Cary Institute talks about carbon credits

The Cary Institute spoke about trees and the impact of climate change in a recent talk.
Photo by Janet Manko

MILLBROOK — Charles Canham, Ph.D. and recently retired from the Cary Institute of Ecosystem Studies, is well versed in the dynamics of forests, their ecosystems and the impact humans have on them. His research in the field, and the use of computer-generated models and statistics, allows him to address how forests respond to human impact, as well as to fire, insects and overall climate change.
He shared his 35-plus years of experience with the Cary Institute audience as he spoke about trees and forests and carbon credits on Thursday, Nov. 11.
Canham has become an expert at studying and explaining Forest Carbon Offsets, which offer a tradable certificate or permit that allows a company, country or other entity to emit or spend a given amount of carbon dioxide or an equivalent greenhouse gas. A single carbon credit equals 1 ton of either carbon dioxide or other greenhouse gas emission.
While this practice began in as attempt to lower global emissions and to promote clean energy, many are uncertain if it will work. Some see serious problems with the plan.
It basically began with the Kyoto Protocol, an international treaty to reduce greenhouse gas emissions (GGE). It applies to six greenhouse gases: carbon dioxide, methane, nitrous oxide, hydro fluorocarbons, per fluorocarbons and sulfur hexafluoride. It is an extension to the 1992 UNFCCC treaty.
When companies buy and sell carbon credits, the money goes to fund carbon offset projects, meant to eliminate the amount of carbon dioxide equal to the amount emitted.
The premise sounds good, said Canham. The country or company receives a set of quota of credits, depending on the size of the company or properties or what their function is.
The amount of credits can vary each year and can be used throughout the year. If the entity goes over the allotted credits, there are severe penalties.
Each country or company gets a set of number of credits. The amount depends on their size and what they do.
Every year they get a new set of credits, which can be used throughout that year.
It is worth noting there has been very little change in carbon reduction practices since the Kyoto Protocol began.
Canham used an example of the Nature Conservancy, which is currently conducting a self-examination of its carbon offset portfolio. A nonprofit, it is developing over 20 carbon offsets of forest areas, mainly in the United States, with companies such as JP Morgan Chase & Co., BlackRock Inc., and Walt Disney Co. The companies use the credits to claim reductions in their own projects and expended emissions.
The Nature Conservancy is concerned that it could be helping to sell useless carbon credits to its corporate clients. Last year it was discovered that the largest environmental group, active worldwide, was claiming credits for forested areas that were not in danger of being destroyed. In other words, getting credit for doing absolutely nothing.
Canham and Cary Institute President Joshua Ginsberg discussed at the Nov. 11 presentation the fact that there are pros and cons to obtaining carbon offsets. As with any credit system, it can be abused. It also may promise more than it can deliver.
So how much carbon do U.S. forests store each year? How does that number change when one includes urban trees, furniture and harvested wood products? Well, in 2018, the 691 million acres of U.S. forestland sequestered 564.5 millions tons of C02.
This means the net sequestration across all five categories offsets 11% of total U.S. greenhouse gas emissions annually.
Canham showed an image that showed that all not all of this country’s forestland is a carbon sink. The Eastern U.S. is a sink equaling 85% of total forestation sequestration; the Rocky Mountains is a source due to the effects of fire and insects; the Pacific Coast is a sink, with a high biomass and sequestration rates but is also threatened by fire.
Natural climate solutions can put unrealistic demands on the forests yet there is a possibility of climate mitigation potential by 2025 by raising the price of carbon credits from $10 to $50 per ton, suggested Canham, by halting all harvests on private non-plantation forestland across the U.S., and by making up the lost harvest through reforestation and thinning fire-prone forests in the West.
What can we do to reduce carbon dioxide emissions? Corporations and businesses “can purchase legitimate carbon credits,” said Canham. “Forest owners can evaluate whether joining the forest carbon market is of benefit to attaining global carbon reduction. And for everyone else, use your voices: Demand transparency in net zero goals and in the methods used for valuing carbon credit projects.”
Millerton News
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Dee Salomon
Fireweed attracts the fabulous hummingbird sphinx moth.
