PhotoLexicon, Volume 5, nr. 10 (December 1988) (en)

Paul Huf

Ingeborg Th. Leijerzapf

Joke Pronk


Paul Huf is the éminence grise of Dutch photography, whose chief specialties are advertising and portrait photography. Until recently, his name was almost proverbially linked to the advertising campaigns for Grolsch Beer with the catch phrase: ‘Vakmanschap is meesterschap’ (‘Craftsmanship is Mastery’). His name is also nearly synonymous with the special style of glamour portrait art. Just as with photography, Huf has also made his mark with short films, primarily advertising films and film portraits. In the second half of the 1980s, Paul Huf’s ‘stilled’, posed photography stands as a model for a young generation of photographers.




Paul Eduard Bram Huf is born on 14 March in Amsterdam as the son of Paul Huf Sr., actor and elocutionist, and Emmy Huf-de Beneditty, head buyer at Metz-Liberty.


The Huf family moves to Laren (North Holland). Paul Jr. attends business school in Hilversum. Obsessed with photography—his father’s hobby—in 1941, he trades in a self-made amplifier for his first camera, a 6×9 Agfa Billy Record. He builds a darkroom in the garden house and learns to develop and print by experimenting on his own. Classmates and acquaintances pose for his camera; he allows people to buy and order their portrait prints.


To gain practical experience alongside his own self-acquired knowledge, Huf takes several lessons with the photographer Stephan Storm (Stefan Nijhoff), who was once an apprentice to Man Ray. As the child of a Jewish mother, Huf is required to fulfil his obligation to the Arbeitseinsatz (compulsory labour deployment under the Germans) in the Netherlands. On 24 December 1943, Huf registers as corporate photographer for Polak & Schwartz’s Essence factories in Zaandam. Next, the head of personnel announces he is required to develop a specialisation under Jan Vorstelman, a photographer in Hilversum. In actuality, Huf’s working contract with Polak & Schwartz is merely a cover to evade the Arbeitseinsatz. The murder of the socialist writer A.M. de Jong on 18 October 1943 induces Paul Huf Sr. to go into hiding with his family in Naarden. Paul Huf Jr. moves in with Françoise van den Brink in nearby Laren.


After the liberation, Huf moves into the house of several friends on the Honthorstraat in Amsterdam. He soon receives his first independent assignment through Ko van Dijk, specifically, to produce the official stage portraits for the theatrical company Comedia. Having no studio of his own, Huf sometimes uses Nico Zomer’s studio in Amsterdam.


Huf spends several months in Paris together with his friend, Ton Raateland, a graphic artist. Upon his return to Amsterdam, Huf meets Carel Blazer. In part because of Blazer’s influence, he is accepted as a member of the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’. Huf marries Françoise (‘Zusje’) van den Brink, who has a son from her previous marriage: Eric-Jo.


Huf receives his first advertising assignment from the Centraal Brouwerij Kantoor (‘Central Brewery Office’) with the theme: ‘Het bier is weer best’ (‘Again the Beer is Good’). From this point forward, Huf’s reputation begins to grow, with commissioned work coming in on a regular basis. He produces a colour calendar for KLM Airlines, which appears in 1951.


As a representative of the GKf, Huf helps to organise the exhibition, Fotoschouw ’52 (‘Photo View ’52’), at the Gemeentemuseum in The Hague. Museum curator K.E. Schuurman and the NFK (Nederlandse Fotografen Kunstkring, ‘Netherlands Photographers Art Society’) photographer Meinard Woldringh are the main organisers.


Huf is commissioned by the Philips Phonographische Industrie (‘Philips Phonographic Industry’) to shoot colour photos for the covers of sixty classical music gramophone plates.


Huf visits the United States to determine whether settling there is a good decision. In the end, he chooses in favour of the Netherlands and decides to return to Amsterdam. Huf is commissioned by Grolsch Beer to work on the advertising campaign: ‘Vakmanschap is meesterschap’ (‘Craftsmanship is Mastery’).

Huf takes part in an AVRO television broadcast directed by Leen Timp: a double interview with the architect, Jaap Penraat.

Starting in 1957, Huf makes a series of large group portraits depicting people who share the same profession—e.g. writers, actors, and photographers—for the newspaper De Telegraaf.


At the invitation of Pieter Brattinga, Paul Huf gives a lecture at the Pratt Institute in New York. In his speech, he compares photography in Europe with that produced in the United States.


Huf moves into an old wine merchant’s warehouse at Hazenstraat 4-8 in Amsterdam. Hein Salomonson converts the building into a photography studio, which is officially opened on 4 October 1963.


In February, Huf collaborates on a special broadcast of experimental colour television produced by the AVRO broadcasting company. In the show, he demonstrates how a fashion photo assignment is made. At the invitation of Morris Gordon, director of photography at Western Electric in New York, Huf presents a lecture on European photography at the ninth annual Wilson Hicks International Conference on Communication Arts in Miami on 22 April. From 4 to 7 May, he is a guest instructor at the Syracuse Workshop in Color Photography in New York.

On 10 December, Morris Gordon awards Huf with the second gold medal of Venice in Amsterdam


The official opening of Paul Huf Film Associates N.V is held on 23 September.


Together with Aart Klein and A. de Kloet, Huf sits on the jury of the Amsterdam Photo Prize 1967.


Huf sits on the jury of the ‘Nederlandse Reclame en televisie- en bioscoopreclame festival’ (‘Netherlands Advertising and Television and Cinema Advertising Festival’).


On 29 April, Huf presents a lecture, entitled ‘Why I Went from Still Photography to Movies’, for the Wilson Hicks International Conference on Communication Arts in Miami.


On behalf of the Peter Stuyvesant Stichting (‘Peter Stuyvesant Foundation’), Huf makes the film Adventure in Art. The film receives awards at various international film festivals.


On the initiative of the Dutch Ministry of Foreign Affairs, Huf makes a twenty-seven minute film: Carel Willink – Fantastisch Realist (‘Fantasy Realist’). The film receives numerous awards.


Huf is made a Knight in the Order of Orange-Nassau.

Huf is the ‘Rijksgecommitteerde’ (an external examiner appointed by the state) for exams given at the St. Joost Academy in Breda in the departments of film and photography.

Huf is a forum member at the Art & Photography symposium held at the Vrije Universiteit in Amsterdam.


Huf makes the twenty-seven minute film Dutch Museums, commissioned by the Dutch Ministry of Foreign Affairs.


Huf becomes a board member of the World Press Photo Foundation. From 1981 to 1988, he serves as the organisation’s secretary.


The Dutch cinema newsreel company Polygoon makes a film portrait of Paul Huf to be shown in Dutch cinemas.


Together with the photographer Govert de Roos, Huf initiates the founding of ‘Dutch Photography’, an organisation established to familiarise the greater public with Dutch photography. A representative photo is selected for each one of the Netherland’s best photographers, to be included as part of an exhibition that travels around the country. Art Unlimited publishes picture postcards and posters for dozens of Paul Huf’s photos.


Huf sits on the jury of the Joop Alblas Prize.


The organisation ‘Dutch Photography’ is changed to ‘Stichting Dutch Photography’ (‘Dutch Photography Foundation’), sponsored by Dunhill. Huf is a member of the management board as well as the selection committee.

Huf spends time taking photographs in the area around the French village Barbizon, made famous by the painters of the Barbizon School.


Paul Huf Film Associates is dissolved. Huf once again devotes his time solely to photography.


Huf sits on the juries of the Siemens calendar and the Kunstuitleen (‘Art on Loan’) in Amstelveen.


Huf shoots photos while following in the footsteps of Vincent Van Gogh. The resulting exhibition, entitled Eye to Eye, opens in March 1989 in New York and is sponsored by KLM Airlines. The exhibition subsequently travels around the world as a one-man show.


Paul Huf dies on 9 January in Amsterdam.


Paul Huf works as a photographer—and since recently also as a filmmaker—chiefly on assignment for clients. Autonomous photography plays a marginal role in his oeuvre. Huf has gained substantial notoriety through his portrait and advertising photography. From the moment of his professional debut, he has held a unique place in Dutch photography with his ideas about design. At the same time, he was the first to achieve a rise in financial compensation for commissioned photography. Huf acted on the axiom that an individual’s capacities are judged to be higher the more his fee increases. In the eyes of many colleagues, he was viewed as being more interested in the business side of things, i.e. as someone who sold out for the money. Huf was long considered to be an outsider in the Dutch photographic world, not only for his business-like approach, but also for his—by the standards of photography in the Netherlands—his exceptional style.

Huf is in fact an autodidact. He first came into contact with photography through the hobby of his father, the actor Paul Huf Sr. By experimenting in the darkroom, Paul Jr. taught himself to develop and print on his own.

Through Albert Mol, Huf came into contact with Stefan Nijhoff in 1942, a photographer working under the pseudonym of Stephan Storm who was once a student of Man Ray. In exchange for photographic material, Nijhoff gave Huf several lessons in practical tips, from the taking of a photo to the finished result. Working for the portrait photographer Jan Vorstelman, who had also received a comprehensive training in the studio of Godfried de Groot, Huf improved his technical skills, including the art of retouching on the negative.

In addition to several insights while learning the technical tricks of the trade, Huf’s family background provided him with an important visual formation. Huf Jr. grew up in the theatre world. The Huf family enjoyed a dynamic and varied way of life: the inevitable tension that comes with the failure or success of a play as well as the droves of people—chiefly artists—always coming and going at home. The father’s acting career was of major significance for Huf’s future development. Because Huf Sr. was always portraying different characters on stage, Paul Jr. had learned to distinguish various personality types as a boy. In his photography, this would help him to quickly identify characteristic traits in the facial expressions and poses of his models.

