Ingeborg Th. Leijerzapf
In the years 1940-1968, Meinard Woldringh was a prominent professional photographer in the Netherlands with numerous contacts and a sound reputation abroad. Woldringh ran his own studio for portrait and dance photography for a period of ten years. For the next twenty years, he worked as a specialist in colour photography for the NRM (Nederlandsche Rotogravure Maatschappij, ‘Netherlands Rotogravure Company’). In addition, Woldringh did his own autonomous work, consisting of intriguing landscape and nature photos in black and white and colour. His technical insight and artistic vision, which he managed to transform into images and words, were greatly admired by many. Woldringh’s influence was broad and stimulating, manifested especially in his functions as secretary and chairman of the NFK (Nederlandse Fotografen Kunstkring, ‘Netherlands Photographers Art Society’), and as an editor of the magazine Camera Europhot.
Meinardus Woldringh is born on 16 March in Groningen into a well-to-do middle-class family. His father is the co-founder of a large hardware store and chairman of the city’s chamber of commerce.
From the age of twelve, Woldringh is already taking photographs, which he prints himself. He first has a box camera, followed by a a plate camera in secondary school.
Woldringh attends the municipal five-year HBS (Hogere Burgerschool, ‘Higher Civic School’) in Groningen.
Woldringh’s decision to study at the Landbouw Hogeschool (‘Agricultural College’) in Wageningen is motivated by his interest in farming and an affinity with nature. During these years, his interest in photography grows, in part through contacts with other students who photograph for a hobby and give him access to photography magazines.
Woldringh decides to fully devote himself to photography. He comes into contact with Nico Zomer in Amsterdam, who has his own business in advertising photography. During a brief internship with Zomer, Woldringh gains his first practical experience in the field of advertising. He becomes especially interested in colour photography and the as yet undeveloped possibilities of this technology and its applications, currently in an experimental phase.
From 1 October 1936 to 15 April 1937, Woldringh works as an apprentice to Marius Meijboom, an advertising and portrait photographer on the Vossiusstraat in Amsterdam.
From late April to September 1937, Woldringh works as a photographer for the ‘Reclame Advies Bureau en Erkend Advertentie Bureau B. van Borssum Waalkens’ (‘Advertising Advisory Agency and Recognised Advertisement Agency’) at Rokin 65 in Amsterdam.
Woldringh participates in the study programme at the ‘Bayerische Staatslehranstalt für das Lichtbildwesen’ (‘Bavarian State Insitute for Photography’) in Munich, Germany. From 2 September 1937 to 20 July 1938, Woldringh attends the ‘Abteilung I, Unterstufe’ (‘Section I, Elementary Level’) and receives excellent marks on his study report. From 6 September 1938 to 10 July 1939, he attends ‘Abteilung III’, for which he receives a testimonial certificate with commendable remarks.
In 1938, Woldringh takes a class in colour photography at the company Jospé in Bremen.
During the second year of his academic studies, Woldringh does frequent work for Otto Hans Beier, an instructor at the Bayerische Staatslehranstalt.
Shortly before the outbreak of World War II, Woldringh opens his own studio at Zeestraat 96 in The Hague. His initial plan is to set up a studio for advertising photography. With no demand for advertising photos under the German occupation, however, Woldringh is left with no other choice but to specialise in portrait photography. He also receives commissions for dance photography. On occasion, he shoots passport photos for illegal identity papers.
During the war, Woldringh officially becomes an employee of the Stichting Nederland Film (‘Netherlands Film Foundation’) to avoid compulsory labour deployment under the ‘Arbeidseinsatz’. In the fall of 1944, he travels to his parents’ home in Groningen, where he remains until the liberation. Shortly hereafter, Woldringh reopens his studio in The Hague.
During the war, Woldringh writes a book about colour photography.
Woldringh is hired as a part-time employee and advisor with the NRM (Nederlandsche Rotogravure Maatschappij, ‘Netherlands Rotogravure Company’) in Leiden. He does the company’s high-quality photographic work, specifically colour photography.
Willy Schurman, Meinard Woldringh, and Nico Zomer bring about a drastic reorganisation of the NFK (Nederlandse Fotografen Kunstkring, ‘Netherlands Photographers Art Society’). Woldringh becomes the organisation’s secretary, Schurman the chairman.
Negotiations with the printing company and publisher H.L. Smit & Zn. in Hengelo regarding the publication of Woldringh’s manuscript on colour photography come to a halt due to differences in opinion concerning the printing quality. The publisher Uitgeverij Focus initiates talks on the book, which subsequently receives the title Kleur in de fotografie (‘Colour in Photography’). The proposal is made to publish the book in different languages in order to minimise costs. In the end, however, Focus decides against publication, with the company unwilling to taking the risk. (The book is never published. Woldringh’s manuscript is today preserved at the Leiden University Print Room).
