Sept 1, 2026 From Recorder to Storyteller: The Evolution of Photographers
Winds of Change
I have observed the changes with growing curiosity, noting a transformation in my own work. Generative artificial intelligence has become an integral part of commercial image production across many fields, and clients’ attitudes towards image material have evolved accordingly. This shift is also reflected in the requests I receive from my clients: an increasing number now seek ownership of the raw material, in addition to the finished images, for their own further processing. Whereas editing photographs was once almost exclusively the photographer’s responsibility, it is now often undertaken by the company’s own visual designer, who ensures the desired visual style for communication.
I do not believe the need for a photographer has diminished, even though some images are now created for clients in ways different from the past 187 years, traditionally using a camera. Marketing relies on visual material more than ever. What is more important is that images no longer need to be produced entirely by traditional methods, which has compelled me to reconsider the nature of my expertise and the value I offer to clients.
Having observed the evolving purchasing behaviour of companies, I understand that customers now seek vision and creativity rather than merely the final product. The hardest hit are photographers whose images are "replaceable" or resemble stock photos. Therefore, photographers must develop their skills to remain relevant in the market. I believe that clinging to outdated styles and familiar working methods will not endure in the future.
“Customers are now seeking vision and flavour rather than merely the end result.”
From Technology to Comprehensive Service
Nowadays, almost anyone can take a basic product photograph or a simple portrait after watching a few YouTube videos. The demand for the simplest, most repeatable photography tasks has gradually changed, as the "easy" photography jobs—basic product shots, standard editing, and repeatable mass production—are increasingly being automated. If you want to run a profitable photography business, technical proficiency alone is no longer sufficient to provide a competitive advantage; you need to offer a clear, modern service package that meets the needs of companies engaged in visual marketing.
The content of my work has evolved. While the camera and image processing remain my tools, increasingly the question is not whether I can take a good picture, but whether I understand why the picture is needed in the first place and how it serves my client’s business. This requires vision, experience, and creative thinking. Simply providing a nice picture no longer benefits anyone, as anyone can generate as many as they wish — it is far more important to know how to productise the image into a comprehensive solution that addresses the client’s communication challenges.
“Technical proficiency alone is no longer sufficient to provide a competitive advantage.”
From Suspicion to Collaboration
A few years ago, many of my colleagues, including myself, would have been offended if a client had requested raw images for their own use. Such a request might have been interpreted as a lack of trust or a slight on one’s professional skills — the phone would have been slammed down, and the client removed from the register. A half-day grumble session would have ensued, accompanied by social media posts expressing outrage at how anyone could make such a request.
I have held a different view on the matter for some time now: I am happy to sell raw images to anyone who requests them. For me, photographs are merely merchandise, not treasured possessions stored on hard drives, and selling ownership rights often means higher lucrative income and less work. I believe many entrepreneurs understand why such an arrangement is more than agreeable. There is still plenty of editing to be done on other projects, so I do not feel as though I am losing anything, even if some images are omitted at the client’s request. In fact, it is one of my favourite tasks — it is during this process that I see the image come to life and take its final form.
Previously, I controlled the final result right up until the very end. Nowadays, the client’s own visual designer can take the “image production” all the way to completion. My value no longer lies in owning the final version of the image or having my name associated with the published work, but in being able to help the client obtain the right image for the right purpose. The final product I deliver may be a raw image or a finished version, provided I solve the client’s problem and receive fair compensation. In this way, we also foster a customer relationship with continuity, as shared ideation builds trust, and both parties come to understand each other better through collaborative work. Future projects will proceed smoothly with this mutual understanding. A project should not be a toy for one party alone to play with, but a shared challenge that all parties enjoy.
“The right image for the right purpose.”
Towards a Visual Expert
I believe that my role is gradually evolving from that of a practising photographer to a visual expert: an art director, storyteller, and architect of the brand’s visual identity, who provides solutions and ongoing production of communication materials — rather than individual photo shoots. Technical execution is automated, but vision, taste, and the ability to understand the customer’s needs cannot be replaced by code.
Companies have a constant need for visual communication but often lack the time, professional skills, or even the inclination to implement it themselves, as it is more profitable for them to focus on their core competencies. They require someone to lead the project and take responsibility for it. My role is to devise solutions for the company’s communication needs — I possess the professional skills, vision, and ability to create a coherent and precise whole that the client understands and values because it benefits the company.
