In Conversation with Photographer Robert Rieger

Royfort Cotton — In Conversation with Photographer Robert Rieger

The Berlin-based photographer reflects on his journey into photography, the influence of place, and the quiet storytelling that defines his work

Photographer:
Robert Rieger

Photographer Robert Rieger has built a body of work defined by intimacy, atmosphere, and a quiet sense of storytelling. Moving fluidly between portraits, interiors, and lifestyle, his images balance precision with spontaneity, always placing people and their environments at the center. Whether documenting spaces or capturing the essence of a person, Robert approaches each subject with the same calm attentiveness. In this conversation, he reflects on the beginnings of his career and how he continues to preserve a deliberate rhythm in an era of fast images and fleeting content.

VISUAL PLEASURE Magazine: What was the first photograph you ever took that made you realize this could become your life’s work, and how did your journey into photography evolve from there?

Robert Rieger: At the beginning of my career, I photographed designer Erik Spiekermann for Adobe’s print magazine – one of my very first serious assignments. I was quite nervous, so I poured all my energy into those portraits. When I sent the images to the creative director, he was so pleased with the outcome that he chose one of my favorite shots for the cover. That moment gave me the confidence and excitement to fully pursue photography as my path. But in truth, the seed was planted much earlier: as a child, when my uncle invited me into his photo studio and introduced me to the technical side of the craft.

Berlin has been your base for years. How does the city shape the way you see and photograph the world?

I have a very special bond with Berlin. Before university, I worked here as an intern at a well-known design agency. Growing up in a smaller German city, I knew early on that I had to move to Berlin if I wanted to build a career in design or photography. After finishing university, I joined the visual team of an international magazine. Around that time, I also began working on freelance photography assignments and personal projects. The city gave me countless opportunities to connect with clients, fellow photographers, and designers. Today, Berlin is my permanent base, though I travel frequently – something I deeply enjoy. Each time I return from other cities around the world, I see Berlin with fresh eyes.

Architecture and interiors play a strong role in your work. How do you approach photographing space differently from people?

Spaces and people both have character – my task is to tell their stories. Technically, though, the approaches are very different. Photographing interiors is highly precise and methodical: I shoot from a tripod, use long exposures, balance multiple plates, and pay close attention to vertical and horizontal lines. With people, it’s almost the opposite – I usually move with them, adapting to their energy. A shy person requires a different rhythm than someone extroverted. I tend to shoot handheld, taking many frames, while interiors are carefully planned with far fewer exposures. Yet at the core, both disciplines demand the same sense of storytelling.

“Spaces and people both have character – my task is to tell their stories.”

When photographing people, how do you capture their essence without making the image feel staged?

It’s always complex, especially because time is often limited – politicians or actors, for example, might only give me five to ten minutes. Preparation becomes essential: I think carefully about my angle on their personality and research existing portraits to see what’s already been done. I also gather visual references that could inspire a fresh approach. But in the end, everything depends on the person in front of the camera. They need to feel confident, ideally even forget about the camera. Creating that environment requires interpersonal work – small talk, genuine conversation, and above all appearing calm and secure in my process. If I know exactly what I want, they feel safe, and that confidence translates into the portrait.

Much of your work feels like storytelling. How do you decide which moments are worth capturing?

I often plan my compositions long before I even pick up the camera. I sketch ideas with my iPhone, and for larger projects I discuss them with creative directors, lighting designers, stylists, and producers. That preparation frees me during the shoot to focus on subtle decisions: waiting for the right moment, refining compositions, or adjusting details. I also think in terms of series rather than single images. A strong photograph has to work within the flow of the whole set – the wide shot, the vignette, the atmosphere all need to connect. Technical precision matters, but equally important is the collaboration with set design and light.

Has there been a single subject or project that changed the way you see photography?

Growing up in Germany, I was surrounded by a rich photographic tradition. As a teenager, I loved visiting exhibitions with my parents – I still remember standing in front of the monumental works of Thomas Struth, Andreas Gursky, and Bernd and Hilla Becher. My first photo book was by Joachim Brohm, whose work reminded me of Stephen Shore. But ultimately it was filmmakers like Wim Wenders and Stanley Kubrick who shaped my vision most profoundly, showing me how photography and cinema share a deep foundation in storytelling.

In an era of fast images and endless content, your work feels slow and deliberate. How do you preserve that rhythm?

That’s a huge compliment – thank you. For me, it’s about focusing on the essential moments and filtering out the noise. My workflow reflects this mindset: I plan ahead, analyze, and create a structure, which allows me to remain calm and deliberate when shooting. At the same time, flexibility is vital – you have to stay open, so that when the decisive moment appears, you can respond instinctively.

What is the most challenging aspect of being a photographer today, and how do you navigate it?

Speaking with colleagues who built their careers twenty or thirty years ago, it’s striking how much the profession has changed. Back then, agents were the main gateway to commercial work. Today, everything revolves around visibility: social media, websites, personal connections. Competition is intense, budgets are shrinking, and appreciation isn’t always where it should be. To stand out, I believe it’s essential to create a distinct visual language, present work consistently, and build long-term client relationships.

And of course, there’s the rapid rise of AI. While the results are not yet fully convincing, it won’t be long before artificial images can imitate light, perspective, and even people convincingly. What does that mean for photographers? Not to put the camera away. If anything, authentic images will become more valuable, precisely because they are real.

Looking ahead, are there themes or subjects you haven’t yet explored but feel drawn to?

Sometimes, during long-haul flights with no connection, I look down on the clouds and feel deeply grateful for the projects I’ve been able to pursue. Over the years, I’ve explored many different fields of photography – some fascinating, others less so. What I know for sure is that I want to keep evolving within the work I’m already passionate about, discovering new forms and perspectives within it. Continuity and reinvention often go hand in hand.