Woldringh concludes that running his own studio and doing freelance work for the NRM is an unworkable combination. He accepts a permanent position with the NRM—on the condition that he maintains the right do his own business acquisition—and closes his studio in The Hague. At the NRM, Woldringh shoots colour photos for print advertising for a clientele that includes various publishers, the RVD (Rijksvoorlichtingsdienst, ‘Netherlands Government Information Service’), KLM Airlines, Vroom & Dreesman, the Keukenhof, Glasblazerij Leerdam (a glass-blowing company), and Kwekerij Moerheim (a plant nursery).
In the week of 9 to 14 April, Woldringh attends a course in ‘Agfa colour photography’ at the Agfacolor Schule (‘Agfa Colour School’) in Freiburg im Breisgau, Germany.
K.E. Schuurman, curator of the Gemeentemuseum, Meinard Woldringh on behalf of the NFK, and Paul Huf representing the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’) together organise the exhibition Fotoschouw ’52 (‘Photo Viewing’) held at the Gemeentemuseum in The Hague.
Woldringh photographs the flooding disaster in Zeeland (these photos are not published).
In this year, Woldringh becomes an examiner (and as a representative of the NFK, later a member of the board of directors) at the Fotovakschool (‘Vocational School of Photography’) in The Hague.
Woldringh assembles work by members of the NFK as a preliminary selection for the upcoming exhibition Family of Man, organised by Edward Steichen.
Woldringh moves to Leiden.
Woldringh takes a seat on the board of the ‘MTS voor fotografie en fototechniek’ (‘Intermediate Technical School for Photography and Photographic Technique’) in The Hague.
Together with Wim Steffen, Woldringh makes the photobook Nijmegen, Stad onder de keizerskroon (‘Nijmegen, City under the Imperial Crown’).
At the NRM, Woldringh is assigned a spacious studio furnished according to his wishes, surrounded by a gallery. A rolling bridge covers this space, which enables him to position his lights and cameras to photograph any object from above.
As a representative of Europhot, Woldringh becomes a member of the editorial board of the magazine Camera Europhot, a trade publication of the Europhot association distributed in the Swiss magazine Camera. Camera Europhot appears twice each year (starting in 1962, four times per year).
Woldring takes a trip to Norway, together with his colleague Huug Smit. He photographs the Norwegian landscape both in colour and black and white.
Woldringh compiles the photobook Nederland, wonder uit water (‘Netherlands, Miracle of Water’), together with Ed van Wijk, a member of the NFK. Woldringh also makes a photobook about The Hague, also with Van Wijk.
Woldringh takes a photography trip to the Southern France, together with Wim Noordhoek.
Woldringh takes a second photography trip to Norway, this time with his colleague Wim Noordhoek.
Woldringh marries Maria Barbara (Marit) Boissevain, a social worker at the NRM.
At Gleneagles, a castle in Scotland, Woldringh presents a lecture at the forty-ninth photographers conference of the Institute of British Photographers, entitled ‘The Creative Challenge of the Assignment’. The theme of the conference is ‘Colour’.
After eighteen years of serving as the NFK’s secretary, Woldringh is named as the organisation’s chairman.
Woldringh takes a third trip to Norway.
While on holiday, Woldringh photographs in the South of France.
Norway is Woldringh’s destination for the fourth time, where he spends his holiday and takes photographs.
In the spring, Europhot’s collaboration with the magazine Camera is ended.
In the summer, the NRM’s photography studio is shut down.
In his free time, Woldringh photographs on the Dutch island of Terschelling, in Zeeland, and at the Veluwe. His aim is to take photos of ‘beach and sand’ for the 1969 NRM calendar (This calendar is never released. In 1985, twelve photos are published in portfolio form by Bébert in Rotterdam).
Woldringh becomes an instructor at the St. Joost Academy in Breda, where he has already served as an examiner for a number of years.
Meinard Woldringh dies on 9 October in Breda, while teaching classes at the St. Joost Academy
Marit Woldringh-Boissevain transfers Meinard Woldringh’s archive to the Leiden University Print Room.
As a person and in his approach, Meinard Woldringh is not someone who can be described in just a few words. His views concerning photography were straightforward and principled; his character was complicated. The term ‘a rough diamond’ was perhaps most applicable for this photographer from Groningen. Woldringh’s timidity could sometimes come across as rigid and stubborn, and yet he was still a modest and sensitive man. He was contemplative photographer, fully aware of his medium’s specific qualities and properties. According to the art historian Jos. de Gruyter, Woldringh was incredibly patient in his work, a perfectionist, critical of himself and others, and very rarely satisfied with the final result. Woldringh wrote in 1943: ‘I consider it my task as a photographer to see more and better than someone else.’ This is not to be interpreted as a lofty proclamation, but as a traditional and characteristically well-considered opinion regarding the artist’s profession. Woldringh had chosen for the field of photography and he therefore felt that placing high expectations on himself and on the quality of his work was a given. At the same time, he expected the same degree of commitment from his employees and colleagues. This occasionally led to heated clashes, both in his work at the NRM (Nederlandsche Rotogravure Maatschappij, ‘Netherlands Rotogravure Company’) as well as at gatherings of the NFK (Nederlandse Fotografen Kunstkring, ‘Netherlands Photographers Art Society’). Quite often, Woldringh’s critical stance was experienced as arrogance.
