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求翻译：each spring brings a new blossom of wildflowers in the ditches along the highway I travel daily to work是什么意思？
each spring brings a new blossom of wildflowers in the ditches along the highway I travel daily to work
问题补充：
每年春季公路沿线带来一个新盛开的野花，我出差每天工作在沟渠
每个春天带来一个新的花的野花的沟渠的公路沿线我旅行每日工作,
毎春天在垄沟带来野花新的开花沿我到工作每日旅行的高速公路
每年春天我旅行每日工作公路沿线的沟渠中带来新的野花盛开
每个春天沿着我每天旅行工作的公路在沟带来一朵野花的新花
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请输入您需要翻译的文本！Flowers in Ultra-Violet
Flowers in Ultraviolet
Arranged by Plant Family
Photography
by Bj?rn R?rslett/NN
compilation of species will continue to be updated at
irregular intervals. All species listed here have been
documented, and links are added whenever I can find spare
time for updating. These images are made for illustrative
purposes, not as artistic statements per se. However, there are lots of
food for thought in the convoluted ways Nature expresses
itself, so for once the artist can step backand let the
subjects speak for themselves. &Das Ding an
Sich& to paraphrase Kant, or Eigenvalue of Nature.
are unfamiliar with the botany, just select any species
indicated as having a &strong& response to
learn how this looks.
may constitute an
introductory example. In case you wonder about the family
and species selection, these are plants readily available
not all species have the typical bull's-eye UV pattern, which may be confined to
symmetrical flowers. Nevertheless flowers may exhibit a
virtually endless variety of spectral signatures. Just
take a look at this modest plant, Glechoma hederacea, to get an impression of
the near bewildering spectral diversity that exists.
range of the spectrum has no predefined colours, so we are free to assign
any colour we like. There are no rules set in stone for
this at all. I set out my UV work using film, so in
principle would like the &film UV colours&
(blue with UV absorbance often shown in reddish hues) to
prevail. Different spectral response of the UV bandpass
filters applied in these years, in conjunction with
changing behaviour of the digital cameras and their
RAW-file converters, have made this aim impossible to
uphold. Thus, don't compare colours, compare patterns.
I'm currently writing a tutorial on how the UV
&colours& are created and how they should be
interpreted, but for the time being, just enjoy the
images like the pollinators enjoy their targeted flowers.
fluorescence may be a common trait to most flowers, but
might be of temporary occurrence for parts of the flower.
Anthers, style, and pollen grains occasionally are seen
to fluoresce. Strong fluorescence has been noted from
nectar glands () and several other species.
Some species show fluorescence of the non-fertilised
stigmas, but this trait is difficult to document with my
normal technical approach. Fluorescence from outside of
the bracts is exhibited by some species. As far as the
photography is concerned, the main issue with flower
fluorescence is its transient behaviour. It may be
present, but the flowers collected for photography don't
appear to fluoresce simply because the floral development
is in the &wrong& stage. With fluorescent
pollen grains, their size often are at or below the
detection limit unless quite high magnification is
employed, thus calling for a true photomacropgraphic
approach. The fluorescing pollen of Mirabilis jalapa (Four o'Clock) has been
documented using this method.
case you are curious as to why the species might have
these patterns, read this to learn more. UV-absorbing
substances (flavonyl glucosides) are instrumental in
bringing about the fascinating pollinating guide
patterns. UV marks on flowers are but a logical extension
of the visual pollinating clues provided by evolution in
Nature. When a flower is stated to lack UV marks, it
simply means the signals emitted are directed towards
pollinators which can &see& in alternate
spectral bands, outside the UV range. If the flower
absorbs UV all over the floral parts, it may appear
visually in a &UV-complementary& colour even to
pollinators capable of seeing in UV. We can only
speculate as to the rendition of that complementary
colour, but if say the insect is modelled as seeing UV as
&blue&, blue as &green&, and green as &red&, then the UV
complementary would be yellow. Thus, a UV-absorbing yellow flower still
would come across as &yellow& even for an
insect (or so it might seem, but who are we to know such
things anyway).
final word of warning is that UV photography as such has
lots of technical pitfalls and issues. You have to make absolutely
sure your camera really records UV patterns,
and in order to ensure this, careful testing of your
setup is necessary. This has become even more important
in the digital era, as outlined elsewhere in my UV/IR tutorial. Read in particular
about the issues with IR contamination described there.
