We recently had the privilege of speaking with Michiel Heijmans, a photographer, writer, and educator whose work is rooted in the art of visual storytelling. Through portraiture and everyday moments, he crafts images that balance emotion, composition, and atmosphere, offering a refined perspective on human connection and the beauty in the ordinary.

Beyond capturing compelling visuals, Heijmans is deeply engaged in the creative process, from observation and framing to the deeper narratives that unfold within his images. His influence extends beyond his photography, as he shares his expertise through books, columns, and podcasts, shaping how others perceive and practice the craft. In this interview, he reflects on his artistic philosophy, his experiences behind the lens, and the ever-evolving nature of photography as a medium.

Hi Michiel, it’s a pleasure to have you join us. Let’s start with your journey, what initially drew you to photography, and how has your perspective evolved over the years? Were there any pivotal experiences or influences that shaped your creative path?

Thanks for having me. Diving straight into the big questions, right? Nice. Well, there was a dire need to start something creative that led me to photography. I had been a desk-junky for over 20 years, building internet businesses and related things, which led me to Yoast SEO (the WordPress plugin), a company that I left with a severe burnout. My main job there was COO and I was one of the owners. My days were filled with emails, meetings and meetings that should have been emails. Burnout hit and I ended up selling my part of the company to focus on recovery and new adventures. I started walking a lot, in nature, as one does during a burnout. Bought a camera and photographed some trees. Got tired of trees and stepped into the urban jungle. That’s when I found my passion for street photography. In spring of 2021, I joined Valérie Jardin in one of her amazing workshops in Paris. Contemplative photography, the workshop was called “See Paris with your heart”. It changed a lot for me. I’m an avid photobook collector, but found that most of the time, I photographed when I felt that there was a photo in a situation, before realizing what I had seen. I think it’s exactly that notion, that seed planted by Valérie, that shaped my photography. I use this in street, portraits and documentairy assignments.

Every photographer develops a unique way of seeing the world. How would you describe your visual approach, and what elements do you find yourself consistently drawn to in your work?

My approach, 80% of the time, is hip shots and other shots where I don’t even look at my camera. No spray and pray, but deliberate shots of something. I shoot less and less on the streets, but make more photos of one situation. Work the scene, as Joel Meyerowitz said. It’s not that I hate that viewfinder or am afraid that people will see me photographing. Far from that. I just really like to put the viewer of my photos IN the situation. Walk along with me in the street, instead of just viewing the photo. My second book is called “The Observer” for a reason. I want to engage with the street, be present. I don’t like the fly on the wall technique, where you try to be invisible. That creates a distance between the viewer of the photo and the street. I want you to be IN the street with me. I think hip shots, lower angles and close-up photos of people help me achieve that. As for subjects, it depends if I am shooting color of black and white. For color: that one color that pops. Complimentary colors and color matching background and subject. For black and white photography, there’s usually a sense of solitude, loneliness, one subject. Technical focus in that case: shadows, light, contrast. I am looking for street beauty, and care less for fashion magazine beauty. Usually, the prettiest people make the dullest subjects for street photography. I am looking for “the crazy ones. The misfits. The rebels. The troublemakers. The round pegs in the square holes.” Steve Jobs knew how to say it.

The relationship between photographer and subject is often an unspoken dialogue. How do you establish trust and connection when capturing people, places, or moments in time?

As a street photographer, you only have one weapon: your smile. Usually, a smile and a simple nod confirm that they know you took a photo and you let them know that you have acknowledged them, seen them and liked them. Sure, some photographers actively engage with people on the streets and so do I, but those are usually not the ones I photograph. As soon as contact is established, the unpolished moment is gone. Knowingly or not, we all have our “photo face”. As soon as that face appears, it becomes useless for me to take that photo. Asking for a photo is a simple smile and pointing at the camera. It sometimes happens. An open attitude with a smile is 80% of the connection, 10% is not looking shabby / nervous / up to no good (we all know the awkward uncle with the gazing eyes that carries a camera, and dislike him), and 10% is just plain ignorance. Sometimes you just want the shot and have to go for it. Photograph people with respect, knowing there could be a discussion about the ethics of street photography in general. One of the things conversion optimization for websites thought me, is that when someone on a photo on a website looks at you, you will look back, possibly ignoring buy buttons and so next to that photo. It works the same on the streets: if you look at someone, they will look back and your hipshot will pass unnoticed. That takes practice, obviously.

Post-production is an extension of the creative process. How do you approach editing, and what role do you believe it plays in refining the narrative of an image?

After all those years behind a desk, the most daunting process of photography is editing. I dislike it in general, but find joy in learning. Especially in portrait photography, there’s always something to learn. Removing reflections from someone’s glasses, for instance. It’s quite simple if you know what to do. In street photography, there is only one thing I do in post-production: making sure my subject stands out. I use masks, crop, aligning, and all the light sliders. My weapon of choice at the moment is the Fujifilm X100VI and I use the Astia or the Acros/Y film simulation to do the hard work for me. There are some street photographers that tell you not to crop and I think that is utter bullshit. We didn’t get 40 megapixels for nothing. I never use photoshop to remove distraction elements or clean up a photo – I use cropping for that. In that way, it might also help the narrative. But the narrative should be in the photo in the first place.