From the moment he decided to become a photographer, Meinard Woldringh looked for the best ways to master his profession, both in technical and artistic terms. In the 1930s, a quality technical training in photography could only be obtained by working for an experienced professional or studying abroad. To familiarise himself with the various movements in photography and acquire a knowledge of the basics, Woldringh worked for an advertising firm on a volunteer basis as well as the photographers Nico Zomer and Marius Meijboom. Zomer and Meijboom had attended the Reimann Schule in Berlin several years before, a private school with the character of an art academy. Woldringh decided to instead attend the ‘Bayerische Staatslehranstalt für das Lichtbildwesen’ (‘Bavarian State Insitute for Photography’) in Munich, Germany, a programme often praised in the Dutch magazine Bedrijfsfotografie (‘Corporate Photography’). While this study devoted substantial attention to the practical aspects of photography, the programme also included ‘künstlerische Bildung’ (‘artistic representation’), photochemistry, optics, perspective, physics, and drawing. Woldringh had acquired such a vast amount of knowledge and experience during his ‘preliminary phase’ prior to heading to Munich that he easily completed two years of study at this institution in just one year. In his second year of study, he specialised in advertising photography and colour technique. It was also at this time that he worked for his teacher Otto Hans Beier.
The advertising photos that Woldringh produced during this period—for cigarettes, gloves, tools, etc.—possess characteristic traits of the New Objectivity: sometimes photographed from a high vantage point; sometimes represented as two-dimensional objects on a flat surface. Neutral backgrounds, cast shadows, and light and dark contrasts were the ingredients he used to compose his photos. Whether it be his schooling in Munich or the influence of his teacher Beier, the precise influence that motivated him to adopt this ‘new objectivist’ working method as his own remains uncertain. Woldringh’s specific interest in the latest developments in colour photography had emerged back in his days of training under Nico Zomer. In the final year of his studies in Germany, Woldringh took a brief practical course in colour photography at the company Jospé in Bremen, where products such as photographic paper for the Duxochrome colour printing process were being manufactured.
Several months after returning from Munich, Woldringh set up his own studio in The Hague at the suggestion of Otto Hans Beier. He was planning to produce advertising photography in colour, but was prevented from doing so due to the outbreak of World War II. Woldringh was left with no other choice but to spend his time producing portrait and dance photos in black and white. Based on the scarcity of materials, colour photography had fallen to the wayside.
Within a short period of time, Woldringh had built up a solid reputation in The Hague based on his high craftsmanship, resulting in a large clientele. With only a limited supply of materials at his disposal during the German occupation—film, photo paper, and chemicals were all scarce—Woldringh was still able to furnish quality portrait work. During the first years of the war, portrait photographers generally had plenty of work: men who were being put to work elsewhere, the women remaining behind, and fiancés and family members, who all wished to have a portrait to remember their loved ones. Moreover, passport photos were necessary for purposes of identification.
In his portrait photography, Woldringh generally preferred serene poses exuding calm, with lighting used to evoke an element of drama. Daring perspectives, extreme close-ups, or unexpected camera angles—the preferred visual devices just one generation before—are found nowhere in Woldringh’s work. He made effective use of naturally occurring linear rhythms, contours, light and dark gradations, and a camera angle at eye-level. In this early phase of his photographic career, one can observe a similarity between Woldringh’s atmospheric portrait photography and the portraiture of colleagues in The Hague, e.g. Willy Schurman and Jan Stokvis.
The qualities encountered in Woldringh’s portrait photography also led to commissions for dance photography. Rein Meijer had referred Ilse Meudtner, a German dancer from Berlin, to Woldringh. Through Meudtner, he then came into contact with the dancer Harold Kreutzberg. Woldringh was commissioned by these dancers to shoot photos in his studio. The shots were taken during energetic one-man shows put on by both Meudtner and Kreutzberg (individually). Indra Dev Prasad, an Indian dancer living in The Hague, likewise approached Woldringh’s studio for his dance photos and ‘mudras’ (Buddhist and Hindu ritual expressions of dance solely involving the hands).
Many of these dance photos reveal the same contained, serene atmosphere found in Woldringh’s portraits, achieved primarily through the lack of motion blur. In spite of this, however, these photos possess a substantial degree of tension, because Woldringh captured the extremely heightened dynamic of the dance during its most ‘explosive’ moments. An enhancement of the drama was additionally achieved by means of the lighting.
Immediately after the war, Meinard Woldringh made an attempt to switch from portrait photography to advertising, with an eye to resuming his interest in colour photography. Because he had already acquired a reputation for his technical proficiency and experimentation in this field, he was given such an opportunity when approached by Mr. D. Lambinon, a board member of the NRM (Nederlandsche Rotogravure Maatschappij, ‘Netherlands Rotogravure Society’) in Leiden, which had its own two-man photo department.