Flower Colour
Ultraviolet Features (Strong, intermediate
etc. refer to a UV-visible bull's-eye pattern of the
flower. Other patterns may appear as duly noted)
Amaryllidaceae
pseudonarcissus L.
Bright-deep
a bull's eye pattern, but the flower appears flamed in UV
light with alternating high- and low-UV reflecting
sylvestris L.
UV reflectance of entire flower, but very strong UV
fluorescence of the nectar glands
white or reddish
Apocynaceae
UV reflectance, but a bull's eye pattern is not very
prominently developed. High reflectance in near IR,
Asteraceae
millefolium L.
tinctoria L.
Intermediate
- strong, some UV fluorescence
angustfifolia Vahl
strong bull's eye pattern
Light violet
Intermediate,
coincides with visual pattern
Bidens sp.
very prominent UV marks
officinalis L.
bull's eye
Intermediate
Chrysanthemum
segetum L.
(all the flower head absorbs UV)
alpina (L.)Wallr.
Intermediate
intybus L.
Light blue
Intermediate - strong UV marking
Bright yellow
Strong, but not
well delineated
Deep yellow
Very strong
bull's eye pattern. UV fluorescence.
aurantiacum L.
chequered pattern
Hieracium subg. Pilosella
Variegated
UV pattern
Hieracium sect. Prenathaea
sect. Sylvatica
communis L.
Leucanthemum
vulgare Lam.
petals, yellow centre disc
some zonation across central floral disc, low UV
reflectance of outer flower areas
autumnale L.
muralis (L.)Dum.
Intermediate
hybridus (L.)Gaertner,
Meyer & Scherb.
light pink, rarely light yellow
UV fluorescence
Very large and prominent UV marks
aquaticus Hill.
strong, entire centre absorbs UV
jacobea L.
viscosus L.
flowers strongly reflect UV
arvensis L.
bull's eye pattern, but UV delineation against the flower
periphery is blurred (a common trait to UV marks of many
composite flowers, by the way)
oleraceus L.
vulgare L.
Negligible.
Some zonation across the floral discs on the onset of
vulgare Web.
extremely pronounced, but quite variable extent of
bull's-eye pattern. Dandelions are really a cluster of
related, apomictic microspecies. This helps explain why
the UV markings may vary so much
Tragopogon
pratensis L. ssp. minor (Mill.)Hartm.
typical bull's eye pattern, but strongly UV-reflective
bracts contribute to form a two-zoned flower head
Tripleurospermum
maritium (L.)W.D.J.
bull's eye
farfara L.
bull's-eye pattern, but variable UV reflectance of outer
Brassicaceae
petiolata (Bib.)Cavara
Intermediate.
Anthers and pollen absorb strongly in UV
vulgaris (L.)R.Br.
incana (L.)DC.
a typical bull's eye pattern in its small flowers.
However, there are floral buds and stigma with a
prominent UV fluorescence
nigra (L.) Koch
bull's eye pattern
orientalis L.
bull's eye pattern, but quite high UV reflectance of
hieracifolium L.
darkish under UV light, buds and non-fertilised flowers
show strong UV fluorescence
matronalis L.
mauve or purple
Intermediate,
UV fluorescence
sylvestris (L.)Bess.
Intermediate
arvensis L.
strong bull's-eye pattern, young buds absorb UV, too
Campanulaceae
glomerata L.
Intermediate
to strong two-zoned pattern, very high UV reflectance of
outer floral parts
latifolia L.
rapunculoides L.
Intermediate
to strong UV marking
persicifolia L.
or sky blue
high UV reflectance of corolla, high UV absorption from
stigma and anthers
rotundifolia L.
to sky blue
Intermediate,
UV marks mainly on pistils and stigma
trachelium L.
Bright-dullish
blue, with greyish tint
high UV reflectance of corolla and buds, stigma absorbs
UV, nectaria fluoresce in UV
montana L.
heads with a mosaic of UV-absorbing or reflecting areas
dortmanna L.
