ITS IN THE EYES - PORTRAITS OF MIKKEL LAURIDSEN

Vero profile: https://vero.co/gundersborg

I was born in 1977 in Jutland, Denmark. However, we quickly moved to the beautiful Greenland, where I spent my first 4-6 years. My father has always been a photographer, and we had a darkroom at home. I still remember the red light and the pleasant smell of chemicals. Afterward, we moved to the picturesque island of Bornholm, with its sea and cliffs, where I attended high school and played a lot of basketball. Physical activity played a significant role in my youth. Later, I relocated to Copenhagen to study philosophy at the University of Copenhagen. I loved my studies but didn't complete the course..

I am now in the middle of my life. Photography means almost everything to me. It brings me peace and allows me to shift my focus. Due to my educational background, I tend to view different aspects of life from a higher perspective. However, I need to remember to live in the present as well.

In my youth, I used to read and write a lot, but my focus has completely shifted to photography. That's where my joy lies. It has become my passion and creative outlet, and it brings me immense satisfaction.

I made the decision to switch from writing to photography after realizing that writing was taking a toll on my well-being. My focus seemed to turn inward, and it began to have an impact on my psyche. Feeling the need for a fresh creative outlet, I recalled a time in my life when I dabbled in analog photography. This memory sparked a desire to return to photography, but this time, there was a whole new world of opportunities with digital cameras.

Excited about the possibilities, I reached out to my dad. In just a few days, I had a Nikon D40 in my hands. The transition felt natural and empowering as I found joy in relating to reality through the camera's viewfinder. I became part of the world I observed, yet maintained a certain distance, like holding the world at arm's length and observing it while also interacting with it and expressing my reality through the final images.

Perhaps that's why I have a soft spot for traditional DSLRs; there's something authentic about seeing the world through the camera's lens. It provides me with a genuine feeling. The viewfinder becomes my portal to capturing moments in their raw and unfiltered form, creating a connection with the world that feels genuine.

Photography has become more than a hobby; it's a way of expressing myself, my perspective, and my connection to the world around me. Through this visual medium, I can share my unique vision, experiences, and emotions with others, creating a language that goes beyond words and resonates universally. With each click of the shutter, I continue to discover new dimensions of reality, and I am grateful to have found solace and inspiration through the lens of a camera.

My main focus as a photographer is undoubtedly portraits. They bring me the greatest joy, closely followed by landscape photography, which I also find incredibly fascinating. Portraits have a unique way of coming alive, not only during the actual shoot but also during the editing process. It's at the computer where I can breathe extraordinary life into my subjects. People have always sparked my curiosity, and even their hands hold a special fascination for me. I often capture hands, as they reveal the story of a lived life, much like one can see in a person's face.

When approaching portrait photography, I have captured numerous portraits of friends and acquaintances, individuals with whom I share a personal connection. At times, I take on small, unpaid assignments. Family holds great significance to me, and I have taken numerous photographs of them. My sister's family is always willing to be my subjects, while my father, an avid photographer himself, is a bit camera-shy when it comes to planned portraits. However, I have managed to convince him a couple of times for a quick session in his garden.

On the streets, I approach strangers and ask if I can take their portraits. Typically, I exchange emails with them and send them the results. They usually grant me permission to use the portraits for my own purposes. I try to provide instructions, but often, the shots end up being candid and spontaneous. For such street portraits, I use a flash and a mini softbox, though it can seem overwhelming to the person I've just met, like a big lens suddenly pointed at them.

In the studio, it's a more controlled environment, allowing me time to adjust the lighting setup as needed. I use various equipment in the studio, ranging from a snoot to larger lamps with softboxes. As mentioned, my approach is quite intuitive, and I might make adjustments during the session.

People intrigue me, and it's challenging to pinpoint what exactly I look for in a model. I'm drawn to individuals who have lived a life and carry their experiences in their faces, much like my fascination with hands. At times, it's the most striking beauty that captures my eye. I also find immense joy in photographing my siblings' children, as their genuine expressions bring a sense of immediate delight.

In essence, my photographic journey revolves around the curiosity and connection I feel with people. Whether photographing friends, family, or strangers on the street, the human element and the stories etched on their faces fuel my passion for portrait photography.

In my Copenhagen apartment, I've set up a small mini studio in my living room, which has become the perfect space for my portrait photography. I rely on Sigma Art lenses, and my go-to choices are the 50mm 1.4, 85mm 1.4, and 105mm 1.4. These lenses provide stunning image quality, allowing me to capture the essence and emotions of my portrait subjects with precision and clarity.

For versatility and covering various scenarios, I have the Tamron 35-150mm 2.8-4.0, which I use for almost everything, including portraits and landscape photography. It's a great all-around lens that allows me to switch effortlessly between different focal lengths.

