Conny 216

Glasses: pince nez, between 1900 and 1930
[L: -5.25 / R: -6.50]

This nostalgic portrait concludes this memorable
photo shoot. Five years ago, Conny was the model
for the sleeve photo of my solo CD "Crystal Veil"
and it's great she is back as a true "Lady behind
crystal veil".

Conny, dear friend, I can't thank you enough for
your tireless posing in the whole gamut of eyeware.
Antique, old, more recent and modern, from
"average minus" to myodiscs.... it did not make
any difference. You are wonderful in all styles!

Conny 215

A fine portrait of Conny in 1970's octagonal
silver glasses. Hippie look, but with a style!
These glasses were yet another welcome find
at the Amsterdam flea market in the late 1980's

Conny 214

Glasses: Frame France, 1970's
[L: -4.25 / R: -4.50]

Conny 213

An experienced model, Conny produces a
radiant smile, even with a "heavy weight"
on her nose!

Conny 212

In spite of the half rim frame, the weight of
these silver varifocals is well over 50 grams!

Conny 211

Glasses: nameless half rim, 1980's
[L=R: -7.50 / var add 2.75]

Conny 210

Another lovely portrait of Conny in "Caroline"
glasses from Ireland

Conny 209

Conny enjoying perfect view in "Caroline"
glasses bought in a Wicklow charity shop

Conny 208

Glasses: called "Caroline", late 1980's
[L: -4.25; c-1.75 h / R: -4.00]

Conny 207

This portrait of lovely Conny in solid square
Zenni glasses is another of my favourites in
this photo shoot

Conny 206

Glasses: Zenni 2353
[L=R: -8.00]

Conny 205

Another great, confident portrait of Conny in
heavy but stylish Zenni glasses

Conny 204

"What do you think of these, Mr. Photographer?"
"Conny, you are as grand as ever!"

Conny 203

Another powerful portrait of Conny in
solid black Zenni glasses with a statement

Conny 202

These solid, yet lady like Zenni glasses really
make their presence felt

Conny 201

Glasses: Zenni 4436
[L=R: -8.00]

Conny 200

A pleasing portrait of Conny in what I call the
"little black dress" glasses. This Zenni frame is
another favourite among my models

Conny 199

Glasses: Zenni 3391
[L=R: -8.00]

Conny 198

Another fine portrait of Conny in beautiful
black and scarlet Zenni glasses, Rx -8

Conny 197

These modern Zenni glasses with open arms
are a favourite among many of my models.
They really seem to suit all faces and here,
Conny further confirms the trend. Lovely!

Conny 196

Visual communication between model and
photographer is restored, resulting in this
radiant portrait of Conny in beautiful Zenni
glasses

Conny 195

Glasses: Zenni 3390
[L=R: -8.00]

Conny 194

This lovely portrait of Conny in Rx -11 Metzler
glasses concludes the "big guns" section of her
photo shoot

Conny 193

Another check in the mirror.... Conny in
1980's Metzler glasses. Great!

Conny 192

These 1980's style Metzler glasses have high
index lenses, neatly covered by the round frame
which is thicker near the arms. In some of the
preceding portraits in myodiscs, the mirror only
served as part of the navigation process. Here,
the right lens is almost exactly in Conny's own
Rx, so this check of her looks in the mirror is a
real check

Conny 191

Glasses: Metzler, 1980's
[L=R: -11.50]

Conny 190

There is an almost majestic quality in this
stunning portrait of Conny in 1990's Trend
lenticular glasses from Germany. One of
my favourites from this photo shoot!

Conny 189

Conny in beautiful 1990's Trend myodiscs,
showing another interesting feature of Lentilux
lenses. Here, the sunlight is projected on the
model's right cheek, creating a visual extension
of the frame. This fascinating effect only
appears in portraits with Lentilux glasses

Conny 188

Conny in beautiful 1990's Trend myodiscs
and pearls. The lenses are Lentilux, but the
transition zone between bowl and carrier
lens is more abrupt than in the preceding
lenticulars. There is a considerable difference
between the vertical position of the bowls
as well. I don't know why they were made
that way. The glasses look as if they were
hardly ever used when I got them. Two
features in this portrait are worth mentioning.
The model's right eye looks smaller than her
left eye and this may have to do with the
central position of the right eye within the
corrective bowl and the peripheral position
of the left eye. The same effect can be seen
in many portraits of previous models in
Lentilux glasses. There is also a partial "double
eye" effect, due to the peripheral position of
the left eye from this angle

Conny 187

Glasses: Trend, 1990's (myodiscs)
[L: -16.00; c-1.50 o / R: -16.00]

Conny 186

Conny in lenticular glasses, Rx -16 / -18,
recently supplied by Martin from Köln.
Compared to the previous myodiscs shown by
Conny, the magnifying effect of the carrier
lens is more prominent in these portraits

Conny 185

Conny in recently acquired lenticular glasses
from Germany. Their Rx is considerably stronger
than the preceding myodiscs and as a result, the
effects of the Lentilux system are more prominent
in these portraits. This goes especially for the half
moon and the abrupt transition near the model's
right cheek.

A question I asked myself several times during my
photo shoots is about esthetics in myodisc portraits:
where is the limit between beauty and a freak show?