White or pinkish
Caprifoliaceae
perclymemum L.
Caryophyllaceae
arvense L.
deltoides L.
or light purple
high IR reflectance, UV fluorescence
Bright purple
Strong, high IR
reflectance
officinalis L.
and anthers absorb UV, the border of petals do reflect UV
armeria L.
Intermediate
- high UV reflectance, depending on floral stage
dioica (L.)Clairv.
purple or red
UV pattern, high IR reflectance
uniflora Roth
Intermediate
Convolvulaceae
Calystegia
sepium (L.)R.Br.
Intermediate
- strong UV pattern
Convolvulus
arvensis L.
Intermediate,
reflects also strongly in IR
europaea L. ssp. halophyta
(Fr.)Hartm.
corolla absorbs UV strongly, some UV fluorescence from
young flowers
Crassulaceae
Sedum acre L.
Intermediate
telephium L.
Dipsacaceae
arvensis (L.)Coult.
Purplish-violet
Intermediate
- strong, unusual chequered UV pattern
Droseraceae
longifolia L.
anthers, and stigmas absorb UV, nectaria have strong UV
fluorescence
longifolia L. (leaves)
(yellowish green, red tentacles)
blade absorbs UV, viscous fluid drops on insect-catching
tentacles have strong UV fluorescence
polifolia L.
vulgaris L.
tetralix L.
Pinkish red
Loiseleuria
procumbens (L.)Dum
Intermediate
linifolius (Reichard)B?ssler
Variegated
purple - greyish violet
bull's eye pattern, but high UV reflectance of corolla
odoratus L.
bull's eye pattern, but significant UV reflectance of
pratensis L
bull's eye pattern, but high UV reflectance of corolla
corniculatus L.
or Reddish tinged
Indistinct,
variegated stripes on corolla
Vicia sepium
Mauve or light pink
Very weak UV signs,
but the corolla does reflect UV and additonally shows
fluorescence
Gentaniaceae
Centaurium
littorale (Turner)
or light purple
and stigma strongly absorb UV
Geraniaceae
pratense L.
or purple, often with a greyish tinge
Variable-sized
central UV absorbing spot, combined with UV-absorbing
rays radiating outwards. IR reflectance is quite high,
sanguineum L.
or deep purplish red
in combination with a radiating pattern on the petals.
Strong IR reflectance
robertianum L.
bull's-eye marking
sylvaticum L.
strong bull's-eye pattern. Strong reflectance in near-IR
Hypericaceae
maculatum Cr.
Intermediate
perforatum L.
Intermediate
hederacea L.
violet or purple
typical bull's eye pattern, but variegated stripes on
petals from UV reflectance. Also distinguished by anthers
which both reflect UV and show strong fluorescence under
UV light. In addition, whole flower reflects strongly in
the near-IR band.
officinalis (L.)Trev.
areas of the corolla reflect UV strongly
lutea (L.)Ker-Gawler
(L.)Ker-Gawler
bulbiferum L.
Intermediate,
some UV fluorescence
Lythraceae
salicaria L.
Intermediate
Nyctaginaceae
UV reflectance of perianth, but significant UV
fluorescence of corolla and pollen
Nymphaeaceae
lutea (L.)Sibth. & Sm.
lutea x pumila
(N. spenneriana)
unusual circular pattern
pumila (Timm)DC.
Intermediate
Onagraceae
angustifolium L.
montanum L.
biennis L.
and stunningly beautiful UV markings
Oxalidaceae
fontana Bunge
Papaveraceae
Eschscholzia
californica Cham.
yellow with orange marks on petals
large UV marks, not coinciding with visual pattern
Plantaginaceae
weak within the floral parts, some UV reflectance from
upper part of stems and spikes
Primulaceae
Lysimachia
nummularia L.
Lysimachia
punctata L.
Ranunculaceae
blanda Schott
UV pattern, high IR reflectance as well
nemorosa L.
bull's eye pattern discernible. Quite strong reflectance
in near-IR
ranunculoides L.
indistinct secondary markings on petals
palustris L.
very large central zone with UV mark. Complex UV
fluorescence patterns
hyemalis (L.)Salisb.
