I am temporarily jumping to autumn 1992. That year, the first time in my life in an apartment of my own since I moved to Sweden in 1984. And with it - I started to make my living room into something I also could use as a "photo studio". Very simple, but it worked. And learn to do portraits. And boy did I make many portraits of people, mainly friends and buddies.

Among other people, Ina and Erkki. Both so lovely people - and they were friends (but not together). Taking images of Ina, was one of my absolute favorite. Also because she was such an incredible woman and human being, as well natural and beautiful. I really, really, really miss her so much and can't find her on the Internet, after all these years. She must be in her mid 60s now.


My equipment was simple

Rolls of packaging paper as a background, and two simple studio flashes (Multiblitz from the 80s), which either had half or full strength. The camera was either the Mamiya RZ67 or the Mamiya C330f with it's 6x6 negatives.

That was it... the rest I did how my eye saw things... that way i worked myself forward, but never really learned how to do things. Or make sophisticated light settings... but somewhere along the road, I guess I did develop a sort of style in my portraits. My favorite studio portrait film was the Agfapan APX 25 film, often a notch overdeveloped and a notch over exposed - but not always. (Outdoors however, I totally disliked the Agfapan APX 25 film, and never got friendly with it... strange, isn't it ?) The other films like the Kodak T-MAX 100, I never really felt warm with either, at least not in the studio. Later in 1997, I used the Ilford Delta 100, which was perhaps the next best thing to Agfapan APX 25 film.


I loved to work with people I knew

or where close to friends I knew. Warm, cozy, friendly - that's where I felt totally at home. And often, I have to admit, I didn't even know exactly what I did - but afterwards it often turned out good.

I can't believe that these images are already 30 years in the past... how did this happen ?!


Warm Sensuality

was interesting, but somehow I was coy and shy. Actually, it was because I wasn't interested in raw nudity. I felt very much at home in SENSUALISM - and that was my strength. The warmth of a person being nude (often rather semi nude). I also had the thing of when I make portraits, i wanted people who be with a naked upper body. I felt clothes were always in the way, and preferred a naked upper body. Men or woman. Well, I took most photography of men, so it wasn't a problem, really.



With him i tried a bit more nudity, because he was both my best friend, and we had occasionally. And so Per-Olof and I could go a bit further than just doing coy portraits. Yet in 1992, it was all very innocent. You could say, sensuality which drifted a notch towards erotic. Or ended up in goofy funny photos, where we made fun of ourselves. Happened a lot !!!

- 116 -