cg****@****ag.com. 

This article originally appeared in the September/October 2026 issue of Upstate Gardeners’ Journal.

I watch my friends anxiously as wrapping paper flies everywhere–I saved their best presents for last, and I can’t wait to see their reactions. With the soft glow of Christmas tree lights reflecting on her face, I see Madge’s expression first: intrigue. And then: confusion. She removes the tissue paper from the box and pulls at the gift. “Okay,” she says, in a measured tone. “Why are you buying me clothing?” But as she pulls further and sees the whole gift, her attitude changes. “OH MY GOD! MY OWN PAIR OF PURPOL PANTS!” Next to her on the couch, Krystal rips her gift open to reveal her pair. “PURPOL PANTS FOR ME? OH, HELL YEAH!” Ah. This was the reaction I was hoping for. I breathe a sigh of relief.

Madge and Krystal met in preschool and have been partners in crime ever since. They’re both five years older than me and impossibly cool. Krystal is my cousin, so I’ve known her my whole life, but I was only just getting to know Madge. (Which is why she thought it was odd to buy personal clothing items for someone you don’t know that well. I’m sure she was expecting some noncommittal Christmas gift. Perhaps a gift card to the local buffet or a violently scented candle.) Much to my delight, Madge and Krystal had taken an interest in me and popped up at my house often. I was fourteen and, quite frankly, not very cool. I was in a huge figure skating phase so whenever they came to visit, I was watching prerecorded performances. I had a list of my favorites—Olympics, World Championships, exhibitions—and I watched them on a steady rotation. I was so obsessed with skating that I practiced ZERO courtesy when I had visitors. Anyone who came over ended up watching figure skating, too. I had no mercy for passive fans and would rattle off the who’s and what’s of the sport and expect my company to keep up. It should be noted that I’d never landed so much as a single axel in my life—but passion is passion.

Perhaps the least cool part about all of this was my wardrobe. As soon as I got home from school, I changed into the same outfit: a royal blue Mickey Mouse shirt so old that the iron-on Disney logo was shredding and a pair of purple pants. I also had frizzy hair, an untamed unibrow and a mouthful of orthodontia. So my chosen outfit did nothing to enhance my appearance. But comfort was my goal, and these purple pants fit the bill. I got them in a bag of hand-me-downs, so I would never find the likes of them again. They were truly one of a kind: made of buttery soft cotton with a wide-legged hem and a forgiving waistband. The purple pants were also an interesting shade of violet; combined with the striking blue color of my shirt, I was one blueberry away from swelling up and being rolled away by the Oompa Loompas. (And, because the Teenage Misfortune Bus hit me with all four tires, I was also a chubby teenager—so even trace amounts of swelling would have rendered me inflatable.)

Once Krystal and Madge became accustomed to my fashion choices, they celebrated them. They decided “Purple” wasn’t a strong enough word to describe the color of a pair of pants so ridiculous, yet so necessary. The girls changed the spelling to “Purpol” and pronounced the word with a strong emphasis on the last syllable. If they walked in and I was still in school clothes, they’d yell, “Where’s the purPOL PANTS?” “Excuse me—I don’t see purPOL PANTS today!” Their pronunciation was more of an event than the actual pants. Even more to their credit, they learned who my favorite skaters were, and when they came over, they had their favorite routines to watch, too.

When Christmas came around, I didn’t even question what to buy the girls. My family spent every Christmas Eve with Krystal’s family, and Madge always stopped over, too. I knew they’d both be in the same room—it was too perfect. Thus, I set out to find a close replica of the purpol pants I had, but it was a harder assignment than I anticipated. I had to buy a different pair for each of them—duplicate pairs in the same shade did not exist. But I made sure the material was soft and the waistband wasn’t constricting. (If a book and movie were written about us, it would undoubtedly be titled The Sisterhood of the Flexible Waistbands.)

When the call went out that it was time to open presents, I dashed to the tree to grab my boxes. I handed them to Krystal and Madge and watched with giddy excitement. After their initial screams, they ran upstairs to change into their very own purpol pants. Of course, I brought my pair, and we reconvened around the tree, dressed like violet-colored triplets. We did our best to explain the lore behind the pants; not everyone in the family understood, but they seemed happy for us. For months afterward, I would get a call from one of the girls, who only had one thing to say: “There ain’t nothing like these purPOL PANTS!”

