Foliage Features from YankeeFoliage.com

Eat, Stay, Shop in Monadnock Region

rss@ypi.com (Yankee Publishing Inc.) — Thu, 11 Sep 2008 04:00:00 +0100

What's your pleasure? A picnic atop a mountain or a packed lunch for your canoe -- or maybe a gourmet meal by candlelight at a Yankee country inn? From cozy B&Bs and old-time eateries to upscale resorts and landmark restaurants, the Monadnock region of New Hampshire has it all. Fancy a stroll around town? The small city of Keene is a browser's mecca, with scores of boutiques lining its broad Main Street and the handsome brick Colony Mill Marketplace a stone's throw away.

For more than 20 travel tips, take the advice of people who live in the heart of the Monadnock region -- What the Yankee Locals Know

And for truly peripatetic experience, don't miss our sampling of unique establishments tucked into the smaller villages of the area.

Monadnock Region: New Hampshire

rss@ypi.com (Yankee Publishing Inc.) — Thu, 11 Sep 2008 04:00:00 +0100

For those of us who live here in the southwestern pocket of New Hampshire, we know we're home when we see our mountain, our Monadnock, on the horizon. It rises only 3,165 feet, modest enough compared with many in the Whites, or Katahdin in Maine. But geology has emboldened Monadnock. It stands alone, with no other prominence to distract us -- an only child who receives undivided love. Nowhere else in New England does a single mountain give such a powerful sense of geographical identity. When I travel outside the state and people ask me where I'm from, I simply say, "The Monadnock region," the way I imagine someone might say, "Tuscany."

"The mountain that stands alone," however, is rarely, if ever, alone. Each year some 125,000 hikers head up its worn trails, climbing above the tree line in less than an hour -- and suddenly the land stretches below in an unbroken vista of woods and ponds and lakes. The hikers climb higher, across the cairn-strewn, bouldery paths that bring them to the summit, where folks mingle and sit picnicking beside their day packs. I've been there during autumn weekends when the summit has been as populated as a summer beach. Local lore says that Monadnock is the second-most-climbed mountain in the world, surpassed only by Fuji in Japan. Climbers come, in part, because Boston is only 65 miles away. And they come for the views -- which on clear days take you to all six New England states in one single, circling gulp. Thoreau came. So did Emerson, and Mark Twain, and heavyweight champion John L. Sullivan. Mountain historians reckon that since the 19th century, five million people have walked Monadnock's trails.

While visitors strain for the glint of sunlight off the windows of Boston's Prudential Center to the southeast, or the elusive shape of Mount Washington to the north, we who live here look closer: to a village, a church, a cleared swath of farmland, the lake where we swim, the house where we live. This Monadnock region isn't made for distant viewing anyway.

Forty towns and villages -- including one small city of 22,000 -- claim kinship with Monadnock, and within them there are more streams, lakes, ponds, waterfalls, and tree-lined back roads connecting with other tree-lined back roads than you can see in months of touring around. I've lived here 30 years, and I still come upon hidden beauty and curiosities I never knew.

For me, the most striking views of Monadnock are from Jaffrey and Dublin, the two towns that share the mountain's craggy slopes. But neither is my favorite. That accolade belongs to the view as I approach Peterborough from the east, on my way back from Manchester or Boston, where just before town, the road dips, and suddenly the mountain is all I see -- dark and wide, calling as insistently as a lighthouse beacon calls sailors home.

For two centuries, writers, artists, and craftspeople have responded, establishing colonies near the mountain. Even today, as you drive around the area, you'll find painters setting up their easels in villages like Harrisville and Hancock. Willa Cather, the novelist who brought the westward migration to life with wondrous tales, including My Antonia and O Pioneers!, visited the Monadnock region for years, writing within sight of the mountain. When she died, she was interred in a corner of the Jaffrey Center graveyard, the Old Burying Ground behind the Meetinghouse. If you come here, do what we do: Take your time, drive slowly, stop often. Chances are you'll find, like Willa Cather, the secret of Monadnock's hold on us. Why would anyone want to leave?