As soon as he had his first camera, Huf began taking portrait photos of classmates, friends, and acquaintances. Nothing seemed more logical to him than to use his camera to shoot portraits. The people he portrayed bought his photos for Dfl. 2.50. He also shot photos of people he encountered on the street, such as that of Mr. Cenijn, an elderly man from Laren, taken in 1942, whose family ordered numerous reprints. Huf raised his prices immediately, thus starting out on his career as a commercial photographer.

Huf’s talents were noticed and encouraged by the many actors and actresses who stopped by the family home on a frequent basis. In 1946, Huf received his first official photo commission from the theatrical company Comedia. Huf produced the company’s new theatrical portraits in the living room of Ko van Dijk. After all, ‘any place in the world can be turned into a studio’. Huf’s own living room on the Honthorststraat and his parent’s living room on the Nicolaas Maesstraat—where he shot the portrait of Friedrich Vordemberge-Gildewart in 1948—served as his studio from time to time.

It was the nature of Huf’s photography that inspired Erwin Blumenfeld to advise him to move some place abroad—especially Paris—in order to develop himself further. In 1947, Huf departed for the French capital, together with his friend Ton Raateland, a graphic artist. Huf spent a couple of months roaming about to get a feel for the atmosphere of Paris. In the end, however, he decided to stay in the Netherlands. In 1957, he travelled to the United States with the same intention, but once again decided to return to his native country to continue his career.

As the years progressed, it became increasingly clear that portrait photography was Huf’s specialty. His distinctive style even allowed him to enter royal circles. Following the Second World War, the royal family—in consultation with the RVD (Rijksvoorlichtingsdienst, ‘Netherlands Government Information Service’)—expressed a preference for hiring different photographers to take their portraits, no longer wishing to be bound to any one permanent court photographer. In 1952, Huf was approached by the RVD and asked to make a photo reportage of the royal family. In those days, such a commission was considered an honour. Consequently, no one had ever asked for any compensation. Huf, by contrast, requested 1,000 guilders as a fee for the reportage. Following brief consultation, the RVD decided to meet his request. In doing so, Huf had opened the door to commercial interests. Since then, all court photographers are compensated for their work.

From an early age, Huf was surrounded by actors and artists. He started out his career with making portraits of well-known figures in Dutch society. In fact, he remains the ‘court photographer’ of celebrities to this very day. For a portrait of distinction, people still turn to Huf’s studio. His fame as a portraitist is most certainly due in part to the fame of those he portrays. As he shows in his book Leeg Kijken (‘Empty Look’), many artists have sat for his camera on more than one occasion, sometimes with a break of dozens of years between shots. In the 1950s and ’60s, he also frequently worked with actors and actresses for his advertising and fashion photos—prior to the 1960s, there were simply no professional photo models in the Netherlands. People are the essential theme in Huf’s photography. When shooting advertising, fashion, or reportage photos, he approaches his topic as if it were a portrait. In addition to the glamorous style of his portrait photography, which he transformed into his own trademark, and his reportages on members of the royal family, Huf earned his greatest notoriety with the advertising work he did for his client Grolsch Beer, both in photography and film. ‘Vakmanschap is meesterschap’ (‘Craftsmanship is Mastery’), from the Grolsch advertising campaigns, has become a proverbial catch phrase in the Dutch vernacular.

From the moment of his debut as an advertising photographer, Huf chose to follow his own path and to create surprisingly new impulses through his own original ideas. One example is the commissioned advertising work he did for the Centraal Brouwerij Kantoor (‘Central Brewing Office’) in 1949. To everyone’s surprise, Huf picked out the ‘local corner pub’ for his location—as opposed to his studio—to photograph beer in its most familiar surroundings. He calls this a ‘slice of life’. In 1952, Huf caught people’s attention by having a professional photo model fly over from the United Kingdom to pose for various assignments. A 1954 photo reportage for the covers of gramophone albums, commissioned by Philips, was also anything but conventional: classical music packaged in colour photos of a stunning photo model! Deviating from the time-tested designs used for classical album covers—involving subdued illustrations or black-and-white still lifes— in such an obvious way was a bold undertaking. After some hesitation, however, Huf’s designs were favourably received. Ann Pickford, a British model photographed for the album covers, inspired Annie M.G. Schmidt to write the song ‘De hoezepoes’ (‘The Pussy Cat on the Cover’), sung by the Dutch vocalist Conny Stuart.

Huf was also specialised in fashion photography. His photos appeared frequently—without author citation—in the weekly magazine De Vrouw en haar Huis (‘The Woman and her House’). Starting in 1965, Huf was intensively involved with the monthly magazine Avenue, which featured fashion, travel, home interior, culinary tips, and other topics. Huf initially worked as an aesthetic advisor on the fashion features and was responsible for a major share of the fashion photos appearing in the magazine up until the 1970s. He often worked with the photo model Corine Rottschafer, as well as models contracted through the employment agency she established in 1962, the first of its kind in the Netherlands.

The style of Huf’s fashion photos resembles the work of David Bailey and Richard Avedon, particularly in the choice of camera angle, the use of neutral backgrounds without corners and shadow effects, and full focus across the entire image. Huf is known to have included special attributes in his photos on occasion, but he prefers austerity. Simple studio props, such as blocks, are sometimes used for poses, but for the rest, his compositions are built up through the positioning of his models. Generally, the models remain in direct contact with the photographer, but not necessarily with each other. The unity of the photo is achieved through its composition. Designed as such, Huf’s fashion photos sometimes become still lifes, with no interaction occurring between the elements present. There is rarely any narrative. The use of full focus contributes to the perception that every element of the photo is equally important: a totality of visual information void of any hierarchical sequence. Huf does control the line of view, however, with his camera angle.

Besides in the studio, Huf also makes fashion reportages ‘on location’, for instance, a reportage in Russia with a Russian-Orthodox church in the background or shots taken in a Moscow metro station. Reportages on Parisian couture, e.g. spring and fall fashion, are shot in Paris. These fashion reportages are made in colour, which forms an important compositional element in this work.

In terms of his portrait work, Huf was influenced in his early days by photography in foreign magazines, such as work done by the American photographer George Hurrell in Esquire, as well as George Platt-Lynes and George Hoyningen-Huene in Vogue. Hurrell primarily shot portraits of well-known film and pop music stars. He portrayed these celebrities in a world of exalted glamour, just as the public wished to see them. Huf adopted this glamour style, as well as Hurrell’s method of relying on one spotlight.

In this same period, i.e. shortly after the Second World War, Huf also felt a strong affinity with photographers such as Man Ray, Erwin Blumenfeld, and Irving Penn. Yet it would be an overstatement to suggest that the work of any one specific foreign photographer was what shaped the development of Huf’s style: he kept himself abreast of international developments through foreign magazines and was therefore influenced in a more general sense.

In the Netherlands, Huf is undoubtedly the clearest representative of glamour portrait art, mastered by Godfried de Groot in the 1930s and continuing on in the style of his pupils Willy Schurman and Jan Vorstelman. Huf nevertheless rid himself of the dramatized romanticism that typifies De Groot’s work (especially obvious in his romantic approach to lighting and the use of soft-focus technique) and introduced a more people-oriented approach: he allows his models and clients to pose, but in a more lively and natural manner than had previously been done. A touch of candid and journalistic photography can be found throughout Huf’s portraits, even when taken for advertising and fashion purposes. Huf is a specialist in recreating a sense of reality in his images, to such a degree that the suggestion of ‘having truly existed’ transcends any visible staging.

A certain similarity with the photography of Bill Brandt can also be observed in Huf’s oeuvre, i.e. the manner in which the work of both photographers radiates a quality of ‘stillness’. Huf is also referred to as the sculptor among the photographers, based on the power of this still quality: as if an undercooling occurs, all movement stiffens, holding its breath. Contrary to what one might expect, there is no stiffness or restraint, but rather an absolute calm. For many years, Huf was the only photographer in the Netherlands working in this way. The generation of the 1980s—including Paul Blanca, Hans van Manen and Taco Anema—as well as earlier reportage photographers such as Willem Diepraam, Bertien van Manen and Hannes Wallrafen are now all drawn to this style.

While Huf remains a photographer before anything else, he says he has always had a predilection for film. The hidden compulsion towards movement and rhythm that exists in his photography—in spite of its calm—can only be fully expressed in the medium of film. In 1947, Joris Ivens recognised this dormant talent in Huf’s black-and-white work. On 8 March of that same year, he wrote a letter of recommendation on Huf’s behalf to ‘Those for whom this might be of interest’. He described Huf’s photography as follows: ‘I see in his work a striving for rhythm and movement, which he is unable to realise in still photography. The work indeed calls for: film.’ Ivens expressed his wish ‘(…) that Paul Huf Jr. will soon be given the opportunity to now find his remaining future in the area of film.’ Film was not to play an actual role in Huf’s career until 1966, at which time he set up the film and production company ‘Paul Huf Film Associates N.V.’, together with his son, Eric-Jo. Eric-Jo had already gained substantial experience as a cameraman and was primarily in charge of the technical side. His father, Paul, provided the artistic input. In this collaborative set-up, the company successfully produced a large number of advertising and promotional films, television commercials, and documentaries. It quickly grew to approximately fifteen employees.

The themes in the advertising films produced by Paul Huf Film Associates directly correspond with Huf’s photographic oeuvre: portraits, the campaign for Grolsch Beer, television ads shot in the studio (e.g. for Coca-Cola and other commercial clients), and a film about museums in the Netherlands—an area that was very familiar to him through his ‘Vakmanschap is meesterschap’ campaigns. Huf’s film company was awarded numerous distinctions and prizes. The film portrait, Carel Willink Fantastich Realist (‘Fantastic Realist’), made in 1975, especially received many awards.

