The viewer of Björn Persson's work becomes part of the meeting between the photographer and the animal. The moment when one mind meets another, sometimes so close that a horn or paw risks scratching the camera.
Text: MARGITA INGWALL
Björn Persson often lies on the ground to take his photographs. This closeness gives the photographs a perspective in which the elephant, the rhinoceros, the lion, the animal, becomes intimate, and meets man on the animal's terms. Then we see the individual features, the emotion reflected in the eyes. The photograph possesses a striking sense of reality and dreamlike at the same time.
“Every individual is unique, which applies to animals as much as it does to human beings. Gaining their trust often involves giving them time and behaving in such a way that I arouse their curiosity rather than being perceived as a threat. To get the picture of the rhinoceros, for example, it took four hours to get close to this beast who can hear perfectly but sees poorly. I chatted with him all the while I moved forward, then sat still with my back turned to create trust and finally crawled forward,” says Persson.
Already at a young age, he was attracted by Africa's wildlife and began working at an animal rehab in the Kruger Park in South Africa. The glow of commitment shines forth when Persson recalls how he got to sleep with a cheetah cub that had lost its mother and needed comforting physical contact at night. Or the time when he himself was in a fragile state and an encounter with an injured male lion, who was fighting for survival, helped Persson regain the spark in his own life. The lion conveyed a kind of hope. Wordless of course, but strong.
“It may seem strange in a way that we humans with our big analytical brains still haven't taken to heart the fact that all creatures communicate with each other. And that it is possible, at least partially and often on a deeper level, to achieve an understanding that also includes empathy. Just as we in many ways share the same basic needs such as intimacy, security and strong family ties.”
He has always regarded himself more as an artist rather than a photographer, and conveying a message or a feeling, regardless of technique, is his primary motivation. As a young man, he did a lot of painting and the camera became another tool. With the digital revolution, millions of pictures are now taken of animals in Africa. But since Persson's purpose with his work is to touch emotions and create commitment to animal issues, it was natural for him to use art photography as a means of expression.
“Every individual is unique, which applies to animals as much as it does to human beings”
Mfalme by Björn Persson
“I want my photos to have a depth and dimension that goes beyond the purely documentary. For me, it's not enough to just take pictures of what elephants look like, I want to try to capture their souls in the pictures. I want the viewer to feel what I felt at the moment I took the picture. For that reason, post-production is as important as the instant of photography itself. Another important aspect is originality. Nature photography is often defined and strongly marked by conservative views and rules on how to work and think. For me, it has always been important to break rules, which is necessary if you, as an artist, are passionate about creating your own style and a personal means of expression.”
Björn was at the national park’s animal hospital for a couple of years, among animals that had been injured, usually by human influence. Then he started working with anti-poaching measures which involved sneaking around the savannah and the forest, while he learned from the native park rangers the best way not to disturb the animals. This task provided excellent training in learning the body language of the different species and how they communicate with each other.
“An early decision I made was not to photograph the terrible injuries inflicted on the animals by poachers. Instead, I wanted to show them in their natural state, to create fascination rather than frighten the viewer. My photography is always about arousing commitment and opening the eyes of my fellow humans to what is hidden in these encounters between the animals and us. When I recount these experiences in various contexts, the reaction is rarely skeptical. Instead, I get to hear about other people's experiences of closeness, empathy and heartfelt communication between them and animals.”
Björn Persson photographed by Bisse Bengtsson
He believes that there is much that goes on between and within different species that cannot always be explained by science.
“Today more and more attention is paid to the abilities we ourselves have to connect with others as part of our survival strategy, for example how strongly the sense of smell affects us. It is also important to remember that no one today can prove what consciousness is, or how it actually works. Only that it does and that all living creatures have a richer inner life than we have so far understood.”
After the Kruger Park, it was time for the young man from Helsingborg to move home to Sweden and to Stockholm, for a career as a ‘jack of all trades’ in advertising. But for this animal enthusiast, there was always a craving for completely different stories.
“What never stopped inside me was the longing to return to the animals. To spread knowledge about their living conditions, which are now completely dependent on how humans manage the environment. The result being that more and more species are threatened and will disappear. This became the driving force for me to go back. To leave my advertising career and devote myself fully to documenting the animals, because some, like the long-horned white rhinos and giant-tusked elephants, won't be around anymore within five to ten years.”
Photography with its unique character of absolute presence combined with detailed technical tonality, touches the observer deeply. Björn describes an ongoing artistic flow where his inspiration derives from the encounters with African animals. When he is face to face with a rhinoceros or an elephant it is as if he is entering another dimension.
“I want the viewer to really feel involved in meeting the gaze of these magnificent creatures, to feel the closeness with each unique individual.”
“Everything else around me disappears. It’s a feeling of reaching a kind of higher consciousness and a state of complete euphoria. I think to love what you are photographing is the most important aspect of photography and knowing how to take a good picture. Knowledge of camera technology can never compensate if that feeling is missing. It is chemical, it spreads and penetrates the surface of the image and communicates to the viewer. My photography is dramatic and tells a story, based on the fact that life becomes richer when we take risks and follow our inner voice. The decision to devote myself to photographing these animals is the best I have ever made. I want the viewer to really feel involved in meeting the gaze of these magnificent creatures, to feel the closeness with each unique individual. To become committed to the importance of doing everything we can to keep them alive.”
So, his photographs become historical documents, memories of these meetings. Magnificent works that make a difference with their call for a greater understanding of the strong ties that bind all life on earth together.