It was initially agreed that Woldringh would work on a freelance basis, thus enabling him to run his own studio on the side. Due to the steady growth of his responsibilities at the NRM, however, such a combination proved to be unworkable. Woldringh accordingly accepted a permanent position with the company in 1950 and permanently shut down his studio in The Hague. He was subsequently made the head of the NRM’s photo studio, which he was allowed to entirely refurnish according to his own vision, with modern equipment and facilities, several years later. At the time, the NRM was the largest printing company specialised in intaglio in the Netherlands. The company printed illustrated weeklies, including Margriet, Eva, and Televizier, as well as printed matter for books, catalogues, calendars, and advertising brochures. Important clients included the RVD (Rijksvoorlichtingsdienst, ‘Netherlands Government Information Service’), KLM Airlines, the Keukenhof, Kwekerij Moerheim (a plant nursery), Glasblazerij Leerdam (a glass-blowing company), and Vroom & Dreesman. The NRM also commissioned Woldringh to produce the printed matter for gifts given to the company’s business associates. A high point in advertising photography and printmaking was the publication Kleurenavontuur (‘Colour adventure’) on 0.025 mm, created through the collaboration of Woldringh and Frans Vink. Woldringh also did the NRM calendars, which included nature photos from his personal archive: the landscape of Norway for the first NRM calendar, and trees for the second. The third calendar was devoted to printmaking. A planned fourth calendar planned centring on the theme of ‘beach’ was never released. Of the photos that Woldringh shot for this purpose during the final year of his life, twelve were published posthumously as a portfolio in 1985, with the prints made by Harm Botman.
A large share of the reproduction and advertising photographs taken for the NRM’s printed matter was done in the company’s own studio. Woldringh also shot photos on location, such as colour slides of flowers at the Keukenhof as well as plants and flowers at the Moerheim plant nursery. The work he was doing for the NRM studio grew so fast that in no time he found himself managing a team of eight to nine people, including photographers such as Ludo Bergmans, Hans van Dordrecht, Jan den Hengst, Taeke Henstra, Hans den Hertog, Marcel Minnee, Chris Paul Stapels, and Frans Vink.
Woldringh frequently worked with a technical camera, preferably the lightweight Brand camera—an American product. He often ventured out using this camera to do his autonomous work. Woldringh attached great importance to the manageability of the shooting technique, which increases with the shooting format and the ability to adjust the optical settings with a technical camera. Yet he also often worked with a 6×6 cm Hasselblad camera. Most of the works in Woldringh’s negative and slide archive—works other than those related to his NRM assignments—are on 6×6 cm film. He also owned a Contax 35 mm camera, which he used primarily during the war, because at that time 35 mm film was most readily available and the Contax had a wide-aperture lens. Woldringh liked to work with hand-held cameras when desiring the freedom to move about his subjects.
The varied and sometimes complicated studio work at the NRM placed professional demands on the equipment being used. For such purposes, Woldringh had a Sinar technical camera system at his disposal, capable of every shooting format up to 20×25 cm, an installation for electric flash, and a full arsenal of lamps up to more than 30 kilowatts.
During his initial years at the NRM, Woldringh was obliged to take colour photos with a ‘Bermpohl’ camera—a so-called ‘one-shot’ camera. With this plate camera, it was possible to make three partial negatives simultaneously with a single exposure through the use of built-in mirrors and filters. The loss of light due to the very same mirrors and filters, however, was significant. The arrival of three-layered film for the technical camera in large formats was therefore a welcome improvement. At the NRM studio, Woldringh relied mainly on slide positive Kodak Ektachrome sheet film, which he was able to process in the studio’s own laboratory starting in 1958. Together with his lab technicians, Woldringh made the colour enlargements himself and conducted numerous experiments in this area.
For his autonomous work, Woldringh preferred the colour negative/positive process, because it allowed him to choose a format, framing, and colour control to best express his vision. Through his own autonomous colour photography, he sought to compensate for his occasionally forced, staged advertising work. The challenge for Woldringh was to capture the essence of objects based on characteristic points. He employed photographic technique—irrespective of black and white or colour photography—to intensify his message: harsh, high contrast black and white when conveying the robust character of trees and rocks; soft colours, for photographing the refined structures found in nature, such as colour combinations occurring in the space of just a few square centimetres of solid rock.
