Outoffocusmag
Circa 2010

 

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Outoffocusmag was a Sweden based web-gallery for images that had not been published and a platform for everybody interested in telling stories visually.
This was their website for a number of years.
Content is from the site's archived pages.

 

Thanks to all the photographers contributing to Outoffocusmag.com. You may also want to subscribe to our newsletter by sending a short mail.

 

PRESS

 

 

 

What is Outoffocusmag?

Outoffocusmag is an online gallery and will be a meeting place for everyone with an interest in the narrative image. Outoffocusmag will be an inspiration source and a display window where photographers can show themselves and their projects to others.

Why Outoffocusmag?

We have seen many good pictures and reports that unfortunately are hidden in some negatives or on any hard disk without being shown to a larger audience. We think it would be a shame not to see these amazing jobs and we think we are not alone in our curiosity on good pictures and image stories. Outoffocusmag will inspire and motivate for own work and own projects. It is important that good photos are displayed by being published. The photograph must get a stronger position. We want it to evolve and the debate about the image is continued.

We have seen a lot of excellent essays which now unfortunattely are stored in as a drawer or at as harddrive without public access. We feel it would be a pitty to not be able to see these fantastic pictures and reports, and we as weel are convinced that others feel the same way. Outoffocusmag aims to inspire people to work with reports and essays of their own. Vår vision er at styrke fotografering både som et kunstform såvel som et medier til at fortælle historier visuelt.

Who is Outoffocusmag?

Outoffocusmag is run by David Schreiner and Pontus Baum.
David is responsible for the image-based part of Outoffocusmag. David works as a freelance photographer with portrait and reportage photography and works as an image editor. Pontus is responsible for the technical ensuring that and has also built the site. Pontus Outoffocusmag is directed and edited by David Schreiner and Pontus Baum.

"We have seen many good pictures and reports that unfortunately are hidden in some negatives or on any hard disk without being shown to a larger audience. We think it would be a shame not to see these amazing jobs and we think we are not alone in our curiosity on good pictures and image stories, David and Pontus write on the site.

The idea is that the web magazine should contain ten reports per issue. Right now there is room for another eight photographers in the first release.

Sponsors Wanted

Do you have a company and want to be seen on Outoffocusmag and in our newsletter you will hear. We are looking for more sponsors to run Outoffocusmag even in the future.

 

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As an agency art director, I’m constantly searching for a visual language that breaks away from the predictable—something that feels authentic, narrative-driven, and just a little bit unexpected. That’s exactly the mindset I was in when I came across OutOfFocusMag, and it immediately clicked as the perfect reference point for a portrait-driven campaign I was developing.

What struck me first was the site’s commitment to storytelling over polish. These aren’t your standard, over-retouched, perfectly lit commercial headshots—they’re raw, observational, and deeply human. The way the photographers lean into mood, imperfection, and narrative gave me the confidence to push our concept further into non-traditional territory. I wanted portraits that felt like fragments of a larger story rather than standalone images—and this site showed me exactly how powerful that approach could be.

In the early stages of the project, I shared a selection of these image stories with artist and photographer Rue Sakayama. Her reaction was immediate—she was genuinely intrigued by the tone and completely on board with exploring this less conventional direction. That moment was key. It validated that we weren’t just chasing something different for the sake of it—we were tapping into a visual philosophy that prioritizes narrative, atmosphere, and emotional truth.

What I especially appreciated about OutOfFocusMag is its openness. The idea that the focus is purely on the strength of the imagery resonated with how I wanted to approach casting and execution. It freed us from thinking in terms of traditional “talent” and instead allowed us to focus on character, presence, and story. That shift had a huge impact on how we directed the shoot.

We ended up creating a series of portraits that felt almost like editorial essays—each subject captured in a way that hinted at a larger narrative just outside the frame. Lighting was more intuitive, compositions were less rigid, and we embraced moments that would normally be considered imperfect. And that’s where the magic happened.

