This blog is dedicated to ladies in glasses. The vast majority of the portraits on this blog feature ladies wearing glasses near their own Rx. I felt that this would give a more natural flavour to the pictures and also a more natural setting for the photo shoots from which the pictures on this blog are selected.
Nearly all the glasses featured in this blog are from my own collection.
This beautiful portrait of Lucy posing in modern myodiscs
by Zenni concludes her photo shoot which lasted three hours.
Lucy is the 34th Lady behind Crystal Veil.
Lucy a chara, I wish to thank you for the brilliant way you picked
up the little tricks that come handy when doing a good photo shoot
in prescription glasses. Vantage points, expression of the eyes and
lips - multitasking indeed, but you mastered it in no time. Thanks
also for your excellent choice of frames. I knew that there was no
need for a gentle push after seeing you pick some bold frames at
the catwalk in Germany. You did particulary well in the big glasses
from the 1970's and 1980's but also in different styles from the past.
It's a wonderful experience when a model can wear anything and
still look good. Some of the glasses might be regarded "over the top"
but this was always compensated by your natural way of posing.
Your deliberate choice against the use of lipstick was remarkable
but highly effective. Big compliment also for your assured way of
posing. There was no way of telling that this was your first photo
shoot ever. Equally important, you were a joy to work with. It was
amazing to witness and capture the way your posing changed when
mounting the bycicle. Somehow you added a new dimension to what
was already a good photo shoot. Cameraderie at its best. The simple
fact that only a small minority of the captures during the final part is
left out here testifies to that. Mile fáilthe into the world of photo
shoots and thank you so much for a wonderful experience. You are a
natural talent and I hope that the camera has not seen the last of you.
During my photo shoots I usually start with glasses around
the model's own prescription. The "big guns" emerge in the
latter half of the photo shoot when the model is really used
to the mixture of instruction and improvisation. The key is
what may be called a "visual echo". Carla, Lettie (first weblog)
and Marieke all surprised me with their unique way of looking
straight into the camera through lenses that only produced a
massive blur. When I asked them how they did it, the answers
were slightly different but pointing into the same direction. They
said that their handhold was the memory of what they saw just
before putting on the myodiscs. It made sense when memories
of holidays with my beloved partner Nel came back. On several
occasions, she put off her minus eleven glasses on a beach and
walked confidently into the sea, swam for a quarter of an hour
and returned to me with no apparent effort. I was flabbergasted
and asked her, how on earth did you do it? She explained to me
that just before taking off her glasses, she studied the colours of
the objects behind me and she also remembered the colours of
our bathsheets. Some of this "visual echo" effect can be seen in
these final portraits of Lucy as well.
Wonderful posing by Lucy in 1990's glasses by Carlo
Sebastiano. The right lens is a bit too strong but the left
lens is just a quarter of a diopter below the model's own
prescription. The glasses were previously used in my
photo shoots with Clarine and Caroline (first weblog).
Another quiet but beautiful portrait of Lucy posing in 1980's
"Donna" glasses by Rodenstock. Just like the OWP glasses
in the previous series, this Donna pair has a difference of two
diopters between the lenses. The left lens is exactly in Lucy's
own prescription but the right lens is two diopters too strong.
Monovision again, but the difference with the preceding series
is that there is no squinting.
These OWP glasses were shown in my photo shoots with
Mieke, Elena and Farishta (first weblog). The difference in
Rx between the left and right lens makes the glasses suitable
for models with a prescription of -4 (e.g. Elena) but also for
models with a prescription near -6. Needless to say, all these
portraits show to some extent that the model has monovision.
The left lens is fairly close to Lucy's own prescription but the
right lens is too weak and this accounts for the bit of squinting
with the right eye in this series of portraits.