I still get a real kick out of making books. There’s a rhythm to it – a steady pulse that begins with an idea, swells through weeks of editing, and finally slows into the quiet satisfaction of holding the finished piece.

The square 21.5-centimeter format has become a favorite – perfectly balanced for single-page compositions, yet generous enough to let panoramic, double-spread images breathe wide open.

Above all, making books that share my love for places – landscapes, cities, and corners of the world I’ve visited more times than I can count – feels like a calling unlike any other I’ve known.

I have at least a dozen more books ahead of me, and right now I’m deep into one about Österlen in southeastern Sweden. It’s a place I first set foot in back in 1998, armed with one of the earliest pro-ish digital cameras: Canon’s DSLR D30, with a whopping 3,1 megapixels and a CMOS APS-C sensor.

Compared to my three-year-old iPhone 14 Pro Max, with its computational wizardry and intelligent image processing, the D30 seems prehistoric. Yet those first frames still carry a raw, unpolished charm – proof that it’s the eye and heart, not just the gear, and certainly not the megapixel count, that creates the image that tells the story.

Yesterday, I shot the background image for this chapter’s collage at Copenhagen’s Central Station – a place that always feels like a portal. Standing there, with the clatter of trains, feels like I’m already en route to somewhere else entirely – leaving landlocked Scandinavia for a place where luck and serendipity tend to write my most memorable stories.

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