In the end, the campaign was a huge success. The client absolutely loved it—not just because it looked different, but because it felt different. It connected. It stood out. And it told a story in a way that traditional headshots simply couldn’t.

OutOfFocusMag didn’t just inspire the aesthetic—it helped shape the entire creative direction. For anyone looking to break out of formulaic portrait work and explore something more narrative and human, this site is an incredible reference point. Markus Graff

 

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04-17-2010
Jimmy Linus – Eagle hunters of Mongolia

More than 200 years ago, the advance of the Russian Empire troops pushed Kazakhs to neighbouring countries. Southern Kazakhs were allowed to settle down in the remote parts of western Mongolia. Along with them, their long-lived tradition followed.

”I have been hunting with eagles for about 40 years. My father taught me how to master eagles when I was a child., now I am teaching my son how to become a respected hunter”, says Farathan Khavilhak.

He is one of the certified eagle hunters in the area. He explains that hunting with eagles is a lifestyle, a tradition dating 6000 years back. He estimate that he has been training around 140 eagles during his lifetime. Some eagles are easier to train for hunting than others. Those who are not quite as successful as hunters he releases back into the wild and the ones that can be trained in to perfection, he can sell or trade. One good eagle gives him a good horse in exchange.- -Last year during prime hunting season, which is between October-February, the eagle that we used today hunted down 20 foxes per day, says Khavilhak. It is during the coldest months of the year the hunt is at its best.

Foxes, hares, other small birds and even wolfs are among the target of prey for the eagle. With her magnificent eye-sight the eagle scan the wide landscape for prey. Once found, the prey has little chance to survive the soon-to-come attack. The eagle leaves the arm of the hunter and sets off. She uses her enormous wingspan and can accelerate up to a speed of 240 kilometres per hours. After a few seconds the attacked animal is struggling for its survival.

When I ask Farathan Khavilhak for how long he will be hunting with eagles. His answer is short but descriptive,
-As long as live.

Jimmy Linus is based in Oslo and works as a reportage photographer. His website can be found here: www.jimmylinus.com.

 

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04-01-2010
Mikael Raymond – Svenska stämningar

From time immemorial the Nordic peoples (folk) soul has been shaped by the struggle between the seasons. The contrast between light and darkness, between hope and despair, between elation and melancholy. The Scandinavian soul, like the bear seeks isolation, when the sun turns its face to other latitudes; with the desire to retire, to hibernate, reflect and contemplate, a going within; and from this ambience comes creative inspiration.

It is my desire and intention to try to capture the beauty present in this contrast between the light and the dark, and the interaction of colors, with natures unruly and unconditional constitution, this is the key.

I am a self-taught photographer who is inspired by the French photo art scene. I want to portray the Swedish with my photo, but from a French-inspired art photo perspective. I photograph with the digital technology and with the help of it bring an analogous feeling into my pictures. I have a penchant for the square format as it fits my composition very well. I attach great importance to the light and the blackness of my images, and the color tone may reflect the specific feeling I had at the time of the photo.

www.mikaelraymond.com

 

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03-17-2010
Brendan Hoffman – Haiti – The Petionville Club

On January 12, 2010, a 7.0 magnitude earthquake struck Haiti, killing more than 200,000 people and devastating the already struggling city of Port-au-Prince. Those who survived were mostly left homeless and without food or resources. Up to 50,000 people erected a camp near the edge of the city on a private golf course known as the Pétionville Club. Here, life has slowly taken on a comforting sense of routine. Those who lost homes, jobs, and loved ones are, in the absence of any alternative, moving forward with their lives. However, conditions will remain difficult for a long time, and no one will ever forget the day when the earth moved and changed the destiny of an entire country.

