My friend, Photographer Morten Jerichau, was expanding his business and talked me into helping him out keeping things organized. This basically meant help organizing the daily workflow of the photographers working in the studio and those going on-location. I did a lot of administrative tasks such as client meetings, drafting budgets, booking freelancers, planning and executing shoots, and last but not least, taking care of guests, staff and apprentices.

Client base: Kvickly/Republica; Matas; various advertising agencies and magazines.

After being noticed for my DP work on a couple of indie short films shot on film, I moved up the ranks and got freelance work as a cameraman in the danish television industry. I was hired to do sports; news; lifestyle; talk and reality shows. In a relative short period I ended up with hundreds of hours of television production under my belt, even becoming 1st cameraman on a couple of shows. At the same time I also shot a couple of music videos as a DP (also on film) that ended up on MTV and similar music outlets.

Most noticeable shows: Rent Fup; Motorola Superstars; Kokkeklar; Villa Medusa; Puls.

Broadcasters: DR; TV2; TV3 and TVDanmark (SBS)

For a decade It was kind of a fall back vocation for me, assisting commercial photographers on and off. Mostly doing corporate, advertising and magazine assignments, covering everything from portraits, advanced product set-ups, lifestyle and fashion. I had a couple of longer tenures at some amazing photo studios. Lot's of travel and on-location jobs, and working with the best camera and lighting gear available.

Some of the Photographers I worked with:
Morten Jerichau; Bent Rej; Stine Heilman; Graae & Bangsbo; Claudi Thyrrestrup; Mads Armgaard; Niels Busch; Henrik Stenberg.

Client work: Maersk; Audi; Illums Bolighus; Coloplast; Volvo; McDonalds; SAS; Lego; Sportsmaster; Pure Baby; Magasin; Euroman; Apple; Tjaereborg Travels.

Worked as a camera assistant and clapper/loader on feature films and commercials, combined with additional work as a grip, and gaffer assistant.

Feature films: "Kaj's fødselsdag", dir. Lone Scherfig; "Ondt Blod", dir. Carsten Fromberg; "Krystalbarnet", dir. Peter Thorsboe.

DP's I had the opportunity to work with: Kim Hattesen (DFF); Anthony Dod Mantle (ASC, BSC, DFF); Jacob Banke Olesen (DFF); Jørgen Johansson (DFF); Bo Tengberg (DFF); Steffen Led Sørensen (DFF).

Production companies: Per Holst Film; Metronome; Easy Film; Nordisk Film; Mand over Bord, et al.

DJ'ing as a side hustle when electronic music evolved from the realms of disco and funk, turning into hip-hop, chicago house and techno. From low ceiling basement venues to dance halls, and on to outside festivals. Pumping up the volume and spinning them Technics 1200 MK2 turntables at parties all over CPH.

In-house transfer to Poul Kofoed and Leif Schiller's film production company. This just shortly after the arrival of national broadcast channel TV2, and in the heyday of danish tv commercials. The job included doing everything from casting, location scouting, and on-set photography, to supervising voice-overs and running various post production errands.

Client work: Politiken; Rådet for større trafik sikkerhed; Shell; Burger King; PostDanmark; et al.

DP's: Jan Weincke (DFF); Jan Friis (DFF); Dan Laustsen (DFF, ASC); Erik Zappon (DFF); et al.

Assistant to photographer Leif Schiller at the largest studio complex of it's kind in Scandinavia. Having all the best gear at the disposal and surrounded by talented people and upcoming super models 24/7. Someone was always there in one of the studios working on a project, night and day. This was my beginning of learning the robes of commercial photography, and doing so in the close presence of a true legend with a roster of heavyweight clients. Thank you and RIP Leif.

Communication theories; Media history; Branding; Sociology; Audience research; Qualitative & quantitative survey design.

Web & interaction design; Concept development; Marketing & Branding; Management & Production methods.

In the summer of 2004 I took the time to formalize years of experience and get the certification by the proper danish authorities. It was an afterthought that should I ever one day want to teach the craft, it would be nice to have the paperwork to show for it.