Paul Huf Film Associates was dissolved in 1986. By this time, Eric-Jo had found other work, with Paul wanting to cut back on his involvement. Once his film company was closed, Paul Huf was completely satisfied with returning to the same situation at the start of his career: a one-man enterprise, handling a photo assignment from the initial arrangements to the final finishing all on his own. The technical side of the business was what least inspired Huf. Most important to him was the man behind the camera, i.e. the ‘inventor’ of the image: not the type of camera or lens. During his career as a filmmaker, he put this into practice by leaving all of the technical aspects entirely to his son. In photography, however, Huf generally takes care of these matters himself.

During his years of training, Huf first used a 6×9 folding camera. Working as a professional photographer, he began using a Rolleiflex and a Leica. Various kinds of cameras were eventually added to this list, such as a 4×5 inch Gowland Flex, a Brand 17 technical camera, different types of Hasselblads and Olympus, a Zeiss Ikon Mirror Reflex, and several Polaroid cameras. He has a certain preference for the 4×5 inch Gowlandflex camera. Huf typically develops and prints his black-and-white photos himself, but has a professional photo lab do the photofinishing of his colour prints. Huf’s ‘business’ has been located at Hazenstraat 4 in Amsterdam since 1962. Here he has two large studios (8×12 meter floor plan, with ceiling heights of 3 and 4 meters, respectively), a darkroom, and a space for photofinishing. Paul Huf Film Associates operated in these spaces. In his studio, Huf has introduced lighting based on his own design: a large light-box constructed himself, with built-in spots and flash lamps. An ‘infinite’ background—a concrete wall that curves into the floor, ensuring there are no corners to create shadow formation—is a permanent fixture in his studio.

Huf prefers to work alone. He has always been an ‘Einzelgänger’, particularly in his work as a photographer. This was also the case with his photo and film company, where quite a few people were employed. Huf takes the time to develop an idea and devotes a great deal of attention to this idea until the concept is good. Once this part of the work is completed, it only takes him several shots to get the photo he wants. One important reason why Huf chooses to work alone is to establish a personal contact with the person or people he photographs, whether it be a professional model or someone entering his studio for the first time. The presence of other people on the ‘set’ only serves to distract and prevents the model or person being photographed from releasing the discomfort that often arises in front of the camera. To boost the self-confidence of the person in question, Huf first takes a polaroid photo of the pose and composition he has in mind, in order to convey an idea of the final result. Especially when doing a portrait, he asks his client to trust him as much as they possibly can, while not paying too much attention to the camera. He wants his subject to think of something else, so as to achieve a certain look of aloofness in the eyes, a pose Huf refers to as ‘leeg kijken’ (‘Empty Look’). Such moments allow him to produce what he sees as the most characteristic photo of a person.

Huf also considers his advertising assignments when alone and works the concepts out himself, without the intervention of an art director. At the start of his career, the phenomenon of an ‘art director’ was still unknown. There was no other choice but to rely on his own inventiveness and creativity. By the time advertising firms created the position of art director in the 1960s, Huf had already proved himself in the advertising field to the extent that his clients fully trusted his abilities and allowed him to work according to his own insight.

Paul Huf is highly regarded for his knowledge of photography and his ample experience in the advertising field. Beginning in the 1960s and continuing to this very day, he is frequently asked to partake in all kinds of juries, lectures, and symposia both at home and abroad. He is also an active board member, previously with the World Press Photo Foundation for many years and currently with the Dutch Photography Foundation. Taking on new initiatives has always been his primary interest. He was closely involved in the founding of the magazine Avenue, the brainchild of Joop Swart, and the magazine Zero. The Dutch Photography Foundation was both conceived and founded by Huf and Govert de Roos.

During his long career, Paul Huf has built up an historical archive featuring portraits of renowned figures in Dutch society. His archive includes at least one portrait of virtually every artist, actor, cabaret entertainer, and musician that ever played an important role in the cultural life of the Netherlands after the Second World War.

Paul Huff’s photography and working method have had an influence on various areas of society. His commercial nature and professional approach have contributed to a greater appreciation for the expertise of professional photographers in general, thereby indirectly improving the position of fashion, advertising, and reportage photographers in the decades after the war. His photographic style has been unmistakeably influential for portrait and advertising photography in the Netherlands. In recent years, this influence has resurfaced particularly in the area of portrait photography.


Primary bibliography

Vakmanschap is meesterschap (map met 12 reproducties uit de advertentieserie van Grolsch), Enschede/Groenlo (Grolsche Bierbrouwerij NV) z.j.

Vakmanschap is meesterschap (in het Rijksmuseum van Oudheden) (map met 21 reproducties van kleurenadvertenties van Grolsch en 10 zwart-wit foto’s met beschrijvende teksten), z.p., z.j.

Vakmanschap is meesterschap in het Fries Museum (map met 36 reproducties van kleurenadvertenties van Grolsch en 4 zwart-wit foto’s met beschrijvende teksten), z.p., z.j.

Joost de Klerk (tekst), 50 Jaar Nieuwe Schoolvereeniging (1898-1948), Amsterdam (Nieuwe Schoolvereeniging) z.j. (ca. 1948).

M.B. van de Werk (inl.), Een eeuw Hoenderloo 1851-1951, Hoenderloo (Uitgeverij Hoenderloo) 1951.

Hans Redeker (tekst), Life in Holland, Amsterdam (De Bezige Bij) 1952.

A.F. Kamp (red.), De Technische Hogeschool te Delft 1905-1955, Den Haag (Staatsdrukkerij- en Uitgeverij bedrijf) 1955.

Z.Th. Fetter (inl.), Een kwart eeuw TNO 1932-1957, Gedenkboek bij de voltooiing van de eerste 25 jaar werkzaamheid van de organisatie TNO op 1 mei 1957, Den Haag (Nederlandse Organisatie voor Toegepast-Natuurwetenschappelijk Onderzoek) 1957.

Kijkprikkels (november/december 1958) 231, p. 30, 43, 44 (met foto’s).

Netherlands Ship Model Basin, Wageningen (Netherlands Ship Model Basin) 1960.

Paul Huf, Paul Huf als fotograaf over: ‘concert at home’, in Focus 45 (1 oktober 1960) 20, p. 682-683.

G.E.K. Brummer (tekst), Vakmanschap is meesterschap, Enschede/Groenlo (Grolsche Bierbrouwerij NV) 1969.

Paul Huf (foto’s), Gerard van Lennep (tekst) en Anthon Beeke(vormgeving), Leeg kijken, Haarlem (J..H. Gottmer) 1981.

Paul Huf, Het genie, in Zero (april 1981) 2, p. 77.

Merel Laseur (tekst) en Paul Huf (foto’s), Over schoonheid, Haarlem (J.H. Gottmer) 1984.

L. Fritz Gruber (inl.), „Butterflies” (portfolio, 12 opnamen), Amsterdam (Olympus Gallery) 1985.

John Sillevis, Back to Barbizon, Tokyo (Hijnk International BV) 1986.


foto’s in:

Platenhoes LP On Stage, van Luis Albertodel Parana and his Trio Los Paraguayos.

Gerrit Kouwenaar (inl.), Vijftigers. Een bloemlezing uit het werk van Remco Campert, Jan Elburg, Gerrit Kouwenaar, Lucebert, Bert Schierbeek, Amsterdam (De Bezige Bij) z.j., omslag.

Nederlandsch Jaarboek voor Fotokunst 1944/46, pl. XXXIII.

Jurri Schrofer (inl.), Foto ’48. Tentoonstelling in het Stedelijk Museum te Amsterdam, Amsterdam (Contact) 1948. (Speciale editie van de Kroniek van Kunst en Kultuur).

Foto 3 (november 1948) 11, p. 330.

Fotografie (januari 1950) 1, omslag.

Gevaert Foto-Dienst (maart/april 1950) 17, p. 13, 16.

U.S. Camera 13 (oktober 1950) 10, p.47.

Drukkersweekblad (1950) kerstnummer.

Kalender KLM (met kleurenfoto’s), 1951.

Lilliput 28 (juni/juli 1951) 7, p. 32.

Catalogus Fotoschouw ’52, Den Haag (Gemeentemuseum) 1952.

Serie van 60 platenhoezen in kleur voor klassieke muziek, in opdracht van Philips NV, 1954.

Camera 33 (februari 1954) 2, p. 62-65.

Congresfilm (uitgebracht door Het Vrije Volk) 18-19 november 1954.

This Week Magazine (Herald New York Tribune), section 7, 22 mei 1955, omslag, p. 20.

Het Parool 24 september 1955.

Jaarverslag PTT 1955. Waaraan toegevoegd verslag Rijkspostspaarbank 1955, Den Haag (Staatsbedrijf der PTT) 1956, p. 12, 24, 36, 48, 58, 70, 84, 88, 94.

De Telegraaf 1957-1963 (serie groepsfoto’s: portiers, fotografen, zangeressen, etc).

Elegance februari 1957, omslag.

Foto 12 (februari 1957) 2, p. 56-57.

Philips Music Herald (voorjaar 1957) 5, omslag.

De Telegraaf 29 juni 1957.

Het Beste uit Reader’s Digest 1 (oktober 1957) 1, omslag.

De Telegraaf 25 oktober 1957.

De Telegraaf 26 oktober 1957.

Paul Rodenko en G.S.K. Blaauw, Vuur aan zee, IJmuiden (Hoogovens) 1958 , p. 15, 29, 33, 68-70, 76, na 80. (Engelse editie: Fire beside the sea, 1961).

Kalender Nederlandse Christelijke Radiovereniging, 1958.

Vers van ‘t vat (personeelsblad Heineken) juli 1958, omslag.

Emigratie (1959) 3, p. 7.

De Telegraaf 19 maart 1960.

Foto 15 (april 1960) 4, p. 187.

