Working in the vein of William Eggleston and the color photographers of the 1970s, Lars Tunbjork captures deadpan images of contemporary life. He is perhaps best known for two series: “Home” (1991-2002), for which he trained his camera on housing developments in Swedish suburbia, and “Office” (2001), for which he painstakingly photographed office spaces and the peculiarities and rituals of the workers who occupy them. “I often get asked if my pictures are staged,” Tunbjork says. “They are not, but I always try to be very visible as a photographer, and I don’t know how much I influence a situation, just by having a camera.” Though powerful individually, Tunbjork’s images are usually presented in books or collections, meant to present cohesive wholes greater than the sum of their parts. In other series he has photographed everything from marginalized communities in Sweden to American politicians on the campaign trail.