Don't miss these places to stop: Eat, Stay, Shop in Monadnock Region.

And for 20 more travel ideas, take the advice of people who live in the shadow of the mountain: What the Yankee Locals Know.

Best Foliage Drive in New England?

rss@ypi.com (Yankee Publishing Inc.) — Tue, 29 Jul 2008 04:00:00 +0100

Vermonters claim their state has the most gorgeous foliage of all -- and the 24,000 residents of Lamoille County will tell you that what they see in their 16 towns and villages can't be topped. Follow along on these two back-road drives through the heart of the county, and see whether you agree.

Depending on when you time your trip, the colors will be either descending toward the greener valley or brightening the lowlands as the summits turn the dun shades of late autumn.

Loop One: South Through the Pass

The village of Jeffersonville, in west-central Lamoille County, is the starting point for this 42-mile journey, which includes the steep, snaking road through Smugglers' Notch. Take Route 108 south (Mountain Road) out of "Jeff," climbing as you follow the swift little Brewster River. That's Madonna Peak directly ahead on your way out of town; as you pass an open field on the right about a mile up, though, the dominant view to the south is of Mount Mansfield's Chin -- at 4,395 feet, the loftiest point in Vermont.

Toward the left, the scarlets and oranges of red and sugar maples spread across the foothills of Whiteface (a.k.a. Sterling) Mountain; farther along, near the main entrance to Smugglers' Notch Resort, yellow birches crowd the road. If you want to enjoy the colors nearer the uppermost portions of the Notch, you'll have to be content with more subdued hues down below, as the higher reaches of Mountain Road -- and, even more, the steep slopes that hem it in -- will peak a week or two earlier.

There's a good deal of birch near the crest, and their yellow turns golden as sunlight filters down between the beetling cliffs. Beyond, as you begin the descent into Stowe, blazes of red maple spread across Mansfield's southern flanks.

"Red maples do well on poor growing sites," explains Lamoille County Forester Ray Toolan, "and these trees shut down and change color early."

For a grand gaze down into the valleys and as far west as Lake Champlain, take the Mount Mansfield Toll Road to the Nose of the mountain's recumbent profile; the entrance is roughly halfway between the crest of the notch and Stowe. Or continue into the village, forking left onto Route 100 and heading toward Morrisville. Elmore Mountain looms ahead, beyond farm fields bordered with maples.

To skip Morrisville's bottleneck streets, shunt off left (and then quickly right) onto Cady's Falls Road (about 1.2 miles north of the Morrisville-Stowe Airport). It skirts Lake Lamoille and its reflected hardwoods and reaches Hyde Park by way of a one-lane bridge just before the village. Bear left onto Main Street in Hyde Park and head through town; keep an eye out for a horse-chestnut tree whose leaves blaze yellow in the fall. Off Main Street is a gravel road paralleling the "Ten Bends" section of the Lamoille River; it joins Route 15, which heads through Johnson to Jeffersonville.

Loop Two: Where the Rivers flow North

A slightly longer foliage loop (46 miles) also starts in Jeffersonville. Begin by heading north out of town on Route 108; follow it across the Lamoille River Bridge, and then switch to Route 109.

This road roughly follows the river's North Branch toward Waterville; as the views to the north open up, you'll see color spreading down the slopes of Laraway Mountain, directly ahead. "Trees on the higher elevations change color first," explains county forester Toolan. "The soils are poorer up there, and there isn't as much water."

About a mile and a half north of Waterville, the Jaynes (a.k.a. "Kissing") covered bridge, just off 109 on the left, spans a rocky stretch of the North Branch and stands against a bright backdrop of foliage. The road starts to climb here, and when it crests and begins to descend, you'll be treated to open views of Laraway and, opposite, the Cold Hollow Mountains. Again, depending on when you time your trip, the colors will be either descending toward the greener valley or brightening the lowlands as the summits turn the dun shades of late autumn.

Head through the cluster of homes that make up the village of Belvidere Center; if you feel like lingering awhile, Tallman's Store here may just be the most authentically un-selfconscious country emporium in the state.

