|“Welding” by Christoffer Östberg|
Why do I spend the majority of my free time photographing small pieces of colourful plastic?
I first tried the ultimate answer to any question and realized 42 wouldn’t cut it at all (although going Hitch Hiker’s Guide to the Galaxy with LEGO is definitely a challenge I have to visit someday, without panic). At first this question may have seemed easy enough and the answer self evident, but looking deeper, there’s nothing simple about it. What are our personal reasons for taking photographs? The answer is different for all of us. It can be as simple as love, a story that needs to be told, or a way to revisit childhood.
I have only been active in LEGO photography for a year now, and still my reasons have changed during this time.
My wife is a professional photographer and so I have always had her support and knowledge. I have also found many talented and inspiring photographers out there. Even though I have changed the way I photograph, Vesa Lethimäki will always stand as a source of inspiration. I promised always to challenge myself in photography and find new ways to play with these bricks, to cast away the innate limitations and bring them to life, sometimes with the help of the four elements. Especially close to my heart are those pictures involving fire and natural light. It’s about not having control of the situation, acting within a limited time frame with the camera to capture that which is unpredictable, be it fire, wind, water, or earth. What I appreciate about the unpredictable photographs is that they capture a moment in time, impossible or almost impossible to reproduce, triggering a realistic cinematic feeling.
Alexander Rodchenko said, “One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again.” There are endless perspectives on the simplest of objects, and all of them tell a different story.
But there are other reasons besides the joy of drowning figures or setting them on fire. The main reason still stands: I am a father of two kids who love playing and being creative with LEGO. Much inspiration is drawn from them; the imaginary mind of the young knows no boundaries.
I found that even though I strive to make all photographic effects in front of the camera, with as little post-processing as possible, my goal now, almost a year later, is to express my emotional response to the scene. This has led me to modify the image captured by the camera. If I did not alter the image, I would be showing what the camera captured, not what I saw and felt in my head. Even so, I still work more with the camera rather than post-production software.
There is a story behind every image, and it is a great feeling when my family and I decide to frame one of them and hang it on the wall. The images may seem uninteresting to people, but to me they are a reminder of what ideas spawned in my mind and what emotion stirred them to life.
So why do I keep doing this, day in and day out, sacrificing sleep and mental health. I think George Bernard Shaw said it best: “We don’t stop playing because we grow old; we grow old because we stop playing.” I don’t want to grow old.
|“Mono Wheel” by Christoffer Östberg|
|“River Crossing” by Christoffer Östberg|