Intermediate
nobilis Schreb.
strong UV reflectance (and in near-IR as well)
Ranunculus
prominent bull's-eye pattern, despite only moderate UV
reflectance of the flower. A weak two-zoned pattern is
present even in near-IR
Ranunculus
auricomis L.
non-descript UV pattern
Bright yellow
Very strong
bull's pattern in UV, also a similar pattern (but much
weaker) found in near-IR
intermediate
Ranunculus
reptans L.
base of petals
eupatoria L.
UV reflectance of petals, nectaria and styles absorb UV
palustre L.
red or purple
but detectable
vesca L. x viridis Duch.
Interestingly,
the UV marks are intermediate to those of the parents
viridis Duch.
bull's eye pattern is present, but not very strongly
developed as the outer petals themselves reflect only
moderately in UV. The bracts, however, are good UV
reflectors
chilo?nse Balb.
urbanum L.
Potentilla
anserina L.
strong pattern, making this an ideal test object for UV
photography
Potentilla
atrosanguinea Lodd.
with darker centre
but UV marks are located slightly different from visual
Potentilla
erecta (L.)R?usch.
strong, excellent test object. UV fluorescence
Potentilla
fruticosa L.
Petals with negligible UV reflectance
Potentilla
intermedia L.
bracts and receptacle show UV fluorescence
Potentilla
norvegica L.
Intermediate
Potentilla
strong, prominent UV marks. UV fluorescence of pollen and
Deep yellow
Very strong and
prominent UV marks
(Drymocallis
rupestris)
intermediate
dumalis Bechst.
but present
majalis L.
to intermediate
Scrophulariaceae
purpurea L.
red or creamy white
Intermediate
Melampyrum
pratense L.
vulgaris L.
Intermediate
Intermediate -
Solanaceae
Hyoscyamus
yellow and brown
strong bull's-eye pattern present, also strong IR
reflectance
dulcamara L.
- intermediate, not a typical bull's-eye pattern
arvense x tricolor
to yellow, some violet
UV reflectance, no clear-cut pattern
odorata L.
but slight UV reflectance of petals
tricolor L.
Tricoloured
white, yellow, and violet
more or less coinciding with the visual clues
Note: Some species may
have a flower response in the near-infrared (nIR) as well. Few
occurrences of this are yet documented, but Ranunculus
ficaria might
serve as an example. I haven't yet decided whether or not IR
aspects should be addressed in these studies. More test shots are
needed to assess the potential of adding IR to the study. Since
my UV work receives no external funding, I have limits as to the
efforts and time which can be spent on documenting these flower
All images
on these web pages are copyright Bj?rn R?rslett - NN/Naerfoto
and cannot be used for any purpose, commercial or non-commercial,
without express and written approval by the author.
will incur a negotiable fee. Please e-mail me for details.
| Far Side | Gallery | *UV | IR | Lenses | Links | Personal | Professional | Reviews | Start |
Update 24 October, 2006From Wikipedia, the free encyclopedia
This article needs additional citations for . Please help
by . Unsourced material may be challenged and removed. (July 2011)
from Flowers in the Dirt
Released: 8 May 1989
Released: 17 July 1989 (UK only)
"Où est le Soleil?"
Released: 22 July 1989 (US only)
Released: 13 November 1989 (UK only)
Released: 5 February 1990
Flowers in the Dirt is the eighth studio solo album by , it was released in 1989 on . Upon release, It was considered a major return to form for McCartney because he was embarking on his first world tour since the
tour in 1975–76. Flowers in the Dirt was also celebrated due to its musical quality, which earned McCartney some of his best reviews in years. The album gained number 1 status in the .
The album was moderately successful, and produced several hit singles (particularly "", the last US top 40 hit by any ex-).