Now you'll begin a steep climb. Bright-yellow birches light up this portion of the route, but the main event lies just ahead, as the road tops out and drops to reveal a spectacular view of Belvidere Mountain.

Chances are you'll spot a lot of vivid red maples along the slopes rising to the left. When you reach the end of 109, bear right onto 118. Just past the junction of the two routes, the view is a bit starker, as the gray skeletons of trees drowned by beaver dams mark the southern edge of Long Pond (on your left) and frame the brighter colors beyond. This is moose country, and the roadside warning signs should be taken seriously, especially near dusk.

The pond, with its undeveloped shores, is a lovely reflector of the surrounding forest. For a more active view, pull over at the Long Trail State Forest parking area less than a half mile ahead; from here, trek either north for the 2.8-mile climb to the Belvidere Mountain summit and fire tower, or south for a gentler, 1.7-mile ascent to a lookout over remote Ritterbush Pond. But even if you never leave your car, you can still enjoy a fine display of reddish-orange sugar maples as you pass the trail crossing on your way toward an open plateau and the intersection with Route 100 at Eden.

Bear right at the general store to head south on 100. Follow the avenue of pines -- a pleasing contrast to the variegated hardwoods in the middle distance. You're looking south now, toward conical Elmore Mountain and the peaks of the Worcester Range. Bear left at the Y in North Hyde Park to stay on 100, as you enjoy faraway vistas and, closer at hand, the tidy farms and stands of birch along the way to the village of Hyde Park.

Turn right onto Route 15 at Hyde Park and head northwest toward Johnson, as you follow the valley of the Lamoille River, where colors come a bit later and linger longer. Just the opposite is true on the steep sides of Whiteface Mountain, which dominates the view to the left. Beyond Johnson to the drive's conclusion at Jeffersonville, the valley panorama continues, with one interesting variation: Along this stretch are a few of the area's surviving elms. But don't expect a color extravaganza from these handsome, vase-shaped trees -- elm leaves simply turn yellowish-brown.

Try both routes and you'll make a rough figure 8 through some of Vermont's best foliage country. For a graduate course in Lamoille leaf-peeping, grab a map and head farther afield -- perhaps around Mud City, to the nether reaches of Morristown, or along the back roads south of Route 15 in Wolcott, leading to the hills above Lake Elmore. And come back for an annual refresher, because the colors are different every year.

WHEN YOU GO

Places to stay, shop, and eat in Vermont's Lamoille County.

Foliage Photo Tips

rss@ypi.com (Yankee Publishing Inc.) — Wed, 18 Jul 2007 04:00:00 +0100

HOW IS THE FOLIAGE going to be this year? It's more than a passing interest at Yankee magazine. It's an obsession! I worked in Yankee's art department for 15 autumns, and New England's color was always spectacular. Some years there was a little more red or the leaves turned earlier than the year before, but it was always beautiful. Always.

I reviewed more than 500,000 foliage photos as picture editor for Yankee. Not all were beautiful, but some were so spectacular I wanted to climb right into them. For the latest advice, I talked to three of my favorite foliage shooters -- Steve Muskie, Kindra Clineff, and Alison Shaw. Here are their tips to help you create better photographs on your New England foliage safari.

DIGITAL TIPS

Steve Muskie ran thousands of miles of film through his camera shooting Yankee Magazine stories over the years. But five years ago he sold the last of his film cameras and hasn't bought a roll of film since. Why? "You feel freer experimenting," he says. "You're not worried about film and processing costs. If you shoot something that doesn't work, you just get rid of it." See Steve's photography at outtakes.com.

And there are other benefits for shooting foliage with a digital camera.

If your camera has a choice of "auto white" balance or choosing a setting, Steve urges you to choose daylight. This gives you daylight "film," so when you shoot a brilliant red or yellow tree at sunset, the camera will read those colors or even exaggerate them a bit. If you shoot the same sunset photo at the "auto white" setting, the colors will be neutralized and you'll be disappointed.