I admire the art work of Stephan and Sandra from
Augsburg ("Planet Myopia") and the open hearted
way Sandra talks about her change in attitude towards
wearing myodiscs in everyday life. She emphasizes
that it's not the amount of diopters that counts, but
self confidence. And I do beleive she is right! Even
in the -20 to -25 range, many of her portraits are
quite attractive and she may be called a role model
- or ambassador- for other extreme myopic ladies

Conny 184

Glasses: nameless, 1990's (Lentilux)
[L: -16.25 / R: -17.25; c-2.00 o]

Conny 182

This beautiful, sunny portrait of lady Conny in
Lentilux myodiscs is one of my favourites.

Note the absence of power rings and cut in
effects in this "en face" portrait. The first owner
of these extreme glasses must have been quite
pleased when she saw herself in the mirror for
the first time

Conny 181

Conny checking out the images produced by
the transition between corrective bowl and
carrier lens in these early 1990's lenticular
glasses from Germany. The narrow, high frame
suits her face quite well

Conny 180

This beautiful portrait of Conny in lenticular
glasses and pearls is another highlight in this
photo shoot

Conny 179

More effects of light and shade in this striking
portrait of lovely Conny in myodiscs

Conny 178

Conny "en profil", in pearls and lenticular glasses
from Germany, displaying the transition zone
between corrective bowl and carrier lens. These
amazing myodiscs are only slightly above Conny's
own Rx, providing a good view in the mirror

Conny 177

Glasses: nameless, mid 1980's (Lentilux)
[L: -11.50; c-1.00 v / R: -12.00; c-1.00 v]

Conny in another pair of Lentilux glasses from
the same source as the Flair glasses in her
portraits 170-175. This mid 1980's frame
is considerably higher and as a result, the
corrective bowl does not reach the bottom
rim of the frame. The carrier lens has a plus
Rx and therefore it "folds back" and does not
stick out from behind the frame. The erratic
play of light and shade is another effect of
Lentilux, absent in alternative solutions.
The first owner of the glasses was definitely
a lady of taste, experimenting with Lentilux
and high index glasses which can be seen in
some of my previous photo shoots

Conny 175

These beautiful Lentilux glasses only conceal
their secrets when seen almost "en profil".
The transition between corrective bowl and
carrier lens can be seen in front of Conny's
right eye. The positive carrier lens in front of
the left eye is playing tricks with the model's
make up. The effect is quite lively when seen
in motion. Lentilux was a fascinating invention.
The major disadvantage may have been the
distortion of the image when the first owner
of the glasses looked towards the rims of her
glasses. The frame of these 1990's Flair
myodiscs is really lady like and flattering,
especially for blondes. Thanks, Conny, for
posing in them to great effect!

Conny 174

A great portrait of lovely Conny checking her
looks in Flair myodiscs in a hand mirror. The
glasses are nearly three diopters above her
own Rx

Conny 173

Another beautiful portrait of Conny in Flair
myodiscs, Rx -14, showing the characteristic
"half moon" effect. This is caused by the
gradual transition between the corrective
bowl and the slightly positive carrier lens

Conny 172

Lentilux glasses were always white ravens
in the streets. Their advantage over high
index lenses can be seen in this lovely portrait.
There are no power rings and the major "cut in"
effect is completely lacking. Great!

Conny 171

Conny in pearls and Flair lenticulars, Rx -14.
These glasses are one of the real gems in my
collection and Conny does them ample justice

Conny 170

Glasses: Flair, 1990's myodiscs (Lentilux)
[L: -13.00; c-1.00 v / R: -14.00]

Conny 169

This great, spontaneous portrait of Conny is
among my favourites in her photo shoot

Conny then kindly agreed to be transformed
into a really high myope for the next ten minutes.
Enter the "big guns"....

Conny 168

These striking Zenni glasses with floating lenses
are currently out of stock. A pity!

Conny 167

Glasses: Zenni 4428
[L=R: -8.00]

Conny 166

The "Ladies behind crystal veil" project will
have an exposition in an art gallery in September.
Art or not - a favourable comment was given when
the arrangements for the exposition were made:
"The portraits are quite natural and they show the
models the way they really are in everyday life".

This is certainly what I intended when this series
of photo shoots started. It's also a counterweight
against the "intrusive" effect of glasses that are not
my models' own glasses and that have a Rx that
differs from the model's own Rx. Before starting
the project, I carefully studied the great work of
Alain from Paris. In his fascinating website "High
Myopic Girls" he creates girls that "exist and don't
exist" at the same time.
In my own project, I take a few steps into Alain's
approach, but the vast majority of my portraits
remains closer to the lady as she is in everyday life.
The obvious tension between natural model and
formula can be seen in my portraits as well, but
in a milder way.
Doing these photo shoots is a massive learning
process. I enjoy experimenting without overdoing it.
My aim is a playful subtleness.

These thoughts ran through my mind when I saw this
lovely and above all, natural portrait of Conny in
"alien" Zenni glasses with a Rx three diopters above
and below her own Rx.
The beauty lies in the contradicition - and yes, that's
what art - or at least a part of it - is all about.
I hesitate to call this an art project, it's only a mild
contradiction in most of the portraits - so let's keep it
at "mild art" for now....

Conny 165

At this point we decided to remove the scarf
that added so much hermony to Conny's
portraits in the blue phase of this photo shoot.
A lady of taste, Conny brought along umpteen
scarfs and shawls, but there was no matching
scarf for these unusual Zenni glasses....