Han Hoekstra, Dag Amsterdam, Amsterdam (N.V. Het Parool) 1961, p. 14.

Elegance 18 (juli 1961) 7, p. 58, 60, 61.

Jan G. Elburg e.a., De verbinding, Den Haag (Centrale Directie van het Staatsbedrijf der PTT) 1962. (Engelse editie: The connection, 1962).

Kalender Sikkens Lakfabrieken N.V. Sassenheim Holland, 1962.

Leidraad. Tijdschrift voor de textielbranche 6 (juni 1962) 17.

De Telegraaf 1963 (serie portretten: ‘Portret van twee generaties’).

De vrouw en haar huis 1963, p. 573.

Catologus tent. Photokina 1963. 2. Bilder und Texte, Keulen, 1963, p. 138.

Camera 42 (maart 1963) 3, p. 19.

De Telegraaf 2 maart 1963.

Camera 42 (mei 1963) 5, p. 36, 37.

Family (september 1963) 1, omslag.

Margriet (2 november 1963) 44, omslag.

Revue der Reclame (4 december 1963) 23, p.882.

Katoenshow 1964 (brochure), Arnhem (Nederlands Katoeninstituut) 1964.

De vrouw en haar huis 1964, p. 158-159, 542.

Margriet (2ojuni 1964) 25, omslag, p. 16-25.

Photography Year Book 1965, omslag, pl. 52.

Auteur onbekend, Electronic measuring and microwave instruments (catalogus), Eindhoven (Philips) 1965.

Platenhoes LP Thats’s our song, van Esther & Abraham Ofarim, 1965.

Avenue 1965-1969.

Platenhoes LP van Corrie Brokken, ca. 1965.

Kalender Seven-Up, 1965.

De vrouw en haar huis 1965, p. 80-81.

Het Parool 5 januari 1965.

Prov. Zeeuwse Courant 19 maart 1965.

Nieuws van de Dag 10 april 1965.

Camera 44 (mei 1965) 5, p. 20-21.

De Telegraaf 20 mei 1965.

Woche (1 september 1965) 35, omslag, p. 11-15.

Het Vaderland (bijlage) 97 (22-29 september 1965) 136.

Katholieke Radio + Televisiegids (KRO) 38 (26 september- 2 oktober 1965) 39, omslag, p.6-7.

Katholieke Radio + Televisiegids (KRO) 38 (5-11 december 1965) 49, omslag.

De Typhoon 16 december 1965.

Kalender Stadsdrukkerij van Amsterdam, 1966.

Ilford. Exhibition of international photography. Photokina 1966, Essex (Ilford) 1966, foto 7, 13.

U.S. Camera World Annual 1966, p. 103, 104.

De vrouw en haar huis 1966, p. 72-73, 168-169, 693.

De Typhoon 2 maart 1966.

Kroniek van het ambacht 20 (september 1966) 4/5, p.241, 249, 259-327, 339, 340.

Elseviers Weekblad 22 (10 september 1966) 37, omslag.

Elseviers Weekblad 22 (17 september 1966) 38, omslag.

Elseviers Weekblad 22 (1 oktober 1966) 40, omslag.

The New York Times international edition 4 oktober 1966, p. 5.

Elseviers Weekblad 22 (29 oktober 1966) 44, omslag.

Elseviers Weekblad 22 (19 november 1966) 47, omslag.

Holiday 40 (december 1966) 6, p. 82-89.

Haagsche Courant 17 december 1966.

Kalender De Groote Bossche van 1838 (Schadeverzekeringmaatschappij – ‘s-Hertogenbosch – Levensverzekeringmaatschappij), 1967.

Kalender De Jong & Comp. Amsterdam.

Alle verzekeringen, 1967.

Kalender Agence Siera pour la Tunisie, 1970.

Infinity 19 (januari 1970) 1, p. 27.

Avenue (april 1970) 4, p. 128-135.

Nieuwe Revu (11 april 1970) 15, p. 30-33.

Woche (2 september 1970) 36, omslag, p. 14-17.

Nieuwe Revu (12-18 september 1970) 38, p. 14-15.

W. Woltz en Joost van de Woestijne (samenstelling), Ons lieve leven. 100 Jaar Nederlandse krantefoto’s, Wageningen (L.J. Veen/Foton) 1972, p. 82, 190, 192, 200, 212.

Mach (27 oktober 1972) 15, p.3, 4, 7, 8.

Nieuwe Revu 4 november 1972, p. 46-47, 68.

De Telegraaf 6 december 1973.

Eve today, z.p. (Playboy Press) 1974, p. 60.

Catalogus tent. World Press Photo, Amsterdam (Teleboek B.V.) 1974, p. 90.

Goudsche Courant 3 mei 1974.

Avenue (augustus 1974) 8, p. 48-53.

Vrij Nederland 24 augustus 1974.

Eve today, Chicago (Playboy Press) 1975, p. 107, 108.

Fotografen 1976, geïllustreerde ledenlijst van de beroepsvereniging van fotografen GKf, Amsterdam (GKf) 1976, p. 30, 31. Avenue (juni 1976) 6, p. 39.

NRC Handelsblad 9 juli 1976.

Avenue (oktober 1976) 10, p. 146-153.

Avenue (november 1976) 11, P83.

Avenue (december 1976) 12, p. 164-169.

Holiday Inn Companion 2 (december 1976) 9, p. 15.

Hollands Diep 3 (23 april 1977) 8, omslag.

Avenue (juni 1977) 6, p. 120, 124-127, 129.

Avenue (november 1977) 11, p. 16, 18, 20, 218-219.

International Photo Technik (1978) 1, p. 34-35.

Holland Herald 13 (1978) 2, p. 26.

Avenue (juni 1978) 6, p. 46-53.

Margriet (27 oktober 1978) 43, p. 122-125.

Avenue (januari 1979) 1, p. 90.

Keesings Antenne 13 (26 april 1979) 16, omslag, p. 122-126.

Avenue (oktober 1979) 10, p. 118, 120.

Zero 1 (november 1979) 5, p.97.

Netnieuws (Eenmalig nieuwsmagazine) 1 november 1979, p. 7.

Zero 1 (december 1979) 6, p. 62-63, 108.

Margriet (21 december 1979) 51, p. 4.

Holland Herald 15 (1980) 12, omslag, p. 39.

Zero 2 (maart 1980) 1, p. 116.

Vrij Nederland (boekenbijvoegsel) 22 maart 1980.

Margriet (28 maart 1980) 13, omslag.

Zero 2 (mei 1980) 3, omslag, p. 124.

Margriet (20 juni 1980) 25, omslag, p. 8-17.

Avenue (juli 1980) 7, omslag.

Margriet (5 september 1980) 36, omslag, p. 10-15.

Avenue (december 1980) 12, p. 158-165.

Zero 2 (december 1980) 8, p. 108.

Ideaal Wonen (december 1980) 12, p. 56-57.

Margriet (26 december 1980) 52, p. 53.

NRC Handelsblad 1981 -1984 (serie portretten: ‘Over schoonheid’).

Zero 3 (maart 1981) 1, p. 28-31, 49.

Zero 3 (april 1981) 2, p. 85-89, 121-124.

Viva (10 april 1981) 15.

Avenue (mei 1981) 5, p. 22-23.

Zero 3 (mei 1981) 3, p. 70.

Margriet (24 juli 1981) 30, p.8-9, 11, 12.

Margriet (31 juli 1981) 31, p.8-9, 11, 12.

Avenue (augustus 1981) 8, p. 51.

VARA gids 52 (1 augustus 1981) 31, omslag, p. 24, 25.

Margriet (25 september 1981) 39, omslag, p. 10-13.

NRC Handelsblad 26 september 1981.

Panorama (25 december 1981) 52, p. 80, 81.

Playboy 1982 (proefnummer).

Margriet (8 januari 1982) 1, p. 8, 9, 12, 13.

Zero 4 (maart 1982) 1, p. 45.

Zero 4 (april 1982) 2, p. 21, 44.

Zero 4 (mei 1982) 3, p. 68.

Margriet (30 juli 1982) 30, p.8-9, 11, 12.

Zero 4 (september 1982) 5, p. 88.

Kunstschrift 26 (november/december 1982) 6, p. 194-195.

Playboy augustus 1983.

Playboy september 1983.

De Tijd (19 november 1982) 424, p.9.

Akzo jaarverslag 1982, Arnhem (Akzo N.V.) 1983.

Platenhoes LP Bovenwind Sound front the friendly Islands, 1983.

19NU. (Tweemaandelijkse uitgave van de Stichting Public Relations Land- en Tuinbouw) 19 (1983) 3, p. 32.

Sotheby Max van Waay B.V. kunstveilingen. Catalogus 366. Oude en eigentijdse foto’s, 18 april 1983, p. 48.

Libelle (16 september 1983) 37, p. 4.

Margriet (9 december 1983) 49, p. 10, 13.

De Telegraaf/Nieuws van de Dag. Weekeinde 1984-1986 (serie portretten: ‘In de eerste lijn’).

Akzo jaarverslag 1983. Arnhem (Akzo N.V.) 1984.

Bank Morgan Labouchere. Annual Report 1983, Amsterdam (Bank Morgan Labouchere N.V.) 1984.

Banque Paribas Nederland NV. Jaarverslag 1984.

Stichting Akzo-Pensioenfonds. Jaarverslag 1984, omslag.

Foto & Doka 6 (maart 1984) 3, p. 38.

Vrij Nederland 45 (31 maart 1984) 13, p. 2-3.

Weekend (21 april 1984) 16, omslag, p. 3, 6, 7, 12.

De debutanten. Literaire boekengids (CPNB), najaar 1984, omslag, p. 30.

Elseviers Select 15 (oktober 1984) 4, p.54.