You must figure that, as rough as the cold weather has been for us, it’s worse for wildlife. Here, by the banks of the Housatonic, flocks of dark-eyed juncos, song sparrows, tufted titmice and black-capped chickadees have taken up residence in the boxwood — presumably because of its proximity to the breakfast bar. I no longer have a bird feeder after bears destroyed two versions and simply throw chili-flavored birdseed onto the snow twice a day. The tiny creatures from the boxwood are joined by blue jays, cardinals and a solitary flicker.
These birds will soon enough be nesting, and their babies will require a nonstop diet of caterpillars. This source of soft-bodied protein makes up more than 90 percent of native bird chicks’ diets, with each clutch consuming between 6,000 and 9,000 caterpillars before they fledge. That means we need a lot of caterpillars if we want our bird population to survive.
So how do we ensure that there are sufficient caterpillars for them? That is the question, as caterpillars are very particular. Their butterfly or moth mothers cleverly attach their eggs to the very specific plants their tiny babies require. Once they hatch, the caterpillars eat the leaves of these plants until they are either picked off by birds to feed their young or create a chrysalis and turn into a moth or butterfly to repeat the cycle of life.
Some caterpillars are generalists and can survive on a variety of plants, but most — 90 percent, according to scientists — are specialists, relying on only one or two types of plants for survival. In their winged form, dietary restrictions ease as they source pollen more widely, but when it comes time to lay eggs, they use a keen sense of smell to find the specific plants that will help their young survive.
Research by Doug Tallamy shows that 90 percent of butterfly and moth species rely on just 14 percent of native plant species for food, which makes the planting of these “keystone” plants critical. Let’s review a few.
Goldenrod: Not all goldenrod is created equal. Old field goldenrod, (Solidago nemoralis), is a shorter and less aggressive alternative to the tall, aggressive goldenrod we are familiar with, as is wrinkleleaf goldenrod, (Solidago rugosa), a compact species that has arching sprays of bright yellow flowers supporting more than 100 species of insects. This species is deer-resistant with no serious pests or diseases. Last year, Mt. Cuba Center, a conservation center out of Delaware, focused its trials on goldenrod, and its research report, available online, is sortable not just by aesthetic attributes but also by the number of insects seen on each species.
Scarlet strawberry: (Fragaria virginiana), is one of the plants I have had great luck growing in the woodland. When there is a new sunny spot, which happens when a tree or large branch falls, I plant a few strawberries, which I dig out of a spot where they are thriving. These plants make a great groundcover and are especially nice used under trees for caterpillar “soft landings.”
Spotted Joe-Pye weed: We see this plant, (Eutrochium maculatum), on roadsides in late summer, but it looks as sharp as an ornamental in the hands of Michael Trapp, who, in the garden behind his shop in West Cornwall, encloses a bed of Joe-Pye weed with a short boxwood hedge, dignifying this plant that supports between 35 to 40 caterpillar species, including those that become the three-lined flower moth, Clymene moth, ruby tiger moth, Eupatorium borer moth and great spangled fritillary moth.
I am less familiar with fireweed, (Chamaenerion angustifolium), but will be adding it this year, as it may be the prettiest of the keystone plants in our region and attracts the fabulous hummingbird sphinx moth. I will let you know when I find a local nursery that stocks it and, when planted, how it fares here.
Also keep in mind this spring: smooth aster, (Symphyotrichum laeve); white yarrow, (Achillea millefolium); and the beautiful Canadian columbine, (Aquilegia canadensis), which is the first food for hummingbirds’ arrival in the Northwest Corner.
Dee Salomon ‘ungardens’ in Litchfield County.
Brian Gersten
Craig Davis, co-founder and board chair of East Mountain House, an end-of-life care facility in Lakeville, will sponsor a March 5 screening of the documentary “Come See Me in the Good Light” at The Moviehouse in Millerton, followed by a discussion with attendees.
The film, which is nominated for best documentary at this year’s Academy Awards, follows the poet Andrea Gibson and their partner Megan Falley as they are suddenly and unimaginably forced to navigate a terminal illness. The free screening invites audiences to gather not just for a film but for reflection on mortality, healing, connection and the ways communities support one another through difficult life transitions.
