I myself have switched over to Fuji Reala (Superior) since itís inception to Australia. I think it is on itís 5th, incarnation currently. Prior to that I mostly used transparencies for colour work. But this film is nearly grainless, so to speak, especially if you expose it at 80 ASA. I think itís true speed is 100 but you can get away with 125 or even 160 at a real pinch
I run Nikkor lenses using F3 bodies, plus a Russian Horizon swinging lens camera (35mm format) with a 28mm lens. These relatively high contrast lenses (not the Horizon) coupled with the low contrast film, work beautifully. It's detail catching ability is very good, especially if you wish to make prints as an end product.
Flowers are a hard subject for film, quite a few flowers have colours that are hard for film to capture. The Reala with it's 4th colour layer, is able in most instances, to capture and let one print the subtle colours well. In 1991 I did the wildflower thing heading south after a trip to the Gascoyne, Mt Augustus, Hammersley, Mt Newman area. As rain had preceded us by a couple of weeks it was glorious.
I also have used bulk loaded Kodak Portra 160NC (natural colour) running it at 125 ASA for finer grain and good printing negatives.
Latitude wise, negative film will allow you to cover any slight exposure mishaps, compared to a transparency that is.
If you do go the negative route, I would strongly recommend you to get either dip n dunk, or, rotary development. Roller transport developing can lead to tram tracks down the film sometimes.
You mentioned romantic:- what about climbing the Gloucester tree and having lunch in the cubby house on the top, rolling around in the breeze at 64m high is something to experience. It's pretty much the ultimate tree top experience!