In the afternoon paper Expressen, Katja Walden wrote 1965 ;
" the artist has reached his goal, already when we react,
when something happens between us and the photograph.
After Ulf Linde, in the year of pop art and a couple of months
after the New York-nights, everything is still possible.
Ture Sjolander has made something happen in the area of photography."
The publishing firm Nordisk Rotogravyr published a so-called expo-book, with pictures from the exhibition.
"His images make most of what we saw the other year, at the ambitious exhibition
'Swedish people as seen by 11 photographers,' look medieval.
'You have been photographed' is one the bravest attempts of a coup,
one of the boldest opening moves, that has ever hit Swedish photography."
On April 24, 1965, in the paper Kvällsposten Malmo, Sjolander asked:
"Why do pictures have to be translated into words?"
On July 6, 1965, Bengt Olvång wrote in the morning paper Stockholms Tidningen:
"Ture Sjolander's television appearance is characterised by a warm humaneness and a bizarre, uproarious sense of humour. One of its most 'shocking' features is composed of a grand piece of Vivaldi music, illustrated by a little boy who is picking his nose. However, what is really most shocking, is the way in which the Broadcasting Corporation is acting. Heads of department become self-appointed censors, and in the name of 'The Swedish People', they erase program features, such as Sjolander's TV film. The thought of letting opinions and values develop freely is totally foreign to them. The broadcasting monopoly watches over people's opinions and hinders all attempts at moving in any radical direction."
Jonas Sima wrote in the morning paper Stockholms Tidningen, on October 23, 1965:
"Sjolander also has opinions and a social temperament.
He has produced the kind of film I want to watch - and produce."
On October 28, 1965, Mauritz Edström wrote in the morning paper Dagens Nyheter:
"He is simply testing our attitudes in relation to the photography, by placing it in unexpected contexts. When he places his enlargements on billboards and then films them, the result is really challenging: what resources of expression can't we find lying idle under the old cobweb of conventional views on pictures!"