Ella Rose Muse: the story: Colouroids

Thursday, 26 July 2012

Colouroids

It was so nice to be asked to work with Steven Billups again recently, while he was over from the US visiting family in Germany. I got to explore the Black Forest amongst other locations, which was just the kind of location where every frame would have been beautiful - streams, waterfalls, rock formations, mossy stones... it had the lot - my kind of shooting paradise! (I did get bitten by a chihuahua during a break, though, which was a bit of a shock - we'd had to stop for a while as the chihuaua and two human friends decided to set up a picnic right by where we shooting - until then we'd managed to avoid the troops of German school children frolicking around on nature trips - so obviously I attempted to befriend the little cutie like a mad (dogsick) lady... BAD idea. Lesson learnt. Do not approach strangers' dogs, however fluffy.)

Anyway, one of the highlights of the trip was spotting a field full of luscious tall, yellow, happy sunflowers just off the side of a road... so we had to shoot there. I've been sent some colour polaroids already from what we did there (they've had no tone or contrast adjustments), and also a few from an old castle ruin we worked at on the first day and from the Black Forest on the second day, with the processed film shots to come soon. Colour polaroid is so magical. It works so well for a 70s hippie sunflower feel particularly in the first two shots, I reckon, and looks kinda mystical and pretty by the castle, with the pink orbs of light! The ones in the Black Forest came out really strange and dreamy... Watching these develop was very exciting!

We thought we'd drop a poloroid into the 50-cent honesty box by the sunflower field (you can chop off a flower to keep, with the yellow knives which are provided), and maybe make the local German paper, guerilla flower-flasher style... but we had a bit of trouble choosing one we'd be happy to lose, so it remained just an amusing idea...

Hope you like these!! I love them!

P.S. Here is a chihuahua apologetic; never-bitten-anyone-in-her-life, little darling Lulu Lambambi. She comes for runs with me.

Walter De La Mare, 'The Listeners'

‘Is there anybody there?’ said the Traveller,

Knocking on the moonlit door;

And his horse in the silence champed the grasses

Of the forest’s ferny floor:

And a bird flew up out of the turret,

Above the Traveller’s head:

And he smote upon the door again a second time;

‘Is there anybody there?’ he said.

But no one descended to the Traveller;

No head from the leaf-fringed sill

Leaned over and looked into his grey eyes,

Where he stood perplexed and still.

But only a host of phantom listeners

That dwelt in the lone house then

Stood listening in the quiet of the moonlight

To that voice from the world of men:

Stood thronging the faint moonbeams on the dark stair,

That goes down to the empty hall,

Hearkening in an air stirred and shaken

By the lonely Traveller’s call.

And he felt in his heart their strangeness,

Their stillness answering his cry,

While his horse moved, cropping the dark turf,

’Neath the starred and leafy sky;

For he suddenly smote on the door, even

Louder, and lifted his head:—

‘Tell them I came, and no one answered,

That I kept my word,’ he said.

Never the least stir made the listeners,

Though every word he spake

Fell echoing through the shadowiness of the still house

From the one man left awake:

Ay, they heard his foot upon the stirrup,

And the sound of iron on stone,

And how the silence surged softly backward,

When the plunging hoofs were gone.

Natasha Khan/Bat for Lashes, 'Horse and I'

Got woken in the night,
by a mystic golden light.
My head soaked in river water.
I had been dressed in a coat of armor. They called
a horse out of the woodland.
"Take her there, through the desert shores."
They sang to me, "This is yours to wear.
You're the chosen one, there's no turning back now."

The smell of redwood giants.
The banquet for the shadows.
Horse and I, we're dancers in the dark.
Came upon the headdress.
It was gilded, dark and golden.
The children sang.
I was so afraid I took it to my head and prayed.
They sang to me, "This is yours to wear. You're the chosen one, there's no turning back."
They sang to me, "This is yours to wear. You're the chosen one, there's no turning back."

Mark Doty, 'A Display of Mackerel'

They lie in parallel rows,

on ice, head to tail,

each a foot of luminosity

barred with black bands,

which divide the scales’

radiant sections

like seams of lead

in a Tiffany window.

Iridescent, watery

prismatics: think abalone,

the wildly rainbowed

mirror of a soapbubble sphere,

think sun on gasoline.

Splendor, and splendor,

and not a one in any way

distinguished from the other

—nothing about them

of individuality. Instead

they’re all exact expressions

of the one soul,

each a perfect fulfilment

of heaven’s template,

mackerel essence. As if,

after a lifetime arriving

at this enameling, the jeweler’s

made uncountable examples,

each as intricate

in its oily fabulation

as the one before

Suppose we could iridesce,

like these, and lose ourselves

entirely in the universe

of shimmer—would you want

to be yourself only,

unduplicatable, doomed

to be lost? They’d prefer,

plainly, to be flashing participants,

multitudinous. Even now

they seem to be bolting

forward, heedless of stasis.

They don’t care they’re dead

and nearly frozen,

just as, presumably,

they didn’t care that they were living:

all, all for all,

the rainbowed school

and its acres of brilliant classrooms,

in which no verb is singular,

or every one is. How happy they seem,

even on ice, to be together, selfless,

which is the price of gleaming.

Kate Clanchy, 'Poem for a Man with No Sense of Smell'

This is simply to inform you:

that the thickest line in the kink of my hand
smells like the feel of an old school desk,
the deep carved names worn sleek with sweat;

that beneath the spray of my expensive scent
my armpits sound a bass note strong
as the boom of a palm on a kettle drum;

that the wet flush of my fear is sharp
as the taste of an iron pipe, midwinter,
on a child's hot tongue; and that sometimes,

in a breeze, the delicate hairs on the nape
of my neck, just where you might bend
your head, might hesitate and brush your lips,

hold a scent frail and precise as a fleet
of tiny origami ships, just setting out to sea.

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Thursday, 26 July 2012

Colouroids