East Mountain House grew out of a realization that “there are so many issues with how we are taking care of our dying in our community,” said David. “We wanted to provide a solution for some people where they can die in a serene and calming home-like setting.” This compassionate approach at East Mountain House is carried out with the support of seven staff members and 42 volunteers who do everything from reading to residents, gardening, cooking, communicating with family members and assisting with therapeutic treatments. East Mountain House houses just two residents at a time, and staff and volunteers work around the clock to accommodate their needs.
In a culture where we are trained to panic when a loved one is dying, and where a clinical space like a hospital is the norm for many individuals at the end of their lives, Davis feels that East Mountain House is an alternative with a natural and organic approach to death. It’s a place where death can be celebrated and viewed as something that is simply a part of life. Davis’ vision for East Mountain House is more than a decade in the making, and he is eager to introduce his work and his perspective to locals at the upcoming community screening.
One of the reasons Davis was interested in sponsoring a screening of “Come See Me In The Good Light” was because the film gracefully explores themes of vulnerability, resilience and the search for meaning in the face of death. Through its deeply personal storytelling, the film highlights how people navigate loss, transformation and the desire to be seen for who they truly are. The documentary’s emphasis on compassion and human connection aligns closely with the mission of East Mountain House, making the post-film discussion a natural extension of the evening.
Davis hopes the event will serve as both a cultural offering and a community touchstone — an opportunity for neighbors to gather in a welcoming space, share ideas and reflect on the importance of end-of-life support systems. The screening is free and open to the public, though advance registration is recommended due to limited seating.
For registration, go to themoviehouse.net.
Kerri-Lee Mayland
A tray can help group items in a way that looks and feels thoughtful and intentional.
Winter is a season that invites us to notice our surroundings more closely and crave small, comforting changes rather than big projects.
That’s often when clients ask what they can do to make their homes feel finished or fresh again — without redecorating, renovating or shopping endlessly. My answer: start with one tray.
A tray creates a moment. It gives the eye a place to land and turns everyday objects into something intentional. More importantly, it’s approachable. There’s no measuring, no commitment, no pressure to get it “right.” It’s a small, easy project — affordable, functional and even a little fun — that can be tailored entirely to you.
One of the things I love most about styling trays is that your cozy “moment” becomes mobile. Everything you love is gathered in one place and can be easily moved from room to room as your day unfolds. A tray that starts on an entry table can later migrate to a coffee table or kitchen counter, adapting to how you’re actually living in your home.
In one client’s entryway, we styled a tray that sets the tone the moment you walk in. A simple pair of brass candlesticks adds warmth, a blue-and-white chinoiserie vase brings character, and two vintage books ground the arrangement. It’s not decorative for decoration’s sake — it feels collected, welcoming and personal, all while keeping the surface from becoming cluttered.
In another home, a coffee table tray became the quiet anchor of the living room. We included a strand of wooden beads for texture, the TV remote tucked neatly into a small vintage box, and a plant nestled in a pottery bowl. The tray keeps everyday necessities close at hand while making the space feel relaxed and lived-in rather than chaotic.

Kitchens may be where trays work hardest, especially in winter when we’re cooking inside more and gathering more casually. For one client, we styled a tray with a pepper mill; a shallow bowl for garlic, shallots and onions; and a white Italian ceramic container filled with olive oil. It’s practical and beautiful, and it makes cooking feel intentional instead of rushed. The tray warms up the counter while keeping essentials within reach.
Another version I often create is the cocktail, mocktail or tea-and-coffee tray — endlessly useful for friends popping over to say hello. A few cups, a teapot or carafe, honey or sugar, and a candle create an inviting setup that’s ready at a moment’s notice. It says, “Stay a while,” without any fuss.
What makes trays so effective this time of year is that they respond to winter’s quieter rhythm. Winter decorating isn’t about bold color or dramatic statements — it’s about texture, warmth and restraint: wood, stone, ceramic, linen, candlelight. A tray helps you edit rather than add, grouping items so they feel thoughtful instead of scattered.
When the seasons shift, the same tray evolves with you. Heavier elements can be swapped for lighter ones — fresh flowers, glass, pale ceramics — without starting over. One tray, styled seasonally, becomes a constant that gently changes rather than something that has to be replaced.
Remember, good design doesn’t have to come from big gestures. Often it comes from small moments done well — a surface that feels intentional, a corner that feels cared for. In winter’s stillness, creating a simple tray may be just enough to make your home feel calm, personal and complete.

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