A new approach to photography is gaining attention among professionals who believe that restricting equipment and planning sessions in advance can dramatically improve the quality and purpose of their work. Finnish photographer Ari Jaaksi has demonstrated this concept through a detailed video experiment that challenges the common practice of bringing multiple cameras and lenses to every shoot.

Jaaksi's experiment, conducted along the Finnish coastline, involved deliberately limiting himself to just one camera - a Rolleiflex loaded with Ilford FP4 Plus film - along with a few rolls of Kodak T-Max 400, an ND1000 filter, and a commitment to develop everything using Adox Rodinal. This stripped-down approach stands in stark contrast to the typical photographer's tendency to pack multiple camera bodies and lenses to react to whatever situations might arise.

Before heading out to shoot, Jaaksi took the unusual step of writing a detailed plan in his notebook, outlining his goals for distance, timing, and the calm, open feeling he wanted to capture in a series of 12 to 15 long-exposure frames. His notes included simple but focused words like "space," "near," and "far away," along with questions about how to introduce tension into peaceful scenes. This pre-planning process forced him to decide in advance what his images were meant to accomplish.

The video documents how Jaaksi interpreted these written concepts on location, where seascapes and frozen roads could easily have led to stereotypical wide landscape shots if he hadn't maintained his focus. Instead of chasing every attractive view that presented itself, he consistently returned to his core ideas of freezing time and studying distance. He used long exposures to stretch the appearance of water and movement while relying on solid structures to anchor each frame composition.

During the shoot, Jaaksi honestly documented moments when he slipped from his plan and began taking random shots, noting how these unplanned frames felt empty and purposeless compared to his carefully conceived series. He also admitted to breaking his own rules by bringing along a Leica rangefinder and making test shots that didn't support his main project - a decision that many photographers who pack "backup gear just in case" will find uncomfortably familiar.

One of the most valuable aspects of Jaaksi's approach was how it transformed his ability to evaluate his work. When he stuck to his predetermined plan, he could judge each image against clear, specific goals rather than the vague standard of a "nice scene." This framework made both successful frames and unsuccessful attempts easier to understand and learn from. When he drifted from his anchor plan and started shooting without purpose, the resulting images might have looked acceptable at first glance but failed to build into a cohesive body of work.

The experiment highlights a broader tension in photography between maintaining complete creative flexibility and committing to focused, intentional work. While many photographers instinctively want to keep all options open during a shoot, Jaaksi's experience suggests that self-imposed restrictions can actually enhance creativity and lead to more meaningful results. His reflection on both his successes and rule-breaking moments provides a template for other photographers interested in designing their own limited sessions, whether that involves using just one camera and film stock or committing to explore a short list of conceptual words or themes.