Sometimes composed, sometimes candid, Dido Fontana’s flash-heavy photographs seem on the surface to be a pastiche of the quasi-naturalistic style many photographers seem to be working in these days, but the humorous, gritty, and surreal way in which she portrays her subtly deviant subjects has more in common with John Waters’ celebration of trash than Dash Snow’s and Terry Richardson’s smarmy, self-congratulatory hipsterdom.
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