Ultimately, companies do not purchase my time, my expertise, or a single photograph. They seek to resolve an existing problem and acquire a solution from an expert — which is why I believe my role is evolving, not disappearing.
“Taste and the ability to understand a customer’s needs cannot be replaced by code.”
The raw image is not technically very successful, but the expression, pose, and mood are what make it effective.
Numerous small changes combine to create the whole. The purpose of editing is not to alter the model's appearance but to give both the model and the image a cleaner, more polished look suitable for publication.
A simple product image from which numerous high-quality product images can be generated quickly and cost-effectively.
Clear changes, including alterations to the subject, which nevertheless enhance the product. The changes are significant but provide the image with the necessary polished appearance for publication.
Aug 26, 2026 A 57-year-old transformed into a 27-year-old by AI.
I asked an AI to summarise a multi-page photography contract. I received it within a minute, and it was fairly comprehensive. Unfortunately, it omitted the disclaimers, which could have been costly if something had gone wrong during the shoot. Problems were avoided, but only because I read the contract myself – and because the shoot proceeded smoothly.
I work as a photographer and write personal interviews, among other things, and I use AI daily in both. That contract reveals more about the entire situation than any general discussion of AI: the distinction is not between human and machine, but between different types of tasks and responsibilities.
Where AI Excels
AI excels in tasks involving patterns, language, and quantity. It can summarise, translate, sketch, perform routine analyses, and produce hundreds of headline versions per minute. It does not get bored, tired, or require breaks, and its quality does not decline in the afternoon as mine does—when I am probably standing by the coffee machine more than sitting at my desk.
Of particular value is removing the first version from the to-do list. A blank page is usually a more time-consuming obstacle than a poor draft. AI produces a poor draft in seconds, and a poor draft is easy to improve because it provides a starting point to work from. Therefore, it is unrealistic to expect a high-quality piece of work ready in seconds that can withstand close scrutiny.
The same advantage is even more apparent in photo editing. When you require a specific type of dresser for an image, you no longer need to spend hours browsing the internet to find a suitable reference: Adobe's Firefly generates it within seconds, provided the prompts are sufficiently detailed. The same applies to cleaning up the background, removing dust particles, and extending the edges of an image when the cropping proves too tight afterwards. These are tasks where I lose nothing by allowing a machine to do the work – they were previously purely mechanical processes.
Choosing to use AI in your work is akin to deciding whether to dig a ditch with a shovel or an excavator.
You can either complete the task slowly over time or efficiently, thereby freeing up time for other activities beyond the work itself.
Choosing to use
AI in your work is akin to deciding whether to dig a ditch with a shovel or an excavator.
Where it fails
It does not recognise what is important; it recognises only what is normal. That is why it overlooks the very exception that ought to have been noticed.
This is not a bug but a consequence of the structure. In text, the model always predicts the next word; in images, it infers the relationships between pixels and shapes based on the data it has learned. Although the final result resembles text or a photograph, internally the machine processes everything using numbers, matrices, and probabilities. The most common answer is the statistically most likely one – and in my work, the most interesting image or the subject of the article is rarely the most common.
The most common answer is statistically the best one, yet the most interesting image is seldom the most common.
Another issue is tone. Errors do not appear as uncertain guesses but as confidently formulated statements. A person unfamiliar with the topic cannot distinguish between a correct and an incorrect answer. In images, the same problem manifests as inattention: strange objects in even stranger places, a sixth finger, two different earrings, or lighting that does not correspond with the shadows. These details are not noticeable at a quick glance—the customer only notices them in the printed product, by which time it is unfortunately too late.
Once, an AI recorded the age of the CEO being interviewed as 27, despite the fact that the man turned 57 on the very same day. The error was subtly phrased and therefore almost imperceptible – only my prior knowledge of the person’s age, combined with a careful reading of the entire piece, prevented the story from containing a false fact.
The third type is tacit knowledge. This includes understanding the internal politics of the organisation, the level of customer frustration from previous calls, and other details that cannot be documented in a memo. In the context of image generation, tacit knowledge also involves recognising the biases inherent in the educational material. The image generator repeatedly produces certain types of bodies, clothing, and faces regardless of the prompt, because that is how it has been trained. It is unaware that it is doing this. The role of a professional photo editor is to identify these biases and adjust the output to be more realistic; otherwise, you may inadvertently publish an advertising image that reflects the training data more than the customer’s needs.
