Born and raised in Tranemo, Sweden, a town of only 3,000 inhabitants, Pontus Hook says it was being “young and naive” about the chances of failure that brought him to New York City almost 20 years ago. Having gotten his start working at various newspapers and dailies in Sweden, two decades later, Hook has enjoyed great success as a photojournalist in the U.S. I had a chance to sit down with him to talk about how he got his start and what he’s been shooting lately.
EC: How did you get your start in photography? What inspired you to become a photographer in the first place?
PH: My interest in photography started in high school. They offered photography classes and I thought it was heaven to walk around aimlessly and just shoot pictures of people. My father understood I was serious, so he remodeled our sauna at home to let me use it as a darkroom. When I was 18, I started out as an intern at the local newspaper Borås Tidning. Now I have been living in New York for the past 19 years, and I’m working primarily for Scandinavian clients.
EC: You’re originally from Sweden. What made you decide to settle in New York?
It was by coincidence. I was working at Aftonbladet, Sweden’s largest daily, the summer of 1996. The photographer that was freelancing for them in New York at the time decided that he wanted to move back to Sweden. Of course, it was a huge interest among the photographers at the paper, to move to New York and work. But nothing really happened. The newspaper didn’t really know what they wanted either. I decided to take a chance. I left my apartment, I sold my car, and moved over to New York. I didn’t really think about that I could actually fail. I guess it sometime pays to be young and naive.
EC: What gear do you currently use?
PH: I have 2 Canon 5D Mark III cameras and plenty of lenses. My favorite is probably the 35/1.4 lens. Really sharp! I never leave the house without my compact camera Canon G7X, either. A nifty, little camera.
EC: Do you see yourself as primarily a photojournalist? What differences do you see in terms of how photographers manage their careers in the United States vs. those who work within Scandinavia (or for the Scandinavian press)?
PH: I see myself as a photographer that has to evolve at all times in order to stay relevant. I do all different kinds of assignments: News, PR, weddings, editorial and multimedia. Right now I’m in the midst of revamping my website, that too has to be relevant. The main difference I see between Scandinavian and American photographers is probably the mindset. They don’t have the shy-ness that Scandinavians might have, in letting the world know that they want to be successful.
EC: You recently did a photo shoot for Marcus Samuelsson of the Food Network and Red Rooster fame. What was that like? Did you score a lot of great, free food?
PH: Since I have shot plenty of pictures of Marcus Samuelsson through the years, we have become friends. I asked him if I could bring my camera and a white backdrop to the Red Rooster to shoot pictures of the restaurant’s guests, on a Sunday afternoon. He obliged. That visit resulted in the exhibition “Sunday Brunch”, which involves twelve black and white portraits. I think the series portrays the multifaceted Harlem society, as well as the elegant ritual of dressing up for Sunday church. The pictures are still on view at the Red Rooster in Harlem! I did not score any free food though, but the project has given me so much, so much.
