Jonas Rask

Jonas Rask

Textures of vicinity

By Jonas Rask

Today is day 7 of February 2022. It marks the first full week of our KAGE202202 theme. Contrary to almost all of my KAGE colleagues I chose not to set any limitations for my project, neither in gear nor context or content. Well, it’s not entirely accurate, since I actually stated in my “Letter of intent” that I would try and return to a time when my photography wasn’t as restrictive as I felt it had become.

Obviously this “battle-plan” has a lot to do with me not being an official ambassador for Fujifilm anymore. I’m not even sure that me leaving the program changes anything in terms of my creativity, but I will tell you this..

The past month I have felt more visually creative than I have done in last 5 years.

It’s not that I disliked being an ambassador. I loved it. I loved almost every part of it. But what people need to understand is that when you do such a thing at the level that I was suddenly doing it at, you suddenly feel limited in what you can express. Even though no one has ever told me to do things in a certain way, I couldn’t help but feel pressure coming from within myself.

The pressure to always “1-up” what I did the day before.
The pressure to always put out better writing than the post that came before what I was currently writing.
The pressure to grow and stay relevant on various social media outlets.

All while trying to juggle my full time profession and my family and friends.

How I had the surplus energy to keep at it for 7 years I will never know. But I was growing tired. And 2 years of pandemic isolation didn’t exactly help.

So I did the only sensible thing.

I stopped and took a good long hard look at the whole situation. I acted on it, and it was definitely in due time.

Let me ask you a question.

Have you ever walked outside, stopped, faced the sun, head tilted slightly backwards, closed your eyes and taken a long deep breath? Have you?

Then you know exactly how these last 6 weeks have felt in regards to my photographic identity and creativity. I won’t say that I’m free, since I was never bound by anything - But I’m starting to regain some of the pure joy that made me do this in the first place.

My pressure is off me.

So this past week I’ve been documenting my everyday doings. However small they might have been. Just like I did when I first started photography. I’ve worn a camera all day, everyday like I always do, and I’ve shot left and right. Just because it was fun and because it’s what I love to do.

I have been feeding my own instagram channel with various documentary/street styled images since that’s basically what I’ve enjoyed shooting. But tonight I noticed this tiny little plant that Christine has put on our dining room table. I was so drawn to its minuscule size and texture that I wanted to capture it.

The following 10 minutes I shot 10 shots within an immediate vicinity of 10 meters

This is my new beginning.

“Textures of Vicinity”

All images shot on Fujifilm X-Pro3 and the XF80mm f/2.8 Macro

Some of these images might be well suited for background use, so I’ve packed them all up for you to download without watermarks in full resolution. You can download the .zip file HERE

Jonas' Letter of Intent

I remember the day that I joined KAGE quite vividly. I was in awe. I was in awe that I got to join a group of like-minded people that I not only looked up to as a photographer, but that I actually idolized somewhat.

I still cannot believe that I get to interact with my KAGE brothers and sister(s) on a regular basis. To get feedback and inspiration from people that I truly admire is a gift that I’m very thankful for everyday.

But what happened over the course of these past years, is that the interaction grew to an almost halt. We each had way too much on our respective plates, dealing with living and staying clear from angst and depression during a very altered reality/world.

We tried to kick it into gear several times, but we were always on the backbeat. We were dragging. Not pushing.

But I think that the glow of KAGE never died. It just faded.

Now, more than ever I think the lot of us wants to see that glow spark into a burning fire. Like it once did.

I sure know I do.

At the end of 2021 I ended my ambassadorship with Fujifilm. It was a very hard decision that I simply had to make. It required me disappointing a lot of good friends in Tokyo and the rest of the world. But I have a profound belief that the friendships go deeper than my involvement in the ambassadors program.

So what I need to do with this project is a return to basics.
A return to a time when I made images for me. Just me. A time where I experimented with all sorts of brand, materials and nuances, not thinking about reviewing a piece of kit, or testing/giving feedback to developers.

I need to re-learn how to do storytelling that has my unique footprint.

How will I get there? I have absolutely no clue.

But I will wear my camera everyday - And I will chase the life around me looking for the story in the mundane.

Jonas Dyhr Rask
January 27th 2022

Reflect - Regret or Regain?

AN ESSAY (hardly) BY JONAS RASK

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The inspiration for my little series of images and words is the image of Kevins lovely daughter to the right.
The visual metaphor of reflection was something that I wanted to explore a little bit more than just doing the standard puddle photography that I started out doing back when I started photography.

