By Yvette Depaepe
Published the 27th of July 2026

Roland M Schwerdtfeger's photographic vision is not to depict reality objectively, but to interpret it subjectively. For him, photography is a consciously crafted process centred on perception, emotion and aesthetics. It is a form of self-expression that reflects his passion, attitude, and inner balance. Join me as I explore his impressive body of work and discover more about the artist behind the images.

‘Traffic Lights’

Dear Roland, could you start by introducing yourself briefly? Please tell us about your hobbies and any other projects you are involved in.

My name is Roland Schwerdtfeger and I was born in Wolfsburg in the state of Lower Saxony. I now live with my family in Krefeld, in the state of North Rhine-Westphalia. I took up photography as a hobby at an early age, while I was still at school. I was fortunate enough to learn about image composition, post-processing, and so on, from the renowned architectural photographer Heinrich Heidersberger. During my time at university, I participated in various international photography salons, exhibited my work several times and won international awards as a competition photographer. I was the first photographer to contribute to the ‘FM-Forum’ section of the German magazine fotomagazin when it launched. I was also a member of various photography clubs and the Royal Photographic Society of England.

‘Urban Lines’

For many years, I had hardly any time for photography for professional reasons. However, in the summer of 2023, I got 'back into it' in earnest. I’m increasingly fascinated by the possibilities of pushing boundaries through digital photography and image editing. Digital technology enables us to achieve everything we used to dream of in the analogue era. Family and friends are important to me in my private life, and alongside photography, which means a great deal to me and gives my life meaning, I enjoy travelling, gardening and music.

“Looking at the Picture’

How and when did you start your journey in photography?

My interest in photography began in the 1970s with landscapes and architecture, and I initially developed and processed black-and-white film myself. I later started processing colour film using the C41 and Cibachrome processes. At first, nature, landscapes and trees were my main subjects. Having my photographs regularly published in specialist photography magazines motivated and inspired me greatly. However, inspired by Heinrich Heidersberger, I soon turned to architectural photography, which has now become my passion.

‘Panta Rhei’

For many of us, photography is either a hobby or a way of life. How would you define your relationship with photography?

For me, photography is much more than just a hobby. It brings me fulfilment and is a way of life. It helps me to achieve work-life balance and, above all, it is a passion of mine. It is an essential part of my life. Photography brings me joy. In my view, a good photograph conveys a clear message and captures the viewer’s emotions. My passion is fine art photography, focusing on the artistic aspect rather than rationality and documentation. Post-processing is just as important to me as taking the photograph itself.

‘Portikus’

Which experience has had the greatest influence on your photographic journey so far?

It’s not easy for me to answer this question, as it wasn’t a single experience that influenced me, but rather a multitude of inspirations. My enthusiasm developed early on through working with Heinrich Heidersberger and through achieving success in competitions, photography clubs and specialist magazines.
After many years during which I found little time for photography, a long-standing friend who has known my work since my youth gave me the impetus to take it up again in 2023. Today, I am grateful to him for that encouragement. My enthusiasm for photography is greater than ever.

‘Urban Patterns’

What is it about architecture and abstract photography that you find so appealing?

Houses don't run away when you photograph them. In fact, I originally started out with trees and landscapes. Although landscapes still stir my emotions today, I am now passionate about architecture and abstract subjects in fine art photography. This is an artistic form of expression in which photographs are deliberately composed to convey a personal interpretation and individual aesthetic concept. Light, composition, colours, perspective and post-processing are all key factors. I try to find my own visual language. To me, a finished photograph is not just a snapshot of a subject, but a subjective interpretation of it that is as aesthetically pleasing and emotionally evocative as possible.

‘A white Cloud’

Do you value the mood or story behind your images more than technical perfection?

I think both play a significant part in fine art architectural photography. While the mood and narrative must be clearly recognisable, composition, camera angle, location and the avoidance of converging lines (unless intentional) also play a crucial role, as does negative space. During post-processing, retouching and cropping where necessary are important creative tools that can give an image the desired look, as are backgrounds and skies. Often, an architectural photograph that is rather dull in its original form only becomes appealing once it has been edited.

‘Contrasts’

How do you engage with your subject matter beyond being an observer?
Do you prepare the locations where you intend to take photographs carefully?