Woldringh was a nature lover from the start, with part of his childhood spent on his uncle’s farm. His love of the outdoor life was what initially determined his decision to attend agricultural school. It was his fear of later having to sit behind an office desk that led him to become a photographer. To compensate his commissioned work, he frequently went out to photograph on his own. Woldringh travelled—both alone and with colleagues—to England, Scotland, Norway, Southern France, Brittany, and Switzerland. Whether photographing abroad or at home in his own country, his motivation was always the same: to look for the essence in external phenomena. The trunk and foot of a large beech tree, a slender spruce, a surprising pine tree (he especially loved trees), a branch in the snow, the leaves of an oak tree in the sun, weak ice along a canal embankment, rocks or ribbed sand in the land-wash: all of these elements drew his attention. Woldringh was investigating, as it were, the laws of nature with his camera. ‘The eye of the camera forces us, namely, to recognise and isolate what is essential out of the abundance of phenomena,’ as he stated in 1943—a principle on which he would concentrate his efforts throughout his life. Woldringh sought the perfect form and the serene image. He tried to analyse nature by isolating and abstracting details. He would then frame his subject so ‘tightly’ with his camera that all potentially distracting surroundings were excluded. Relying on a selective depth of field, Woldringh ‘pushed’ irrelevant backgrounds to the wayside. He sometimes photographed an object at such a short distance that the three-dimensionality of the detail was almost completely eliminated: this, too, was a form of abstraction. In this respect, he was able to take photography much further in his autonomous work than in his commissions. In the end, Woldringh reached a point where mere ripples in the sand—reminders of the play of sand, wind, and water—were sufficient to convey his ideas.
In the Netherlands, it was not an immediately obvious choice for a professional photographer to delve into nature and landscape photography with such vigour after the war. Meinard Woldringh, Martien Coppens, and Wim Noordhoek were unique in this regard, when compared to the many photographers across the country at this time. Unsurprisingly, all three men had numerous contacts abroad, primarily with German photographers. The German group ‘Fotoform’ was established in 1949, which devoted ample attention to nature, undoubtedly in response to the painful years of the war. Among the groups members were Otto Steinert, Ludwig Windstosser, Peter Keetman, and later Heinz Hajek Halke as well. Woldringh was able to identify with their ideas about photography: they were looking for a new means of expression by isolating and abstracting their motifs, as well giving them an independent, subjective significance, deprived of their original context. They too experimented with perspective, tonality, and graphic effects as a way to arrive at new forms of expression. In 1951, these ideas were translated into images for the first exhibition of Subjektive Fotografie (‘Subjective Photography’) organised by Dr. Otto Steinert. Woldringh and Coppens were among the nine Dutch photographers represented at this exhibition. In the subsequent exhibitions on subjective photography that Steinert organised as a sequel to the first, specifically Subjektive Fotografie 2 and Images inventées (‘Invented Images’), these ideas were communicated once again by participating exhibitors, including Woldringh. A spiritual affinity with these German photographers is undeniably present, though an intentional disorientation achieved through chaotic forms and tilting the camera is encountered far less frequently in Woldringh’s work.
Woldringh’s work also displays similarities with that of contemplative American photographers such as Brett Weston, Minor White, and Harry Callahan.
On various occasions, Meinard Woldringh has committed his views on photography to paper. His basic tenets find their roots in the 1930s, the period of New Objectivity and New Photography. Throughout his oeuvre, Woldringh has remained loyal to a few basic principles of New Photography, such as the subject’s direct representation void of manipulation, respecting the mechanical nature of technique, and relying on the tonal scale specific to photography as an essential element in visualising the image. With the exception of his advertising photos, Woldringh was fairly reserved when it came to introducing unusual camera angles and photomontage. Woldringh maintained that the use of special effects to achieve a unity in the photo should in no way affect reality. He viewed composition, framing, and lighting as stylistic devices to draw the observer’s eye to the essence, not as a means to achieve a certain aesthetic aim. The same applied to technique, which, though it had to be mastered perfectly, always remained nothing more than a resource in achieving the actual aim. Anything that distracted from the goal—the photo—had to be avoided. For this reason, Woldringh opposed (white) margins around the image, both with original photos and printed matter. He utilised the entire surface of the photographic paper, with photos in printed matter preferably ‘bleeding’ to the edge. Despite perceived similarities to principles of New Photography, with Woldringh the formalism of that period eventually made way for other interpretations of the boundaries of photography, in part under the influence of Otto Steinert’s ‘Subjective Photography’.
Woldringh not only photographed with heart and soul, he was also an active member of various (photography) organisations. Shortly after the war, he became a member of the Nederlandse Vereniging voor Kleurenstudie (‘Netherlands Association of Colour Study’), where he presented lectures on colour photography, among other topics. He was also on the ‘Culturele Commissie’ (‘Cultural Committee’) of the ‘Vakgroep fotografie’ (‘Department of Photography’) in the years immediately following the war. This led to his becoming involved in the thought process among professional photographers regarding a new, or renewed, trade association—a trend that could be observed in various European countries. With his friends Willy Schurman and Nico Zomer, Woldringh played an active part in reorganising the out-dated NFK (Nederlandse Fotografen Kunstkring, ‘Netherlands Photographers Art Circle’.) Together, the three men formed a study group, which reformulated the organisation’s aims, toughened up the acceptance criteria, and set down an active policy for meetings, exhibitions, and competitions. The name of the association was also changed to ‘Nederlandse Fotografen Kring’ (‘Netherlands Photographers Circle’). Woldringh was on the board of this organisation for twenty-one years, first as its secretary and the last three years as its chairman. For members of the NFK, he was always seen as a pivotal figure. Colleagues placed great value on his leadership abilities and his critical, but honest evaluation of their work. Woldringh put substantial effort into promoting the economic interests of the association’s members, including copyright compliance. Woldringh was also involved in setting up ‘Burafo’ (Stichting tot Bescherming en Handhaving van Foto Auteursrechten, ‘Foundation for the Protection and Compliance of Photo Authorship Rights’), together with Nico Brink and Willy Schurman. Within the NFK, Woldringh was a strong proponent of accepting amateur photographers. He believed the mutual influence of member and non-member photographers was of great value. As a man not quickly frightened off by the opinions of others, Woldringh was also one of the few NFK members in regular contact with members of the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’) in Amsterdam.
