Interviews
Marit Simons
Marit is an Amsterdam-based photographer whose work spans travel, architecture, fashion, and still life. With a background in fashion, she approaches image-making from multiple perspectives, bringing a refined artistic sensibility to each project. Her photographs capture a quiet sense of nostalgic minimalism, shaped by her fascination with desolate landscapes, natural light, and the beauty found in imperfection. Her work has been featured in publications such as Harper’s Bazaar, AD, Milk, and Openhouse.
Your photography exudes a sense of nostalgic minimalism, often capturing moments that seem to tell a story. How do you approach composing such evocative images?
After years in fashion, I felt the need to look at different subjects and see the world with fresh eyes. I spent some time in Portugal, photographing things just for myself like a visual diary. Situated on the very edge of the European continent overlooking the Atlantic, the country has this wonderful ‘end of the world’ atmosphere. And when you spend time on the high cliffs overlooking the ocean, you can sense the source of the melancholy that runs through Portuguese culture. It’s a mix of awe and respect for the impermanent state of things. It became instinctive to capture and edit my photos in a way that reflects this, and it has stuck with me ever since.
Having spent two decades in fashion photography, how has your experience with renowned photographers like Paolo Roversi and Steven Meisel influenced your visual storytelling?
The biggest privilege of working in fashion since a young age was observing legendary photographers up close, seeing how they build entire worlds through their unique sensibilities. I realised it’s a very personal process, a bit like live painting with lots of people around. This generates a palpable flow of creative energy on set and it’s contagious. I always knew that’s what I wanted to do one day. Observing so many people working in front and behind the scenes really taught me the value of creative exchange between clients and collaborators. For example, at some shoots there are visual researchers backstage whose job it is to come up with the final missing visual cue that completes an image. I learned that every little element matters, and this has become the base for my own approach. Nothing happens by accident. It’s about connecting all the finer details, from the choice of light, the location, to the way certain colors or shapes interact.
I’ve always been very sensitive to my surroundings, and the camera gives me a way to frame those impressions. My eye is drawn to beauty and complexity, to moments and objects that don’t necessarily evoke meaning until recontextualized through a lens. Central to my personal projects is a sense of honesty and working with what’s already there. For example I love finding geometric compositions in public spaces, stumbling upon a person sitting in contemplation or creating still lifes with objects that I find.
Your work spans various genres, including architecture, fashion, and still life. How do you adapt your creative process when transitioning between these different styles?
Regardless of the genre I’m photographing, my work has a cohesive look because I know what I like in terms of locations, light, faces, clothes, objects and the way they all work together. It’s just that each shoot has a different focus and requires different elements to be translated into images. Depending on the subject, it’s just the starting point and focus that are different. Buildings are static and need evocative set styling that creates coherence between different rooms. With fashion, there’s more fluidity because you’re working with a team responding to what happens in the moment. It’s more about creative synergy. In still life, the focus is on the tiniest of details and how different objects relate to each other. Working across these different genres keeps my imagination fresh because elements from one can often be applied to the others.
You often mention working with what’s already present in your surroundings. Could you share an example where an unexpected element led to a compelling photograph?
That happens a lot and these unexpected moments often make the strongest images. Once, while shooting at Versailles, I was waiting for a moment to get a clean interior shot (which can be quite hard in a place that draws 27,000 visitors a day). Suddenly two well-dressed girls appear right in front of me looking down at a map. I had one second, pressed the shutter and knew that was it. Another time in Puglia, I was setting up for the first interior shot at a villa when the weather changed suddenly. The sky turned grey and the wind started pulling the curtains in all directions, but then the sun broke through for a split second and I had one opportunity to get the shot, which resulted in something better than what I could have staged.
In your personal projects, you focus on stillness and imperfect beauty. How do these themes reflect your personal philosophy or worldview?
In northern Europe, cities often prioritize convenience, efficiency and a polished aesthetic. We have incredible infrastructure and a wide choice of specialty coffee places, which I absolutely appreciate, but at a certain point it left me with a longing I couldn’t quite pinpoint. I started reading and realized that the “smooth city” creates uniform, controlled urban spaces where surprises and irregularities become fewer. Third places disappear, social cohesion erodes. In nature there’s space to meander and proliferate, a breeding ground for life itself. Plants grow, cross pollinate, decay, start again. Many cities have become so smooth that they leave less and less room to experience this natural cycle we’re all a part of. I’m drawn to the kind of imperfect beauty found in nature because I like my images to feel real.
Given your background in fashion and creative direction, how do you balance artistic vision with client expectations in commercial projects?
Every shoot requires a different level of input, so it really depends on the client and team whether they have have a clear vision, or whether they want me to develop a creative concept. Either way, my aim is to create timeless, interesting images. Creative direction is always an inherent part of that. Clients book you because of your eye and the way you bring images to life. It’s also personal, as your way of creating is directly influenced by your experiences, both creative and technical. Sometimes your work is already part of the client’s mood board, which is an ideal scenario because it means they’re aligned with your visual language. But of course there’s a big difference between clean, commercial shoots and more artistic, conceptual projects. It depends on the clients needs. Commercial work tends to be more technical and follows a certain set of rules, whereas creative projects allow for a much more personal take. In both cases, the challenge is to stay true to your artistic voice while delivering what the client needs.
Travel seems to be a recurring theme in your work. How do different cultures and environments influence your photographic style and subjects?
Travel heightens the senses. You notice details that might not stand out at home because everything feels new and unfamiliar. Imperfect beauty is abundant in the Mediterranean and being there always reminds me of what I value in my work. However, as an outsider I have to be thoughtful about how I portray a place and its people. I never want to exoticize, so I stay aware that what catches my eye might simply stand out because it’s new to me. I believe in the end it’s about wanting to do justice. A camera gives you a certain power that you need to be aware of in you want to use it responsibly. That means I’m always reading, researching, observing and taking my time to talk to people and this in turn brings new ideas for potential subjects.
For aspiring photographers looking to develop their unique voice, what advice would you offer based on your own journey and experiences?
Study the classics, read theory and interviews, make lots of work and ask yourself questions. Why are certain things in the frame and others not? Why do you select one image over another? This process is always changing, and what emerges through your photos has the potential to change you too. Images always communicate something. I’m very much in this process myself and I believe constantly asking yourself what you feel compelled to communicate will help you discover the voice you want to express through your work.