Brendan Hoffman is a freelance photographer based in Washington, DC, where he regularly covers Capitol Hill and the White House for a variety of clients including the New York Times, Getty Images, and the Wall Street Journal. He has also undertaken personal projects in Azerbaijan, Russia, Peru, Mexico, Haiti, and in the U.S. His work is syndicated by Corbis. Recent awards include attending the 2009 Eddie Adams Workshop and selection as a finalist in 2008 for the first grant under the David Alan Harvey Fund for Emerging Photographers.

Contact info…
photo@brendanhoffman.com
www.brendanhoffman.com
+1 (202) 285-1391

 

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03-09-2010
Jonas Palm – Human Zoo

The Long Neck people are an ethnic group famed for their tradition of women wearing brass rings around their necks. The people have become refugees from Myanmar (Burma), and the vast majority of the Long Necks live among 110,000 other refugees in camps on the Thai side of the border. The United Nations claim that the Long Necks are refugees for political reasons, while Thailand withholds that the reasons are economical. Regardless of cause, the Long Necks are bereft of their personal identification documents and in practice, they are prisoners without chains…

Acting as a “human zoo” for tourists, the Long Necks contribute considerably to the economy of Thailand. In return for being on display, they receive a monthly ration of rice and, given that the traditional rings are worn, also minor financial compensation.

It has been speculated that the rings were worn to protect against tigers striking for the throat, but this has subsequently been identified as a myth. According to their own history, women of the Long Necks have worn the rings since 1070 AD, mostly for decoration and to gain status.

The women start wearing the rings very early on, and this has a considerable effect on the bodies of the young women. The collarbones and ribs collapse from the pressure of the rings, weighing in at between six and seven kilograms for a grown woman. This collapse of the skeleton is what causes the impression of prolonged necks.

In the tourist villages you can see women weave and do handiwork, but the craft is only a way for the previous rice farmers to supplement the rations of rice.

Jonas Palm

After taking part in a military photography-training program in the early 70’s, I have been working professionally with photography. In 1976 I started running my own company, and the focus of the work has been documenting different tribes, cultures, and people. Since four years, my wife Kai and I also supports and is involved with one of the Long Neck families. You can contact me at: jonas.palm@edu.avesta.se
Posted in Essay

 

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02-24-2010
Emily Berl – The Wrestlers

This story is about the members of the New York Wrestling Connection (NYWC), an independent-professional wrestling company based in Long Island, New York.

Although the Professional Wrestling boom of the 1980’s has subsided, the sport is still one of the most watched cable television programs in the United States. Despite it’s many avid fans both in the U.S. and abroad, many people do not understand wrestling at all. They don’t grasp why people would watch a sport that is not real. ]But as Jimmy “The Greek God” Papadoniou, a senior member of the New York Wrestling Connection, said, “the outcome is determined, but wrestling is not fake.”

Wrestling is about skill, technique, delivery, dedication, and character. You have to sell the part no matter what. These men hold themselves to a high standard. The truly dedicated ones train with the NYWC three times a week and work out constantly on their own. Improvement is always on their minds, with the ultimate goal of getting signed to World Wrestling Entertainment (WWE), or other mainstream wrestling companies where fame and money are guaranteed. The wrestlers of the NYWC see their diverse group as a family, one where respect for brothers and superiors is crucial.

At first, I decided to photograph pro wrestling because I thought it would be a visually interesting story about a culture that I did not know much about. I thought I would photograph one match and that would be it. But instead, I started spending more time with the wrestlers and realized that, to them, this is much more than a fun pastime, it is a lifestyle. To them, wrestling is a chance to follow in the footsteps of their childhood idols, superheroes of their youth. It is a real opportunity to be a part of something.

