DPP Home Profiles Bo Egestroem - Danish Modern

Monday, March 3, 2008

Bo Egestroem - Danish Modern

Bo Egestroem's undeniable drama and intensity recall the work of Peter Lindbergh and Herb Ritts. How does he master the elusive fashion moment?

Workflow problems during a shoot were probably the biggest thorn in Egestroem's side. The immediacy of the medium had its downside. “Every time I took a shot, the client could see what I had immediately,” he explains. “I didn't like that. It was too much information too fast. They would ask me to change specific things, but I was already six shots ahead. It's better to find your image at your own pace before showing the client. It slowed me down at first, but now I'm more comfortable with the workflow.”

As for other Danish photographers he admires, Egestroem immediately brings up Signe Vilstrup. “She's an amazing photographer who has a classic style,” he says. “She has some beautiful shots of Emmanuelle Béart and Helena Christensen. Her work is very clean.”

With a growing number of Danish photographers gracing the fashion stage, a new agency representing some of their talent recently opened in Los Angeles, Filter Management. The house represents an approach to quality, light and style that's different from the regular fare seen stateside, offering a unique flavor of photography from Scandinavia.

“I think right now is a good time for photography here in Denmark, but I need to push myself to the next level,” says Egestroem. “I want to get there without moving to Paris and push the boundaries here in Denmark. I don't care so much what magazines I can get because, to be honest, if it's less than perfect, I can make it look a hell of a lot better.”

To see more of Bo Egestroem's photography, visit www.egestroem.com.

Egestroem's Equipment
Mamiya 645AFD II
Phase One P 30 back
Briese or ARRI HMIs

“The P 30 is really good up to ISO 400,” says Egestroem, “and when I shoot with it in black-and-white at ISO 800, it still looks good. I like using Briese or ARRI HMIs when I can, but it means bringing in more assistants. I also need the P 30 because you need the higher speed for the HMIs. The beauty is that you see what you have with the HMIs, as opposed to the flash work where you're looking at Polaroids to figure it out.”


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