In 1980, photographer Ralph Nyqvist and I traveled to Paris. We both worked for the magazine Aktuell Fotografi. I took care of the layout, while Ralph was an external collaborator who wrote photographer presentations, articles and reviews. He also had a monthly column in which he expressed opinions capable of irritating many photographers. Over the years, Ralph had built a solid network of contacts in Europe and it was probably his idea to follow the Mois de la Photo for the magazine. 1980 was the year of the first edition of the Mois de la Photo and I remember the event as rather modest. We saw some exhibitions, a film about Cartier-Bresson with a funny ending and met several photographers, including Esaias Baitel and William Klein. At the time I shot a lot of landscapes using a Widelux, a panoramic camera with a rotating lens. This is a true panoramic camera that produces images with no central perspective; This works great for landscapes and nature, but is usually not suitable for architectural photography or cityscapes. These cameras were often bulky and heavy, requiring the use of a tripod, but some models were compact enough to be used handheld. Widelux was one of them. It used 35mm film and was equipped with a fixed focus 26mm lens, set to approximately 1.5 metres. Closing the aperture to f/11 – the minimum aperture – the image was sharp from about 70 cm up to infinity. I took it with me to Paris because I had the intuition that it would be possible to take interesting street photography shots with many people interacting with each other, and that the frenetic city life would hide the particular perspective rendering.