Emily Berl was born in Washington, DC in 1985. She is currently a freelance photographer based in Brooklyn, NY.
202.549.6949
ejberl@gmail.com
emilyberlphoto.com

 

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02-12-2010
Tammy Law – A Far Away Place

A country with a tumultuous past, present and future. At the same time, a place of unparalleled beauty. For outsiders, famine, war, poverty and drought are the things most synonymous with Ethiopia. Even now, it’s still one of the least developed countries in the world, so those preconceptions wouldn’t be entirely baseless.
During my month-long visit, I experienced extremes. Ethiopia’s diversity of terrain means there are wide variations in climate and settlement patterns. Within the space of two days, we drove from the wet season in the capital Addis Ababa, before being greeted by a thick blanket of heat and humidity in Logiya in the Afar region.
Based in the North-Eastern lowlands of Ethiopia, the Afar region is notorious for having the most fragile environment within the country and is also known as the hottest inhabited place on Earth. Within the past decade, the region has undergone four major droughts, wrecking environmental havoc that has almost decimated their pastoralist livelihood. Community elders spoke of the deterioration of pastures and consequent depletion of bred cattle and goats. As the majority of Afar live as nomads, their livestock represents the basis of their economic foundation and with this being threatened, so is their very livelihood.
The Afar have a deeply paternalistic attitude, which is obvious from birth to burial. At the birth of a baby boy, two celebratory gunshots are fired into the air while female births go unacknowledged. Seven-year-old girls are expected to assume a role of servitude within the household and conduct daily tasks alongside the women, while males are free to do as they please. At the end of their lives, male graves are more distinguishably marked and revered. The Afar have a traditional saying that seems to embody much of what I saw: ”One should give an ear to a woman but not take seriously what is said.”
In a lot of ways, the country still lingers behind the rest of the world, both practically and symbolically. According to the Ethiopian calendar, for instance, it’s the year 2001. When I boarded the plane out of the country, the millennium had only just passed over. By the time I flew out of the country, watching the land recede below, I had left eight years and countless life stories behind.

 

Tammy Law is a freelance photographer from Brisbane, Australia who pursues photo documentary stories. Her work has been referred to as, “evocative documentary… that includes social justice issues and the ostensibly mundane urban spaces in which we live”. She draws influence from the unearthly qualities of Edward Hopper’s paintings, Lynne Cohen’s tribute to space and Noor Photo Agency’s social commentary. With a strong community focus, she has produced bodies of work on ageing day-labourers homes in Japan, post- earthquake China, domestic living in Inner Mongolia and harmful traditional practices in Ethiopia.  Her photographs have appeared in publications like the Sydney Morning Herald, Frankie Magazine and The Big Issue.

 

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02-06-2010
Anna Hurtig – Imaginaryplay

Imaginary play is my way of portraying childhood. Look through a child's curious eyes. To play, find and explore. All the magic and confusion associated with growing up.

Anna Hurtig, raised and living in Stockholm. Currently studying visual communication at the university in Jönköping while working on her own projects.

Has been published, for example, SHOTS, F-Stop Magazine and Lightleaks Magazine in the United States. Participated in the summer of 2009 in the exhibition "The Minds eye", at The Center for Fine Art Photography in CO, USA with two of the pictures from the series "Imaginaryplay"

 

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More Background On OutOfFocusMag.com

 

OutOfFocusMag.com was an innovative online photography magazine and gallery that emerged during a pivotal moment in the evolution of digital publishing. At a time when social media platforms like Instagram had not yet come to dominate visual culture, and when online portfolios were often static and difficult to discover, OutOfFocusMag created a dynamic, curated space for storytelling through images.

Focused on narrative photography rather than technical perfection or commercial polish, the platform became a gathering place for photographers, visual journalists, and artists interested in telling meaningful stories through imagery. Its philosophy emphasized authenticity, human experience, and emotional depth—values that continue to resonate in today’s visual storytelling landscape.

This article provides a comprehensive look at OutOfFocusMag.com, including its history, founders, purpose, editorial approach, audience, cultural relevance, and lasting impact.

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Founding Vision and Ownership

OutOfFocusMag.com was founded and operated by Swedish creatives David Schreiner and Pontus Baum. Schreiner, a freelance photographer and image editor, oversaw the editorial and visual direction of the platform, while Baum handled the technical infrastructure and development of the website.

