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I think a lot about my body.

I also think about how much I think about my body, my obsessiveness over it, our society’s general obsessiveness over bodies and what they should look like. It’s not enough that we terrorize each other with strict regulations of what makes a valid body—we terrorize ourselves too.

My body, like many bodies, has carried many versions of itself over the years. As an adult, I have been thirty pounds heavier than I am right now; I have also been thirty pounds lighter. I have known how it felt to take up space, and I have known the bird-like weightlessness of bone-skinny. The median point my body rests at now is where I have spent most of the last twenty years, somewhere in between skinny and fat, the two poles of Western body image.

It occurred to me recently that in Western society, and many other parts of the world, if you are not skinny, you are fat. There exists only the two. Our brains, so used to balking at the smallest roll accumulating around our bellies or the slightest rounding of thigh, immediately associate any presence of fat as fat. I think of what has constituted a plus-size model in the fashion industry for the last forty years—anyone larger than a size 6.

We don’t have language for people who fall between, who are not skinny and are not fat. We struggle vaguely to describe them, waving our hands around trying to approximate their bodies. We are cruelly more succinct when describing ourselves, inspecting our reflections and photos for evidence of too much or not enough. How many of us, I wonder, feel fat simply for the presence of it?

I took these photos in my bathroom a few weeks ago with these thoughts in mind, in the middle of my workday (I work from home). I intentionally wore no makeup, bedhead untouched, in plain white briefs and cropped tank. I thought about what parts of me have changed as I’ve gotten older, the texture of my skin, where parts of me have landed.

I visited the doctor for a skin rash and was quietly handed a printout informing me my BMI falls in the overweight range. I read the printout’s suggestion I eat 500 fewer calories per day and wondered if that’s possible. At home, I open a draft of this blog post and scrutinize the photos; today I think I look small. Other days I do not.

Over the years, I’ve talked to a lot of other people about their bodies as part of portrait series surrounding body image, but don’t often talk about my own. I volley continuously between feeling good about how I look and wishing I looked differently, and practice honoring my body no matter what mindset I’m currently in.

 And it is a practice—there will never come a magic day for any of us where we arrive at full acceptance of ourselves and never turn back. There will always be the pendulum swing between self-love and self-loathing, but the practice of holding space for yourself exactly as you are helps keep the swing reaching closer to love.

Thank you for reading, you’re beautiful.

Chat Noir

My buddy Steven asked me to sit for some photos last month, a request I say yes to as often as I can for the homies. I’m about as comfortable in front of the camera as behind it, due in part to a lifelong practice of self-portraiture.

Like these five photos, taken by myself in my apartment before Steven arrived, because I had some time to kill and a roll of CineStill 800T (great for indoor low light), and because I was already all dressed up.

If you look closely at my right fist, I’m squeezing the rubber bulb of a cable release—a long tube that screws into my camera’s shutter button at one end, and has the hollow rubber ball at the other end. When I squeeze the ball, air shoots through and presses the shutter. (I have a 20’ one I got from B&H that’s pretty much exactly like this.)

Some of Steven’s shots from this night can be found on my IG and probably at some point on his, but still visit @mestonmestoff to peep his other work.

Thanks for reading, you’re beautiful.

Best Foot Upward

I don’t like to edit photos.

I’m kind of bad at it, probably because I don’t like to do it, and have avoided developing the skill. One of the things I like about film photography is I don’t have to—the basic corrections done by the lab during the scanning process are all I need, and it’s rare for me to make any addition adjustments.

But I do like a specialty film, stocks that are pre-exposed or otherwise tweaked prior to shooting them for the purpose of achieving some sort of color-shift or effect in the photos. I recently bought a roll of Amber D400, a color negative stock reformatted from movie film to be used in still cameras. The antihalation layer is removed from the original movie format, allowing the film to be developed in traditional C-41 chemicals (what is used to develop most color negative film stocks for still cameras), and from what I can tell from a couple Google searches, has something to do with the amber hue found in the processed images.

The result feels like a lower contrast version of Dubblefilm’s Pacific, which casts a similar (but maybe more saturated) hue. Both stocks give me 1970s Cali vibes, perfect for shooting skate or surf.

I love catching skaters flying through in close focus, sometimes capturing only their dangling feet and board in frame. I shot this roll on a late afternoon at Texas Beach skate park, shortly before rain clouds rolled through. The amber hue of the film stock seems (so far) to give a favorable effect in both sunny and overcast conditions, but I’ll definitely be shooting more to further test it out.

Image of Amber D400 film found via Google

The best price I’ve found for Amber D400 is at B&H, $15.99 for 27 exposures at time of this posting.

I normally post collections of work primarily here with one or two images on Instagram as a teaser, but typically do share all skate photography on IG as well so the homies can tag themselves. So if you landed here via Google, check out my profile here for more!

Thanks for reading, you’re beautiful.