Veronica (1 december 1984) 48, omslag, p. 10.

Bos en Lommer Staete (brochure), Amsterdam (BOZ) 1985.

Magda Heeffer (samenstelling en red.), Titel & inhoud, Bergen op Zoom (Heeffer) 1985, omslag.

Nutricia. Verslag over het boekjaar 1984, Zoetermeer (N.V. Verenigde Bedrijven Nutricia) 1985.

Selection 10 (maart 1985) 1, p. 10-11, 13, 15, 17, 19, 21-22, 23.

Vrij Nederland 46 (9 maart 1985), p. 1, 3.

De Tijd 11 (28 juni 1985) 42, p. 44.

Holland Herald 20 (september 1985) 9, omslag.

Plaatwerk 2 (november 1985) 12, p. 11-19.

Avenue (december 1985) 12, p. 6-7, 42-43.

Holland Herald 20 (december 1985) 12, omslag, p. 15.

Holland Herald 21 (januari 1986) 1, p.4.

Hopper. NLM in-flight magazine (maart/april 1986), omslag, p. 16-17, 19.

Playboy (1986) 4.

Muziek & Dans 10 (mei 1986) 5/6.

Vrij Nederland-Boekenbijlage (14 juni 1986) 24, p.7.

Pour vous madame 11 (september/oktober 1986) 5, p.8-9.

Panorama (13-21 november 1986) 47, p. 88-89

Vrij Nederland-Boekenbijlage (6 december 1986) 49, p. 13.

S. Bakker, Het literaire tijdschrift Het Woord 1945-1949, Amsterdam (De Bezige Bij) 1987, afb. 151-154.

Women of the world (speciale uitgave van het tijdschrift Playboy), 1987.

Photographic sensuality, z.p. (Japan Creators Ass. Press Int.) 1987.

Barbizon wijnetiketten (genummerd en gesigneerd), 1987 e.v.

Aspekt. Weekblad voor Amsterdam 11 februari 1987, p. 1.

Nippon Camera april 1987, p. 44-46.

Biodermal Magazine voorjaar/zomer 1987.

De Telegraaf/Nieuws van de Dag. Weekeinde april-juli 1987 (serie portretten: ‘Humor in Holland’).

KRO Studio 61 (16 t/m 22 mei 1987) 20, omslag.

Pour vous madame 12 (juni 1987) 4, p. 36, 37. 19NU 23 (juli 1987) 4, p. 13.

Biodermal Magazine winter 1987.

Sammlung Gruber. Photographische Erinnerungen, Keulen (Museum Ludwig) 1988.

Playboy januari 1988.

Biodermal Magazine voorjaar 1988.

Biodermal Magazine najaar 1988.

Secondary bibliography

Auteur onbekend, Werk van fotografen, in De Week in Beeld (16 oktober 1948) 29.

Piet Kievit, En nu is het woord aan de jongeren, in Ariadne (februari 1952) 2, p. 59, 61 (met foto’s).

Auteur onbekend, Edward Steichen zoekt foto’s, in Het Parool 31 oktober 1952.

KL., Werk van Paul Huf, in Foto 8 (mei 1953) 5, p. 125-129 (met foto’s).

Auteur onbekend, Europese fotokunst in New Yorks museum, in Het Parool 1 augustus 1953.

Wijnand van Ophuijsen, Paul Huf: Doe gewoon… (interview), in Fotorama 11 (november/december 1954) 18, p. 540-545 (met foto’s).

Auteur onbekend, The long-playing record cover is „visible” music!, in Philips Music Herald (1956) 2, p. 10-12.

Theo Ramaker, Klassieke favorieten in een hoes van Huf, in PS. Wekelijks bijvoegsel van

Het Parool (8 september 1956) 3578.

Hans Sternsdorff, Ann Pickford, mooi model voor de hoezen van Huf, in Vrij (bijlage van het Vrije Volk) 12 (8 september 1956) 3464, p. 1.

Auteur onbekend, Paul Huf, in De Groene Amsterdammer 27 oktober 1956 (met foto’s).

K./H., Hoezen, in Foto 11 (november 1956) 11, p. 376-379. 382-383.

Stan Huygens, Uit hun vak in de TV, in De Telegraaf 26 februari 1957.

Leo J. Capit, „Paultje kan er wat van!”, in Panorama 44 (24augustus 1957) 34, p. 13-17.

Auteur onbekend, Zoekend naar ‘t „leven”. Revolutie in de reclamefotografie. Paul Huf jr., wereldbekend expert, fotografeert anders, in Noord Ooster 22 maart 1958.

Auteur onbekend, Zoekend naar het leven zoals het werkelijk is, in Nieuwe Tilburgse Courant 3 april 1958.

Auteur onbekend, Waar jong talent wordt opgekweekt, in De Bussumsche Courant 1 mei 1958.

Peter Hunter, The GKf. A federation of photographers in Amsterdam, in Photography oktober 1958, p. 25-30, 61.

Auteur onbekend, Vuur aan zee, in Samen 28 (januari 1959) 1,p.9.

Adri de Waard, Een halve eeuw hoffotografie, in De Spiegel (25 april 1959) 30, omslag, p. 8-16, 36.

Auteur onbekend, Reclame en fotografie, in Haagse Post 46 (11 juli 1959) 2326, p. 6, 7.

J.D. de Jong, Eerste verzameling in Europa foto’s „an sich”. Foto-expositie Stedelijk Museum Amsterdam, in Friese Koerier 19 november 1960.

Auteur onbekend, Oud pakhuis werd topfotoatelier, in Het Parool 5 oktober 1963.

Auteur onbekend, Topmode tussen fineerstammen, in Kontakt november 1963, p. 16.

Auteur onbekend, Paul Huf maakt foto’s voor Amerikaanse campagne ANVV, in Ariadne 19 (19 augustus 1964) 34, p. 953.

P.L. v.d. V., Paul Huf… wat ik mooi vind, in De Volkskrant 28 november 1964.

tas, De volmaakte wereld van Paul Huf, in Algemeen Dagblad 1 december 1964.

Auteur onbekend, Wat Paul Huf mooi vindt, in De Telegraaf 1 december 1964.

Jan Liber, Paul Huf, méér dan fotograaf, in Het Vrije Volk 3 december 1964.

J. de V., Wat Paul Huf mooi vindt, in Het Parool 16 december 1964, p. 5.

Auteur onbekend, Fotografie mijn geluk. De golden fiction van Paul Huf, in Haagse Post 51 (19 december 1964) 2610, p. 34-35.

Henk Enkelaar, Paul Huf: foto, in De Nieuwe Linie 19 (19 december 1964) 977, p. 1, 12, 13.

Auteur onbekend, Paul Huf: Wat ik mooi vind, in Algemeen Handelsblad 23 december 1964.

Auteur onbekend, Paul Huf: topfotograaf, in Rotterdamsch Parool 6 januari 1965.

B.D., Zuilen geven kleur aan tvprogramma’s, in Het Parool 12 januari 1965.

Auteur onbekend, AVRO bracht programma in kleuren, in Het Parool 14 januari 1965.

D.B. (= Dick Boer), Paul Huf stelt tentoon, in Focus 50 (22 januari 1965) 2, p. 26.

Willemijn Brattinga-Kooy, Portret van een fotograaf, in Focus 50 (22 januari 1965) 2, p. 26.

Joost Andriessen, Paul Huf GKf. Vakmanschap en meesterschap, in Foto 20 (februari 1965) 2, omslag, p. 60-67 (met foto’s).

Auteur onbekend, Wonderlijke technische platen van fotograaf Paul Huf. in Philips Koerier 6 februari 1965.

Auteur onbekend, Vererend, in De Telegraaf 24 februari 1965.

Jean Wardlow, TV fare in U.S. Mostly hogwash, editor declares, in The Miami Herald 22 april 1965, p. 2.

F. Stoppelman, Paul Huf in de studio, in Focus 50 (14 mei 1965) 10, omslag, p. 16-23 (met foto’s).

Auteur onbekend, Paul Huf naast Lord Snowdon. Fototentoonstelling in New York, in Brabants Dagblad 22 mei 1965.

Auteur onbekend, The world of Paul Huf, in Photography 20 (juni 1965) 6, omslag, p. 20-23 (met foto’s).

W.N., Twaalf fotografen verrasten New York, in Dagblad van Noord Limburg 4 juni 1965.

Auteur onbekend, Paul Huf exposeert in New York, in Algemeen Dagblad 10 juni 1965.

Alfred Gescheidt en Ralph Hattersley, 12 Photographers: An international exhibition of photography – Two reviews, in Infinity 14 (juli 1965) 7, p. 14, 15, 28, 29.

Auteur onbekend, 12 International photographers, in U.S. Camera juli 1965, p. 56-58, 87.

Auteur onbekend, „Schap” legt beslag op camera’s. „Vrije” fotograaf Dukkers de dupe, in De Telegraaf 7 september 1965.

Martin Ruyter, Snelle jongen in goed pak, in De Volkskrant 15 december 1965.

Willemyn Brattinga-Kooy, Regie: Paul Huf. Het succesverhaal van een serieuze fotograaf, Amsterdam, (De Bezige Bij) 1966.

Auteur onbekend, Paul Huf onderscheiden, in Focus 51 (7 januari 1966) 1, p. 35.

Jan Brusse, Op vlinderjacht door de haute couture, in Elseviers Weekblad 26 februari 1966, p. 53, 55.

Jan Donia, Zo wonen fotografen, in Eva (6 augustus 1966) 32, p. 72-74.

Friso Endt, Huf’s Hollywood, in Revue (3 september 1966) 37, omslag, p. 5, 26-29.

Friso Endt, Paul Huf investeert f 250.000 in studio voor zoon Erik-Jo, in Haagsche Courant 13 september 1966.

