Edgar Berg

Edgar, could you share how you first became interested in photography and directing?

Some photographers talk about a defining moment when their parents handed them their first camera at the tender age of 3. Sadly, that wasn't my experience – I guess you could say I'm a late bloomer. I didn't discover my passion for photography until I was around 24. I've always been the type to dive deep into whatever I’ve found interesting. Whether it was mastering 3D graphics and animations or experimenting with other creative pursuits, I'd put in the hours to hone my skills. What drew me to photography was the simplicity of capturing an idea with the press of a button, transforming it into a tangible, finished product in an instant. Plus, the endless opportunities for collaboration with fellow creatives has kept things exciting and fresh.

How has living in Paris influenced your artistic vision?

When I first landed in Paris, it was like stepping into a trove of art and creativity that I'd only ever dreamed of. Just by strolling around and stumbling upon little details that would go unnoticed in any other city, it felt like living inside a painting. Maybe it hit me even harder because I grew up in a dull, industrial city, so Paris's romantic and picturesque charm felt like a whole new world. As a result, I became more interested in fashion because it offered so many new ingredients to play around with. Of course, that initial awe didn't stick around forever. After a while, I got used to it, and my interest shifted towards nature and landscapes. I got curious about bridging the gap between humans and nature, and it sparked a new direction for my photography. All things considered, Paris definitely upped my artistic game and came into my life at just the right moment.

Which city comes to mind when you hear the word "rebirth"?

You might have guessed it by now: Paris.

Can you describe a pivotal moment early in your career that convinced you this was the path you were meant to pursue?

I used to be a graphic designer, working in 3D and motion design, before I jumped into the world of photography. Back in 2011, a creative agency spotted my work and offered me a gig in Paris to level up internationally. It was very exciting at first, but eventually, I started itching for something different. I can still vividly recall those endless hours glued to the screen, tweaking textures for 3D animations, only to realise the next morning after rendering completed, that I had clicked the wrong box. I craved a deeper connection with my values and a more dynamic lifestyle. So, I took up photography, kissed my old job goodbye, and the rest is history. To be fair, I still sit for hours in front of the computer... but at least I get to see a sunrise in the desert once in a while, ha.

You mentioned that lighting a scene should feel like a "warm hug." Can you tell us more?

I'm totally hooked on sunrises and sunsets. There's just something about that first or last light hitting the horizon that's been captivating humans forever. Even if not all my pics are bathed in golden hour glow, it's definitely influenced how I play with lighting, whether I'm shooting in a studio or outside. Somehow, that’s my way of saying, “Hello friend, you are welcome here” to the viewer.

Can you discuss a project you believe best represents your artistic identity and how it came to fruition?

In a way, all my projects carry my artistic identity, some more than others. If I had to pick one of my favourite stories, I would mention my series 'Man on the Moon'. This story conveyed a positive message, especially during those times where everything seemed to be falling apart. It was published at the beginning of Covid in 2020. I wanted to show that human connection is key and together we can overcome all obstacles. The story is about the much-anticipated moon landing of 1969, which gave people hope for a better future and let them dream about something that had been considered impossible.