What's been the most challenging situation you've worked in?
"When I'm photographing people with problems such as BED, it's really being in this situation that's the difficult part – but it's also the part I really like a lot, because that is when things are happening. When I've photographed refugees in Denmark that are dealing in narcotics, I have seen people who have overdosed, which is really challenging in a different way."
Do you approach your editorial and personal work differently?
"I work in much the same way. When I meet people I'm going to photograph, I try to understand them, to see who they are and what they do, how they move, and so on. I almost never talk when I'm photographing, just at the beginning and at the end. I never tell people what to do. If I'm photographing an actor, for instance, I watch things like the way they move their hands, the way they stand, and try to use those things in the images. I do the same on my personal projects."
How much do you arrange the images in your personal projects?
"It depends on the project. In my binge eating project, for example, I start off with a long interview with someone, then discuss how we're going to visualise what we've been talking about. I always work in people's homes and I don't bring anything other than my camera. I will tell them where to sit, so we get the best light and things like that, but otherwise I don't stage photos."
When you decide on an issue you want to explore, how do you find the people to photograph?
"In the beginning I mostly use social media. I join groups and start asking people if they are interested in me coming by, initially for interviews and later for making portraits. When I have done some portraits, I show them to other people so they can see what I want to do. The longer I work on a project, the easier it gets."