Rasmus is an award winning visual artist and photojournalist focusing on worldwide
political issues. He is a masterclass mentee at VII Photo Agency in New York (2014-2015)
and a member of REDUX Pictures agency in New York since 2016. He’s one of the
pioneers in photojournalism using drone photography to tell stories.
He works with primarily with his own long term projects and is mainly known for pushing
the limits of what photography is and can do as a storytelling tool. He’s highly specialized
within stories of green transition and climate change tech.
Through the last 13 years Rasmus have worked on refining his photography skills “with
clients all over the world and a good eye for the newest trends in commercial and editorial
photography he have developed his vision and style.” Good storytelling is all about human
emotion and connection is one of his beliefs. Nothing beats a good story, and a good story
is better remembered and leave a mark.
He works for international media clients like New York Times, Wall Street Journal, Barrons,
Bloomberg, Economist and likewise and is known for his hardworking mindset and always
delivers on time.
“IT’S BEAUTIFUL! – i’d like 8000 of those.... and I would also like a new
car” a general shouted looking at a newly released shiny bomb with a
ROI (return on investment) of 80 meters. First he was clearly exited, but
then changing his tone to a more direct, nothing between the lines, he
wanted a new car, and clearly didn’t care the journalist (me) standing
next to him.
WAR FAIR is a personal project that examines the world of defence
industry trade fairs. As the world yet again is rushing towards another
arms race, and defence spending again exceeding cold-war levels,
where are all these billions of dollars being spent? And how does the
world of selling war actually look?
Over the last two years I’ve visited numerous of the large defence fairs,
with thousands of exhibitors and guests its a world of its own, far away
from any frontline and many times with combating countries visiting the
same fairs. It’s a world where marketing is king and death is never
mentioned- it’s a world of defence and security, not aggression and
violence, at least if you ask those immersed in it. I’ll let you decided for
“Stigma” is the story about a lie and how this lie was manufactured for the sole reason of stealing developmental money. This story is a portrait of how a lie influenced the lives of an entire city and how this lie, even in the age of the internet, left the city stigmatized and crumbling. Today, we find a city in steep decline and once again drifting towards communist ideals and the bygone, better days...
From 1946 to 1968, the city of Mailuu-Suu supplied the Soviet Union with yellowcake uranium for nuclear warheads and power plants. After 1968, the mines were closed, sealed and the waste was left, forgotten. After the collapse of the Soviet Union, the newly independent Kyrgyzstan became victim to high rates of government fraud, on both the local and national level. In this case, an international organization used the history of the city to manufacture false research reports on the area’s radioactive pollution. This report put Mailuu-Suu in the international spotlight by ranking it as the fourth most radioactively polluted city in the world. The international community reacted quickly, sending World Bank funds to the city. But little of this money reached the city itself. In the words of the mayor, Satybaldiev Kianbek Urmamatovich, “The city never had the need of relocating the uranium waste. It should never have been touched, and we never saw much more than two of the seven million USD. Organizations used a false version of our story to get money—and now the city is known for something it never was. How can we rebuild with this rumor?” With the internet comes a long memory—nothing is forgotten and nothing can be judged truly. Tourism and new business opportunities avoid the city. As the series above shows, young people are leaving in droves.
In 2017 over 650.000 Rohingyas fled their home country of Myanmar,
fleeing ethnic cleansing from the military, police and the local population
who don’t want them there. Leaving everything the Rohingyas once
again fled to the Bangladeshi border seeking safety. Now this small area
at the tip of Bangladesh is the home for almost 1 million Rohingya
refugees, and as the international communities light shines elsewhere,
the Rohingyas are left in limbo, with an uncertain future which most
likely will mean forcing them back to Myanmar, to live in IDP Camps
under horrific conditions, and more violence and murder.
This reportage show the life in Kutupalong, the world’s largest refugee
camp where Rohingyas each day fight to survive.
Europe's New Borders
Borders are something that is difficult to define for those of us who have
never experienced war or unfriendliness in the European countries, and
with both the Schengen agreement and EU enlargement in the early
2000s, the borders had become increasingly blurred in our
consciousness — until 2015.
Fences, barbed wire, and armed militant border guards have suddenly
become the new standard in Europe, and as I, in the early summer of
2015, was watching all the physical manifestations and transformation
of something I thought belonged to the past, I decided to photograph
these “new” European borders and what consequences they have and
will have for Europe and the hundreds of thousands of refugees and
migrants who these days come to our borders. All this was done using a
technology developed by the military: the drone.
My project, Europe’s New Borders, offers a sense of scale on the
dehumanized border crisis unfolding in Europe throughout the last two
years. It covers most of the borders of the European Union, the
transformation of these, and the consequences, big and small, concrete
and abstract, for the refugees and migrants.