D.B., Regie: Paul Huf. Het suksesverhaal van een serieuze fotograaf, in Focus 51 (16 september 1966) 19, p. 26-27.

Auteur onbekend, Stuyvesant-collectie naar het Louvre, in De Telegraaf 17 september 1966.

Auteur onbekend, Paul Huf. En toch kan dat ook mooi, in Elsevier 24 september 1966, p. 83-84.

D.B., Paul Huf opent nieuwe studio, in Focus 51 (28 oktober 1966) 22, p. 27.

Joost Andriessen, Regisseur Paul Huf, in Algemeen Handelsblad 12 november 1966.

Auteur onbekend, Grandioze foto’s van Paul Huf, in De Tijd 12 november 1966.

Herman Croesen, De foto’s van Paul Huf. Raakvlak van kunst en commercie, in Haarlems Dagblad 15 november 1966, p. 11.

Auteur onbekend, HuPs ABC. „In” zijn Elle-meisjes, in Haagse Post 19 november 1966, p. 31.

Rolf Mager, Paul Huf in Museum Fodor, in Ariadne 23 november 1966, p. 1291.

L.H., Paul Huf regisseert naar een perfectie, in Eindhovens Dagblad 3 december 1966.

Marike Schreuder, Fotografen in de lens. ‘Van je geluk hangt veel af (Paul Huf), in Het Vrije Volk 10 december 1966.

Rom Boonstra, Fotograaf Paul Huf: Meester-dromenmaker. Veel belangstelling voor tentoonstelling in Hoogeveen, in Nieuwsblad van het Noorden 27 januari 1968.

P.W. Russel, Als Suzie ruikt moet je kijken, in Algemeen Dagblad 20 februari 1968, p. 2.

Auteur onbekend, Kleur karakteristiek op foto-expositie. World in color te Hengelo, in De Volkskrant 4 september 1968.

Arnold-Jan Scheer, De grote verleiders, in De Spiegel (7 september 1968) 49, omslag, p.28, 29,31,33,35.

Auteur onbekend, Paul Huf met Polaroid, in Fototribune 30 (oktober 1968) 10, omslag, p. 20-23.

Auteur onbekend, Een minuut Poly op het scherm en wat er allemaal voor kwam kijken, in Winst punten (februari 1969) 2, p. 4-5.

Auteur onbekend, Dutch master. Photography by Paul Huf, in Applied Photography International (1970) 8, p. 32-38 (met foto’s).

Auteur onbekend, Maltese background for Dutch tv and press commercials. International photographer here, in Times of Malta 26 januari 1970, p. 2.

René de Bok, Een topfotograaf filosofeert over topmodellen, in Het Parool 17 november 1970.

R.W.D. Oxenaar, Inleiding uitgesproken bij de opening van de tentoonstelling „Meinard Woldringh” in de Lakenhal te Leiden op 11 februari 1971.

Auteur onbekend, Foto’s, in De Volkskrant 29 april 1971.

Auteur onbekend, „Kom ook naar het museum”, in NRC Handelsblad 5 februari 1973.

Auteur onbekend, Paul Huf: geweldige medewerking, in Turmac. Mededelingen 10 (maart 1973) I, p.6-12.

Auteur onbekend, Paul Huf s „vakmanschap is meesterschap”, in Capi-Lux. Informatie ’75-1, p. 18-19 (met foto’s).

Gerard van Lennep, Paul Huf een zeer aardige man, in Avenue (november 1975) 11, p. 136-138.

Fred Raadman, Modieus filmportret van een fantastisch realist. Huf en de wereld van Willink, in Gooi en Eemlander 3 november 1975.

Bas Roodnat, Zwitserse foto’s op stimulerende expositie, in NRC Handelsblad 6 november 1975.

Bert Sprenkeling, Huf: Vakmanschap! Maar meesterschap?, in Het Parool 6 november 1975.

Gert Jonker, Een ‘grand old man’ in exportverpakking, in Bouw 30 (15 november 1975).

Stan Huygens, Paul Huf bij Alex Orlow, in De Telegraaf 19 mei 1976.

Inge Kalmann, Kunstenaarsfotograaf Huf exposeert in Turmac, in Nieuw Israelietisch Weekblad 4 juni 1976.

Auteur onbekend, Fotograaf Paul Huf maakte foto van ‘niets’, in Mix (4 maart 1977) 9, p. 51.

Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978.

Auteur onbekend, Portraits in polaroid, ‘This one-minute marvel is the complete creative process’ – Huf, in Holland Herald 13 (februari 1978) 2, p. 23-25 (met foto’s).

John M. Vijlbrief, ‘Fotografie is nog lang niet genoeg aan de beurt geweest’ (interview), in Ariadne/Revue der Reclame (2 maart 1978) 9, p. 29-31.

Auteur onbekend, Veluws museum voor één dag filmstudio, in Amersfoortse Courant/Veluws Dagblad 17 mei 1978, p. 17.

Stan Huygens, Greta in onze musea, in De Telegraaf 3 juni 1978, p.4.

Onno Kleijn, Met Paul Huf op de creatieve filmtoer, in Smalfilmen als hobby 6 (juli 1978) 7, p. 25.

Auteur onbekend, Seeing things simply, in Holland Herald 14 (1979) 8, omslag, p. 29-33 (met foto’s).

Keso Dekker, Paul Huf vertelt, in Zembla (1980) 2, (met foto’s).

Lex Runderkamp en Jos Slats, Beperkingen in de fotografie, in Harlekijn 10 (1980) 10, p. 30-33.

Hans Vogel, Nooit recht-voor-de-bek. Galerie Siau presenteert de foto’s van Paul Huf (56), in Het Parool 23 februari 1980, p. 28.

Bas Roodnat, Paul Huf: terugblik op 40 jaar fotografie, in NRC Handelsblad 6 maart 1980.

Inge Kalmann, Het gouden oog van fotograaf Paul Huf, in Nieuw Israelietisch Weekblad 115 (14 maart 1980) 25, p. 19.

Wiecher Hulst, De momentjes van Paul Huf, in NRC Handelsblad 6 augustus 1980.

Flory Jansen, Daar heb je die dure Paul Huf weet je wel . . . , in Ariadne. Revue der Reclame & MMD (21 oktober 1980) 43, p. 1, 6-9.

Peter Contant, Glamour-fotograaf Paul Huf: „Het mooie in de mens laten zien, vind ik belangrijk”, in TM. Het tijdschrift voor de militair van nu 8 (19 november 1980) 23, p. 2-5.

Elly Beintema, Paul Huf, in You and your camera 9 (1981) 128, p. 3444-3449 (met foto’s).

Marleen Kox, Verslag onderzoek fotoarchieven. (Samengesteld in opdracht van de Stichting Nederlands Foto-Archief), Amsterdam, juli 1981.

F.L. (= Frank Lubbers), Instrumenteel en esthetisch gebruik van de fotografie, in Fodor 1 (oktober 1981) 2, p. 9-11.

Auteur onbekend, Meesterlijke foto’s uit de camera van Paul Huf (1). Prins Bernhard en Karsh op de korrel, in Vorsten (november 1981) 11, p. 32-33 (met foto’s).

Annelies Groote, Kijken met de ogen van Paul Huf, in Vorsten 9 (december 1981) 12, p. 32-35.

Henk van Gelder, Leeg kijken bij Paul Huf, in Adformatie 9(17 december 1981) 51, p. 27-28.

Stan Huygens, De mooie wereld van Paul Huf, in De Telegraaf 18 december 1981, p. 4.

Henk Venhuis, ‘Leeg kijken’ van Paul Huf biedt meer dan kijkplezier, in Nieuwsblad van het Noorden 28 december 1981, p. 21.

P.P. (= Piet Peters), Leeg kijken, in Foto & Doka 4 (januari 1982) 1, p. 17.

Inge Kalmann, Expositie en boek over veertig jaar werk Huf, in Nieuw Israelietisch Weekblad 117 (1 januari 1982) 14, p. 13.

Frans Happel, De lichtjes van Paul Huf, in Haagsche Courant 23 januari 1982.

Emmy Huf, Paul Huf portretten maken daar ben ik goed in. Emmy Huf in gesprek met haar broer, in Weekend (23 januari 1982) 3, p. 22-23.

Fred Lammers, Rumoer om koninklijke statiefoto’s, in Trouw 30 januari 1982, p. 27.

Ronald Hoeben, Gluurtechnisch genot, in Haagse Post (6 februari 1982) 5, p. 68-69.

Bas Roodnat, De portretten van Paul Huf: Koel en onaanraakbaar, in NRC Handelsblad 12 februari 1982, p. 11.

Rommert Boonstra, Fotograaf Paul Huf: „Wat mooi, wat mooi, staat iedereen te roepen”, in Elseviers Magazine 38 (20 februari J982) 7, p. 94-95, 97.

Herman Hoeneveld, Leeg kijken, in Kunstbeeld 6 (april 1982), p. 38.

Henk van Gelder, Heemskerk: Er zijn hier te weinig mannenbladen. De Nederlandse Playboy, in NRC Handelsblad 20 september 1982, p. 8.

H.J. Oolbekkink, Het portret. Paul Huf, de fotograaf, in Haagsche Courant 20 november 1982, p. 29.

Ben Kroon, Wat heet mooi. ‘Als je er oog voor hebt raak je nooit uitgekeken’, De Tijd 9 (10 december 1982) 427, p. 76-77.

Catalogus tent. Zien en gezien worden. Fotografische zelfbespiegeling in Nederland van ca. 1840 tot heden, Nijmegen (Nijmeegs Museum ‘Commanderie van Sint Jan’) 1983, p. 51, 87.

Auteur onbekend, Paul Huf mode fotograaf, in Context (februari 1983) p. 9.

