Nerissa 152

Encore.... This magnificent pose by Nerissa might well have qualified her for the role of a Bond girl, way back in 1970. Of course the first request from 007 to her would have been to take her Silhouette glasses off, according to the rules of the industry. But imagine the effect of say the first minute in their conversation on the viewers.... And Silhouette would have had their first bestseller glasses.

This wonderful portrait marks the end of a harmonious photo shoot with fantastic results. Beautiful Nerissa is the 89th Lady behind Crystal Veil.

The first thing that struck me when Nerissa arrived was the easy way she immediately zoomed in on our cooperation. It was a joy to witness her spontaneous reaction when she saw the fifty glasses on display. A cheerful personality, all go for the dress up party. The selection process went all by itself. She explained that her eyes were very sensitive to light and asked if we could do most of the photo shoot in the apartment. Of course, no problem. What impressed me straightaway was that she started posing in blended myodisc glasses as if this was a daily routine for her. No need to get into her stride by using glasses in her own prescription. She looked quite natural and credible straightaway.

Nerissa and I had agreed beforehand that we would work towards a mixture of modeling and acting. When the shoot got under way, there was no need to discuss the category within each new series. It was all done by instinct. We went through the history of fashion. Nerissa kept dripping good looks all the way. Prearranged posing, interspersed with spontaneous initiatives that created an atmosphere of  live captures and dialogue situations. Modeling calls for expression but acting is really all about expression. Nerissa somehow managed to show the full gamut of expressions without getting carried away into extremes. Of course the photo shoot was about prescription glasses. Nerissa made all the glasses speak and vice versa. But when the actress took over, it was as if the character just happened to be wearing prescription glasses. And this is exactly what "Ladies behind crystal veil" is all about.

Nerissa kindly agreed to do the final part of her photo shoot in the street and in the park. It was late in the afternoon so we set out with some prescription sunglasses to make it more comfortable. A nice contrast with the indoor photos. It all ended with an experiment using the concept of a time machine. Antique glasses with magic powers would transport the actress to the dark days of the early 1940's and even to the ragtime era, just before the Kodanska area was built. We had discussed the concept by email and Nerissa was keen to give it a try. She succeeded in a splendid way. Her expression of sheer amazement was priceless. A great way to finish a richly varied photo shoot with marvelous results.

Nerissa, it was a pleasure to work with you and I hope to come back to Prague. Inspiration does not come by order but you would be perfect for a theme shoot with a prearranged script. Keep in touch!

Nerissa 151

These round sunglasses were used on one occasion during the fifth photo shoot with Astrid (503) way back in 2010 and then kind of forgotten about. They surfaced some months ago when I went through the entire collection for two photo shoots with Chanel.
Nerissa was delighted with the sunglasses after her three short adventures with the time machine. A relaxed, pleasant way to end a photo shoot.

Nerissa 150

Glasses: Gan Aimh, from France, 1980's
[L: -3.00 / R: -4.00]

Nerissa 149

"Yes, the school building looks completed. And I saw a group of workers on a lunch break. Old fashioned clothes. Mustaches, beards. No women or children. And I hear a lot of building activity behind the school building"

"Ah, you landed about a year later. The houses in Kodanska were built in 1910"

"It's a pity that there are no women or children. And the light is beginning to give me trouble. Can I return, please?"

"Of course you can. Just hand me the steel glasses and you will be straight back in the present"

"I will do that. It's spooky to see right through your silhouette"

"Not to worry, I will return to solid state when you take off the glasses. And I will hand you a nice pair of round sunglasses that will protect your eyes. We can take a couple of pictures in the park and then call it a day. Are you alright with that?"

"Sure. Thank you for the experience"

Nerissa 148

"I see many differences with modern times. Too many to describe exactly. But it's so strange to hear things different. Something is missing.... There are noises but it's not a constant background noise. And everything smells different as well. It's really confusing"

"Did you see any changes compared with the pince-nez when you looked around?"

Nerissa 147

"I'm not seeing everything really clear towards the horizon. Are these lenses too weak?"

"Yes, a touch too weak but you should be able to describe what you see. Please give it a try"

Nerissa 146

"It looks like I'm back in the past.... Keep talking to me, Mr. Photographer. Otherwise I feel lost"

"Of course Nerissa, I will do that. Now please look in all directions and then describe everything you see"

Nerissa 145

Time machine experiment number three....