The idea for the magazine was born out of a simple but powerful observation: many talented photographers were producing compelling visual stories that never reached an audience. These works often remained hidden on personal hard drives or in academic settings, lacking a centralized platform for exposure.

Recognizing this gap, Schreiner and Baum created OutOfFocusMag as a digital showcase where photographers—regardless of reputation—could present narrative-driven image essays to a global audience. The platform was intentionally inclusive, focusing on the strength of the work rather than the status of the creator.

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Concept and Editorial Philosophy

At its core, OutOfFocusMag was built around the concept of the “narrative image.” Unlike traditional photography sites that emphasize individual standout shots, this platform prioritized cohesive visual essays—collections of images that together tell a story.

The editorial philosophy rejected the need for flashy design, intrusive advertising, or paid memberships. Instead, the site maintained a clean, distraction-free interface that allowed viewers to focus entirely on the imagery. This minimalist approach reinforced its identity as a serious, artist-driven publication rather than a commercial platform.

Interestingly, the name “OutOfFocusMag” did not refer to blurry or technically flawed images. Rather, it symbolized a shift away from rigid standards of perfection and toward a broader, more interpretive understanding of photography. Images did not need to depict exotic locations or breaking news events; everyday scenes and local environments were equally valued if they conveyed a compelling narrative.

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Structure and Content Format

OutOfFocusMag initially experimented with a structured publication model similar to print magazines, organizing content into numbered “issues” with thematic constraints. However, this approach proved limiting, as it restricted the number and diversity of submissions.

The founders eventually transitioned to a more flexible system, abandoning strict themes and allowing for a continuous flow of content. This shift significantly increased participation and enabled a wider range of stories to be published.

Each published feature typically consisted of:

• A series of photographs forming a cohesive narrative
• A written introduction or contextual essay by the photographer
• Background information about the subject matter
• Photographer biographies and contact details

The platform’s archive grew to include dozens of visual essays, each offering a unique perspective on global cultures, social issues, and personal experiences.

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Featured Photographers and Stories

OutOfFocusMag showcased work from both emerging and established photographers across the globe. The diversity of contributors reflected the platform’s inclusive ethos and its commitment to storytelling over status.

Some notable contributors included:

• Brendan Hoffman, a freelance photographer whose work has appeared in major publications such as The New York Times and Getty Images. His photo essay on post-earthquake Haiti documented life in a makeshift camp at the Pétionville Club, capturing resilience amid devastation.
• Emily Berl, a Brooklyn-based photographer, who explored the subculture of independent professional wrestling in New York. Her work highlighted the dedication, discipline, and emotional investment of wrestlers striving for recognition.
• Tammy Law, an Australian documentary photographer, presented a powerful series on Ethiopia, examining themes of climate, gender roles, and cultural traditions within a challenging socio-economic context.
• Jonas Palm, a seasoned photographer, documented the lives of the “Long Neck” people in Southeast Asia, offering insight into their cultural practices and the ethical complexities of tourism.
• Mikael Raymond, a Swedish photographer, created atmospheric images exploring Nordic identity, light, and seasonal contrast.

These stories exemplified the platform’s emphasis on depth, context, and human connection.

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Geographic Context and Reach

Although based in Sweden, OutOfFocusMag quickly developed an international audience. Contributors came from Europe, North America, Asia, and beyond, reflecting the global nature of photography as a medium.

The platform’s appeal extended particularly to:

• Photography students and educators
• Freelance photojournalists
• Documentary photographers
• Art directors and creative professionals
• Visual storytelling enthusiasts

Its global reach was further enhanced by the universal language of imagery, allowing viewers from different cultural backgrounds to engage with the content without barriers.

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Audience and Community

OutOfFocusMag cultivated a niche but dedicated audience of individuals deeply interested in photography as a form of storytelling. Unlike mainstream platforms focused on viral content or aesthetic trends, this site attracted viewers seeking thoughtful, immersive experiences.

