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Don’t see the image you want in the below list? Just drop me a line over the contact page - I can make any of my images available for print! I can also make them custom sized to suit your needs.
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I was driving on the highway as I glanced in my rear view mirror, and the three windmills towering over the landscape instantly caught my eye. I pulled off the next exit to look at the map if there was a way I could reach a decent spot to photograph them. I couldn’t believe my luck when I found a bridge that should provide a perfect viewpoint - I didn’t even dare hope it was a public road. But I set my gps to bring me to it, and sometimes things just work out. It was a perfect vantage point, with the highway snaking its way into the landscape and those three windmills turned towards me. I stood there and watched them for a while, and noticed that every so often the wings formed this geometric pattern. So I set up, waited for the next time that happened, and captured this image.
This image has a higher level of editing than I usually like to do. I focused on the windmills, so the traffic had to be what it was. Therefore, some cars, as well as two road signs, have been removed. I was looking to create a contrast between the heavy diesel truck and the renewable energy of the windmills. The imposing windmills make me think of a War of the Worlds imagery; perhaps a fitting commentary. The final image earned a Merit award in the 2024 Swedish Photography Championship Fine Art category.
Printed on Hahnemühle PhotoRag® Bright White with Epson SC-P900 and Epson original inks to the highest archival standards (Giclée).
This print is offered as a limited edition: 25 pieces in the size 13×13cm, 15 pieces in the size 19×19cm, and 10 pieces in 29×29cm
I must have walked past this underpassage a hundred times on my way to and from work. Then one evening after drinks, I took the same route, only to see this scene. The lone, clearly abandoned bicycle, the eerie, almost alien light from the staircase, the decay and graffitti everywhere in the ominous glare of half-functioning lights. The difference in how this place looks in daylight vs night is striking, and I had to include it in my book Stations. It took me several attempts to get the shot the way I (almost) wanted: light leaks, or other bikes or cars messing up the scene. This image is for the bold - not someone who wants just a decorative piece on the wall, but something that tells a story, and invokes questions or thoughts. At least it does in me.
Shot on Kodak Gold 200 film, with a Chroma six17 camera and a 210mm FujinonW large format lens.
Printed on Hahnemühle PhotoRag® Bright White with Epson SC-P900 and Epson original inks to the highest archival standards (Giclée).
This print is offered as a limited edition: 25 pieces in the size 13×40cm, 15 pieces in the size 19×59cm, and 10 pieces in 29×89cm
There is a segment of beach near where I grew up. One evening I happened to stop by there to spend the night camping, and I had my camera with me as the sunset really turned into something special. Sunsets can be magnificent and epic, but this one was subdued, almost quiet. There was a slight veil of cloud cover that diffused the light just the right amount. I experimented with the low contrast light and the pastel colours, having in mind an image that would feel serene. Because that’s how it felt being there.
Printed on Hahnemühle PhotoRag® Bright White with Epson SC-P900 and Epson original inks to the highest archival standards (Giclée).
This image is sold as a Limited Edition print, with 25 pieces in 13×40cm, 15 pieces in 29×89cm and 10 pieces in 40×120cm.
There’s something about a view to the sea. It feels like opportunities are endless, you can go wherever you want without limitations. Mountains are beautiful in another way, their majestic towering figure imposing themselves on their surroundings. But as someone who grew up near a beach, they have always felt a little like obstacles to me. As opposed to where the horizon meets the water and it is hard to tell where the limit to either is. The two little islands in the distance are just enough to entice an urge to go visit, explore. Maybe this is what the early seafarers felt, and then taking it to the next level going beyond the horizon without knowing that there would be an end at all. While I might not have had the guts to throw myself into the unknown at that level, an image like this at least lets me feel that urge they must have felt. Within reason..
Printed on Hahnemühle PhotoRag® Bright White with Epson SC-P900 and Epson original inks to the highest archival standards (Giclée).
This image is sold as a Limited Edition print, with 25 pieces in 13×40cm, 15 pieces in 29×89cm and 10 pieces in 40×120cm.
This image is one of the stars of the show in my book Stations, if you ask me. The interplay both with colour and contrast is something I can just stare at for hours. The lines that draw you in add additional drama together with that contrast, and it feels like you are sucked into the world where this mysterious silhouette is dwelling. I had to actually revisit this scene to get the result that I really wanted. I first captured a couple walking in the light, but realised that wouldn’t work with the narrative in the book. So I revisited it, and waited longer than security likely was comfortable with, in order to nail the character that seemingly tries to escape the image.
Printed on Hahnemühle PhotoRag® Bright White with Epson SC-P900 and Epson original inks to the highest archival standards (Giclée).
This print is offered as a limited edition: 25 pieces in the size 13×19cm with a passepartout to fit an A4 frame, and 15 pieces in the size 18×28cm with a passepartout to fit a 30×40cm frame .
This image, alongside the image “Stockholm City Hall ICM” made me a finalist in the Landscape category of the 2023 edition of the Swedish Photography Championship. While my friends were busy skiing, I traversed the top of a mountain in the thickest fog I had ever experienced, which created a dream-like landscape. This cluster of trees were a prominent feature in the otherwise barren, snow-covered landscape, and the fog removed any distractions, even removing the border between land and air.
This image is sold as a limited edition, with 15 pieces in 18×28cm, and 10 pieces in 28×38cm. Please see the information on the store front page for further information.
Printed on Hahnemühle PhotoRag® Bright White with Epson SC-P900 and Epson original inks to the highest archival standards (Giclée).
About the Prints
Limited Editions: All prints are original prints, signed by me. Some of the prints are sold in Limited Editions. This means that when the number of pieces in the edition have been printed and sold, the image will never be produced again under any circumstances. My Limited Editions come in various sizes, and each size has an individual edition run; for example an image can be produced as a 13×18cm in 25 pieces, 18×28cm in 15 pieces, and 28×38 in 10 pieces. Details on stock and sizes are outlined for the respective image. In addition, there will be two Artist’s Proofs made for my personal archives. Limited Editions cannot be ordered in custom sizes - the edition runs are fixed.
Print Quality and Paper: The prints are all archival pigment prints on high-end fine art paper - also known as giclée prints. For specifics on which paper and ink, check each item: each image has a colour palate that certain papers enhance and others detract from. The size refers to the printed image size without a white border, which all prints include (your framer will need the white border to make his/her life easier!). While pigment prints like these are extremely durable in terms of colour retention and resistance to paper yellowing - the print when properly stored will last generations - they are also sensitive to scratching. Therefore they must be framed behind a protective barrier, such as glass or acrylic. My preferred method is anti-reflexive glass to ensure the image is not obscured by light reflections (though this increases the cost by a noticeable amount).
Shipping Information
When you order a print, I will endeavour to package it rock solid. Panoramas will be rolled up and safely placed in a packaging tube, while other formats will be sandwiched between heavy-duty cardboard, with ample margins to protect the corners. The prints will also include a white border - this is both to protect the actual image from any damage, but also so a framer can easily fit the image into a frame of your choice.
Prints in more common formats (e.g. 4×5 or 3×2 ratios) will include a passepartout in a standard size in order for you to easily fit the print in a frame of your choice. I do recommend having a framer make a dedicated frame, preferably with anti-reflective glass, but recognising that this will sometimes cost more than the print itself, I believe it is more important to get the image up on the wall for you to enjoy than labour over how it is done. I would offer passepartouts for panoramas as well, but there are not really any standardised frame sizes and it would make for an unwieldy package.
Should the worst happen and something goes wrong in the shipping process, contact me and we will figure something out!