When I'm in the mood for big landscape scenes, I reach for my wide-angle Tamron 15-30mm 2.8 G2. Interestingly, I've found that this lens also works wonders for unique and captivating portraits, creating an immersive perspective that adds a touch of creativity to my work.

My Nikon D850 is my trusted companion, beloved for its versatility, high resolution, and stunning color reproduction. It perfectly complements my photography style, providing the flexibility and performance I need to capture memorable moments, whether in the studio or outdoors.

Filters are an essential part of my photography toolkit. During daylight, I love experimenting with long exposures, often using my ND1000 filter to achieve beautiful effects. I have both screw-on filters and a square filter system, giving me flexibility in different shooting situations. Sometimes, I opt for a variable ND filter for added convenience.

To enhance my night photography and urban scenes, I use the Natural Night filter, which helps reduce light pollution and enhances the overall atmosphere. Additionally, the Dark Mist filter adds a touch of mystique to some of my shots, providing a unique and artistic feel to my images.

Overall, my photography gear allows me to explore different styles and capture diverse subjects, from intimate portraits to expansive landscapes. Each piece complements the other, enabling me to express my creativity and passion through the lens of my Nikon D850.

When I'm out on the go, my Manfrotto tripod with a hydrostatic ball head is an absolute beast. It might be a bit overkill for my needs, adding some weight to my system, but I can't help but love it! The stability it offers is unparalleled, especially during those windy beach long exposures that I enjoy capturing so much.

In terms of lighting, I've got two trusty flash companions: the powerful SB900 and the compact yet surprisingly effective SB500. They work like magic for on-the-go portraits, providing just the right amount of light in various situations.

I also have an SU800 for my flashes and it plays a vital role in my mobile portrait setup, allowing me to creatively position the flashes around my subjects. This invaluable tool grants me the freedom to experiment with lighting angles, add depth to my shots, and bring out the best in my portraits, even when I'm not in a controlled studio environment. Bornholm, the picturesque island where my family resides, has become the perfect canvas for these spontaneous portrait sessions.

The trusted setup for street portraits.

In my photo editing journey, I rely heavily on my intuition rather than being technically oriented as an editor or photographer. I spend considerable time achieving my desired results, I find joy in using Photoshop, which offers everything I need and more. However, my biggest challenge in editing is becoming a "pixel peeper." I obsess over details like sharp eyes on the model, often leading to numerous discarded portraits. While others may not notice these imperfections in a print, it bothers me because I know it's there. This perfectionism can sometimes be limiting.

Despite this, I genuinely love the process of editing. I believe it's a natural part of the journey toward the final result. I often create multiple versions of the same portrait, searching for that elusive perfection that may never be achieved.

I portray people simply because it brings me immense joy. Where there is light, there are typically shadows. My personality is marked by a curiosity about those shadows; what lies within them. In many of my portraits, the character emerges from the darkness/shadows, intended as an ultimately positive approach. It's also a sign that we all carry some darkness within us.

You shoot a lot of self-portraits. How is that different from working with a model? Can you

tell more of what drives you and how you do it?

Sometimes it's as simple as a lack of "models". Other times it is about practicing lighting. I can easily tolerate showing myself from the ugly side - and with self-portraits you are completely responsible for the process and the expression in the final result. It is the ultimate control. Besides, you can be silly as much as you want. You can introduce elements and symbols that other "models" might balk at.

Typically, I get an idea for a self-portrait, and then I set up the mini studio and start playing with the light... Sometimes I hit the expression I want and other times "it goes completely south". I don't know if there are any profound realizations to be had when shooting self-portraits. But the cool thing is that you have a direct feeling of the state you were in when the picture was taken. In that way, it's a kind of storage of "what mood I was in. What was my state when I planned this self-portrait. I guess it's a bit like when you hear the blues, if you're a little down. If that makes sense?

Other times, you really just want to incorporate a fun hat or a lighted candle. For example, I have an old analog camera that I like to introduce, both with "models" but certainly also in my self-portraits. It's not something you have to think too much about or interpret, it's really just play.

I'm not sure if I consider myself a great storyteller through my photographs. Unlike street photography, where I believe there should be a narrative, my focus is often on simply portraying people - keeping it straightforward. Occasionally, I incorporate symbols into my portraits, especially in self-portraits, to convey certain messages. For instance, I've used a shot featuring an hourglass and an empty book to symbolize the passing of time and the importance of making the most of it. While these symbols carry significant meaning, I leave the interpretation and storytelling to the viewer.

I believe that once I release and share an image, I have no control over how it's perceived or the stories it elicits. It's up to the viewer to find their own meaning and narrative within the photograph. That's why I don't title my images; it doesn't make sense to me, and I prefer to let the audience form their own impressions. I trust in the power of photography to evoke individual interpretations and allow viewers to create their own stories based on their unique experiences and perspectives. I am deeply inspired by two incredible portrait photographers who have left a lasting impression on my photography journey. One of them is the renowned British photographer, Lee Jeffries. His work, capturing portraits of the homeless, is truly captivating. I admire his powerful editing skills and the way he portrays his subjects with great respect and sensitivity. It's evident that his "models" have lived unique lives, and through his lens, their stories come to life with profound depth and emotion. Lee's connection with his subjects is remarkable, and I find myself in awe of his artistry and the mutual respect he shares with them.