FILTERS

A polarizing filter will improve color for both film and digital cameras. Steve admits he should use his polarizing filter more than he does because "it can make such a big difference with foliage and the sky." In sunny conditions, a polarizing filter will cut glare and capture brighter colors in the leaves and sky. This offers better overall definition. Use a circular polarizing filter; while looking through the viewfinder, turn the ring until you see the desired effect.

The other big benefit of many digital cameras is that you can adjust the ISO anytime you'd like. If you're out in bright light shooting at ISO100 but later in the day are in the woods and conditions require ISO400 or higher, you just press a button. The technology has gotten so good that the faster speeds look better in digital form than any of the faster films, Steve says.

FILM

If you're still using a film camera and want handy prints to pass around or put in an album, use print film. ASA 100- or 200-speed film will give you better color than faster films (such as ASA 400) and will allow you to make crisper enlargements.

If you want the absolute best images, shoot slide film. Kindra Clineff has filled many magazines and calendars with her foliage photos. Her favorite film is Velvia (ASA 50), a transparency film she loves for its rich color saturation. This particular film is soon to be discontinued, and Kindra will have to switch to Velvia 100 once she depletes her stockpile.

Kindra urges anyone serious about their photographs to pay the extra money for professional film from a real camera shop. The color is better, and it has been perfectly aged and properly stored. "Film is like fruit. The professional film is ripe," she says.

PROCESSING

If your prints come back looking grainy or gray, it's most likely the processing, not your camera. Old chemicals result in washed-out prints. Invest in better-quality processing. Ask to see samples before you trust anyone to process your film.

COMPOSITION

Keep it simple. Look for a dominant element, such as one tree in a field or a single branch of leaves against the sky. Alison Shaw suggests that photographers "isolate elements by using a shallow depth of field. This allows one tree or part of a tree to be in focus while everything else is out of focus." The sharp part of the photo is then your dominant subject.

"Change your point of view," advises Kindra. "Get down on your belly and shoot through things, letting objects in the foreground go out of focus. This will give you a nice wash of color in the foreground and lead you into the background that you've kept in focus. Or you can keep the foreground sharp and let the background go soft."

Get up high, too. Kindra says fire towers are great for giving you that big view on a clear day. But she warns it's difficult to get vibrant color in the big overall shots, so make sure you try tighter compositions: a few branches of a tree hanging over a stone wall, for instance, or leaves on a pond.

WHEN TO PHOTOGRAPH

Early morning and late afternoon provide the most interesting light, but don't grumble on an overcast or rainy day. Alison insists that she loves to shoot foliage in these conditions. "Overcast days will show color better than sunny ones," she says.

Kindra's favorite time to shoot is during the 30 minutes before and after sunrise and sunset. But, she adds, "don't put your camera away in the middle of the day. And forget all that advice about keeping the sun behind you when you photograph." She prefers shooting into the sun so her subjects are backlit. If you've ever seen a sugar maple with the sun punching through the leaves, you'll agree. Be sure to protect your lens from sun flares. A lens hood or a piece of cardboard will shade your lens from the sun.

LENSES

"Avoid wide-angle lenses," says Alison. If you want the big, long view, "Buy the postcard." Alison suggests that a photographer "come in closer, focusing on a single tree -- or just part of it."

IF YOU WANT THE VIEW

Well, then do what Kindra does. "Be sure to have something interesting in the foreground to frame the view," she says. This can be a porch railing, a tree, or whatever strikes your fancy. Remember backlighting, when applicable.

MOTION

Alison reminds us that "everything doesn't have to be in focus. If you're near running water, put your camera on a tripod and focus on some bright leaves on a rock just above the water. Set your shutter speed for one second or longer. This will give you a sense of movement in the brook while capturing the still part of the frame as you see it."

On a windy day, use a tripod and focus on a beautiful tree or row of trees. Be sure the trunk is in focus, and expose your film at half a second or slower. The trunks will be sharp, and the moving leaves will create a lovely, fiery look. Experiment with slower and slower shutter speeds.

REFLECTIONS

Early morning is the best time to capture reflections in a lake or pond. The water is more likely to be still, and you may get mist rising off the water.