After the meagre sales that greeted , McCartney realised that he needed to work much harder on his follow-up. Thus, he not only teamed up with several different producers, but also spent the better part of 18 months perfecting Flowers in the Dirt. A highlight of the sessions was McCartney's productive alliance with , with whom he composed many new songs. McCartney greatly enjoyed the new partnership, even finding that Costello mirrored
in certain aspects of his personality. Costello would also appear on the album, even co-singing "You Want Her Too" with McCartney. Another celebrity guest included was his friend
from , who plays the guitar on "We Got Married". On "", McCartney used an old
trick, the knee-percussion, that McCartney recorded on the same day as the backing track.
Knowing full well, he intended to launch the biggest tour of his career thus far, McCartney also put together a regular band to take out on the road, and who would appear in various forms on Flowers in the Dirt.
was best known for his tenure in , while
had been a member of the . Filling out the sound would be
on drums and
joining McCartney's wife
on keyboards.
Finally, early in 1989, the project was ready for release. In May, the Beatlesque "" was released as a single and promptly gave McCartney a US hit, reaching number 25, while reaching number 18 in the UK. In June, Flowers in the Dirt was released to high anticipation and immediately entered the UK charts at number 1, garnering very positive reviews from all around. In the US, the reaction was better than , with the album reaching number 21, staying on the charts for a year and going gold, though it still sold beneath expectations. The second single, "This One", also reached number 18 in the UK. The follow-ups ""/"Où est le Soleil?" and "Put It There" would all be minor UK hits.
opened on 26 September 1989 and featured concerts in , ,
until the following July.
The album cover artwork was photographed by Linda McCartney. The background canvas was painted by the British artist Brian Clarke, who was also responsible for designing stage backdrops for the world tour.
A limited-edition "World Tour Pack" of Flowers in the Dirt, sold in a facsimile trunk, was issued in
in October 1989, and America (with British catalogue numbers) in January 1990. The set included a bonus single of "Party Party" (mixed by Bruce Forest and released on a one-sided 7" single in vinyl editions of the "World Tour Pack" and a 3" CD-single in compact disc editions of the "World Tour Pack"). In March 1990, another limited edition of the album that featured a bonus disc was released exclusively in Japan and re-entered the country's chart. A remastered CD was released in 1993.
Reviewing for , critic
wrote of the album: " must not only have been conscious of his slipping commercial fortunes, he must have realized that his records hadn't been treated seriously for years, so he decided to make a full-fledged comeback effort with Flowers in the Dirt."
Writing for , David Silverman wrote that the album was "a welcome, if not wholly fantastic, return from the fabbest of the Fab Four".
Paul McCartney,
McCartney, , Neil Dorfsman
"Rough Ride"  
, McCartney,
"You Want Her Too" (with Elvis Costello)
McCartney, MacManus
McCartney, Dorfsman, Froom, Costello
"Distractions"  
"We Got Married"  
McCartney,
Horn, McCartney, Lipson
"Don't Be Careless Love"  
McCartney, MacManus
McCartney, Costello, Froom
"That Day Is Done"  
McCartney, MacManus
McCartney, Costello, Dorfsman, Froom
"How Many People"  
Horn, McCartney, Lipson
"Motor of Love"  
, McCartney,
"Où est le Soleil ?"  
Horn, McCartney, Lipson
"Back on My Feet"  
McCartney, MacManus
"Loveliest Thing"  
"This One (Club Lovejoys mix)" (Remixed by Matt Butler)
Following tracks are included on bonus disc.
"Message" – 0:28
A environmental message from Paul to the Japanese fans.
"" (Lennon–McCartney) – 3:51
From the video "Put It There".
"Loveliest Thing" – 3:59
"Rough Ride" – 4:53
"Ou est le Soleil (7" Mix)" – 4:50
"" – 3:41
an outtake from the 1972 "Red Rose Speedway" sessions.
"Same Time Next Year" – 3:06
an outtake from the 1979 "Back To The Egg" sessions.
"Party, Party" (McCartney/Linda McCartney/Robbie McIntosh/Hamish Stuart/Chris Whitten/Paul "Wix" Wickens) – 5:35
"P.S. Love Me Do" (McCartney–Lennon) – 3:40
The studio version of the combination of two of
songs owned by . The live version is found on the "" CD single.
