Exploring possible human knowledge


Paul Vjecsner



The pictures on this page were taken of my distant niece in 1984, when she was seventeen. Again, I utilize light and shade in ways I find of value.

18 June 2004



PHOTOGRAPHY, continued1, 2, 3, 4

PORTRAITURE, continued1, 2, 3

COMMERCIAL ART, continued1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25


AUTOBIOGRAPHY, continued1, 2, 3, 4


She had an unruly head of hair, and an onlooker remarked that she should cut it. I felt like telling him it's none of his business, but we let the matter go, just laughing. Instead I could use her hair to advantage in the photographs. Here her flowing tresses add to the again silhouetted outline, with some of the light shining through them.


A similar, frontal, view.


With her mother again. The two hairstyles form a nice variety, helped by the breeze, and the portraits had to be captured at a right moment. Sunlight can be used with discretion on the faces, rather than flooding them.


Here the sunlight only spots her hair, with the rest in cool shading.


I liked the contrast between the rigid structure—I think a bus stop—and the soft figure, in addition to the shaded area broken again only by the strip of sunlit ground at the bottom.


Back under the sun, though turned from it by the slender figure.


A slender figure once more. It can be appealing to show distinctions in tonalities and shapes between grasses in the foreground and background and the central subject. Photographers often try to make uniform the color of, for instance, green grasses, whereas I like to bring out subtle changes, as here in the distant bluish cast.



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