Ethical consideration and responsibility belong to the same category. Responsibility cannot be delegated to a system that cannot suffer any loss. A person is always ultimately responsible for what they publish—whether it is an interview or a portrait of the interviewee.
How Collaboration Really Works
In writing, the division of labour is straightforward: AI generates the main body of the raw text, searches for facts and source material, and suggests options I had not considered myself. I pose the questions, select the point of view, structure the story in an engaging manner, and approve the final result.
When I transcribed a 30-minute interview, the AI highlighted all the relevant points—except for one sentence: “the world offers opportunities that Finnish production companies don’t offer to a man my age,” around which the entire piece was ultimately built. Discovering that required me to be present myself and to hear how the interviewee’s voice changed at that very moment.
In photography, collaboration begins early. We brainstorm ideas together, find technical solutions, and plan the project’s implementation method and schedule. I produce the raw material with the camera and edit it into its final form, aided by simple tasks performed by AI. Finally, I experiment with several variations, for example in terms of toning, which the AI can quickly generate for me. When the final mood is achieved, I accept the result. The photograph is my brainchild, even though the AI assists along the way. It does not diminish the image’s quality or ownership, but it allows me to use far less valuable working time to achieve the final result. Sometimes the same assignment requires both images and a story – I am currently writing a piece about the growth of a Finnish politician, where the image and text are intertwined in a personal interview. High-quality photographs give the story a human touch that text alone cannot provide.
In practice, failure occurs in two ways. Excessive trust means that the AI’s output is accepted without verification, resulting in errors being discovered by the customer. Conversely, excessive distrust means that the tool exists but remains unused because it once produced an incorrect answer, generated unusual results, or is simply new and therefore intimidating.
It is also important to acknowledge friction. Checking takes time. If the text produced by the machine must be read as carefully as the text written by the user, or if the generated image needs to be examined at 100% magnification for errors, any time saved can be entirely negated. That is why I have learned to choose carefully where in the work I use the machine—and where I do not.
“It’s been done before” was a valid argument in my grandfather’s time because experience was passed on as a mechanical achievement. Now, the situation is different. My last major workflow rethink occurred in the early 2000s, when Minolta’s cine film camera was replaced by Canon’s digital SLR camera. It wasn’t just a new device; it was a new way of doing the whole job – and this is what it’s all about.
The most important new skill is not writing prompts; it is judgment—the ability to distinguish a good result from a poor one.
The most important new skill is not writing prompts; it is exercising judgment.
I am currently reading Terhi Aho and Katariina Kovanen-Piippo's book, *Artificial Intelligence as a Partner*, which presents the core idea that generative AI need not be merely a tool; it can also serve as a work partner.
I like the idea. I mostly work alone and spend hours each day at my desk, so the concept of having a co-worker is appealing. It also imposes a requirement: the machine is developing at a breakneck pace, so I must also evolve my working methods. Real benefits only arise when the old workflow changes, rather than when a single step is simply added to the existing process.
If you don't start learning AI now, the hole will only get deeper — the longer you wait, the more effort it will take to climb out later.
Five years from now
Today's AI is the worst I have ever used.
The most likely direction of development is gradual rather than dramatic. AI will evolve from being a separate tool to becoming an integral part of the work process—in other words, increasingly functioning as a co-worker. It will no longer answer one question at a time but will instead perform several steps in succession, with the person confirming the results. This shifts the focus of work: the value moves from execution to the evaluation and improvement of the outcome, that is, to expertise.
In a photographer’s work, change is most likely reflected in what the client purchases. The technical production of a single image continues to become cheaper, so that cannot be what I charge for. On the other hand, the gaze, the presence during the shoot, and the ability to make a person relax in front of the camera are not becoming any less valuable – they cannot be replicated. I believe that in five years I will be selling, more clearly than now, my judgement and control of the entire process, as well as a pleasant experience for the client, rather than just files.
One thing remains constant: when something goes wrong, someone must explain it – and that someone is always a person. Trust and responsibility cannot be automated, which is precisely why they will be the most valuable aspects of the job in five years.