– vocals (lead and backing), guitar (, bass, electric,
and ), piano, , drums, , percussion, , , , , , , , , , violin, keyboards,
– , backing vocals, hand claps
– guitar (acoustic and electric)
– guitar (electric, acoustic and bass), percussion, backing vocals
– drums, percussion, hand claps,
– keyboards
– vocals (backing and ), keyboards
– electric guitar on "We Got Married"
– keyboards
– trumpet
Steve Lipson – computer & , guitar (electric and bass), keyboards
Peter Henderson –
– keyboards, hand claps
– keyboards
Judd Lander – harmonica
Chris Davis – saxophone
Chris White – saxophone
Dave Bishop – saxophone
John Taylor –
Tony Goddard – cornet
Ian Peters –
Ian Harper –
Jab Bunny –
Eddie Klien – additional computer programming
on "Distractions"
Flowers in the Dirt
"My Brave Face"
Best Music Video
Chart (1989/90)
Australian
Italian Albums Chart
United States
Chart (1989)
Austrian Albums Chart
Dutch Albums Chart
French Albums Chart
German Albums Chart
Italian Albums Chart
Spanish Albums Chart
UK Albums Chart
A Aside from standard version, Double-CD deluxe edition subtitled Special Package released in Japan. In 1990, it peaked at No. 27 on the chart and entered there for 4 weeks.
B Combined sales of standard edition and its expanded reissue.
Erlewine, Stephen Thomas.
at . Retrieved 29 June 2011.
Silverman, David (11 June 1989). .
Boren, Ray (18 June 1989). . Deseret News 2011.
Larkin, Colin (2006). The Encyclopedia of Popular Music (4th edn). New York, NY: Oxford University Press. p. 1257.  .
Strong, Martin C. (2006). The Essential Rock Discography. Edinburgh, UK: Canongate. p. 696.  .
(4 June 1989). .
Graff, G Durchholz, Daniel (eds) (1999). MusicHound Rock: The Essential Album Guide. Farmington Hills, MI: Visible Ink Press. p. 730. .
Kozinn, Allan (18 June 1989). .
(29 June 1989). . . Archived from
on 29 August
Randall, M Brackett, N Hoard, Christian (eds) (2004). The New Rolling Stone Album Guide (4th edn). New York, NY: Simon & Schuster. p. 526. .
. Time. 3 July .
Luca Perasi, Paul McCartney: Recording Sessions (), L.I.L.Y. Publishing, 2013, p.281, .
Ingham, Chris (2009). . London: Penguin Books.   2013.
. Deseret News 2011.
. Brit Awards 2012.
(ASP) (in German) 2011.
. Retrieved 5 March 2012
(ASPl) (in Dutch). dutchcharts.nl 2011.
. infodisc.fr 2011.
(in German). Media Control 2012.
(in Italian). hitparadeitalia.it 2011.
(in Japanese). oricon 2011.
(ASP) 2011.
Salaverri, Fernando (September 2005). Sólo éxitos: a?o a a?o,
(1st ed.). Spain: Fundación Autor-SGAE.  .
(ASP) (in German) 2011.
(PHP). . Archived from
on 30 December .
. AllMusic 2011.
. October .
(in German). chartsurfer.de 2012.
(ASP) (in Dutch) 2014.
(PHP) (in French). infodisc.fr 2012.
(in German). chartsurfer.de 2012.
(in French). InfoDisc. Select PAUL MCCARTNEY and click OK
. infodisc.fr 2011.
(in German). .
(in Japanese). .
Oricon Album Chart Book: Complete Edition . , Tokyo: Oricon Entertainment. 2006.  .
. Solo Exitos
Ano A Ano.
(PDF) (in Swedish).
. Hung Medien.
. . Enter Flowers in the Dirt in the field Keywords. Select Title in the field Search by. Select album in the field By Format. Select Platinum in the field By Award. Click Search
. . If necessary, click Advanced, then click Format, then select Album, then click SEARCH
(in Japanese). oricon.co.jp 2011.
Preceded by
24 June 1989 – 30 June 1989
Succeeded by
soundtrack by
Preceded by
number one album
25/1989 – 28/1989
Succeeded by
Boulevard of Broken Dreams by
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