Nerissa 144

Many models are attracted by the concept of posing in vintage glasses that span the decades, showing all the interesting changes in fashion. But the fashion element only made a real start around 1970. The first frames especially designed for women were the cat eye glasses of the early and mid 1950's. Prior to that, all visual aid was unisex. Many models are fascinated when they see the antique pairs from my collection and the surprised look in their eyes when a pince-nez or antique steel glasses gives them good eyesight is priceless. Nerissa did not get 20 / 20 vision with the steel glasses as the lenses are -3.25 instead of minus four. But the missing -0.75 clearly did not really bother her.
 

Nerissa 143

These antique glasses were made over a century ago. They have straight arms which made them less stable than modern glasses with arms curved behind the ears. But at least these steel glasses were far more comfortable than the armless pince-nez. Steel glasses were for the lower middle class, and the pince-nez were for the upper middle class. The upper classes used face à main (also called lorgnette) which had to be held by a raised arm. The contradiction sounds weird but the higher in society, the heavier the taboo on corrective lenses to improve bad eyesight. Needless to say, the taboo was even worse for women than it was for men. There was no difference between poor women and poor men. None of them could afford visual aid.

Nerissa 142

Glasses: Gan Aimh, made between 1900 and 1920
[L=R: -3.25]

Nerissa 141

"Not to worry Nerissa, I standing only five feet from where you are. Just look around and describe what you see. And take off the pince-nez if anything makes you feel uncomfortable. You will land straight back in 2018. Guarantee".

"Construction workers are busy building the school.... But where are all the houses at Kodanska?"

"Ah, the houses were built in 1910. It sounds as if you find yourself in 1908"

"This is a bit much to handle.... I will take the pince-nez off. It's not stable on my nose anyway".

Nerissa 140

"Mr. Photographer.... Where have all the houses gone? All I see is farmland.... Are you there?"

Nerissa 139

The pince-nez is back in the park, six hours after Tereza posed in them at the very start of her photo shoot. This time the same pince-nez has magic powers which are about to transport Nerissa all the way back in time to the year 1908 or 1909....

Nerissa 138

Glasses: pince-nez, made between 1900 and 1910
[L: -5.25 / R: -6.50]

Nerissa 137

And a gesture of admiration for Zelenka and his group of brave resistance fighters.

Nerissa 136

Time machine.... A disturbed frown for the notorious Nazi governor....

Nerissa 135

The school building at the corner near the park has a plaque commemorating the assassination of Nazi governor Heydrich by exile Czechoslovak members of the resistance led by Jan Zelenka. All members of the group lost their lives a couple of weeks after the attack.

Nerissa 134

Glasses: pince-nez, late 1930's / early 1940's
[L: -4.00 / R: -4.50]

Nerissa 133

After this final pose in the giant Stopari glasses we took a short break to discuss whether the light conditions would enable Nerissa to do a bit of posing and acting in a time machine. To my delight she was all go to give it a try. Great!

Nerissa 132

This is outstanding posing by Nerissa. There is a touch of "What do you want?" in her expression. The answer to that hypothetical question is simply "Fine pictures". And for sure, that is exactly what she gave me. Not just here but throughout the afternoon. It was a wonderful experience for me to work with Nerissa.

Nerissa 131

The amount of reflection in the giant lenses depended on the vantage point chosen. It took me almost an hour of retouching work to present an acceptable photo.

Nerissa 130

These giant Stopari sunglasses have been in my collection for at least two decades but never used in photo shoots until recently, on a roasting hot summer day in Germany with Chanel. Her series in the Stopari sunglasses was inspired by a classic Ralph McTell song called "Girl on a bicycle". Chanel came past several times, riding her bicycle. It was a fun experiment but the reflection in the giant lenses was excessive. With this in mind it seemed best for Nerissa and myself to look for a spot where the reflection was less problematic. And that is how we landed in front of the same graffiti wall seen at the end of the photo shoot with Tereza. It's nice to compare both series.

Nerissa 129

Glasses: Stopari, probably mid / late 1970's
[L=R: -4.00]

Nerissa 128

Identical with photo 123 but here shown in soft editing. See for yourself which version you like best.

