Life in Plastic

I grew up obsessed with Barbie.

She was my favorite toy, and my earliest avenue to imaginary play and fashion. My mother loves Barbie too, and spent hours with me pairing outfits. When we couldn’t afford a real Barbie house, my mother charmed carpet samples off the salesmen at the flooring store across the street, and laid them on the floor in the corner of my bedroom, each colored square representing a different “room” in Barbie’s house. She hung vintage scarves low on the walls to represent Barbie’s posh wallpaper.

My mother never outgrew Barbie, and neither did I. We both still have impressive collections, mostly cobbled together from thrift stores. The majority of mine are unboxed and piled in a basket in my living room; the shelves in my mother’s house are lined with collectible Barbies still pristine in their packaging and interspersed with thrifted dolls dressed in crocheted outfits she finds on Poshmark. Thirty years later, we still sit together on her couch and dig through piles of Barbie clothes.

The Barbie movie, directed by Greta Gerwig, opens in less than two months (the weekend of my birthday!), and the plastic princess has been heavy in media lately. I had the idea for the below photoshoot when thinking about Barbie’s hard plastic smallness in comparison to my body’s soft muchness. A lot has been made of Barbie’s impact on girls’ body image; her proportions have been proved to be nearly impossible for an actual human body to function. The flowing blonde hair, the miniscule waist, the blue doe eyes, all pose a risk to a young person’s developing self-esteem.

But as a child of Barbie, I never thought of her as someone I needed to emulate. She was a vehicle for fun clothing and imaginative adult scenarios I wanted to play-act. It never crossed my mind that I needed to look like Barbie; I simply wanted to use her bendy little body to live out adult life as I saw it in my young mind. I appreciate the more inclusive versions of Barbie that have hit shelves in recent years, but growing up in the eighties, I understood Barbie could be her version of beautiful, and I could be mine.

Which I also credit to my mother, who is brunette and curvy and proud. My mother teaching me that we were beautiful no matter what anyone else looked like, fictious or not, had far more impact on my self-image than the impossible proportions of a doll. I have more ideas for Barbie photoshoots to come this summer, and although I initially was not sure how this one would pan out, I am beyond pleased with the results. It captures everything I had in my heart when I set out to make it, the juxtaposition of Barbie’s femininity versus a real woman’s, and the beauty of both.

As always, comments and thoughts are welcome. Thank you for reading, you’re beautiful.

She's in Bloom

Hello!

I haven’t blogged in a couple weeks—I’ve been mostly posting one-offs to Instagram and sitting on a few rolls a film that have actual blog-worthy collections on them, one series in particular that I have been very much looking forward to seeing.

A few weeks ago, I took a walk through my city and shot an entire roll of closeup flowers. I rewound that roll, reloaded it (trying my best to wind to to the same start point without any markers), and then shot a roll of self-portraits in the park. The portraits themselves were a bit of an ordeal; my air cable release wasn’t firing reliably, and the needle inside it that pushes the shutter button wasn’t retracting after being fired, so when I advanced the film, it would immediately fire again. After each shot, I had to disconnect the cable release, manually push the needle back in, and reattach to my camera. When I first I arrived at the park, the cable release wasn’t firing at all, and I almost packed up and went home.

Glad I didn’t.

The below images are my first attempt at intentional double exposures (we’ve had a few happy accidents like the ones posted here). My friend Steven, the unofficial King of Double Exposures, gave me a few tips, the most important being to push your film a stop or two. He does it using aperture, but I did it by setting my camera ISO to 800 for 400 speed film. It took my brain a minute to understand why this is important, but the way it makes sense to me is to remember your film is a negative. When you take a picture, the light exposure is “taking away” material from the film strip that results in your image. If you push your film, it will underexpose it, leaving it a bit dark. Your second shot then “takes away” more of the film material, creating a more ideally exposed image.

Here is the full set of my floral self-portraits, including a few screw-ups that I just like aesthetically.

Thank you for reading, you’re beautiful.

Más Moss

One of the things I love about photography is that I’m never done learning. It’s not even halfway through the year, and already I’ve experimented with a bevy of new elements: double exposures (more to come on that), printing at home for the first time, video, using more expired film, and macro photography.

This set is a combined experiment on those last two bits. I’ve been doing some nature walks with plant-minded friends to capture closeup shots of moss, lichen, and mushrooms (see here and here for more), and recently brought along a roll of expired Kodak Max 400 (expired 2008) to see what would happen.

Expired color film tends to run a bit dark, and macro photography needs a lot of light. It was also an overcast day, under the cover of tree canopies and brush. It could have gone either way. But the result was a series of warm, reddish-toned images that rendered our backyard flora and fauna otherworldly.

Thank you for reading, you’re beautiful.