Category Archives: Rythm


The camera is a very delicate instrument. It can, in the hands of talented and sensitive people/photographers, make us see life and what is happening to us or our fellow beings. And more than that, photographs make us react and act. Good or bad, beautiful or ugly images do that. What would the world be without cameras? The thought makes me dizzy.

Here is a wonderful series of images that makes me react, and perhaps act too…

Text to featured image:

Christopher Anderson (Rio de Janeiro, Brazil, 2009)

“In 2008, my first child was born. Up until that point, my photographs as a ‘war photographer’ had been about the experiences of others in far away places. Now, for the first time, I found myself photographing my own family,” says the photographer Christopher Anderson. His intimate portrait – far removed from the frontline – is included in a new project by Magnum. Up Close and Personal features the work of 68 photographers: some domestic snapshots, others glimpses of strangers in a moment of vulnerability. At the click of the shutter, one subject is caught crying, never giving the reason; another is lost in mourning. Strangers flirt; a father lifts his son in the air; a prostitute clutches her client’s back. Yet the images reveal as much about the people who took them as their subjects. “It didn’t occur to me that these photographs had anything to do with my ‘work’,” says Anderson, talking about his own family photos. “But I now realise that these images were actually my life’s work and that every photograph I had made up to that moment was just a preparation to make these photographs of my family.” Up Close and Personal features the most intimate images from Magnum Photos, as interpreted by more than 60 photographers and artists. Signed and estate-stamped prints for $100 will be available for a limited time, from Monday 9 November until Friday 13 November, on the Magnum website. (Credit: Christopher Anderson/Magnum)

p037lplxNewsha Tavakolian (Tehran, Iran, 2010)

The act of photographing can itself induce emotion within the subjects. “I decided to turn my own apartment into a studio, and have neighbours and friends come over to have their portraits taken,” says the Iranian photographer Newsha Tavakolian. “Naghmeh is one of the most popular young women in Tehran, she’s beautiful, smart and funny. I took pictures of her in total silence. Suddenly, her face expressionless, tears started welling up in her eyes, as if she was trying to show me something. Afterwards she said goodbye quietly and left.” The power of the image comes through that spontaneity; Naghmeh’s unguarded look is a far remove from a posed portrait. “Later, when I had the image framed, one of the glass plates had a scratch on it and the framer asked if he could keep it,” says Tavakolian. “He hung it in his shop. Customers debated, wondering why she was so sad. ‘You could write a book with all the stories people come up with when they see this portrait,’ the framer told me. I never asked her why she cried.” (Credit: Newsha Tavakolian/Magnum)

p037lpvnSteve McCurry (La Esperanza, Colombia, 2004)

The photographer of the ‘Afghan Girl’ image, which ran on the cover of National Geographic magazine in 1985, believes that photography itself is an act of intimacy. “In this picture, the relationship between a father and his young son reveals total intimacy with each other, and intimacy with the photographer who records that moment in time, who then transmits this feeling of intimacy with viewers wherever and whenever they see this photograph,” says Steve McCurry. “This family was not rich in material things, but very rich in relationships, trust, and the kind of love that drives away fear. They are both at ease and completely comfortable in each other’s presence without any self-consciousness whatsoever. It doesn’t get any better than that.” (Credit: Steve McCurry/Magnum)

😊  Pelle   Another BBC story

Lost and found

The Swedish photographer Håkan Ludwigson spent time in Australia in the 1980´s covering cowboys. But: Håkan Ludwigson’s images showcase the brutal beauty of Australia’s cattlemen and women. Shot in the 1980s and initially unappreciated for being too graphic, they form an uncompromising study of outback life and the individuals who pursue it.

Too graphic? Are you kidding? Isn´t that what makes images strong and interesting. However after all these years they are finally being presented in a book. Balls and bulldust / Steidl Books.

First a link to the article ( in The Guardian ) and then a link to the publisher with more great images. The square format is the Hasselblad Trade Mark. Håkan masters it and mentiones that because he was using middle format it was not the same as 35mm. He worked slower. Sometimes he also used flash  and that slowed the process even more. The result is amazing and I am happy that these great images finally can get the audience they deserve.

I am wondering.  Because he is from a country very far away from Australia, how does that effect his eyes and senses to this strange and different world? Are they more sensitive perhaps than if he was Australian? Perhaps…




Again and again and now again

I went to the track today again. I am having trouble staying away. I meet so many talented and nice photographers every time, and I learn so much that I never knew before. Or even thought about. It is exciting, never the same. But it is getting colder. For horses, jockeys and the audience. This morning it was 0 degrees and there were frost also in the city. Brrrr! I wonder how the jockeys keep warm during the races? Some were not even using gloves. I have heard that this is also a winter sport. Brrr, again! The jockeys are so short and small but oh SO strong. You see them more standing than sitting during a race, and often almost without rest they change clothes/colors and horse and they are off again. Supermen AND women!

If I remember right the next race is an evening race. Colder and darker, much darker. It will be all lights around the track. A real challange for photographers at maximum ISO. Today I have also recorded sound. Hope to use it with some images soon.

© Per Erik Berglund_MG_7475 © Per Erik Berglund_MG_7518 © Per Erik Berglund_MG_7536 © Per Erik Berglund_MG_7576 © Per Erik Berglund_MG_7621 © Per Erik Berglund_MG_7684 © Per Erik Berglund_MG_7805 © Per Erik Berglund_MG_7815 © Per Erik Berglund_MG_7892 © Per Erik Berglund_MG_8039 © Per Erik Berglund_MG_8062 © Per Erik Berglund_MG_8107 © Per Erik Berglund_MG_8115 © Per Erik Berglund_MG_8166 © Per Erik Berglund_MG_8175 © Per Erik Berglund_MG_8302😊  Pelle

More horseracing, or dressed for success.

  Perhaps these pictures should be called “dressed for success”? Some horses has to be “dressed” so they can keep concentrated on running and nothing else on the side. Some are not especially fond of going into the start box. I have missed some races lately but happily I could go to the track yesterday. Horse racing is a sport for betting and for that you need computers. When they fail there is interruption. That happened yesterday. The horses were waiting and so were jockeys and audience. During that period I managed to get some portraits of owners and horses. I get more and more interested in the contact between jockeys and horses. The jockeys riding on several horses during a day has to know all the different personalities and know how to get the best from them. It is getting darker and colder. Next time I will put my heavy boots on.© Per Erik Berglund_MG_6494 © Per Erik Berglund_MG_6650 © Per Erik Berglund_MG_6704 © Per Erik Berglund_MG_6715 © Per Erik Berglund_MG_6733 © Per Erik Berglund_MG_6740 © Per Erik Berglund_MG_6742 © Per Erik Berglund_MG_6763 © Per Erik Berglund_MG_6898 © Per Erik Berglund_MG_6928 © Per Erik Berglund_MG_7063 © Per Erik Berglund_MG_7114 © Per Erik Berglund_MG_7163 © Per Erik Berglund_MG_7300 © Per Erik Berglund_MG_7339When they are not running on grass it is called dirt track. You see why.    😊   Pelle