We had the opportunity to connect with Robert van Koesveld, a photographer whose background in psychotherapy and education brings a unique depth to his work. His keen awareness of human emotion and subtle expression allows him to create images that feel both intimate and deeply evocative.

In this interview, Robert reflects on how his understanding of human behavior influences his photographic process, sharing his approach to capturing emotion, storytelling through imagery, and the connection between perception and composition.

Hi Robert, it’s an honor to have you here. Your journey from psychotherapy and education to photography is fascinating. How has your background in understanding human emotions and behavior shaped the way you approach your subjects and create images that resonate so deeply with viewers?

I think working as a psychotherapist sensitizes you to noticing very small nuances and shifts in affect and expression. These shifts are something most people can pick up on, but they do so outside of conscious awareness. The more this recognition moves into conscious awareness, the more one is able to direct subjects toward subtle expressions or choose a moment when the person is truly ‘home’ or present.

In a way, this is a variation of the idea that it is important to be aware of what the photograph you are making is about, rather than just what it is of. If the portrait, for example, is about loss, curiosity, or love, then you need to capture that in the frame, and much of that is about micro expressions.

This applies in landscape photography as well, but it’s more about noticing what you feel inside in response to the place and then finding a way to bring that into the frame. That process involves holding onto the feeling and then using an understanding of human perception to frame and develop the image so that it is communicated. That’s a goal for me, at least.

Your work often feels like a bridge between the personal and the universal, the everyday and the sacred. How do you navigate this balance, and what draws you to explore these liminal spaces in your photography?

I really do like the idea of liminal space, even though it now appears in so many artists’ statements. I first became interested in this concept when I saw it used to describe the state in which ordinary people become gods for a time in traditional cultural practices.

Chinese art also explores the space between heaven and earth, sometimes called “the mystery.” Reflections, wild oceans, and chaotic waterfalls all speak to this. The Japanese word Ma conveys the strength, weight, and language of space — far more than just “empty space.”

I suppose my own process is to keep these kinds of ideas in mind as I look for possible images. It’s about aligning emotional intent with technical skills. As to the why… I think these have been lifelong concerns of mine, so they naturally flow into my photography and creative practice.

The editing process is where many photographers feel their vision truly comes to life. How do you approach post-processing to enhance your work while maintaining its authenticity? Are there any specific techniques or principles you always follow?

The darkroom teaches you that the image only comes to life in the printing. I work digitally but think of the in-camera exposure as a negative, aiming to capture the data I need to later develop the image in Lightroom and Photoshop. (I try to avoid terms like ‘post-processing’ because they suggest a production line or formula rather than the creative realization of the image.)

Principles are really about perception. Where does my eye go? What leads the eye out of the image rather than keeping the viewer engaged? We know that highlights can pull the eye, but so do many other elements, and you want them all working for you. The camera loses depth, and we need to reclaim that in our images, so local contrast and warm vs. cool tones all play a part in that.

Critique and feedback are essential for growth in any creative field. How do you handle constructive criticism, and do you believe it’s possible to achieve artistic growth without external input?

Practicing as a professional psychotherapist means ongoing ‘supervision,’ a kind of reflective inquiry where you open your work for thoughtful review. There is also a strong emphasis on continuous learning.

In my photography, I have sought out skilled and articulate mentors and paid for their time and expertise. There’s only so far you can go with technical upskilling alone.

I think photographers, as a group, are often quite competitive or defensive and don’t invite deeply reflective feedback very often. Asking technical questions is much safer. Providing reflective feedback is also an advanced skill, only available from master practitioners who have an interest in developing the craft in others rather than just teaching their own approach.

I also study a lot of other people’s images, including paintings. You need to really ask yourself: Why does this work so well?

The photography industry is constantly evolving, with new technologies and trends emerging regularly. How do you stay ahead of the curve while ensuring your work remains true to your unique style and vision?

I am in the privileged position of being able to essentially be my own client. I am a very demanding client, though, so dissatisfaction (and doubt) is often the driver. I also review my entire body of work from time to time and look for what is engaging me, as well as any emerging themes or directions. Recently, I’ve been posting to the new Foto app, sharing around one image a day, and using that to explore how images coalesce when I ignore where and when they were taken.

Images can be consumed in so many ways, and I think the final form of the work evolves from the subject and project as a kind of conversation. For example, I have been enjoying working with very thin papers (8g) that can be layered and move in the breeze, so the form is tuned to subjects like reflections and wind-blurred grasses. Having access to a big printer and a space to view my images daily is valuable. If your work emerges from a conversation with your subject, then ideally, there should also be a long conversation between the print and you as well.

