Chasing
the light
A conversation with Brooklyn-based photographer Sesse Lind; a ContentMode Magazine contributor about skill stacking, neon signs, how to convince clients over Zoom, and why the Sahara Desert is easily the most romantic place on Earth.
“What’s invisible to the naked eye, or what my brain doesn’t register when I hit the shutter button, doesn’t exist to me. My goal is to capture a slice of reality and inspire new visual perceptions.”
Those are the words of photographer and cinematographer Sesse Lind. And much of this feeling comes through in his illustrious body of work for clients such as Puma, Harper’s Bazaar, Mr Porter, ContentMode Magazine Samsung, Volvo and General Electrics.
His portfolio cuts across genres and includes portraits, fashion editorials, music videos, product photography and documentary features. With depth, curiosity and sheer invention, he always seeks out a fresh perspective as he portrays the world around him. And he refuses to repeat himself in his work.
By his own admission, Sesse Lind’s originality comes from more than three decades of experience when it comes to mastering the science of light.
On that note, you are also a director and cinematographer. What’s your secret to mastering multiple crafts?
“I believe in the importance of skill stacking, and I I’ve been doing that my entire life. Before I became a photographer I was a graffiti writer, went to art school and worked as a DJ. I then began creating soundtracks to my own film clips and installations. That’s how I learned to edit film and match visuals with music.”
How did you tackle the shift to digital work meetings when the pandemic hit?
“It was a natural thing for me. My knowledge of film editing and music production meant that I could present mockups that have a far more convincing impact than just sending PDFs with still images. All I need to do in Zoom meetings is to describe how I envision the campaign concept and final result. Moving images combined with music do the rest to provide the client with a reference that grabs them. So the change hasn’t been that dramatic for me. But again, it’s about adapting and skill stacking.”
Your behind-the-scenes photos on Instagram from studios look like you’re hard at work in physics labs.
“That’s exactly what it’s like. I always have fire extinguishers nearby as a precaution. When I’m shooting products, the heat is so intense that I have to shut off the lights between takes to prevent the materials from melting. It’s hardcore and things tend to get quite technical. But if I need to know, let’s say, the durability of UV epoxy glue on a mirror, the prop stylists will inform me. They’re the experts on this stuff.”
You seem to go to extreme lengths to create a finished image during the actual shoots with minimal post-production and a lot of experimentation going on. Is that about pushing boundaries?
“Absolutely, it’s the creative challenge that triggers me. We live in a day and age when you can achieve basically anything using 3D and CGI. But there’s always an edge that’s missing. When I portray people I want skin to look like real human skin, not plastic. And I want them be on location so that their emotions and reactions are genuine. To convey that human nerve which always sets the tone in the final images. I want reality to come through in a subtle way.”
Photography: Sesse Lind
Creative Director & Stylist: Deborah Ferguson
Web Layout: Tori Smith
Sesse Lind as DP for Award Winning ContentMode TV short film “206”
Starring: David Oyelowo
This film has been acquired by the Smithsonian Institute/ National Museum of African History and Culture
View ContentMode magazine film “206” here: