Here’s how Plewiński commented on his partisan-like method of work:
Each week we’d accost girls in the streets and in student’s cafeterias. They had to be noticed, encouraged, appointed. We did everything on our own, from make-up, which they had no idea about, through hairdressing to borrowing clothes from our wives’ closets.
Anna Dymna, photographed a dozen years later, in 1970, was on her second year of acting school and has already debuted in Wesele / The Wedding on the scene of Słowacki’s Theatre. A year after the publication in Przekrój, the actress starred five films, and during the works on Pięć i pół bladego Józka (in the end the film was never made) she has met her future husband, Wiesław Dymny – a poet and an actor. He was one of the creators of Piwnica pod Baranami / The Cellar under the Rams with which Plewiński also co-operated.
Plewiński quite quickly became recognisable in Kraków. Not only did he gather fans, but also some followers.
Some cases were funny, like this time, when a girl was really unsure, as if she was afraid of something. I shown her my press card, I told here how it’s going to look like. And she said: “You know, I’ve already been photographed by a Wojciech Plewiński, but it wasn’t you”.
Photo shoot in Przekrój did not seem so innocent to some. After a publication of the “excessively undressed” pictures in the weekly, Beata Tyszkiewicz was forbidden to undertake her school-leaving examination by the authorities of the Catholic school which she attended.
Theatre
The photographer speaks of his theatre beginnings with a great amount of modesty:
I got there by accident, really. Someone was sick, someone else couldn’t make it.
He received his first order from Teatr Rapsodyczny, where, among others, Karol Wojtyła, the future pope, performed. A coincidence was helpful to gain a couple of first contacts, but orders from the most recognised Kraków scenes was an effect of a job well done. Plewiński photographed plays of Wajda, Szajna, Grzegorzewski and Kantor.