Welcome to My Website
These images span the years 1980 to 2024, all captured with large-format cameras in sizes such as 9×12 cm, 4×5″, 13×18 cm, 16×21 cm, and 8×10″. I utilized various lenses suitable for each format, including Ektar, Dagor, Heliar, Kodak, and several brass lenses. Please feel free to inquire if you’re interested.
The collection exclusively features portraits in portrait format, reflecting the tall and slender nature of individuals. I have a particular interest in portraits as they gain depth over time; therefore, all images are dated. New images will be added as time allows.
My journey began with Roman Polanski’s black-and-white film Cul de Sac, a psychological drama featuring Lionel Stander among others. I vividly recall a striking photo marked by harsh lighting. I obtained my first camera around 1966 or 1967, coinciding with the film’s premiere in Sweden. Often, I did not have film loaded, yet I peered through the viewfinder, captivated by the ability to isolate an image from its surroundings.
My years as an amateur photographer were less than successful. I joined a photo club where we critiqued each other’s work, often highlighting numerous mistakes. However, I won first prize in a nationwide competition with a photograph of a friend known for her generous figure, which the jury appreciated.
I set up a darkroom in my basement—a space with leaky wooden walls where I taped off any light leaks. I built a bench from an old coffee table and used a lamp covered with a red plastic bag. With running water nearby, I rinsed my prints in a bucket under a faucet of ice-cold water.
I would rise at 4:00 AM to stroll through Vallentuna, capturing everything that caught my eye. In this aimlessness, I discovered, upon analyzing my negatives, that certain images shared a common shape. I honed my compositional skills and learned the importance of balance in all forms of visual creation.
After pursuing various studies, I joined Bonniers Bookhouse as a publishing student in 1978. A few years later, I studied at the Graphic Institute, and in 1980, I enrolled in the Art School in Stockholm. By then, I had secured a job at Bonniers, and my teacher, Jan Fridlund, encouraged me to work while studying. Eventually, I opted for a role as an image and publishing editor, later becoming editor-in-chief and production manager for the book The Swedish Photography History, authored by Rittsel and Söderberg.
During this period, I connected with photographer Gunnar Smoliansky, who greatly inspired me. At that time, I lived on Sveavägen in Stockholm, conveniently close to a bus stop for bus 2, which took me to Gunnar’s address on Bondegatan. He was keen on historical techniques, and as I began freelancing as a photographer, that became my primary focus. We employed large-format cameras with sizeable negatives that could be contact-printed onto various photographic emulsions. Unfortunately, my disinterest in commercial assignments posed challenges, much to my wife’s displeasure. Despite our financial struggles, we enjoyed our charming home in Vallentuna and spent summers in the south of France, where my wife’s parents owned a beautiful house.
Gunnar Smoliansky embodied minimalism and had a captivating visual language within the austere realm he navigated. Conversely, I soon developed a fascination for portraiture. I spent countless hours exploring European portrait galleries and studying the works of great masters. I encourage all young photographers to learn from these seasoned artists, as they often possess formal education. Never forget that success requires hard work; typically, taking two steps forward necessitates one step back, and self-doubt is common.
My father, a writer, often described the unglamorous toil of crafting a novel. He would say, “Writing a novel is like digging a ditch.” What he likely meant is that waiting for inspiration is futile; establishing rock-solid routines is far more effective.
Tomas Segebladh, Stockholm, April 2024