This post contains some of my photographic study of the Diamond Guard, a Muay Thai specific modification of an old western boxing guard often called the cross-armed guard, used by fighters like Archie Moore, Joe Frazier and George Forman. What I'm really interested in here is how photography itself can be used to explore a technique or a muay (a style), and the role that aesthetics plays in developing truly effective fighting skills and approaches. This is a particular interesting thought case because during the covid-19 shutdown Sylvie and I are working a great deal on this guard, something we would probably never do during regular training stints, and in many ways we are kind of making up its applications, and favorabilities, modeling them on Sylvie's muay as it already is trajectoried. Her Muay Khao forward advances, her drive to clinch engagements, the history of Muay Khao styles she models herself on. I shot these photos as a way of taking an aesthetic slice into the work we've been doing. What I'm interested in here is the way that aesthetics (or Aesthetics) - which often can be derided as the poor of a spectrum which holds "efficacy" on one end, and aesthetics on the other end - is actually the inflection point where the affective powers of the soul, the person, come to bear on the practicality of a technique. How it appears, what it feels like, what it communicates cuts into the shoreline of the Real of fighting. If one is to develop a defense, for instance, how it feels, what it expresses, what it looks like, may be vital questions for a fighter if one is going to reach the higher ceiling of one's capabilities, of its capabilities. Aesthetics, ultimately, allow the fighter to draw on the greater resources of the soul, the Self, to tap in a deeper poetry. And, this photo study is asking the question: What role can photography have in this?