After a few years, it was time to get rid of the pants. They were full of holes and unwearable. I didn’t consult with the girls; I just threw them away. The day I told Madge, she clutched her chest like I’d just shot her. “No more purPOL pants?” Though she was reeling from this emotional bullet, I told her the pants had served their purpose, and, in more ways than one, they truly had. If fashion choices are a form of self-expression, there’s nothing better than finding the right people who see what you’re doing, wonder if maybe you’re crazy—and then invite themselves in anyway.

This article originally appeared in the September/October 2026 issue of (585).

The Great American International Wine and Cider Competition has a rich history that started its evolution in 1999. Peter Parts, a member of the Camp Good Days & Special Times board of directors, was inspired by a charity wine auction in the Napa Valley and set out to bring a similar concept to upstate New York. In 2001, the Finger Lakes International Wine Competition was born, with proceeds benefiting Camp Good Days.

In 2016, that competition’s executive team went on to establish the Raise a Glass Foundation to expand its charitable mission. Today, the foundation hosts its two signature competitions, attracting entries from producers around the world to be evaluated by accomplished professionals through blind tastings. Once the judging concludes and medals are awarded, thousands of unopened bottles find a second home as donations to more than twenty Rochester-based nonprofit organizations to auction at galas, auctions, and other fundraising events.

Great American International Wine Competition: Wine

By Adena Miller and Jeffery Sharra Miller:

On an early Saturday morning in May, Jeff and I walk into the Great American International Wine Competition at the RIT Inn & Conference Center. We catch up with Ron Dougherty, the executive director of the Raise a Glass Foundation who explains how the competition works and gives us the background on why we are ultimately here—for charity.

Dougherty: Many of the entries come from small producers who do their own distribution through mailing lists, club memberships, or from people who visit their tasting rooms. Wine competitions offer an opportunity to earn a medal from the foundation, often putting these small producers on the map.

This year, more than 1,000 wineries entered the competition, and all are required to ship four bottles to be eligible for participation. Two of those bottles reach the judges, and two head to charities.

Over the years, experts from more than thirty different countries have served as judges who hold diplomas with the Master Court of Sommeliers and the WSET (World and Spirits Education Trust), as well as wine makers and winery owners, consultants, educators, and respected journalists from multiple industry publications.

Miller: We learned that fourteen wine judges made up this year’s competition, all with impressive credentials and many who have judged wine competitions for more than a decade. They travel at their own expense and volunteer their time and expertise with a common goal in mind—to bring beautiful and fun wines to the consumer. Although some wines won’t make the cut, others will earn a bronze, silver, gold, platinum, or best of show medal.

Sharra: To fully understand the inner workings of the competition, we happily accept the opportunity to participate as guest judges (don’t worry, our scores won’t actually count!). The judging room reveals official wine business already in the works. Judges are seated at round tables, and volunteers carefully maneuver around the room, arranging numbered wine glasses at each panel. The numbering system ensures each judge is tasting the correct wines within the flight. Dougherty invites us to take our seats at two different tables.

Miller: As I settle into my assigned table, I begin asking questions about what is sitting in front of me. My fellow judges explain that as each flight is presented, their tablets allow them to score each wine based on visuals, aromatics, flavors, and finish and then the overall quality. Only the varietal and the vintage is listed to each corresponding numbered glass, and in this flight, we would be tasting Sauvignon Blanc.

I’m fascinated to discover that to my left is a judge who traveled all the way from Slovenia, while to my right is a fellow local, while the others at my table are based in Virginia and New Jersey. The official time starts, and the room quiets as each judge begins to taste and evaluate the wines. I watch as they inquisitively breathe in the wines, tasting, swirling, and tasting again before engaging their touchscreens to evaluate each wine. I follow suit and record my own notes, circling my favorite numbers. When everyone has completed their scoring, the table captain tabulates the points and then the group openly discusses one wine at a time. I love hearing how the judges described the wine—floral, bitter, effervescent, pithy. At the end of the round, the captain reveals which numbers receive a medal. I’m pleasantly surprised to learn that two of my favorites were also deemed exceptional by the judging panel!

Sharra: As I meet my panel of judges, I spend more time learning about each of their backgrounds as opposed to asking questions about the format of the tasting. One is a writer from Wine Enthusiast Magazine, another, the founder of a well-respected winery in Texas. There’s a longtime wine competition judge who in a former life served on a US Navy submarine, and our table captain is a wine educator. Our conversation quickly ends as the judging of our current tasting begins.