Wim Spijkers, Paul Huf. Vakmanschap is meesterschap, in Nieuwe Revu (4 maart 1983) 9, p. 60-61.

Catalogus Fotobiennale Enschede. Amerikaanse en Nederlandse fotografie, Enschede (Stichting Fotobiennale Enschede) 1984, p.41, 61 (met foto’s).

Mattie Boom, Hans van de Waal: een plaats voor de fotografie, in Geschiedenis van de Nederlandse fotografie, Alphen aan den Rijn (Samsom) 1984 e.v.

Tineke de Ruiter, Eva Besnyö, in Geschiedenis van de Nederlandse fotografie, Alphen aan den Rijn (Samsom) 1984 e.v.

Tineke de Ruiter, Aart Klein, in Geschiedenis van de Nederlandse fotografie, Alphen aan den Rijn (Samsom) 1984 e.v.

Carla van der Stap, Maria Austria, in Geschiedenis van de Nederlandse fotografie, Alphen aan den Rijn (Samsom) 1984 e.v.

Conny Meslier, Leer de geheimen van het fotograferen van Paul Huf. ‘n Unieke fotoworkshop, in Zero 4 (april 1984) 2, p. 100-101.

Auteur onbekend, Merel Laseur. De reflectie van schoonheid, in Avenue (september 1984) 9, p. 20-21.

Michel Szulc Krzyzanowski en Frans Lomans, Negen manieren om naar het vogeltje te kijken, in Nieuwe Revu (1 t/m 9 november 1984) 45, p. 24.

Jan Brokken, ‘Overal waar je kijkt … Huf … Huf… Huf’, in Haagse Post (24 november 1984) 47, omslag, p. 46-47, 49-52.

Remco Campert (inl.), Amsterdam 1950-1959 20 fotografen, Amsterdam (Fragment) 1985, p.4, afb. 17, 70, 73, 77.

Catalogus tent. Fresson photographers. A unity in vision, New Orleans (Contemporary Arts Center) 1985.

Marian Smook, Paul Huf. Veertig jaar fotograaf, in Selection 10 (maart 1985), p. 32-35.

Auteur onbekend, Nieuws. Olympus Gallery in Amsterdam, in Foto 40 (april 1985) 4, p. 15.

Ellen Kok, Lichtvoetige schoonheid, in Foto 40 (april 1985) 4, p. 16.

H.H. (= Herman Hoeneveld), Butterflies portfolio Paul Huf, in Kunstbeeld 9 (juni 1985) 8, p. 64.

Auteur onbekend, Paul Huf s butterflies, in Professionele Fotografie (juni/juli 1985) 3, p. 47-49 (met foto’s).

George McDonald, The steps that led to the growth of Grolsch, in Marketing Week 8 (21 juni 1985) 17, p. 41-43.

Peter van der Klugt, Het mannelijke model, in Haagse Post (24 augustus 1985) 34, p. 30-34.

Frans Keijsper, Paul Huf ziet Barbizon, in Haarlems Dagblad 27 augustus 1985, p. 7.

George McDonald, Amsterdam craftsman, in Creative Review oktober 1985, p. 58-59.

Pauline Terreehorst, Boerenkaas-realisme en grootsteedse grandeur. Gemeentearchief Amsterdam boort met fotocollectie goudmijn aan, in De Volkskrant 12 oktober 1985.

Diny Schouten, Ter zake, in Vrij Nederland-Boekenbijlage (23 november 1985) 47, p. 2.

Auteur onbekend, „Altijd zorgen dat ze niet denken: wat jammer nou dat… .” Foto’s Paul Huf in Gemeentemuseum, in Het Binnenhof 30 december 1985.

Jack Schofield (ed.), Alles over flitsen, z.p. (Lekturama) 1986, omslag, p. 127-133.

Petra Dircks, ‘Reproduceren is een verantwoorde manier om met kunst om te gaan’, in Loep 7 maart 1986, p. 23-25.

Ton Trel, Waarom vakmanschap meesterschap blijft, in Elseviers Weekblad 15 maart 1986, p. 18.

Huub Jansen, Govert de Roos: Ik accentueer de uitstraling van mensen, in Fotoprof 4 (april 1986) 2, p. 7.

Auteur onbekend, Meesterschap, in De Tijd 4 april 1986, p. 68.

Alexander Jansen, Paul Huf met de muziekmee, in Preludium 44 (juni 1986) 10, p. 12-13.

Majolein Laffrée, De werkplek van Paul Huf, in Man 14 (juni/juli 1986) 3, p. 104-107.

Jan Kuitenbrouwer, Wat Paul Huf goed deed, doen wij fout, in De Volkskrant 21 juni 1986.

René van Eijden, Paul Huf; Filmen hoeft niet meer, in Fotoprof 4 (augustus/september 1986) 4, p. 59-62.

Klaas Goïnga, Paul Huf: geregisseerd vakmanschap. Nederlandse topfotograaf over Enschedese Fotobiennale en … zich zelf, in Twentsche Courant 139 (23 augustus 1986) 197, p. 33.

E.M. Chevalier (tekst), Kwaliteit kent geen grenzen. De kleurrijke wereld van Paul Huf, gelithografeerd en gedrukt door Chevalier, Hendrik-Ido-Ambacht (Chevalier) 1987.

Auteur onbekend, Paul Huf ziet Barbizon, in Aspekt. Weekblad voor Amsterdam 11 februari 1987, p. 1.

Ernest Gottlieb, Dialoog (interview), in P/F-Professionele Fotografie (1987) 3, p. 34-37.

Auteur onbekend, „School van Barbizon” naar Japan, in Het Binnenhof 10 maart 1987.

Yvonne Hoksbergen, Paul Huf. Een grote neus en een loensend oog maak ik onopvallend, in Focus 74 (april 1987) 4, p. 23-31 (met foto’s).

Auteur onbekend, Het einde van een legende, in Creative (mei 1987) 4, p. 46-50.

Hans Wierenga, Paul Huf. Opgevoed in stijl, in Alliance (juni 1987) 38, p. 18, 20.

Joop Swart, Joop Swart selecteert. Van portfolio tot Worldpress. Paul Huf, in

Nieuwe Revu (24maart-3i maart 1988) 13, p. 17-23.

Van Lennep, Uit de tijd, in NRC Handelsblad Zaterdags Bijvoegsel 20 augustus 1988, p. 4.


GKf, vanaf 1947.

NVF, vanaf 1951.

ASMP, vanaf 1952-heden.

NBB, vanaf 1975-1987.

World Press Photo, bestuurslid vanaf ca. 1976-heden.

Dutch Photography, 1982 (particulier initiatief van Paul Huf en Govert de Roos).

Stichting „Dutch Photography”, creatief bestuurslid en selectiecommissielid vanaf 1985-heden.


1948 Het boek 50 Jaar Nieuwe Schoolvereeniging, waarvan Paul Huf de fotografie en typografie heeft verzorgd, wordt met 49 andere boeken door de CPNB bekroond als „best verzorgde boek”.

1951 Het boek Een eeuw Hoenderloo 1851 -1951, waarvan Paul Huf de fotografie heeft verzorgd en Charles Jongejans de typografie, wordt met 49 andere boeken door de CPNB bekroond als „best verzorgde boek”.

1957 Gouden medaille van de stad Venetië, Ia Biennale di Fotografia.

1965 Gouden medaille van de stad Venetië, 9a Biennale di Fotografia.

1968 Prijs voor Coca Cola tv-reclame, Amsterdam.

1969 Prijs voor Grolsch bioscoopreclame, Amsterdam.

1969 Prijs voor Coca Cola tv-reclame, Commercial Film Festival, Venetië.

1973 Bronzen medaille voor de 10 minutenfilm ‘Vakmanschap is Meesterschap’, International Festival van Films over Volkskunst en Ambachten, Orvieto (Italië).

1974 Zilveren medaille voor de 10 minutenfilm ‘Adventure in Art’, 10de Internationale Filmfestival, Chicago.

1975 Zilveren medaille voor ‘Adventure in Art’, Internationale Filmconcours „Mercurio d’Oro”, Venetië.

1976 ‘Mention de qualité’ voor de film ‘Carel Willink, fantastisch realist’, Centre National de la Cinématographie, Parijs.

1976 Prijs voor de Grolsch-foto’s van dat jaar, toegekend door het tijdschrift Avenue (De Avenueste advertentie).

1977 Ridder in de Orde van Oranje Nassau.

1977 Eerste prijs (International Award) voor ‘Carel Willink, fantastisch realist’, National Educational Film Festival, Oakland (Californië).

1978 Derde prijs voor ‘Carel Willink, fantastisch realist’, XII Rassegna Internazionale di Film Didattico Televisivo, Rome.

1980 Publieksprijs voor Grolsch tv-reclame.

1980 Sijthoff-prijs voor D.E. Annual Report (gemaakt in samenwerking met Hartmuth Kowalke).

1982 Eerste prijs, Nationale fotowedstrijd van Agfa-Gevaert.


1947 (g) Amsterdam, Arti et Amicitiae, 7de Nationale salon van fotografische kunst.

1948 (g) Amsterdam, Stedelijk Museum, Foto ’48.

1950 (g) Eindhoven, Stedelijk van Abbe Museum, Vakfotografie 1950.

1951 (g) Milaan, Palazzo di Brera, Mostra della fotografia Europea 1951.

1952 (g) Den Haag, Gemeentemuseum, Fotoschouw ’52.

1953 (g) Maastricht, Kunstzalen De Jong-Bergers, Nederlandse Fotografie 1953.

1953 (g) New York, Museum of Modern Art, Post-war European Photography.

1954 (g) Utrecht, Jaarbeurs, Voorjaarsbeurs.

1954 (g) Saarbrücken, Staatlichen Schule für Kunst und Handwerk, Subjektive Fotografie 2.