I think it’s quite important, now more than ever, at the beginning of the end of this pandemic, that we all start to reflect on the past 14 months.

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We’re slowly making our way out of the crazy times of the past 14 months. In Denmark slowly, but securely. I suspect, not unlike in many other countries around the world. But there are definitely still those countries who struggle. Where the pandemic just simply won't let go. Like the giant Boxing Day Tsunami many years ago it keeps sweeping back and forth in a multitude of waves that gets bigger and meaner with every passing number.

We’re so lucky in this part of the world. We bitch and moan about isolation, solitude, lack of open pubs, restaurants, museums etc. Lack of holiday plans for the summer. It reeks of entitlement. A society that is now relying so heavily on luxury amendments that being “forced” to spend time at home with the people that are supposed to be “loved ones” has taken a toll on mental health. At least that’s how I experience it after a year of sitting in my consultation. Isolation sucks, I get it. But why not use that time to reflect on what is REALLY important? Reflect on what really gives life its meaning and purpose.

Beers and Art are great, soccer matches and fine dining too…. but I have a vague suspicion that those things are not the subject of a dying mans last words!

I can honestly say that up until 2020 I had become absent from my connected family life. I spent loads of time at work, loads more time on my own fulfilling a desire to become the best photographer in the world (whatever the hell that means!) - Travelling with businessconnections, drinking till the sun rose. It was damn fun, that’s for sure. It was luxurious! - I have a vague suspicion that those experiences will not form my last words!

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I missed out.

I missed out on closeness with my family. I missed out on quiet Saturdays in my garden. I missed out on putting my helping hands on my daughters mathproblems. I took for granted the insane amount of work my wife put into our family. I missed out on sooo many things. I had become comfortable, and my desire for “more” meant that I neglected to see that I already have it all!

When I reflect on the past years I don’t have any regrets. I’m so thankful of all the experiences that I’ve had. But in reflection, the past 14 months have definitely showed me that I needed to regain my perspective of what’s important in my life.

Truth is, I’m happier than I’ve ever been - and I will do my utmost to make the foundation of my happiness a permanent change in priorities.

/J

All shots in this series seek to explore the visual metaphor of reflections. The images are shot as symbiotic pairs. One on digital medium and the other on analog film.

I used the X-Pro3 with the XF35mm f/2 and the Contax G2 with the Zeiss 90mm f/2.8. I shot Kodak Vision 3 250D that I home developed in Cinestill CS41

DEFINITION 39 | “They played colourful music LOUD!”

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Words and images by Jonas Dyhr Rask

Amidst the now normalised depressing news regarding the pandemic, the politics and the slow depressing spiral of apathy that follows suit, I read something that hit me a little harder than all of the above.

It started at around age 3, I think. My dad would put the record on and I would be completely mesmerised by the sounds that hit me.
That was to continue all through my childhood and by age 13 I had heard that particular album with 4 people bathed in bright multicoloured, yet shadowy mysterious, lights so many times that I knew it note for note.

It was the sole reason why my only wish for my confirmation at age 14 was a red electric guitar with a Peavey amplifier.
All I wanted to play the colourful, yet heavy sounds of that album. As danish guitar virtuoso Søren Andersen so delicately put it yesterday - “They played colourful music LOUD!”

It shaped my youth.

It shaped my life.

HE shaped my life.

May you forever R.I.P
Mr. Eddie Van Halen.

And just like their music, I now do my photography bathed in bright multicoloured, yet shadowy mysterious, lights. Just like the cover of that epic 1978 album “VH”

All shots on X100V and X-Pro3 | XF35mm f/1.4

Definition 030 | Addiction

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Images and words by Jonas Rask

In exploring what define me I cannot escape the obvious. I am a complete addict of photography. Not just digital photography, but to an even bigger extent; analog photography.
If some of you out there know me, or have been following my various online outings over the past 8 years, you will surely know that I live and breathe photography.

It has become an integral part of me, and I am so fortunate as to not be financially dependant on doing photography. I’m known in the photography circles as a hobbyist. An amateur.

The fact that I’m an amateur has a huge effect on the way I see and practice my photography. I take pictures for me. For fun. For relaxation. For commitment. For learning. For exploring. For documentation. For the stories.

I started out shooting digital, but after 6 years, my curiosity made me look at the old analog process. As a natural part of my evolution as a photographer it was a step forward while looking backwards. It was something new to learn, and to explore.

A new fix if you will.