Nerissa 127

These Essel glasses were a find at the Waterlooplein flea market in the 1980's. They were featured in seven preceding photo shoots (Elena 090, Gita 030, Lettie 070, Marike 032, Julia 060, Nefeli 012 and quite recently Chanel). Most of these models had a prescription of minus four, just like Nerissa.

Nerissa 126

The lenses in the Essel glasses are a touch below the model's own prescription but she was clearly not bothered by that.

Nerissa 125

Nerissa commented straightaway that these tinted lenses were more comfortable for her. Good!

Nerissa 124

Flamed brown frames were quite popular during the early and mid 1970's. Nerissa already posed in a rather extreme pair by Saphira at the start of her photo shoot. Here she is showing another example of flamed brown frames, this time made by Essel. The lenses are not transition but simply tinted brown.

Nerissa 123

Glasses: Essel, mid 1970's
[L=R: -3.50]

Nerissa 122

Another fine pose by lovely Nerissa in trendy Silhouette glasses made nearly fifty years ago. Next pair,,,,

Nerissa 121

"Looking great...."

Nerissa 120

Bad luck for Nerissa. We were standing in the shade and the lenses did not really change into sunglasses. We decided to do a few quick poses and then switch to real sunglasses.

Nerissa 119

Transition lenses became available around the time these Silhouette glasses were made. Prior to that most glasses wearers used sun clips on their prescription glasses. This was of course much cheaper than a pair of prescription sunglasses but not flattering at all. Transition lenses soon became a hype that lasted throughout the 1970's.

Half past four in the afternoon. Light conditions in the street and in the park might be tolerable for the model's sensitive eyes if she would pose in sunglasses. How about that? Nerissa was all go for it. We walked to a white school building at the corner of the street, next to the park. The Silhouette glasses gave Nerissa perfect eyesight so she could keep them on.

Nerissa 118

"Compliment accepted. I'll drink to that. Cheers!"

Nerissa 117

"Nerissa, you look fantastic in these glasses. They were really made for you. Killer looks!"

Nerissa 116

This early Silhouette frame is an excellent example of the revolutionary changes in frame design around 1970. Thumb rules went overboard. All of a sudden it was no longer required that each frame should be made to please the average face. Within this new trend, Silhouette was the first brand with a real signature of their own. It is my belief that the new design styles were a reaction on the arrival of contact lenses in 1967 / 1968. Women with bad eyesight were no longer "condemned" to wear glasses. Designers zoomed in on the new situation. Silhouette made several frames with the striking X shape seen here. Not every woman would have the guts to walk the streets with an X between her eyes. Arguably Silhouette gave the sign "take it or leave it" to the crowds. And it worked. Glasses soon became a way of self expression. The X shape was embraced by some and rejected by many.

There is a parallel with the arrival of photography in 1839 and the changes in Fine Art that followed. Miniature painters were not worried about the new invention, still in its infancy. One quote from a painter to his client says it all. "Ah non Madame, photography can't flatter". But within a decade or so, miniature painting had disappeared. It was much cheaper and faster to have your portrait taken in a photo studio. Portrait painters became aware that their own art should change in order to survive. And this eventually led to new trends like impressionism. Remove something and add something else. Photography was unable to do that. And 130 years later designers of prescription glasses chose the same response to the arrival of contact lenses.

It was interesting to see the reactions of my early models on the X shaped Silhouette glasses. Many rejected them but some embraced them. And it has always remained this way. Only Tineke (019), Karen (198), Astrid (573), Nefeli (138), Nicci (101) and Chanel posed in these spectacular Silhouette glasses. And then there was Nerissa.... 

Nerissa 115

Silhouette started its activities in 1964 on a small scale in Austria and they had their international breakthrough in the early 1970's. My collection hosts over a hundred Silhouette glasses and the pair shown here by Nerissa may well be the earliest. The serial number 35 gives a fair indication that the glasses were made around the time of the breakthrough. The serial numbers may well have been introduced for the international market.

Nerissa 114

Glasses: Silhouette 35, made circa 1970
[L: -3.75; c-0.50 h / R: -4.00]

Nerissa 113

Another example of splendid posing to conclude this double series in the Flair glasses. It would have been easy to remove the reflection above the model's eyes but in this case my decision was to leave the bit of reflection intact. In this portrait the reflection is not distracting. It rather adds a touch of liveliness to the image. The idea also has to do with the position of the hand. A live capture of a real moment rather than a prearranged pose. Nerissa has the full mastery of both portrait categories.

