Me, the morning that I learned our hamster was a mother ….Īnd courtesy of Benedicte, the mother and children themselves …. Remembering catapillars climbing up children. Hanging out at the easel with my pal, Alice the Cat. I’ll begin my survey with the big fishies of my secret Washington DC studio.Ī sea shell (hold it up to your ear and you can hear koi talking).Īnother year of hero worship, lovin’ the greatest guy ever to hold the pencil - J.A.D. It reminds me of this, and I see an opportunity. Not sure how that will go, but I note that it might prove interesting. I want to do more with this eye when I get to the big painting. It reminds me of a detail of a drawing that I made years ago (with some help from my daughter who was very young at the time). If you care to join in, a photo of the jumble appears below:Īlso got to thinking about the eye on the fish vase. I think it’s amusing trying to untangle the jumble of things available to look at in drawings like these. One still life is sitting in front of another, so I decided to draw them to pass the time and get warmed up for working. I made note of it in my diary at the time and remind myself here too! Meanwhile, back in the studio … I was waiting in the car for my daughter and occupying the time with drawing when I looked closer at the picture and noticed the color differences. I made the discover while drawing from a photo I have of the original set up. So the colors are muted and I’ve decided to revert back to that original intention. I just assumed that I had arranged it with the right side up. As I adore soft light, I used three sources: a Profoto D1, two reflectors, and one stand with an octobox.I discovered that the cloth I’m using in my still life in progress was turned wrong-side out when I originally set up the objects. I decided to use fisheye to enhance the looks and general shooting style. “My camera of choice was the Nikon D810, and the lens was the AF Fisheye Nikkor 16mm f/2.8D. I like lens distortion sometimes, it makes pictures more strange and interesting. Decades later, in Kosinova’s case, its signature distortion proved to be both timeless and daring, bridging the gap between the nostalgic and avant-garde. The fisheye “look” helped set the tone for many of the era’s defining music videos, becoming synonymous with tracks by TLC, Busta Rhymes, and Missy Elliott. Of course, the fisheye itself played an important role in the cultural landscape of the late 1990s and early aughts. Dancers serve as Kosinova’s models, imbuing the images with a playful sense of rhythm and motion. From Clueless-style plaid skirts to tattoo chokers and rhinestone bedazzling, the project reimagines some of the decade’s most recognizable trends for the modern age. Want to get your work featured? Here’s how to do it!Ĭreated in collaboration with Victor Bonchinche (aka Repetsky), a dancer from the Vogue House of BONCHINCHE, the series was inspired by the 1990s-2000s. “I like that mixture of elegance and audacity.” As part of a recent shoot, she brought back a classic tool long associated with trendsetters and risk-takers: the fisheye lens. “Fashion is the freedom of self-expression–the opportunity to combine the incongruous but, at the same time, not lose that beauty and harmony,” the photographer Daria Kosinova tells me. For more stories like this, subscribe to The Phoblographer.
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