The community included:

• Aspiring photographers looking for inspiration and exposure
• Established professionals exploring new narrative approaches
• Academics and students studying visual communication
• Creative directors searching for unconventional visual references

The platform also encouraged participation by allowing open submissions, reinforcing its identity as a collaborative and community-driven space.

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Design and User Experience

The design of OutOfFocusMag was intentionally minimalist. By eliminating distractions such as advertisements and excessive navigation elements, the site created an environment where the imagery could take center stage.

Key design features included:

• Clean layouts emphasizing full-screen images
• Sequential presentation of photo essays
• Simple navigation between stories
• Absence of paywalls or subscription barriers

This approach aligned with the founders’ goal of making high-quality photography accessible while preserving the integrity of the viewing experience.

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Popularity and Growth

During its active years, OutOfFocusMag experienced steady growth, particularly as interest in online photography communities expanded. The founders noted a significant increase in submissions and international attention over time.

While it may not have achieved mainstream recognition comparable to large photography platforms, its influence within niche creative circles was substantial. The site became a respected destination for discovering authentic, narrative-driven work.

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Cultural and Social Significance

OutOfFocusMag played an important role in the broader cultural shift toward digital storytelling. By prioritizing narrative over technical perfection, it challenged conventional definitions of photographic value.

Its impact can be understood in several ways:

• Democratization of photography: By welcoming submissions from anyone, the platform reduced barriers to entry and gave voice to underrepresented photographers.
• Preservation of visual stories: Many of the essays documented cultures, communities, and events that might otherwise have gone unnoticed.
• Inspiration for new platforms: The site’s model anticipated later developments in visual storytelling platforms, including blogs, digital magazines, and social media portfolios.
• Encouragement of authenticity: The emphasis on raw, human-centered imagery influenced how photographers approached their work.

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Press, Media Coverage, and Recognition

While OutOfFocusMag did not position itself as a commercial enterprise seeking awards or mainstream press coverage, it gained recognition within photography communities and educational settings.

Its contributors often had their own accolades and professional achievements, which added credibility to the platform. For example, some photographers featured on the site had received grants, participated in prestigious workshops, or been published in major media outlets.

The platform itself was more focused on fostering creativity and collaboration than on pursuing external validation.

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Monetization and Sustainability

OutOfFocusMag operated largely as a passion project. It was not driven by profit and did not rely on subscription models or intrusive advertising.

Instead, the founders occasionally sought sponsors to support the platform’s ongoing operation. This approach allowed them to maintain editorial independence and stay true to their mission.

However, the lack of a strong monetization strategy may have contributed to the site’s eventual decline, as sustaining such projects over time can be challenging without consistent funding.

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Decline and Legacy

Like many early digital platforms, OutOfFocusMag eventually became inactive. Changes in technology, the rise of social media, and shifting user behaviors likely played a role in its decline.

Despite this, its legacy endures through archived content and the lasting influence it had on photographers and creative professionals.

Today, the principles championed by OutOfFocusMag—authentic storytelling, accessibility, and community engagement—are reflected in many contemporary platforms.

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Lasting Impact on Creative Industries

OutOfFocusMag’s influence extends beyond photography into broader creative fields, including advertising, design, and filmmaking.

Art directors and creative professionals have cited similar platforms as inspiration for projects that prioritize narrative and emotional resonance over traditional aesthetics. The emphasis on imperfection and authenticity has become a defining characteristic of modern visual culture.

In an era where highly polished imagery often dominates, the values promoted by OutOfFocusMag continue to offer a refreshing alternative.

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OutOfFocusMag.com was more than just an online gallery—it was a movement toward a more inclusive, narrative-driven approach to photography. By providing a platform for visual storytelling and prioritizing authenticity over perfection, it helped shape the way photographers and audiences engage with imagery.

Though no longer active, its influence can still be seen in today’s digital landscape. For those interested in the evolution of online photography and the power of visual narratives, OutOfFocusMag remains a significant and inspiring example.

 

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