Woldringh was also an active member of the European association of professional photographers, Europhot. He loyally attended the Europhot assemblies on a regular basis, held in Milan, the United Kingdom, Bürgenstock (Switzerland), Liège (Belgium), Garmish-Partenkirchen (Germany), and Wageningen. He also gave lectures at a number of these conferences. Europhot appointed Woldringh as its representative on the editorial board for the special issues of Camera Europhot, which appeared several times each year in the Swiss magazine Camera. Woldringh was one of the initiators involved in setting up this Europhot publication, having frequently argued for a collective, high-quality European trade magazine as opposed to the numerous mediocre photography magazines oriented to a single country.
On behalf of the NFK and Europhot, Woldringh played an active role in organising and promoting participation in exhibitions, always with the same goal in mind: to raise the level of professional photography. He viewed this as an educative task, directed at both the photographers and the general public. The most important exhibitions Woldringh co-organised were: Fotoschouw ’52, held at the Gemeentemuseum in The Hague in 1952; the 1955 exhibition Family of Man, organised by Edward Steichen; and the Europhot exhibition held at the Photokina in Cologne, Germany, in 1963. Woldringh’s expertise, his organisational talents, and his ability to transform ideas into words and images (not only his own photos, but also those of others) made him the ideal man to promote the interests of Dutch photographers at all of these events. In this regard, it should also be observed that the managing directors of the NRM consistently extended every freedom to Woldringh, offering their wholehearted support when it came to his numerous activities outside the company.
As an author, Woldringh conveyed his perspectives on (colour) photography to a great number of people via numerous articles published in various magazines and yearbooks. He also shared his insights with others by presenting lectures at amateur photographer’s associations and other organisations.
Woldringh played a highly significant role in the training of young photographers. For many individual photographers, his standing as a mentor in the area of practical experience—at his studio in The Hague and later at the NRM studio—was immeasurably valuable. He frequently served as an examiner for student exams at the Fotovakschool and the St. Joost Academy in Breda. For years he sat on the board of the MTS voor fotografie en fototechniek (‘Intermediate Technical School for Photography and Photographic Technique’) in The Hague. With Carel Tirion’s retirement in 1968, Woldringh was nominated to become the school’s chairman of the board: a plan that never came to fruition due to Woldringh’s sudden death. He was also an instructor at the St. Joost Academy for several months in the final year of his life.
In the decades after the war, Meinard Woldringh was an important photographer with an international reputation. He left behind an oeuvre of exceptional quality, which he expertly corroborated with written texts conveying his ideas, preferences, and sense of quality. Woldringh was a proponent of an international exchange among (professional) photographers and was extremely active in this regard. There is no doubt he had substantial influence on the NFK, in terms of the association’s activities, its level of quality, and photographic style. Less tangible for posterity were his collegiality and his personal fortitude in defending the interests of photography and photographers.
De kleur in de fotografie, in Nederlandsch Jaarboek voor Fotokunst 1942/43, p. 23-28.
Het derde oog, in Vakfotografie 5 (1943) 1, omslag, p. 1-2, 4-5.
Portretfotografie, in Nederlandsch Jaarboek voor Fotokunst 1943/44, p. 7-10.
Fotografie en realiteit, in Nederlandsch Jaarboek voor Fotokunst 1943/44, p. 12-13.
Het landschap en de kleurenfotograaf, in Nederlandsch Jaarboek voor Fotokunst 1944/46, p. 3-6.
Kleurenfotografie, in Foto 1 (januari 1946) 1, p. 11-12.
Schoonheid en inhoud, in Foto 1 (april 1946) 4, p. 54-57.
Op bezoek bij Deense fotografen, in Foto 1 (november 1946) 11, p. 181-182.
Bij het maken van portretten, in Gedenkboek 25 jaar Bond van Nederlandsche Amateur Fotografen Vereenigingen 1922-1947, p. 41-45.
Naaktfoto’s, in Nederlandsch Jaarboek voor Fotokunst 1947, p. 41-43.
Een opgave en de oplossing, in Foto 3 (juli 1948) 7, p. 190.
Skönhet och innehall, in Svensk Fotografisk Tidskrift 38 (augustus 1948) 8, p. 124-126.