1957 (g) Venetië, ia Biennale di Fotografia.

1957 (g) Amsterdam, Stedelijk Museum, World Press Photo.

1958 (g) Leiden, Prentenkabinet der Rijksuniversiteit Leiden, Foto’s GKf.

1959 (g) Den Haag, Gemeentemuseum, World Press Photo.

1960 (g) Amsterdam, Stedelijk Museum, (foto’s uit eigen collectie).

1961 (g) Moskou.

1961 (g) Amsterdam, Stedelijk Museum, Dag Amsterdam.

1961 (g) Den Haag, Gemeentemuseum, World Press Photo.

1961 (g) Amsterdam, Stedelijk Museum, Peter Stuyvesant Collectie.

1963 (g) Keulen, Mein interessantester Auftrag (Photokina).

1964 (e) Hilversum, Kantine Steendrukkerij de Jong & Co, Wat ik mooi vind: Paul Huf.

1965 (g) New York, Huntington Hartford Museum (Gallery of Modern Art), 12 Photographers: An international exhibition of contemporary photography.

1965 (g) Venetië, ga Biennale di Fotografia.

1966 (g) Keulen, Photokina.

1966 (g) Parijs, Louvre, Le musée dans l’usine.

1966 (e) Amsterdam, Museum Fodor, Paul Huf. Twintig jaar foto’s in kleur en zwart/wit.

1966 (g) Utrecht, Handelsbeurs, Ekspo: Tussederusse.

1967 (e) Amsterdam, Museum Fodor, Foto Paul Huf.

1967 (e) Sittard, Kritzraedthuis, Paul Huf. Twintig jaar foto’s in kleur en zwart/wit.

1967 (g) Eindhoven, Technische Hogeschool, (Paul Huf en Ed van der Elsken).

1967 (e) Beverwijk, Galerie Boumans, Paul Huf. 20 Jaar zwart/wit en kleur.

1968 (e) Hoogeveen, Cultureel centrum De Tamboer.

1968 (e) Hilversum, Kantine van I.F.F. (Nederland) N.V., Paul Huf Jr..

1968 (g) Hengelo, Stadhuis, World in color.

1970 (e) Emmen, Noorder Dierenpark.

1971 (g) Amsterdam, Museum Fodor, Fotografen voor Vietnam.

1973 (g) Amsterdam, Stedelijk Museum, Groepsfoto.

1974 (g) World Press Photo.

1974 (e) Den Haag, Madurodam, Vakmanschap is meesterschap.

1974 (e) Leiden, Museum van Oudheden.

1975 (e) Laren, Singer Museum, Fotografie en film.

1975 (g) Amsterdam, ABN-galerij.

1976 (e) Amsterdam, Gebouw Turmac Tabacco Company B.V. (Peter Stuyvesant Stichting), Portretten van Paul Huf.

1976 (g) Keulen, Photokina.

1976 (g) Den Haag, Jan des Bouvrie.

1977 (g) New York, Union Carbide Exposition Gallery, The second international invitational of photography.

1977 (g) Amsterdam, Rijksmuseum Vincent van Gogh, 8×10” polacolor„Faces and facades” (rondreizende tentoonstelling).

1978 (g) Amsterdam, Stedelijk Museum, Fotografie in Nederland 1940-1975.

1978 (g) Keulen, Photokina.

1978 (g) Cambridge, (Polaroid).

1978 (g) New York, Cultural Services of the French Embassy, Volunteer service photographers.

1979 (g) Venetië, Exploration of a medium (8×10” polacolor).

1979 (g) Parijs, Autoportrait (rondreizende tentoonstelling).

1980 (g) Hamburg, Polaroid „8x20x25” (rondreizende tentoonstelling).

1980 (e) Amsterdam, Galerie Siau, Paul Huf. Een collectie van bijna 40 jaar fotografie.

1980 (g) Amsterdam, Galerie Siau, Decembersalon.

1981 (g) Amsterdam, Galerie Brinkman, Portretten toen en nu (dubbelportretten).

1981 (e) Bussum, Jan des Bouvrie, Portrettenkabinet.

1981 (e) Haarlem, Terstal Interieurarchitectuur, Portretten.

1982 (e) Almere-Haven, Gebouw Corossia, (overzichtstentoonstelling).

1982 (e) New York, Passage Office Royal Dutch Airlines, (Gallery Collection).

1982 (g) Keulen, Photokina.

1982 (e) Amstelveen, Cultureel Centrum, Leeg kijken. Theaterfoto’s van Paul Huf.

1983 (g) New York, KLM, In my view.

1983 (g) Nijmegen, Nijmeegs Museum ‘Commanderie van Sint-Jan’, Zien en gezien worden. Fotografische zelfbespiegeling in Nederland van ca. 1840 tot heden.

1984 (g) Enschede, Fotobiennale Enschede.

1984 (e) Amersfoort, De Hof.

1985 (g) Amsterdam, Gemeentearchief, Amsterdam 1950-1959 20 fotografen.

1985 (g) New York, French Cultural Services, Fresson photographs: A unity of vision.

1985 (g) Amsterdam, Olympus Gallery.

1985 (g) Amsterdam, Christie’s, Breakfast at Christie’s (één zondag).

1985 (g) Amsterdam, Nieuwe Kerk, Galerie 85.

1985 (e) Gent, Museum van Schone Kunsten.

1985 (g) New Orleans, Comtemporary Arts Centre, Fresson photographs: A unity of vision (rondreizende tentoonstelling door de V.S.).

1985 (e) New York, Golden Tulip Barbizon Hotel, Portraits of flowers.

1985/1986 (e) Den Haag, Gemeentemuseum, Paul Huf ziet Barbizon.

1986 (g) Amsterdam, Stedelijk Museum, 100 Meter foto in het Stedelijk.

1986 (e) Parijs, Institut Néerlandais.

1986 (g) Amstelveen, Cultureel Centrum, Dutch Photography (vervolgens rondreizend).

1986 (e) Noordwijk, Grand Hotel Huis ter Duin.

1986 (g) Keulen, Kunsthalle, Photokina (50 Years of color-photography).

1986 (g) Amsterdam, Olympus Gallery, Sold Photographs. (Foto ’86).

1986/1987 (e) New York, Golden Tulip Barbizon Centre Hotel, Back to Barbizon.

1987 (e) Osaka, Back to Barbizon (rondreizende tentoonstelling in Japan: Yokohama, Saporo en Saga).

1987 (e) Den Haag, Burnier, (expositie van juwelen e.d. en vlinder- en bloemenfoto’s van Paul Huf).

1987 (e) Nieuw-Buinen, Galerie De Naaidoos, (vlinders- en bloemenportretten).

1987 (g) Arles, (Fresson-tentoonstelling).

1987 (e) Amsterdam, Golden Tulip Barbizon Centre Hotel, Paul Huf ziet Barbizon (rondreizende tentoonstelling).

1987 (g) Rotterdam, Oude Gemeente Bibliotheek, Fotografie in opdracht.

1987 (g) Amsterdam, De Meervaart, Naakt voor de camera 1840-1987.

1987 (e) New York, Golden Tulip Barbizon Centre Hotel, (,,Grolsch”-portretten).

1987 (g) Parijs, Galerie Espace, (Fressontentoonstelling)

1987 (e) New York, The Netherland Club of New York, The Paul Huf Gallery Collection.

1987 (g) Rotterdam, café Rotown, Sprekend Deelder.

1987 (e) Amsterdam, Golden Tulip Barbizon Centre Hotel, Paul Huf Gallery.

1988 (g) Amsterdam, Uitleenzalen SBKAmsterdam, Fototentoonstelling uit eigen collectie.

1988 (e) Parijs, Musée en Herbe, Portrait d’un forêt.

1988 (g) Peking, Holland (meereizende tentoonstelling met World Press Photo door China).

1988 (g) Shanghai, Holland.

1988 (e) Barbizon, Back to Barbizon.


1971 Vakmanschap is Meesterschap.

1973 Adventure in Art.

1975 Carel Willink, fantastisch realist. (onderdeel van de filmserie: Living arts in the Netherlands).

1978 Nederlandse Musea. (Dutch Museums).

Radio programs

20 november 1973 Interlokaal (KRO).

20 januari 1978 Kom ‘ns langs in Hamdorff (Tros).

7 Juli 1980 Een goede morgen met… (Tros).

24 april 1981 (Paul Huf in gesprek met Jacques van Kollenburg) (KRO).

december 1981 Hallo hier Hilversum (VARA).

8 januari 1982 Kruis of munt (KRO).

4 september 1982 Z.I. (VARA).

1984 Globaal (NCRV).

5 mei 1985 Vrij vertaald. Veertig jaar bevrijding in woord en muziek (AVRO).

27 april 1985 Seinpost (Wereldomroep).

28 maart 1986 Het gebouw (VPRO).

4 april 1986 Het gebouw (VPRO).

Television programs

februari 1965 Mode in beeld (AVRO).

23 augustus 1966 Silhouet (KRO). ca. 1976 Dit is uw leven (KRO).

29 april 1980 Het hoofd van Nederland (NOS).

2 juni 1982 Remmers ontmoet …John Bertram (VOO).


Amsterdam, Paul Huf, documentatie en mondelinge informatie.

Leiden, Prentenkabinet, bibliotheek en documentatiebestand.

Leiden, Prentenkabinet, ongepubliceerde werkstukken van Annette Heideman en Sabine Rademaker.


Amsterdam, Gemeentearchief.

Amsterdam, Polaroid Collectie.

Amsterdam, Stedelijk Museum.

Amsterdam, Stichting „Dutch Photography”.

Leiden, Prentenkabinet van de Rijksuniversiteit.

New York, Museum of Modern Art.