Nerissa 112

Three seconds later.... The high myopic young lady surfaces, apparently aware of the presence of somebody else. Note the elongation in the corner of the left eye.

Nerissa 111

Glasses can never give 20 / 20 vision to extremely myopic ladies. This has to do with the distance between the lens and the eye. Everything is seen sharp but smaller and further away. Therefore it's not unusual to see high myopic ladies squinting in an attempt to see better, especially when it's time for another increase. The squint shown in this portrait was not the result of a request from my side and it may simply be coincidental but that doesn't matter. Nerissa delivered a very authentic portrait of a beautiful high myopic lady lost in thought.

Nerissa 110

Excellent, quiet "en face" posing by beautiful Nerissa. A touch of blue was added during the editing process to raise the contrast between the angelic hair and the white background. I like the statuesque image of an Ice Queen. In reality, Nerissa is cheerful and a joy to work with. So let's return to the neutral style of editing for the rest of this series....

Nerissa 109

The first owner of the Flair glasses was a German lady with an excellent taste for frames. Average myopia stabilizes around the age of twenty but high myopia tends to remain progressive later in life, albeit at a slower pace. The German lady in question needed glasses of minus eleven in the mid 1970's and each five years brought an increase of -1.00. She was among the first who decided to try blended myodisc lenses after their arrival on the market in the early 1980's. Five years later, another new invention became available and the lady went for high index lenses. But this alternative was not to her satisfaction either so she switched back to blended myodisc lenses in an elegant Flair frame.

Nerissa 108

An hour and a half later (and over twenty glasses later) I invited Nerissa for another series in the magic Flair glasses. Light conditions on the couch had become problematic so we tried the light in the kitchenette.

Nerissa 107

Here Nerissa is showing another characteristic optical effect created by blended myodisc lenses. The inner corner of her left eye looks weirdly elongated. This peculiar effect is caused by the positive carrier lens surrounding the bowl. Just like the half moon it's only visible from a very narrow range of vantage points. Another perfect portrait.
Over the years, these Flair glasses have become a testing piece for models and I have lost count how many ladies posed in them. Whatever the exact number, it's well over two dozen. I just never get tired of experimenting with the most beautiful glasses in my collection.

Nerissa 106

This is perfection, and that right at the start of a photo shoot. Nerissa followed my very precise directions perfectly. "Now keep looking at me.... Chin slightly up.... Face a touch to the left...." (SNAP).
From this vantage point there is no half moon. Instead, the exact position of the demarcation zone between bowl and carrier lens is revealed.
But Nerissa did more. She also managed to produce a credible, natural eye contact with her avid photographer. There is no way of telling that these are not her own glasses, let alone that she saw everything in a massive blur. A perfect ambassador for my credo that girls and women can look gorgeous in very strong glasses. All it takes is a flattering frame and a lot of self confidence.
Hat off for beautiful Nerissa!

Nerissa 105

It's a matter of navigation and precision work to produce a series that shows the intricacies of blended myodisc lenses. Here we see a "half moon" shape emerging next to the model's left eye. The half moon is created by the transition zone between the bowl and the carrier lens. No other lens type has this feature and it only emerges from a narrow zone of vantage points. Nerissa was highly motivated and she followed my directions with great care. This series was taken at the very start of her photo shoot and she really put everything into it. Great!

Nerissa 104

Nerissa posing in the most beautiful glasses from my entire collection. The pink / transparent frame is elegant but the blended myodisc lenses create magic. Here we see that the central part of the lens almost looks like sunglasses. The central part contains the extremely strong prescription needed by the first owner of the glasses. The central part has a circle shape and it's often called the "bowl". This is surrounded by a positive carrier lens that catches the light. The demarcation between the bowl and the carrier lens is not abrupt but gradual. This was done for cosmetic reasons. The same principle was used when the so called progressive lens was invented and soon the traditional lined bifocals were losing popularity.

Nerissa 103

Glasses: Flair, early 1990's (blended myodisc lenses)
[L: -13.00; c-1.00 v / R: -14.00]