As long I can remember I’ve been preoccupied with photography. When I was 15 years old I got my first system camera, a Praktica with two lenses. What followed were several years of intensive photography but it was first when I could afford a digital camera that I really started to develop, thanks to the fact that I could see the result directly in the camera.
With an insatiable curiosity I was soon familiar with several areas of photography, portraits, concert photography, street photography, nature photography and everything in between. It gave me invaluable knowledge about the craft and made me a technically speaking decent photographer, strongly influenced by the widespread opinion that all good photographic art is created directly in the camera. Despite this, or rather because of this, a piece of the puzzle was always missing.
The motives I sought simply didn’t exist, at least not in reality.
When looking back at my old pictures I can see how my current style of imagery slowly, but surely matured into what it is today.
Subconsciously it’s been there the whole time in terms of lighting and the choice of a motive, but it was first when I allowed the images to grow beyond the camera that the pieces fell into place and I could refine my style further.
Today I work predominantly with black and white, surrealistic photo montages. I do my photography in a studio as well as out in the field, and then combine the source material into images on the computer. My pictures start off with a feeling, a story, a riddle for the viewer to think about. I strive for simple, scaled back compositions with few elements, where every part adds to the story, but where there are still gaps for the viewer to fill.
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- Nyköping, Sweden