As I move through the flight of wines, I immediately go into the analytical mode that sommeliers are trained to use when sitting down for a blind tasting. I can recognize similarities between the wines—mostly aromatic with notes of citrus, bell pepper, gooseberry, and some with slight bubbles. I’m looking at the wine’s structure, acidity, and balance and wondering if these wines will go well with food. If I had asked more questions upfront, I would have spent a lot less time trying to identify the wines as Sauvignon Blanc, only to discover that the judges already knew the grape varietal at the start of each round. I realize I was going about tasting the wines the wrong way. As the judges begin talking through each wine and awarding medals to several, this competition begins to make more sense to me. I need to remove my sommelier hat and put on my judging robes!

Miller: For the next round, we swap tables for a new experience with a different panel of judges, and the next flight is rosé. With judges evaluating more than 1,000 wines within a two-day event, the transition between flights moves very quickly, and timing is of the essence. Volunteers whisk into the room with empty carts to remove all the spent glassware and dump buckets while, simultaneously, the new flights are carted into the room and quickly displayed in correct number order for each of the judges. With minimal break time between each flight, I wonder aloud how these judges can taste so many wines in such a short amount of time. Dougherty explains that most competitions don’t protect the judges’ palates, but with so many wines presented each year, they have come up with a formula that allows these judges to taste hundreds of wines in a swift manner without palate fatigue. When pressed as to what that formula is, he joked that information would remain confidential.

Sharra: Turns out, confidentiality doesn’t end at the tasting table, it also extends to the “wine vault.” We are taken behind the scenes to a room that is strictly off-limits to the judges. Here, volunteers work in crews to assemble each flight of wines. Each person has a specific role—from pulling corks and tagging glasses to pouring wines and operating carts—and together they move with the precision of a chaotic ballet. With more than eighty entry classes spanning the full spectrum of wines—from white, red, rosé, and orange to sparkling, dessert, fruit, and specialty wines—the volunteers work tirelessly to keep the competition running at a steady pace.

As our time comes to an end at the Great American International Wine competition, we are reminded of the famous 1976 Judgement of Paris, the wine competition that pitted California wines against the great wines of France. The outcome of that competition showed that you don’t need to be an iconic wine producer to be invited to have a seat at the table. What you need is the passion to make a wine with purpose; it’s truly a love affair. In an industry that is seeing a downturn in consumption, these wineries and winemakers need every bit of help they can get, and that’s what the wine competition has to offer, all while supporting charities through the Raise a Glass Foundation.

To date, the foundation has contributed more than $2.5 million to charitable organizations, proving that a bottle’s story doesn’t end when the judging is over.

Great American International Wine Competition: Cider

By Jayme Seiple:

After years of successful wine competitions, the team behind the Raise a Glass Foundation started to notice the increasing need to add a separate category for cider. “We started to get ciders entered into the wine competition, and they just aren’t the same,” laughs Dougherty. 

The increasing need to highlight cider with a separate competition mirrored the extensive growth New York’s hard cider industry has seen over the last ten to fifteen years. With New York State being the largest producer of hard cider in the country, it seemed only natural to include it in the competition, and the cider category was added in 2019.

Following a two-year hiatus, the board decided to bring back the cider portion of the Great American International Wine Competition under the leadership of Frank Russell, board member and volunteer. “It was one of those things. It was said we needed to find a volunteer, so anyone who wants to volunteer step forward, and they all stepped back but me,” teases Russell.

All jokes aside, Russell is confident he couldn’t have done it without the help of all the volunteers. “I had a very nice committee; they worked very hard on it,” he continues as we watch dozens of volunteers meticulously polish every glass. “We’ve got thousands, thousands of glasses [that] will be used for this. We want everything to present very professional. We want the judges to have a really good experience because they are great judges and we want them to come back.”

The first judge for the 2026 Great American International Cider competition is Damin Sawyer, a social media cider influencer and upstate sales manager and product rep for Original Sin Cider. He is a return judge to this competition and has been featured as a judge for several other cider competitions, including the Great Lakes International Cider and Perry Competition and the PA Farm Expo Competition.

Adrian Luna-Verduga is a certified pommelier and well-known member of the hard cider community. He currently serves as the membership and communications coordinator and licensed educator for the New York Cider Association.

Ann Bliss, also known online and locally as Sister Cider, is a certified pommelier and cider enthusiast. She is the special events coordinator for the New York Cider Association and is the head bartender at Mullers Cider House in Rochester.

Judging the ciders depends on the characteristics of the category being judged. Judge Ann Bliss explains the “full sensory” process:

“You do an aroma analysis on it and see what you can smell. If it is a botanical or fruit cider, you should get notes of whatever the fruits are or whatever the botanicals are. Heirloom apples have different aroma characteristics than culinary apples used in a more modern dry cider. You want to know your category, and you think, okay does this make sense for the category that I’m judging?”