When something goes wrong, someone must explain it – and that someone is always a person.
That contract was signed, by the way. I added disclaimers that the machine did not consider important. My work produced many excellent photos for the client, which they use in their marketing. AI provides more time – it does not provide more discretion.
I asked the AI for a synopsis of the filming contract. It omitted the disclaimers, which could have been costly. This prompted me to reflect on what AI excels at – and where it falls short.
I asked an AI to visualise our collaboration. It saw us as a dream team. In reality, our collaboration is more mundane – but the end result is still better than either of us could achieve alone.
I asked an AI to imagine our lives in five years. It depicted a utopia of trust and cooperation. I hope it is at least partly accurate.
Aug 18, 2026 In Search of Inspiration
In Search of Inspiration
I do not yet have permission to publish my recent work projects, so I have created a fine art image instead. The subject is a photographer’s most important tool: inspiration – from the Latin “inspiratio”, which literally means ‘to breathe in’. The word itself is beautiful; it reminds us that inspiration is not something that must be forcibly unearthed, but something that can simply be breathed in, if only the mind pauses long enough. My own method of seeking inspiration is running: a quiet, clear state of mind that arises from the movement of the body.
Psychologists Todd M. Thrash and Andrew J. Elliot have studied the phenomenon in detail and described inspiration as a three-part experience: it requires receptivity, transcends everyday thinking, and generates a strong desire to act. According to their research, inspired individuals often experience greater well-being and creative self-confidence; thus, inspiration is not merely a momentary spark but rather fuels the entire mind. Photography demands consistent and positive thinking, and the best ideas do not arise from force but when the mind is allowed to be open and curious. Within us adults, there is also a little child who wishes to play and explore without prejudice. That inner child needs to be permitted to play and seek ideas, rather than being perpetually rational and controlled like an adult. Sometimes, truly unusual ideas can prove to be brilliant if we dare to free the inner child to be inspired.
But where does inspiration originate from?
First, curiosity is essential – an eye that notices the play of light on the street, and a mind that unconsciously records it for later use. Then, an incubation period is required, during which conscious thought falls silent and the subconscious finally speaks.
I am a kind of global citizen, a constantly moving individual. I have lived in several cities and different countries, each of which has left its mark on both my eyes and my thoughts. The future will take me to Belgium and France with the woman I love. Perhaps it is this mobility—the changing light, languages, and rhythms of new cities—together with a rewarding relationship, that are my greatest sources of inspiration today. Each new place and shared idea teaches me to view the world from a slightly different perspective.
For me, incubation means running. I don’t stroll around the city – it’s far too slow for my taste. Ten or twenty kilometres is an appropriate distance, during which the rhythm of my steps, my breathing, and the changing scenery begin to feel almost meditative. Sometimes the run extends even longer if my mind is not yet ready to let go.
The Combined Meanings of Photography
This photograph was born from two moments and places, each holding its own significance for me. I captured the alley in Lisbon – a city where the light falls on narrow streets in such a way that even an ordinary wall becomes picturesque, and where I have spent many wonderful months over the years. I photographed the figure, or myself, on a Sunday morning in Finland, where I currently reside. Combining the two felt natural: travel and stillness, a foreign city and my homeland, coming together in the same image – just as, in my life, different countries and cultures have gradually woven into a single story.
My Method of Searching
When I run without focusing on anything in particular, something happens that I truly enjoy: my mind clears of noise, and my thoughts begin to organise themselves, as if in a background process. It is like a computer – when there are not ten tasks running simultaneously in the background, the remaining resources suffice for the one truly important task. For me, running is a way to cut through the noise and access that quiet, clear space where the best insights are born.
Public seekers of inspiration
In Finnish art history, bohemian life and the quest for inspiration have often gone hand in hand – underpinned by the belief that by breaking boundaries, one can discover something authentic. Eino Leino, Pentti Saarikoski and Matti Pellonpää were each known in their own way for their unconventional lifestyles, characterised by red wine and freedom – a means of seeking inspiration in their era. Women such as Elin Danielson-Gambogi, Ellen Thesleff and Elga Sesemann have also contributed to this tradition.
Finally.