Critisch oordeel, in Foto 4 (maart 1949) 3, p. 89-90, 94.
Vakfotografie in Nederland, in Gevaert Foto-Dienst & (juli/augustus 1949) 13, p.7-11.
Waar blijft de stimulans?, in Foto 4 (augustus 1949) 8, p. 263-264.
Kleurenfotografie … en de toepassing in de reclame, in Revue der Reclame 10 (december l950) 12, p. 382-385.
Dans en camera, in Fotorama 9 (januari/februari 1952) I, p. 12-17.
Fotografie in den Niederlanden, in Foto Prisma (maart 1952) 3, p. 94-98.
Nogmaals: indiscrete fotografie, in Foto 8 (december 1953) 12, p. 324-335.
De foto liegt, ook die van de heer Joost Andriessen, in Foto 12 (december 1957) 12, p.502.
Kleur en kleurenfotografie, in Encyclopaedie van de Fotografie en de Cinematografie, Amsterdam/Brussel (Elsevier) 1958, p. 72-81.
Demonstratie’s Gevacolor-portretten, in Fotografie 9 (1959) 1, p. 15-18.
Een nieuwe mijlpaal in de geschiedenis van de kleurenfotografie?, in Fotografie 9 (1959) 2, p. 38-41.
The professional photographer looks at his business, in Camera 39 (mei 1960) 5, p. 62.
Lessons from an exhibition of schools of photography, in Camera 40 (februari 1961) 2, p. 24-27.
Doesn’t the job bore you?, in Camera 40 (februari 1961) 2, p. 36-44.
A model, in Camera 40 (oktober 1961) 10, p. 57-60.
Fotograferen voor kleurenreproductie, in Kleuren reproductie. Verslag van de 11de Nederlandse Kleurendag. Georganiseerd door de Nederlandse Vereniging voor Kleurenstudie te Amsterdam in het Koninklijk Instituut van de Tropen, op 9 november 1961, Den Haag (Drukkerij Trio) z.j., p. 15-20.
Het gebruik maken van de „fouten” bij de kleurweergave in kleurenfoto’s en kleurendruk, in Kleuren reproductie. Verslag van de 11de Nederlandse Kleurendag. Georganiseerd door de Nederlandse Vereniging voor Kleurenstudie, te Amsterdam in het Koninklijk Instituut van de Tropen, op 9 november 1961, Den Haag (Drukkerij Trio) z.j., p. 35-36.
Discussie, in Kleuren reproductie. Verslag van de 11de Nederlandse Kleurendag. Georganiseerd door de Nederlandse Vereniging voor Kleurenstudie, te Amsterdam in het Koninklijk Instituut van de Tropen, op 9 november 1961, Den Haag (Drukkerij Trio) z.j., p. 38, 39.
The Europhot exhibition at the ‘photokina’, in Camera 42 (mei 1963) 5, p. 32-43.
Jan Schiet en de nfk, in Vakfotografie (1964) 4, p. 4-7.
Pleasure from photography, in Camera 43 (november 1964) 11, p. 30-36.
Hoe staat het met de visuele scholing in de fotografen-opleiding?, in Vakfotografie (1965) 5, p. 33-34.
De ‘famous photographers school’, in Vakfotografie (1965) 5, p. 34-36.
Europhot, in Vakfotografie (1965) 5, p. 36.
Europhot, in Vakfotografie (1966) 4, p. 33.
Ter nagedachtenis aan Frans Vink, in Foto 22 (mei 1967) 5, p. 230-241.
Ingeborg Th. Leijerzapf (inl.), Twaalf foto’s van Meinard Woldringh (portfolio), Rotterdam (Bébert) 1985.
Gunstige en ongunstige onderwerpen in de kleurenfotografie. Lichtverlies in objectieven, 26 (15 april 1939) 8, p. 246-247.
Ervaringen met kleurenfilm I, 26 (14 september 1939) 19, p.564-565.
Ervaringen met kleurenfilm II, 26 (30 september 1939) 20, p. 595-597.
Ervaringen men kleurenfilm III, 26 (14 oktober 1939) 21, p. 622-624.
Onze cursus „kleurenfotografie”. I Inleiding. U maakt kleurenfoto’s … Waarom?, 27 (2 maart 1940) 5, p. 134-135.
Onze cursus „kleurenfotografie” II, 27 (16 maart 1940) 6, p. 185-186.
Onze cursus „kleurenfotografie” III, 27 (30 maart 1940) 7, p. 199-200.
Onze cursus „kleurenfotografie” IV, 27 (27 april 1940) 9, p. 259-260.
Onze cursus kleurenfotografie wordt voortgezet, 27 (6 juli 1940) 14, p. 400.
Onze cursus kleurenfotografie, 27 (20 juli 1940) 15, p. 426-427.
Onze cursus kleurenfotografie, 27 (3 augustus 1940) 16, p. 469-470.
Onze cursus kleurenfotografie, 27 (17 augustus 1940) 17, p.491-492.