It’s no secret that I own many cameras. I think the total has surpassed 40 or 50 by now. And oddly enough, the majority are analogue cameras. They’re pieces that I’ve collected slowly but surely. Rolleiflex 2.8E, Leica M6, Pentax 67, Bronica RF645, Contax G1&G2, Hasselblad 500C, Fujifilm TX1… the list goes on. They’re precious items. They’re the cream of the crop. I wouldn’t have it any other way. It’s part of the analog fix for me. And part of my love for aesthetics.

But don’t be fooled. They’re not just for show and shelf life, because of the rule.

One rule that ensures constant usage of my cameras no matter the season. The rule states that if a camera doesn’t see usage within a 6 month period it needs to go on to a shooter that will appreciate it more than me. My house is not a camera museum, nor will it ever be.
All these old tools work in different ways, and they all challenge my creativity in an equally differentiated manner.

So will I show you my camera collection now? No. I’d much rather give an example of the essence of photography for me at this point in my life. An expression of the rush that my addiction and continuous photography-fixes give me.

The pictures in this story are all shot on a Saturday morning in late June 2020. As usual I had an idea, and I asked my sweet daughter Nanna if she wanted to spend some time shooting. This has become out thing. We have an amazing time while doing these pictures, and we always have tons of laughs.

I had an old AGFAPAN APX25 B&W film in the fridge. I had found it in a box many years ago. I had no clue how It’d been stored, nor how old it was. I looked up the film stock and saw that it was in production from late 1980’s until 2000-something.

The rule is to overexpose these old films by 1 extra stop per decade expired. I figured I’d play it semi-safe and gave it 3 extra stops. That means shooting it at ISO3. Yes, ISO THREE.
I measured the light needed, put an old National flash on my Hasselblad 500C with the 80mm f/2.8 and used that to trigger my modern Good AD200. Shot as a single light.

After the shoot Nanna actually developed the film herself in Rodinal chemistry.

The result is full of flaws, old disintegrated film traits as well as permanent letter markings from the film paper.

But I absolutely love them! Because of the process of getting there. Because of the technical learning involved. Because of the risk-taking. Because of the fun we had while doing them. But most importantly for the precious moment captured in such a unique manner. I will probably never forget this Saturday in June where we shot this roll.

That is the reason for my addiction.

And here are some behind the scenes shots of Nannas developing session. Shot on the Fujifilm X100V

Definition 021 | 39 Last Street

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Photography and words by Jonas Dyhr Rask

Camera slung across the chest, closing the door to the apartment behind me, getting hit by the pulsating life and sounds of the vibrant city life.

It was how I really started photographing those 9 years ago. I bought myself an X100 camera, and immediately hit the streets. It evolved from there, that’s for sure. Over the course of two years I got sucked in deeper and deeper. It was almost like an addiction. It was an addiction.

I would get lost in it for hours, days even. I still do.

Street photography has become such an integral part of me, that when I’m not able to practice it at least twice a week its like holding my breath past capacity. It feels like I’m choking.

It doesn’t have to be thematic. It doesn’t have to be documentary. It just has to be.

All the time, it has to be.

Today was the last chance to go shoot in the city before I turn 40 on friday. Looking back at my 30’s they contain all my photographic experiences. When I was 30 I shot my first street shots. It’s crazy to think about, so I try not to. I don’t want to dwell. I want to push forward. Look forward.

So today, I did what I do at least twice a week.

I drive to the city, camera slung across the chest, closing the door to the car behind me, getting hit by the pulsating life and sounds of the vibrant city life.

I breathe.

I photograph.

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(all shots shot during an hour this afternoon. Shot on the X-Pro3 with the XF35mm f/1.4)

DEFINITION 013 | THAT WHICH MATTERS MOST

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BY JONAS DYHR RASK

In definition 005 I wrote about my day job as a medical professional. I’m an M.D. G.P.

But I don’t want to write about my profession again. I did that already, and nothing has really changed. CoVid19 is just another disease, another problem I need to solve, another task I need to complete. It is, as they say, business as usual. 

But something else has changed. Something unrelated to my profession, yet so intimately linked to it. 

The world around me has changed. CoVid19 prompts for swift actions on a global scale. They are not medical actions, they are social actions, and as such they have social consequences rather than medical. 

These lockdown periods are sweeping away the feet on which many people balance their livelihood as photographers and creatives. 
It’s not the disease, it’s the means by which the world has chosen to try and stop it. 