When asked how she keeps photographing foliage in fresh ways, Kindra says, "It is such a short season every year -- fleeting, really. I don't have time to get bored with it. So at the end of each autumn, I look forward to the next one, when I can go to new places or return to some of the old favorites and try something different."

Colors Emerge in Moosehead Area

rss@ypi.com (Yankee Publishing Inc.) — Mon, 25 Aug 2008 04:00:00 +0100

Lakes and Leaves -- Moose and Mountains

The Moosehead Lake Region offers leaf peepers a variety of fall foliage excursions that are sure to please. Explore mountains, woods and lakes, and take in the beauty of Maine's fall colors. Greenville, ME, is an exciting fall lake vacation destination with scenic trips and tours by float plane, canoe, kayak, boat, ATV, rafting, horseback and jeep. Hiking trails lead to beautiful overlooks that boast an array of fall colors with mountain and lake backdrops. All activities are typically offered through Columbus Day and some outfitters offer tours through the end of October.

2008 Foliage Report

Fall colors in the different regions vary greatly within the state and also from town to town. Fall colors usually can be seen anywhere from mid September to mid October, but this year hints of colors have already started to appear. Some of the maples are starting to show off hints of reds and oranges as we experienced a cool and fairly wet summer. This year, September holds a promise of show casing some beautiful colors and great weather too. Maine fall foliage updates for The Moosehead Lake Region will be updated online on a regular basis by The Cozy Moose.

Greenville, Maine

Located at the southern tip of Moosehead Lake surrounded by mountains, Greenville Maine (home of the moose, solitude and adventure), is a quaint town where the moose outnumber the people 3 to 1. Moose enthusiasts won't be disappointed as there are a variety of moose tours, a moose cruise and moose memorabilia. You will find unique shopping opportunities, spa services, and everything you need for your personal enjoyment. With great places to stay, things to do, and culinary delights, Greenville is the ideal vacation spot. Experience New England's fall colors of Maine and plan a trip to Moosehead Lake.

Waterfront Accommodations

To take in the beauty of the lake and mountains, a majority of people seek out waterfront lodging with easy access to Moosehead Lake. Waterfront cabin accommodations with a beach area, lakeside lawn, dock, and outside decks with scenic fall views are a smart lodging choice. Ron and Heather Davis operate Cozy Moose Lakeside Cabin Rentals -- which boasts Greenville, Maine's most sought after lakeside cabins serving Maine vacationers since 2000.

Autumn Serving Tray

rss@ypi.com (Yankee Publishing Inc.) — Fri, 15 Aug 2008 04:00:00 +0100

This fall-foliage-theme tray is perfect for serving coffee, cider, or breakfast in bed. You will need:

2 sheets of leaves
3 sheets of textured background
scissors
1 frame, 181/8” L x 141/8” W x 13/8” H
1 bottle autumn-gold acrylic paint
Mod Podge sealer/glue
foam paintbrushes
ruler and pencil
drill fitted with 1/4-inch bit
2 handles with screws
window cleaner and soft cloth

1) Gather Leaves and Backgrounds

Download them and print. Use sharp scissors to cut out several leaves; then set them aside.

2) Take the Frame Apart

Place the glass and backing in a safe place and give the frame a coat of autumn-gold acrylic paint. Let dry thoroughly and repeat.

3) Make the Surface of the Tray

Paint the frame backing completely with Mod Podge. Piece and place textured background to cover the surface completely. Brush the back of each leaf with Mod Podge and place randomly on the tray surface, with leaf points arrayed in different directions. Let dry thoroughly.

4) Attach Handles

Measure the shorter edges of the frame and place pencil marks where the screws for the handles will go. Drill the holes. Place handles over holes and secure with screws.

5) Assemble the Tray

Clean the glass with a soft cloth sprayed with window cleaner.

For more projects, go to: matthewmeadstyle.com. His two latest books, Halloween Tricks and Treats and Entertaining Simple, will be published this fall.

