We have already mentioned the ability of essential oils to be catalysts for minerals. This is actually what leads the same plant to have different characteristics based on the concentrations of various minerals are in the soil where these essential oils are grown. For example, many Essential Oils can be effective catalysts for Carbon, Nitrogen, Potassium and more. And different concentrations or ratios of these minerals, often varying widely by the country of origin and soil that they are grown in, can make a difference in the characteristics of the oil from the plant – often what is referred to as a “chemotype.”
One example of the differences in growing conditions affecting a plant that people may be familiar with is an orange. Imagine, for example, oranges grown in California with an average of 15 inches of rain per year compared to those grown in Florida with 52 inches of rain per year. California oranges will tend to have a thicker skin and be sturdier while Florida oranges will have thinner skins and be juicier. With essential oils the differences are more the result of differences in minerals in the soil and not necessarily to do with rainfall.
So when looking at the interaction of oils and minerals, first and foremost you have to look at ratios. A simple report will only give you a snapshot of what that particular sample is manifesting at the time it is accessed. In addition to this the skill of the operator of the scan at the time plays a critical role in the quality of the scan. Even if the ability of the operator of the scan/assessment is at the novice level, a lot can still be gleaned from that particular report. But the most important thing is the ratios that are recognized in the report, and the country or region of the world where the oil originates from. Certain areas of the world have a tendency to produce oil(s) with certain characteristics.
In a college art class the concept of “Negative Space Art” – focusing on “drawing what wasn’t there.” Sketch what was blank space around what was there. It worked very well for me but not just in art, as I also took this principle to my formulation of oils. I pay attention not only to what is showing on the analysis of the oils, and I also PAY ATTENTION TO WHAT ISN’T THERE — especially if it is something that typically shows in the analysis.