It’s definitely the right path to tread, but that doesn’t make it less filled with sharp rocks and spiky thorns.

This disease will end up costing more than we as a global society can possibly fathom, but it will also bring us something that a lot of us have possibly forgotten about in our race towards our-end-of-life.

I cannot remember the last time I have felt so intimately linked to my wife and my children. I cannot remember how long it has been since I had such a deep worry in my gut regarding the health of my parents.

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I’ve always prided myself as being a family man, but this past month of lockdown have shown me that there’s a layer above this. A layer of absolute intimacy in every moment spent with those that you love. A true appreciation of what I am so fortunate to have, and what can so easily be lost. 

Economies will crumble, jobs will end.
But that which bring meaning to my life is right here, right now. Right beside me. 

And that’s really all I need. 

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DEFINITION 005 | ALWAYS COMFORT

BY JONAS DYHR RASK

“To cure sometimes, to relieve often, to comfort always”
— Dr. Edward Trudeau

I knew since I was around 15 years old.
Because of my mothers occupation, the dinner table discussions always seemed to turn into discussions of healthcare issues.
It moulded me. It directed me.

It was different times back then. I could actually go visit my mother when she had her shifts. It was so fascinating for a kid like me. The Logistics. The sector. The staff.

But most of all - The patients. Their destined temporary habitat. Their transition from healthy to sick and hopefully into recovery.

I felt the need to help them. I wanted to be there for them. I wanted to hear their stories.

It was a long path to tread. Sometimes steep, sometimes bendy, sometimes downhill.

For 15 years it was life defining. My life. My present, and my future.

It was not only a path of education, but a path of developing my identity. During my walk along the path I became a father, a husband and a home owner. I didn’t look back. Only forward. I kept pushing.

I succeeded. I saw it through!

Not to be able to tell stories, but to experience them. To witness the absolute miracle of new born life. To experience the absolute horror of terminal illness. To experience everything in between.

I am a trusted firsthand witness to the life of many.

Always comforting.

Often relieving.

Sometimes curing.

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All images shot on the Fujifilm X100V

Sensual // Sensory

GENERATOR

Guidance: Make it more sensual.

Assignment: Today you must shoot a single subject using multiple exposures (a series of 6), using a novelty or vintage lens (otherwise pick your fastest glass) and your favorite camera.

BY JONAS RASK

With my huge vintage lens collection, it wasn’t the choosing of the gear that proved tricky for this assignment. It wasn’t the fact that I should shoot a series of 6 images of the same subject matter. What proved to be the real challenge here was sticking to the guidance.

Sensual does not equal sexual. It does not have to be. I thought it had to be. But I chose not to.

I chose the senses.

But how do you go about that with only 5 of them around.

I will leave the 6th up for interpretation. I know what it is to me. Do you know what it is to you?

Shot on the Fujifilm X-Pro2 using a 1971 Minolta Rokkor 58mm f/1.2 and a 12mm extension tube.

One day late

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By Jonas Rask

I was supposed to get this story done and uploaded yesterday.
But I didn’t make that deadline.
Obviously.

We weren’t supposed to dig into our archives and reuse material that had already been shot.
But I dug into my year old gallery.
Obviously.

So, why was I late? Why did I dig? - Because I was lazy and didn’t get my portraits shot? Not really.
I shot self portraits. I portrayed my good friend Donald, I portrayed fellow photographer Frederik Vohnsen, I portrayed my kids, nieces and nephews. All within the last 14 days.

So I didn’t need to be late, and I didn’t need to dig.

I have this camera. It’s nothing fancy. It’s old.
I love that little (big) thing. It shoots packfilm. Old Fujifilm FP100c or FP3000b. It’s a fantastic feeling to shoot a portrait of someone I know with this camera. To show them the positive, then go home and develop the negative using bleach and a glass-plate. It’s oldschool charm that really makes you commit to your craft, and to your portrait.
But the Fujifilm FP100c and FP3000b are no more. I have collected a lot for storage in my fridge, but they’re way past expiration already. And when they’re done - then no more. Then only digital noise.

So, again I’m late. They’ve all expired, and I have to dig deep into the corners of online stores to find the few remaining packs for me to maintain my storage.

So I’ll continue to be late, and I’ll continue to dig.

The below images have been shot using a Polaroid 600SE camera and a Mamiya Sekor 127mm f/4.7 lens.
Some are shot on FP100c, some on FP3000b. Some are scanned as positives, some have been scanned as negatives.