I also enjoy a good red wine – but for me, it is not a means of finding inspiration, as it was for many of my predecessors, but rather a moment of celebration and presence. Red wine suits me best when accompanied by a good book or a long conversation with my loved one, as the evening becomes subtly warm and relaxed, fostering a shared dialogue that sparks ideas and thoughts. I am already looking forward to the moments when such evenings continue in our new home in Belgium and at our leisure retreat in the south of France.
Inspiration is a peculiar guest. Sometimes it demands attention so loudly that it cannot be ignored, while at other times it hides so cleverly that it seems nowhere to be found. Yet it is always close—you just have to return to it repeatedly, start the conversation afresh, and give your mind permission to breathe. When the realisation finally comes, the moment is golden: a heart-warming, almost celebratory feeling that this was exactly what you were looking for. Whether it is a single image or an entire life, realising and discovering are always rewarding and liberating experiences that bring the search to an end.
Aug 4, 2026 I have an idea that will help save small businesses.
Many companies are struggling to survive today. Those in the retail sector, in particular, find themselves in a difficult position: capital is tied up in products that are not currently selling, as households save money during uncertain times and cut back on non-essential expenses. Online stores also challenge traditional retailers with their lower cost structures.Small boutiques that sell other companies' products are in the weakest position; their margins are often minimal, and profitability depends on sales volume—which is currently hard to achieve in the B2C sector.
The strengths and weaknesses of small companies are closely linked to one factor: size. They are small enough to respond swiftly to changing circumstances, yet too small to endure prolonged financial stress as larger companies can. According to official Eurostat statistics, micro-enterprises (with fewer than 10 employees) constitute 99.1% of the entire EU business population – this is not a marginal phenomenon, but a situation that affects the majority of companies.
I believe that partnerships can provide a lifeline for many. Felicia Sundberg and her husband are a good example: they work in completely different sectors and companies, yet they are an effective couple. They support, encourage, and challenge each other to improve their performance. They share ideas freely, allowing concepts to take flight through joint innovative discussions.
“Collaboration” is a buzzword on social media, but it rarely translates into practical action. Now is the time to move from words to deeds: start seeking partners with whom a partnership could, in the best-case scenario, save two or more companies.
Why is it so difficult to ask? It costs nothing, and the worst possible outcome is a negative answer – so you simply move on to the next potential partner.
I can begin with an offer: if a small business requires high-quality marketing photographs of its staff or premises, I am happy to photograph them in a collaborative spirit. Please comment on the type of collaboration you have in mind – let's see if our interests align for a productive and creative partnership in the real world.
July 28, 2026 Slowly hurrying along
I'm on my way again — this time towards Toulouse, the Pink City in the south of France, whose brick buildings glow in the sunlight as if the city itself were breathing heat. Movement has always come naturally to me because I experience joy when the landscape changes outside the window. It's good to be on the road when you feel truly alive.
Travelling offers the opportunity to experience new stories, and it is rewarding for me because I love history. Europe is a treasure trove of history, an ancient continent where modern humans arrived from Africa around 40,000 to 54,000years ago. When I walk the streets of foreign cities, I do not just see buildings and roads, but layers of time and life.
Certainly, crowded airports and tight schedules can sometimes cause a little stress. However, when I recall the old adage — festina lente, or 'make haste slowly' — the pressure of rushing fades away, replaced by the ability to enjoy the journey itself: the changing landscapes, the people passing by, and the sense of life that comes from being part of an active world. Sometimes, I simply sit at the airport, watching the hurried passengers and wondering what stories they might have to share if only they paused for a moment.
Stories have always fascinated me—like history, and most of all, the people behind them. Each of us has our own unique life and the story it has shaped. I believe that each of these stories would be worth a book, if only someone decided to write them between the covers.
Reflecting on my own life story is therapeutic for me. Every now and then, I ask myself: is this truly the story I want to leave behind when I eventually pass from this world to the kingdom of God? This thought serves as an inclusive filter, eliminating all that is unnecessary from my life, because I believe that positive content creates a happy life.
I have had the privilege of working with people from around the world, which has greatly enriched my worldview.Wealth arises from diversity, from the broad spectrum of differences. Culturally rich Europe inspires me with its diversity, making every trip a small adventure.
This time, however, the trip involves something far greater and more beautiful than new streets or old stories filled with adventures. After many long weeks, I finally get to meet my beloved. Each of those weeks, brimming with anticipation,has brought me closer to this wonderful moment when I can embrace her once more. That is why this journey to Toulouse is no longer merely a small adventure amid history — it is a voyage towards love and the joy of life, whichpaints vivid colours across the sky of my travels.