Every photographer has a relationship with their gear, whether it’s a reliance on specific tools or a belief in the primacy of vision over equipment. How do you balance technical considerations with creative expression, and what role does gear play in your process?

Currently, I use the Sony A7R5 and Fuji GFX 100S II. I typically work with both, using the Fuji medium format for wide to medium shots and the Sony with a longer lens. Over the years, some lenses have stood out because they add something special, but overall, gear is always a compromise. (I prefer a lighter bag these days).

Collaboration can be a powerful way to expand creative horizons. Have you ever worked with other artists, clients, or subjects in a way that significantly influenced your work? What did you learn from that experience?

I worked with Tea Master, Takako Morita for a long time and several visits to produce a body of work we called ‘tea — mind’ for KG+ in Kyoto. It was probably more performance than classic exhibition. We invited guests, typically individually or in pairs, to take a simple and beautiful box of images into a room with freedom to arrange them in the space or engage in other ways. We had five viewing spaces in a classic Kyoto Japanese house and some people used them all. Working with Takako, who is a fourth-generation tea master, her refined and subtle sensibility taught me so much which continues to influence my work.

In ‘tea — mind’ we worked hard on the quality of prints, the weight and texture of paper, and the minute details of the guests’ warmup to the experience. 

I more recently collaborated with Scott Hunter to mount a joint exhibition (again part of KG+) where our work was hung alternating between each of us. Coming from different starting points but a similar aesthetic, in some ways, the images still worked well together. This sort of collaboration has its challenges (Scott lives in Scotland and I am in Perth Australia so lots of zoom conversations) but the reward of hanging out together in Kyoto and seeing the other photographers work is very enjoyable.

Portraiture is always a collaboration and my work with Maiko/Geiko in Kyoto takes this much further. It resulted in a book called ‘Geiko & Maiko of Kyoto’ which won the photobook of the year in Australia. I have gained some trust with certain artists and craft people as well as members of the kagai and okasan. Things that were ‘not possible’ became possible over time. More honestly it is a long learning process to begin to understand something of this world and giving up preconceptions. In particular, I have been photographing Tomitsuyu for almost 15 years since I met her as a young shikomi before she became maiko and then eventually geiko. That is very special. Geiko are performance artists and dancers and Tomitsuyu brings an enormous range of emotion to our work together.

Photography often involves navigating ethical considerations, especially when documenting people or sensitive subjects. How do you approach these challenges, and what principles guide your decision-making in such situations?

There is a balance to be found. If you aren’t an investigative journalist there is probably no justification for intrusion or photographing folk in a negative light. At the same time ordinary life should be documented and honoured. While a shoot list is always valuable, it is great to take time to drop expectations and preconceptions and just observe, engage and learn. Often the project will shift as you understand more. I find I need a few visits to start to understand enough and do research between visits.

If someone waves me off in street photography situations, I just lower the camera and tell myself there are 7 billion people out there (no matter how special the image might have been).

The business side of photography can be just as challenging as the creative side. What are some of the most important lessons you’ve learned about balancing artistic integrity with the demands of running a successful photography career?

I see myself more as an artist these days, having worked in a previous career before I went full time. Some income is obviously helpful, but the mortgage is paid. However, I do personally take my work seriously and will not price work below value or erode the market in other ways.

Time management and workflow efficiency are critical for professional photographers. How do you organize your process from planning shoots to delivering final images—to ensure consistency and quality in your work?

Time management and workflow efficiency are critical for professional photographers. How do you organize your process—from planning shoots to delivering final images—to ensure consistency and quality in your work? I don’t really work much under pressure. I aim to develop images to a standard appropriate for the context from quick edits on my phone for posting, through to 20 layers in photoshop for book projects or exhibition work. I am willing to redo images from scratch to get a 2% improvement for exhibition work and often do multiple big prints before I am happy.

The concept of “legacy” is often on the minds of artists. How do you hope your body of work will be remembered, and what steps do you take to ensure your photography has a lasting impact?

The world is definitely saturated with images and some are pretty good. I hope some books will stay on shelves and aim to produce some collected images that hanging together in one or two off books for family. It is very gratifying when people buy work and hang it.

Finally, if you could share one piece of advice with aspiring photographers looking to turn their passion into a profession, what would it be?

I might not be the best person to ask this sort of advice. I think the craft itself is probably 30% of a successful practice. The rest is marketing, building connections and administration. So really honestly audit your strengths and stay open to keeping photography as a passion or joining the ranks of happy enough but poor artists.

Website: www.robertvankoesveld.com

Instagram: https://www.instagram.com/robertvankoesveld/

Image Credits
Robert van Koesveld

Have a question for Robert or want to share your thoughts? Drop a comment below!

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