Creative work comes with both inspiration and challenges. What strategies do you use to maintain artistic momentum, and how do you navigate periods of creative uncertainty?

Ah, the almighty photography rut. Sometimes I just don’t feel like going out to photograph and I simply don’t. It will come back. Usually photobooks, museums and simply talking a lot to others helps. I host this Dutch photography podcast together with good friend Niels de Kemp and we talk about all things photography. That helps a ton to stay motivated. Next to that, switching up street and portraits, sometimes more documentary work will also get you out of any rut. Just take that camera and put it to other use for a change. See what else that mighty thing can do. Oh, and give yourself assignments: I shot black and white for the entire last three months of 2023 and only color for the last months of 2024. These things help your process and create a steep learning curve. None of those things pushed me towards only color of only black and white, by the way. I love both, and find that these are just a very different way of photographing.

Critique and feedback can be instrumental in artistic growth. How do you personally engage with critique, and do you believe today’s photography community fosters meaningful discussions around artistic development?

Critique can be scary, especially when you just start your photography journey. You want to rely on others to tell you what is right and wrong. Now here’s the thing: most well-known photographers are older than us. I am probably older than you. The elders bring different values, different views and (unpopular opinion) I disagree with a lot of these views. Trusting my gut in my photography is my main thing, it’s what makes my photos mine. Now I do not say that you should ignore all the critique and feedback! Absolutely not. But please filter what makes sense for your approach, what helps you. Oftentimes, for instance during my workshops, people take home two or three tips from a 3.5 hour workshop. Trust that 90% of what critique tells you, is stuff you intuitively already know. Focus on the 10% that’s new for you. By the way, I love learning from others, don’t get me wrong. But that’s usually not about their photos, but about their approach. I love walking along with others, seeing what they see.

Are there any ongoing or upcoming projects that you are particularly excited about? What themes, stories, or locations are currently capturing your attention?

I am working on a project that focuses on photographing students in their dorms, unfiltered. Currently, I am finding a way to connect with these students. This directly derives from street photography, as I am just not that keen on creating over-polished photos. Next to that, I really want to do a series on loneliness, perhaps even create a book in the end. I might do that one analogue, for adding that bit of extra. Close future: I just love hosting workshops and giving lectures. I have invitations from two schools to do a guest lecture. I love things like that. Motivating people, inspiring people. It’s just the best thing that photography brought me.

The photography industry is evolving rapidly, from technological advancements to shifting audience expectations. How do you see these changes affecting the craft, and how do you adapt while staying true to your vision?

I think the biggest issue with the rapid evolving of the photography industry is that we are creating this Apple like environment. Remember that first iPhone? When the second version came, we all bought that one. Third? That iPhone 3Gs? Had to have that one. We wanted Apple because it was Apple, not because it was better. Gear Acquisition Syndrome or GAS is a disease of this time and manufacturers are rapidly supplying us with minor improvements in a new camera. We don’t need it, we want it. And really, the most important element of a camera is the 30 centimeters behind it. It’s not the camera that takes great pictures. Of course we also have to mention AI and the scary delevopments there. Sorry, but AI is going to stay and improve to very scary heights. It’s here, and we better learn how to use it. It allows us to write better captions for our photos, it allows us to add engaging texts to that photo-filled website we have. All these things improve our photography (business). I think AI is a very good thing, just realize what you are using it for. Next to that, I trust government regulations will protect our copyright etc. I really hope regulation can keep up with the pace of development. In the end, the photo is a product for you to sell or show. We don’t have many Garry Winogrands and Vivian Maiers that keep piles of film undeveloped. AI might help you to create that best product you can, as long as you use it to help you, not create it for you.

For those looking to establish themselves in photography, what key lessons have you learned that you wish you had known earlier? What advice would you give to emerging photographers?

Photographers have one major marketing tool: coffee. Or tea, to your preference. Yes, you have to create compelling work, but if you really want to establish yourself, start small. Drink coffee with peers, they might know someone that can help, or might be able to help you themselves. Engage, connect. Ads and such are nice, and might lift your Instagram following, but if you are like me, your followers on social media are mostly other street photographers, not your target audience. If you want to be in a museum someday, connect with art lovers and museum-goers. That makes much more sense. Also, always keep in mind that 99.9% of the things you can do in photography have already been done. Now give it your spin. That makes a difference.

Photography has the power to move, inform, and inspire. What do you ultimately hope your work communicates to viewers, and is there a message or emotion you strive to leave behind?

My street photography aims to document the now, as most street photographers will answer. It’s true. We all look in awe to these old black and white photos of men with long coats and distiguished hats, where the old street photographers might have taken that for grated. We now see mobile phones and I trust these will be gone in 10 to 15 years as well. So document these. I hope my photography will trigger some kind of recognition in those 10 to 15 years. We now live in a time that will once be the old days and it would be nice to have other pictures than weddings, birthdays and so. The common man doing grocery shopping, of someone texting someone on a bench. And yes, if they are reading books I get nostalgic and will take that photo, but let’s not forget to document the things that form today’s zeitgeist. In the end, I hope that people will realize that we are all searching for someone or something, that we are not alone in worries and happiness. And that, with all the ugly things in the world, we certainly did have some nice quiet / fun moments with eachother as well.

Website: https://michielheijmans.com

Instagram: https://instagram.com/michielheijmans

Image Credits
Michiel Heijmans

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