20 Tips: Dos & Don'ts for Leaf Peepers

rss@ypi.com (Yankee Publishing Inc.) — Wed, 18 Jul 2007 04:00:00 +0100

1. DO get lost. Carry a good map (we like the detailed atlas and gazetteer series by DeLorme mapmakers in Yarmouth, Maine; 800-561-5105; delorme.com) and get a little lost. With 7,401 miles of unpaved roads just in Vermont, there's ample opportunity to find adventure.

2. DO observe proper foliage etiquette. Locals use the back roads to get from here to there as promptly as possible. If you're oohing and ahhing at five miles per hour, pull over when someone's behind you. And DO ask a landowner's permission before tramping into the fields.

3. DO get out of your car, and walk, and smell, and listen. Foliage is the most sensual of New England seasons, from the sweet aromas of our apple orchards to the swirling of leaves and wind, from that first whiff of woodsmoke on a frosty fall day to the crunch of dry foliage underfoot. Seeing foliage is only half the fun. Many of us remember our parents shoving us into the car when we were young and driving for hours with out-of-town relatives. We hated it.

4. DO pick up a parking pass for New Hampshire's White Mountain National Forest to avoid a parking ticket. Funds go to protecting the forest habitat. Best bet is to write or phone ahead for the pass: Fee Demo Program, White Mountain National Forest, 300 Glen Road, Gorham, NH 03581; 603-466-2713. A 12-month pass is $20, $25 for two vehicles in the same family. A one- to seven-consecutive days pass is $5. One-day pass: $3. Seniors are half price. www.fs.fed.us/r9/white

5. DO as professional foliage photographers do when composing photos. A single crimson maple in the foreground with a white church behind and a little blue sky showing will translate better than a 40-mile-distant panoramic view. DON'T forget your polarizing filter. The filter enhances the vivid colors. DO bring lots of film.

6. DO look for changing views. Search out roads with hills and curves, roads that meander through changing vistas of woods and farms and small villages. If there is a better combination than water and stone (stone walls, stone bridges) and autumn leaves, we don't know it.

7. DON'T be a hit-and-run leaf watcher. DON'T rush. A picnic by a waterfall beats dashing all about, hoping to see just one more place before dark.

8. DON'T panic that "peak" is passing you by. Peak color is a continuum, not a moment fixed in time. Within a few miles you'll see different stages, depending on types of trees and elevation. "Seeking peak is missing the point," says Kit Anderson, a Vermont cultural geographer. "It's like condensing the entire season and the entire experience into this one moment, like a sound byte, and people miss it."

9. DO respect "Moose Crossing" signs. Northern New England is moose country. Cars and passengers do not always survive collisions with 1,000-pound moose.

10. DO wake early. The colors will be most vivid with the morning dew and morning light. Watching the dawn mist rise off our forest-ringed lakes and rivers may be the best treat of all.

11. DO linger to enjoy the late-afternoon light. The deep shadows late in the day set off all colors against areas of darkness.

12. DO have lodging reservations during the late September to mid-October prime leaf-watching period. DON'T expect to stay but one night. Most places expect a two-night minimum during foliage.

13. DON'T let your lack of lodging stop your visit. Local Vermont chambers of commerce, for instance, keep a quiet list of hospitable locals who open up that spare room in their homes for intrepid leaf watchers. If possible, DO come midweek.

14. DO look skyward, especially if you're hiking. Mid- to late September is when thousands of broad-winged hawks ride the thermals south. The raptor migration is worthy of a trip in itself.

15. DON'T be a color snob and ignore everything except bright reds. Trees exhibit an astonishing range of colors. Foliage season means subtle shadings of peach and corals and apricot, the subtle yellows of beech and birch, the soft browns and purples. DON'T let rain keep you indoors. Wet weather brings out the most vivid colors.

16. DO go beyond where most people go. Vermonters have a saying: When good people die, they go to Vermont. When good Vermonters die, they go to the Northeast Kingdom -- but relatively few tourists do.

17. DO visit northern Maine for wondrous color with few crowded roads. But DON'T ever think you have the right-of-way when approaching a logging truck on the narrow roads.

