Ella Rose Muse: the story: monochrome

Showing posts with label monochrome. Show all posts

Thursday, 6 August 2015

Balancing Act

I've just finished packing for my third shoot with a photographer who's working with me this time in my nearby ancient woodland tomorrow morning, just for an hour. Having amused myself with the curation of some very fanciful outfits (I love it when I'm given free rein with styling, even if there are only so many sets you can get through in such a quick session!), I thought I'd update with some images sent to me which were taken in Vienna.

(I need to get myself back to Vienna again soon - SO much to see and do there!)

As you can imagine, some of these were a bit challenging, but challenges are fun, are they not? :-)

(Organisation and set design by Roland Pum)

By Peter Eibler:

By Manfred Klejna:

More by Peter Eibler:

Hope you are all having wonderfully balanced weeks.

Sunday, 13 April 2014

Glimpses

By Alan Horten

Saturday, 4 January 2014

The Far Flinging Ocean

Zoe Wiseman still holds the award for the world's most laid back, no pressure shoots.

We walk (a few metres) to the beach. We consider the wind. We sit down. We consider the waves. We stand up. We consider the rocks. We scramble gently over them, dodging the puddles of water growing fast from the flinging sea. I perch; she crouches, wedged between jagged rock. We shoot a few frames of film. We stand up and look around a bit more. We move a bit further.... The Australian waves were really crashing in - it wasn't a long shoot.

Zoe's such a pleasure to meet every year.

These few had the benefit of the amazingly-faced Sara Liz, a US playboy model who is really friendly and funny:

Monday, 23 September 2013

Norwegian Black - On an Island

Memories of this trip include lighthouses, rocks, funny Norwegian pancakes, beaches, sculptures, sub-sea tunnels and outdoor cats. We had a very productive four days, and so I will endeavour to divide the results into more than one blog post. I love so many. This selection, the 'indoor' side of things, was mostly taken while listening to Alicia Keys and Mark Knopfler's brilliant Privateering.

A huge thank you to the multi-talented Sjur Roald, whose hospitality, too, was fantastic.

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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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