When tasting the ciders, the judges are looking for things like sweetness level, acidity, and flavor profile. “You want to think about sweetness level, or how high is the acid? How high is the tannin? How intense are the flavors? What kind of flavor profiles are you getting? What are the characteristics of this? What is the integrity of it? Does this make sense for the category it’s in and is it a good cider within that category,” explains Bliss.

The Great American International Cider Competition is a testament to the close-knit hard cider community and the comradery they have created.

“We have great rapport, and it’s a lot of fun when you are with judges that you are also friends with,” says Bliss. It is that sense of community that helped Bliss into cider, both inside the competitions and outside in the orchards.

“In New York there are so many small orchards who are making cider and it’s very family-oriented, and I think I gravitated toward that kind of community because I grew up on a really, really small cherry orchard. I have these memories of my family doing things in the orchard and having our little cherry stand. Being around families that are doing the same things, on an oftentimes much larger scale, makes me feel connected to my family and the people I don’t have anymore, and it just feels nice.”

To see the full list of winners from the 2026 Great American Wine and Cider competition as well as the charities it supports visit raiseaglassfoundation.com 

Raise a Glass Foundation’s many styles of cider

The competition’s different entry classes highlight the rich variety cider has to offer:

Heritage Cider: Made from heirloom, crab, and wild apple varieties, heritage cider reflects the unique characteristics of its orchard and growing region (terroir). Typically dry to semidry, it has a wine-like structure with firm tannins, bright acidity, and earthy, floral, fruity, and rustic flavors.

Traditional English Cider: Made from tannin-rich bittersweet and sharp apples, this style ranges from dry to medium-sweet. It is known for its full body, pronounced tannins, and rich, lingering finish.

Traditional French Cider: Crafted from tannin-rich cider apples, French cider is naturally sparkling and terroir-driven. Delicate bubbles, a smooth, full-bodied mouthfeel, fruity aromas, and occasional creamy notes from malolactic fermentation define the style.

Traditional Spanish Cider: Naturally fermented, bone-dry, and high in acidity, Spanish cider is typically unfiltered, cloudy, and nearly still. It is distinguished by tart, slightly vinegary, earthy, spicy, and funky flavors.

Modern Cider: Made from culinary (“table”) apples, modern cider is bright, crisp, and fruit forward. Higher acidity and lower tannins create a light-bodied, refreshing cider that highlights fresh apple flavor and aroma.

Traditional Perry: Made from specialized perry pears and often fermented with wild yeast, traditional perry offers delicate pear aromas, gentle tannins, and a complex finish ranging from dry to semisweet.

Modern Perry: Made from culinary (“table”) pears, modern perry is fruit forward, sweeter, and lower in tannins than traditional perry. Its light body and smooth mouthfeel highlight fresh pear flavor and natural sweetness.

Specialty Styles

Fruit: Traditional or modern ciders and perries enhanced with additional fruits. Whether blended after fermentation or fermented together, they range from crisp and refreshing to rich and dessert-like, showcasing flavors from berries and cherries to tropical fruits and citrus.

Sour: Specialty sour ciders are high in acidity and low in residual sugar, delivering tart and refreshing flavors. Wild fermentation, barrel aging, and tart fruits contribute to a rustic, earthy complexity.

Hopped: Combines traditional cider or perry base with hops, adding floral, citrus, or herbal aromas while complementing the natural fruit character.

Cyser/Honey: Made by fermenting apple juice or cider with honey, combining fresh apple flavors with the floral richness of honey to create a smooth, wine-like beverage.

Rosé: Made entirely from red-fleshed or red-skinned apples, producing a naturally pink cider with bright fruit flavors and a crisp, refreshing finish.

Wood-aged: Matured in wooden barrels or with oak, developing additional layers of vanilla, spice, toast, caramel, or tannin while enhancing the cider’s complexity.

Spiced/Botanical: Enhanced with herbs, spices, flowers, or other botanicals, creating unique flavors that range from warming and aromatic to earthy, floral, or savory.

Dessert styles

Fortified: sweet and full-bodied, made by blending apple juice or lightly fermented cider with apple brandy or other spirits.

Ice: Naturally sweet, made from frozen apples or concentrated apple juice. The freezing process intensifies the apple flavors while preserving bright acidity, creating a rich, balanced cider.

This article originally appeared in the September/October 2026 issue of (585).