July 21, 2026 Cooperation with Pohjois-Karjalan Osuukauppa (PKO)
This summer, I began an interesting and extensive photography project with Pohjois-Karjalan Osuuskauppa, one of the region’s most significant employers and economic operators, boasting a turnover of over 525 million euros.
PKO, or Pohjois-Karjalan Osuuskauppa, is a customer-owned company operating in retail, accommodation, catering, and service sectors. In 2025, the PKO Group achieved annual sales of 640.4 million euros and provided employment for 1,689people in the North Karelia region. Last year, the company paid its owners 30.7 million euros in Owner Benefits and made new investments totalling 14 million euros.
The values and goals of Pohjois-Karjalan Osuuskauppa are to offer its customer-owners affordable, high-quality services and to promote the vitality of the region. In short, PKO aims to contribute to making the region a good place for people to live.
The project has been carefully prepared, with numerous ideas and discussions exchanged with the company’s marketing team. A public model search was organised, resulting in a pleasing number of enthusiastic new faces for advertising.People were interested because the company has an excellent reputation in the area, making the search for a model relatively straightforward, although it required considerable effort due to the unexpectedly high number of applications.
Since the project involves many different parties, coordinating communication and preparing the schedules requires considerable thought. As I will be in Finland, France, and Belgium during the project, I must be very careful with the scheduling to ensure I am in the right country at the right time.
I am truly excited to be part of such a wonderful project, creating positive communication for an area that has been important to me since childhood. This is where we spent all our delightful summer holidays, and I have many fond memories of those times.
North Karelia is a welcoming region, boasting stunning mountain landscapes, magnificent waterways, and excellent services, where everyone feels comfortable and at home.
July 14, 2026 My job, my choice – enjoying the summer weather.
I am a very work-oriented person, I always have been. I enjoy it when I get to work, because then I feel useful to myself and to society. I work six days a week, and I take Sunday off. Sometimes it doesn't work out, but usually yes, often enough anyway.
It is clear to me that when I have an office day, I sit at my desk and make sure that the day is long enough by clocking in the working time, which I actually sit at the computer. That also means that a sufficient number of tasks must be completed, because otherwise I easily get a bad conscience. The Finnish summer is short, really short. In many years, it is only warm for a few weeks, or even less. I came to Finland in May, and most of the time I have been freezing, because of course I am used to the warmer climate in Lisbon.
The sun was shining on Saturday, and it was really warm for Finnish weather. My to-do list mainly included customer contact and answering several emails. I woke up with the idea of why not do my tasks outside on a beautiful summer day, because it doesn't matter where I answer my emails. So I decided to loosen the strict rules about sitting at a desk a little, and worked outside, enjoying the warm sunshine.
I realized that even though I was working, the day still felt almost like free time. Since an entrepreneur has the freedom to choose where they want to work, taking into account the demands of the job of course, I should take advantage of that opportunity more often, to support my own resilience.
The only resource of a micro-enterprise is the one person who works in the company. If that person gets tired, in the worst case, the entire company's operations will cease, and at the same time the entrepreneur's livelihood will also cease. This happened to me over ten years ago. Having learned from that experience, today I strive to find a pleasant balance between work and free time, which feels good to me. Because when that relationship is right, you enjoy both of your time more, and at the same time you feel better mentally.
In these economically challenging times, many entrepreneurs struggle with coping. Let's try to stretch ourselves and do a little more for the company. However, it's good to remember to be kind to ourselves, our own mind and body.
It's important to take care of our own well-being, because that's where all the good things come from, both for the company and the entrepreneur. Let's all enjoy our work and at the same time the summer in between tasks, taking care of ourselves.
July 7, 2026 POOK-Watches brand
POOK Watches is a small but robust Finnish watch brand that designs and manufactures quality timepieces in Joensuu. The brand's values are consumer-friendly prices, self-designed and hand-assembled quality watches, and compelling stories conveyed through various partnerships.
Watches have been sold in approximately 50 countries worldwide, including the island of Tonga. Today, you can also purchase a genuine POOK watch at the World Watch Museum store in Madrid, Spain.