That’s a good question. Yes, I usually prepare locations very thoroughly. Impressive buildings aren’t exactly commonplace, and you have to find interesting subjects in the first place. I often find inspiration for my subjects through online research, as well as through the work of other photographers on 1X, Instagram and at photography exhibitions. Then I use Google Maps to work out the location, surroundings and orientation of the subject. It’s important to choose the right time to take the photograph so that the lighting is just right. For me, planning and preparation are absolutely essential. My images usually take shape in my mind, often being 'finished' before I've even taken the photograph. However, some things also happen quite spontaneously.

‘Sluishuis’

Describe your vision for your photography.

My photographic vision is not to depict reality objectively, but to interpret it subjectively. For me, photography is a consciously crafted process centred on perception, emotion, and aesthetics. It is a form of self-expression that reflects my passion, attitude and inner balance.
I am interested in both the subject itself and its effect on the viewer, including lines, shapes, light, colour and rhythm. Through reduction, perspective and deliberate post-processing, I extract subjects from their functional context and transform them into an independent realm of fine art imagery. A good fine art photograph should not explain, but rather leave room for interpretation. My images are therefore my own aesthetic interpretation of what I have seen and felt. I hope that the viewer can relate to them.

‘Zaandam Facades’

Could you tell us more about your creative process, from initial idea to final product?

Research is usually the starting point. I only head to the location once I have a clear idea of how I want to capture the subject. When it comes to taking the photos, I spend a lot of time choosing the right spot, angle and focal length. However, as a rule, I also photograph the subject from different angles, capturing both the whole scene and the finer details. Sometimes the idea for a picture comes to me afterwards. Before editing, I usually leave the photos overnight so that I can view them with a more neutral perspective the next day, which benefits the images.

‘Upstairs’

Where do you find inspiration, and what inspires you most?

I look for inspiration on curated platforms such as 1X, at international photography exhibitions, and on Instagram. I am most inspired by creative approaches, fresh perspectives, and unique image-editing techniques.

‘La Defense’

Many people believe that the right gear is unimportant if you're passionate about photography. Could you tell us what equipment you use? For example, what camera and lenses do you use, and what lighting and tripod?

Of course, the right equipment is crucial; after all, you can't achieve everything with a standard lens. However, I agree that the camera brand is not important. My kit includes the Nikon Z7II, Z8 and D850, with focal lengths ranging from 14 to 500 mm. I’ve been using Nikon cameras for 50 years, and not one has ever let me down. These days, I use zoom lenses almost exclusively, particularly for architectural photography, which often requires a very precise vantage point where perspective, symmetry, the surrounding buildings and so on all align perfectly. Prime lenses are often not ideal for this as they are either too narrow or too wide.

‘GAP 15’

Which is your favourite photo? Please tell us the story behind it.

What can I say? I don't have a favourite photo. Every picture tells its own story – some more than others. For example, although I was born in Wolfsburg, home to Volkswagen, I’ve never visited the Autostadt. It didn’t exist while I was living there, and later on I often didn’t have time. I’ve made countless resolutions to visit this car museum the next time I’m in my hometown. But something always came up. Now, finally, on the occasion of an alumni reunion, I have fulfilled that wish, and I think it was well worth it.

‘Pavilion’

Which photographers or mentors have influenced you the most?

Traditional photographers: Ansel Adams, Heinrich Heidersberger, Ezra Stoller and Julius Shulman.
Contemporary photographers: Iwan Baan, Duccio Malagamba, Candida Höfer and Michael Kenna.
That said, I’m also constantly inspired by the work of other successful photographers, both on 1X and at international photography exhibitions.

‘The Museum’

As this interview is coming to an end, could you tell us about any photography projects you would like to be involved in?

Perhaps over the next few years, I’ll start thinking about organising another exhibition with other photographers. As for everything else, I’ll just see how things go.

Is there anything else you would like to add? What are your thoughts on using 1X to showcase your work?

First of all, thank you very much for the interview. I am honoured to be here.  
In my opinion, 1X is the perfect platform for showcasing my photographs internationally. At the same time, 1X provides me with a wealth of ideas for my work and has become a very important source of inspiration.

‘Natalini Tower II’

‘Hafenspitze’

‘Auditorio II’

Thank you so much,

Roland