Maarten Boswijk
© Anya Schiller
In conversation with

Maarten Boswijk

Utrecht, Netherlands

Hi Maarten, please introduce yourself.

I got interested in photography around the time when phones started having camera’s built-in. A friend was using a 6×6 Bronica and mostly photographed his trips and friends, I thought that was pretty cool. When I got my first job I bought a digital SLR camera to play around with. I gradually moved on to 35mm and medium format camera’s and started shooting and developing black and white. I live in Utrecht where I also studied photography, and do occasional stories and portraits for papers/magazines.

What does analog photography mean to you? What excites / fascinates you about it?

It has a lot to do with slowing down and being appreciative of the final image. I generally consider mistakes that make it into the frame as a nice addition rather than something that should have been avoided.

In your opinion, what are the advantages and disadvantages of analogue photography?

Costs are a clear disadvantage these days, however it seems to contribute to shooting slower and less which in itself is an advantage. It forces me to be a bit less of a perfectionist, it’s the kind of therapy I need.

Do you concentrate on a certain topic in your work? ​

I go back and forth between focusing on portrait, landscape and still life photography, I love it when those genres all work together in a series of images. I’ve done a few trips through the Balkan Peninsula and it keeps reeling me in. Last time I went with a bicycle and I really enjoyed it. I think I need to feel lost in a foreign place or land(scape) to get into a photo-mode.

Are there (analogue) photographers who have influenced your aesthetic and approach?

I came across the work of Joseph John Kotlowski quite early on and his work made a huge impression. He was an Australia/American photographer. Somehow we got in touch and had some brief online conversations. I was always sure I would meet him in person. When I did a backpacking trip through Australia and wanted to visit him I found out that he had passed away. I might have romanticized his work over-time, but it has stayed with me ever since. His work has since disappeared from the internet.

I like seeing things outside of the digital scope. I’m involved in a small community darkroom in Utrecht and it’s inspiring to see people come by who just go straight to printing, no pixels. I admire some of the known names in the world of film photography because of their motivation and persistence. However once a photographic work gains traction online I feel like I get overwhelmed by it, all of the sudden it’s everywhere. I’m more intrigued when I open a random photo book I’ve never seen before and can get surprised by something new regardless of the topic. Even if I never see those images again, they live and evolve in my memory.

Do you have certain cameras and films that you prefer to work with?

At the moment I enjoy using a Pentax 6×7 and Mamiya RZ. They are bulky and slow but I like being able to see through the lens and to get close to a subject. I almost only shoot Portra 400 and Tri-X.

Speaking of films: What does your workflow look like? ​

I put some work into getting a reliable processor for color printing, so I’ve been playing around with that a lot. I develop film myself, and believe putting your own time into the developing process adds to the way you value the results. It is quite easy and time efficient too. I scan using a digital camera and a macro lens and do conversions using Negative Lab Pro in Lightroom. Shortly after getting into camera-scanning I sold my flatbed scanner and would never go back.

What advice would you have for other photographers who are reading this interview?

Don’t get hung op over the price increase. Consider that being able to buy less encourages you to put more time and effort into your pictures. Optimize your workflow so you can focus on the part of the process that you enjoy most. Have fun.

If you publish your work on Instagram: curse or blessing?

I don’t publish work on Instagram too often, I’ve always felt a bit intimidated by it. I think a website on a decent screen are a more personal way to experience someone’s work, if you can’t see it printed.

Which 3 photo books can you recommend / should you definitely own?

Eric Gottesman (“Sudden Flowers“), Rob Hornstra (“101 Billionaires ”) and Tom Janssen (“Parade”)

Thank you so much for your time!



Mamiya RZ67, Pentax 6×7, Chamonix 45N-2, Nikon FR


Kodak Portra 400, Kodak Tri-X 400

Farbe & s/w

Color & B/W

Selected works

© Maarten Boswijk
© Maarten Boswijk
© Maarten Boswijk
© Maarten Boswijk
© Maarten Boswijk