The POOK Watches brand was established in 2018 when C. Andreas Prepula set out to design a diving watch for his father, inspired by the Citizen model named 700 A, B, C. Andreas' father, a professional diver, was able to see the completed model before he passed away.
The next models designed were the Kompressor WKR03001, 002, 003, and Nitrogen I, II, III Limited editions. These three watch models marked the beginning of POOK watches' fascinating journey, which includes many remarkable and unique collaborations with various partners, such as RUK, Osasto Lauri Törni Perinnekilta ry, Poliisin Tuki ry, Moomin Characters, Ulla Kulju, Mika Salo, Amorphis, and the band Nightwish.
Today, POOK Watches is a brand founded by two men who are passionate about timepieces and wish to share compelling stories of their partners through high-quality, self-designed, hand-assembled watches.
Watchmaker Jani Ikonen is responsible, among other things, for the design and assembly of models at the Kello Ahjo / Pookwatches Workshop store on Suvantokatu, Joensuu, while attorney Jyrki Piiparinen manages current affairs.
In the early days of the company, various parties were approached for cooperation. Nowadays, collaboration proposals also come to POOK Watches, thanks to outstanding products such as the POOK-Salpa, created for war veterans. TheFinnish Reserve Officers' Association and the Reserve Officers' Association were involved in this project. Additionally, there is the POOK Watches x Nightwish Yesterwynde Limited Edition, produced in partnership with the band Nightwish. This collaboration was particularly gratifying for Jani Ikonen, as he is from Kitee and has a metal heart beating in his chest.
A request from the relatives of a watch enthusiast to have the POOK brand’s anchor logo engraved on a tombstone—which carries two distinct meanings—also speaks volumes about the relationship between the brand and its customers.
On old sea maps, an upside-down anchor signified a harbour of peace where it was safe to anchor. Another meaning was that an upside-down anchor on the bow of a ship indicated that we were coming home and wished to be left alone. This symbol is over 2,000 years old, having once been the emblem of a ruler.
The letter P in the logo stands for 'Pook', meaning a lightless lighthouse, while the letter W represents 'Watches', together forming the brand's name.
The next model to be released, the TBL Thin Blue Line, has been created in collaboration with the Finnish Police Support Association, which provides assistance to police officers in need. This model is a typical collaboration for POOK Watches, as the brand aims for the item to convey a genuine and powerful Finnish story that will be remembered.
The POOK Watches brand is also launching some intriguing collaboration models this year, with several set to continue into 2027. It is therefore worth keeping a close eye on the brand’s pages at https://official.pookwatches.com
May 22, 2026 'Extra' Pictures Case
Portrait photography is a process that evolves and develops as it progresses. Often, the initial photographs are not very successful because the model may feel tense and uncertain about how to behave in an unfamiliar situation.
Once this phase passes after a few minutes, the actual portrait photography begins, producing successful shots if the model is well guided. At some point, the model’s concentration often wanes, and the quality of the images may decline. During lengthy photo shoots, especially when multiple outfits and various lighting styles are employed, appropriate breaks are essential to maintain the endurance of both the photographer and the model.
This series of images comprises photographs that failed entirely in their original context. However, something about them intrigued me, so I decided to experiment with various versions. In the end, I believe I found a style and form of editing that brings the photos to life. They differ significantly from the original concept, but perhaps that is why I like them, they are the so-called 'extra' photos I almost deleted from my hard drive as failures, yet have been given a new lease of life through editing.
April 11, 2026 Corporate photography case in Lisbon
I photographed a stylish gentleman who is a managing director of a multinational company and a strategic consultant for another multinational company. Due to his work, he requires up-to-date portraits, which are typically refreshed every six months or at least once a year.
In photography, we aim to create images that appear professional without seeming overly stiff or formal. Slightly more relaxed photographs are more approachable and, in this context, reveal more about the model's personality and attitude towards life.
Portrait photography is 90% guiding the model and 10% actual photography. Sometimes guidance and advice are needed more, but on this occasion, I did not have to instruct the model much, as he is accustomed to being photographed, so a relaxed and natural expression was achieved very quickly.
The photos genuinely convey the CEO's youthful and cheerful attitude, which he maintains through sports, yoga, and other activities. Such images serve as a marketing tool in his work, used almost daily; therefore, it is important that they accurately reflect reality.