18. DO let New Englanders help you find the prime local foliage spots. Best bet for advice: district forest rangers. Many of them are "leaf spotters," asked by the state to report daily and weekly on foliage conditions in their area. Their pride in their home vistas spills over if you stop in at their headquarters and ask where they would go.

19. DO include valleys and the seacoast in your travels. Though most people head to the mountains, in fact the lowland areas boast the brightest and earliest colors. Look for the swamp maples surrounding the marshes.

20. DO visit YankeeFoliage.com often to see color changes on the interactive map of New England, to find driving tours, to submit your digital photos to our foliage photo contest, and lots more!

Ask the Naturalist: Foliage

rss@ypi.com (Yankee Publishing Inc.) — Fri, 19 Sep 2008 04:00:00 +0100

This question isn't as silly as it might sound at first. Unlike the orange and yellow pigments that are present in a leaf all summer (but are revealed only when green chlorophyll starts to break down and fade), the red pigments, anthocyanins, aren't produced until autumn.

It takes a significant amount of energy to produce anthocyanins, however -- and at a time when the tree most needs to conserve it. This fact led plant physiologists to wonder what advantage red leaves must confer to make the investment worthwhile.

Researchers found that in some tree species, anthocyanins act much like a sunscreen. While chlorophyll is breaking down and photosynthesis is slowing, a plant's ability to absorb light diminishes, and excess light can damage its leaves.

Anthocyanins protect those leaves, letting the tree extend the period of time during which it can make and store nutrients. In addition, more recent studies have confirmed that when anthocyanin production is genetically blocked, leaves become vulnerable to sunlight, slowing transport of nutrients to the tree's roots.

But not all trees turn equally red. So what accounts for these vast differences in anthocyanin levels? Again, nutrients play a role. In 2003, researchers found that nutrient-poor leaves, particularly those low in nitrogen, may trigger early and more intense red color in sugar maples (Acer saccharum).

So, vibrantly red leaves may be a sign that the tree -- just like humans and other animals at this time of year -- is attempting to prolong its summer activities and squirrel away those last few morsels of food for the approaching winter.

Why Leaves Change Color

rss@ypi.com (Yankee Publishing Inc.) — Fri, 19 Sep 2008 04:00:00 +0100

Green to Orange and Red:

The green we see in tree leaves is the pigment chlorophyll. Stored in chloroplasts in the watery cytoplasm of plant cells, it is responsible for creating food for the plants. Chlorophyll uses the sun's energy to split water molecules and recombine them with carbon dioxide in the air to make sugars. It's amazing to think that most of the mass of a big, heavy tree is created out of thin air!

The abundance of green chlorophyll hides other pigments that are found in the leaves at the same time. These hidden pigments may act as a kind of "sunblock" to protect the leaves from some dangerous types of ultraviolet light. Carotene (the orange in carrots) and Xanthophyll (yellows) are usually present in the leaves, but not revealed until the chlorophyll begins to break down in the Fall as the tree begins to get ready for the winter.

Other pigments are produced by some trees as the nights lengthen and temperatures become cooler. These environmental changes bring a surge in the tree's production of sugars. Stored sugars will help the tree survive the winter. Sugars also stimulate the production of pigments called Anthocyanins (red/purples found in rose petals & apple peels). These pigments produce the vivid red fall colors. These pigments can also be visible in very early spring leaves, before the chlorophyll is produced. Anthocyanins can be seen all year long in the leaves of trees such as Copper Beech and Japanese Maple.

What about brown oak leaves?

Other materials in plants can change the tint of the colors we see in the leaves. Tannins (the gold-brown color in your cup of tea) combine with the other pigments in oak leaves. Temperature, moisture content, soil composition, acidity and other environmental factors influence leaf colors as well.

These answers were developed by Sue Stoessel, senior education associate at the Museum of Science, Boston. One of the world's largest science centers, the Museum of Science takes a hands-on approach to science, attracting approximately 1.5 million visitors a year through its vibrant programs and over 700 interactive exhibits.