Another photographer who has significantly influenced me is my dear friend, Troels Böye (TroelsBoyePhotography), a talented Copenhagen-based photographer specializing in portraits, particularly street portraits. Over the years, we have formed a close bond and have been on a creative journey together. His work has taught me a great deal, and some of my editing styles may bear a resemblance to his, given our collaborative approach. Troels has captured festivals, music events, pride celebrations, and more, especially holding a special place in his heart for the Roskilde Festival. While he may not have received widespread recognition, his work is awe-inspiring, especially when he ventures into foreign lands like Thailand and India, where he has captured stunning portraits. I'm immensely proud to call him my closest friend and source of inspiration.

In a completely different realm, I am also fascinated by the work of war photographer Jan Grarup, who has courageously documented conflicts across the globe. His style differs greatly from mine, but I hold the utmost respect for his bravery and ability to capture the horrors of war while also conveying a glimmer of hope amidst despair. His monumental work, "And Then There Was Silence," is a cherished item in my bookshelf, leaving a huge impact on me.

Moreover, I actively engage in several photography groups on platforms like Facebook, where I follow lesser-known photographers. Social media serves as an abundant source of inspiration, and though I have moved away from Instagram due to new algorithms, I now share my work on Vero, a platform where I continue to find incredible sources of inspiration.

Overall, these photographers and the broader photography community on social media constantly fuel my creativity, encouraging me to explore new ideas and techniques in my own portrait photography journey I have absolutely no business strategy... Of course, I hope that participating in this blog will make some nice people see my photos. Otherwise, as previously mentioned, I use social media a lot, especially Vero, which is a really good image sharing tool. I am also part of a competition group on Facebook, where I post my photos if the topic suits me. It's pure fun, but of course it's cool if your picture is selected. I don't submit my photos to competitions outside of social media - this is something I will look into in the future though.

Not all my shots are received equally well! But my philosophy is that a single like must mean that there is at least someone out there behind the screen who appreciates my work. In some cases this may be enough. I think many of my portraits have a narrow audience, others appeal to a slightly larger crowd.

It might also be a little important to point out that there isn't really any money in portraiture... Unless you already "have a name" or take portraits of icons and celebrities in general. Of course, you can get an assignment where there is a small payment for the pictures, but then you usually don't have "free hands" to do exactly what you love to do. I find that people demand business portraits - and they are willing to pay a bit for that. But it's not something I cultivate. Most of all, I just want to do what makes me feel good and what I'm passionate about.

I photograph because it simply shifts my focus away from my problems and brings pure joy to my heart. There's no better feeling than capturing that moment, the anticipation, and seeing a result that fills me with pride. What makes me unique as an artist is my highly intuitive approach to photography and editing. I have a keen sense of what I truly love and what resonates with me. I enjoy using wide-angle lenses for portraits, even if it means distorting my subjects. I'm not afraid to push boundaries and challenge traditional norms. I still have much to learn on my photografic journey. I really like shooting landscapes, especially on the island of Bornholm, where the sea, rocks and beaches are often exposed to my photography. It is also where I typically make my long exposures, there, but of course also in Copenhagen, where there are also excellent subjects. So I like landscapes a lot, but they don't give me quite the same satisfaction as portraits. There are many genres within photography, and many that I have not yet dealt with extensively. I would say, however, that I am incredibly varied, and perhaps most importantly: I can appreciate photographs in all genres, but not execute them well enough myself.

As I progress on my photographic journey, I can't envision abandoning portraits, as they continually bring me immense joy. However, I am intrigued by exploring other genres, and one that has captured my fascination is macro photography. I am drawn to the intricate and detailed world that unfolds through a macro lens, though I am well aware of the challenges it poses.

In addition to venturing into new genres, I am eager to enhance my proficiency in using Photoshop. The software holds a wealth of possibilities that I have yet to fully explore and utilize. I aim to push my creative boundaries and unlock the full potential of my editing skills to bring out the best in my images.

While I embark on these new ventures, I will remain dedicated to my portrait work. Yet, I also recognize the importance of planning my results more deliberately, minimizing reliance on chance occurrences. This particularly involves refining my lighting setups to create more intentional and well-crafted portraits. Despite having a solid foundation in lighting, I believe there is always room for improvement and growth.

With a thirst for exploration and a commitment to improvement, my photographic journey is set to take me on an exciting path of discovery, allowing me to express my creativity in diverse ways while cherishing the joy that portraiture brings to my heart.