Claudia Allegonda 058

"It's a pity that I did not take any pictures of you in all those glasses".

"I might be persuaded to pose for you some day".

"That would be grand. A pity that I can't take pictures of the lady in your visions"

Claudia never had another vision after reading the story.

Researchers so far have failed to discover the identity of the mysterious Allegonda

who bravely tried to save her beloved Haarlem in 1573. The latest article about her

was written by an Irish researcher who believes that a well known Irish ballad called

"The Spanish Lady" was written about Allegonda. However, his theory met with little

support because the song lyrics don't mention her glasses.

A new scientific debate about an extension of the definition of "oral history" with visions

is going on, but so far it's inconclusive.  

Claudia may soon decide which of the new glasses is her favourite, but that is no part

of this story which now has come to an end.

I wish to thank Claudia Allegonda for the splendid way she and her MUA Erik carried this

photo shoot.

For once, it's gentlemen first :). Dear Erik, I cherish the many hints about photography you 

passed on to me during the day. Equally if not more important, you were good company,

in the background when appropriate but very much visible and present when required. 

Dear Claudia - first of all, let me thank you for showing your interest in doing this specialist

photo shoot. You expressed that it would be an interesting experience to "see" the world

through the glasses from my collection. I have to confess that I felt a bit shy after seeing

your highly impressive portfolio and website, but you kept reacting in a reassuring way

during the months before the actual photo shoot. In retrospect, I kept delaying to put an

actual date on it until you suggested that it was high time to fixe a day. When we met at 

De Stijlloods, I felt reassured again. Your posing was no less than superb - every inch

the hallmark of the fulltime professional model - and yet there seemed to be no barrier

between your good self and your humble court photographer with his tripod and ultra

cheap camera. I had a rough script in mind but I knew beforehand that it all depended

on factors (such as lighting) that could easily change everything. Fortunately the weather

was on our side - September 30th being one of the final days of a remarkable Indian

summer that lasted longer than ever. You had prepared yourself well and I was amazed

by the gorgeous dress that you produced in the History Museum. It greatly contributed

to the general feel of the photo shoot and the ideas that emerged until the very end.

Thanks also for your flexibility in every conceivable respect during the day, including the

time factor. Finally, thank you so much for the beautiful digital remastering of the pictures

and for your flexibility during the selection process.

Hat off for this glorious 33th Lady behind Crystal Veil! Claudia, I hope I have not seen

the last of you and Erik. Meanwhile, I wish both of you success with your next projects.

Viewers wishing to contact Claudia Allegonda for a photo shoot: go to

www.allegondashootandmakeup.nl

Acknowledgements:

1) A word of thanks to Petra and Kirsten, owners of "De Stijlloods" in Haarlem, for their

kind permission to use their premises for the first part of this photo shoot, and for the

coffee served by their staff. stijlloodshaarlem@hotmail.com

2) A word of thanks to Laura van der Wijden, director of the History Museum in Haarlem,

for her kind permission to do the second part of this photo shoot in the History Museum.

www.historischmuseumhaarlem.nl/
Thanks also to her staff for their cooperation and coffee. Much appreciated!

Glasses used during the photo shoot:

001 - Rodenstock (Toxy), c. 1963 [L=R: -1.25]
002 and 016 - SBF, early 1960's [L: -0.50; c-1.00 h / R: -0.75; c-0.50 h]
003 - Christian Dior 1200, late 1970's [L: -1.50 / R: -1.50; c-0.50 h]
004 - Neostyle (Venus), c. 1980 [L=R: -2.00] (exactly the model's prescription)
005-007 - nameless neo early 1960's [L: -1.50; c-0.25 o / R: -1.75]
008 - Rodenstock (Maya), c. 1965 [L: -3.50 / R: -3.00]
009 - Luxotica, c. 2000 [L: -9.25; c-0.75 v / R: -9.50; c-0.50 v / var add 1.25]
010-012 - nameless steel glasses, c. 1900 [L=R: -3.25]
013-015 - Whitney, c. 1960 [L: -6.75; c-0.75 h / R: -7.00; c-1.00 h]
017 - Depai (myodiscs with frosted lenses) [L=R: -22.00]
018 - Augusto Valenti, c. 2004 [L: -9.25; c-0.75 v / R: -10.00 / var add 1.75]
019-023 - face à main, between 1880 and 1910 [L=R: -7.00]
024 - Zenni [L=R: -8.00]
025 - Zenni [L=R; -8.00]
026 - Zenni [L=R; -8.00]
027 - Zenni [L=R: -8.00]
028 - Zenni [L=R: -8.00]
029-036 - Nigura (blended myodiscs) [L: -19.00 / R: -18.00]
037-038 - Zenni 3818 or 8818 [L: -11.00 / R: -12.00]
039-040 - Luxotica, c. 1980 [L: -8.00 / R: -7.50]
041 - Zenni [L=R: -8.00]
042-044 - Zenni (myodiscs) [L: -19.25 / R: -19.75]
045 - Zenni [L=R: -8.00]
046-047 - Zenni [L=R: -8.00]
048-051 - Zenni [L=R: -8.00]
052-054 and 057-058 - Zenni 3390 [L: -13.00 / R: -12.00]
055-056 - pince-nez, c. 1900 [L: -5.25 / R: -6.50]