Kleurenfotografie. Antwoord op kritiek, 27 (14 september 1940) 19, p. 545.
Kleurenfotografie, 27 (9 november 1940) 23, p. 645-647.
De cursus kleurenfotografie. Projectie van kleurendiapositieven, 27 (21 december 1940) 26, p. 703-705.
Onze cursus kleurenfotografie, 28 (18 januari 1941) 2, p. 31-33.
Onze cursus kleurenfotografie, 28 (15 februari 1941) 4, p. 97-98.
Onze cursus kleurenfotografie, 28 (15 maart 1941) 6, p. 134-135.
Kleurenfotografie. Belichtingstijd, 28 (5 juli 1941) 14, p. 333-335.
Quo vadis, kunstfotografie?, 31 (2 februari 1946) 2, p. 19-20.
Winst! Over techniek en fotokunst, 33 (20 maart 1948) 6/7, p. 92-93.
Amerikaans fotowerk, 33 (18 september 1948) 19, p. 364.
Rijmelarij of dichtkunst, 34 (11 juni 1949) 12, p. 270.
Tweede „kleurendag”, 35 (14 oktober 1950) 21, p. 452-454.
„Tweede kleurendag” II, 35 (28 oktober 1950) 22, p. 471-472.
Kleurenfotografie, 35 (23 december 1950) 26, p. 561-566, 576.
Nakaarten over de kleurenprijsvraag, 36 (8 december 1951) 25, p.493.
Over fototentoonstellingen in Nederland, 37 (15 maart 1952) 6, p. 113.
Kleur in het landschap. Verslag van de 3e kleurendag (gehouden 15 mei te Den Haag), 37 (5 juli 1952) 14, p. 300, 305.
Een kleurenfotograaf op de 4de „kleurendag”, 38 (12 december 1953) 25, p.531.
Mogelijkheden in de kleurenfotografie, 39 (10 januari 1954) 1, p. 44-46.
Pim van Os (overleden), 39 (10 juli 1954) 14, p. 352-353.
Verslag van de vijfde kleurendag, 40 (8 januari 1955) 1, p. 5, 9.
Kleurenexperimenten voor amateurs, 40 (9 juli 1955) 14, p. 294-295.
Beschouwing over ‘moderne’ fotografie. Naar aanleiding van een tentoonstelling in Brussel, 41 (4 februari 1956) 3, p. 51-56.
Vergadering van de werkvereniging van Europese Beroepsfotografen, 41 (10 november 1956) 23, p. 556.
Eerbied voor de natuur en spelen met vormen, 42 (16 februari 1957) 4, p. 77.
Over de geheimen van het kleurenzien. De Nederlandse Vereniging voor kleurenstudie te gast bij het Instituut voor Zintuigphysiologie te Soesterberg, 45 (14 mei 1960) 10, p. 324-325, 328.
De lessen van een tentoonstelling van fotoscholen te Brussel, 46 (7 januari 1961) 1, p. 3.
Programmaboekje van Het Nederlandsch Ballet, z.p., z.j.
Platenhoes LP Unfinished Symphony no. 8, Schubert, van het Concertgebouworkest, o.l.v. Eduard van Beinum, uit de serie Classical Favourites.
Een lumineus idee, fotocolor (reclamefolder van Rotogravure Leiden), z.j.
Cosmorama 3 (januari 1937) 1, pl. 5. Nederlandsch Jaarboek voor Fotokunst 1942/43, pl. XXXII, XXXIII, LXIX.
Kleinbeeld-foto 6 (februari 1943) n , omslag, p. 296-297.
Kleinbeeld-foto 6 (maart 1943) 12, omslag, p. 322-323.
Nederlandsch Jaarboek voor Fotokunst 1943/44, pl. III, XIII.
Nederlandsch Jaarboek voor Fotokunst 1944/46, pl. XXIV, XXV, LVII, LXIII.
Foto 1 (januari 1946) I, omslag, p. 13.
Foto 1 (april 1946) 4, omslag, p. 52-53, 59-60.
Foto 2 (september 1947) 9, omslag.
Nederlandsch Jaarboek voor Fotokunst 1947, pl. XVIII, XXXVI, LXIV, LXV.
J.G. Beernink, Foto-opbouw, Amsterdam (Diligentia) 1948, p. 32, 84.
Kunst en kunstleven 1 (15 november 1948) 1, p. 16, 17.
Nederlandsch Jaarboek voor Fotokunst 1948/49, p. 82-83.
Foto 4 (maart 1949) 3, p. 99.
Nieuwe Courant 14 april 1949, p. 3.
Focus 34 (16 april 1949) 8, p. 169.
D. HelfFerich, Fotokunst, in Oosthoek’s Encyclopaedie, deel 6, Utrecht (Oosthoek) 1950), 4de dr.
G.D. Rieck en L.H. Verbeek, Kunstlicht en fotografie. Een verhandeling over kunstmatige lichtbronnen en hun gebruiksmogelijkheden in de techniek van de fotografie, Amsterdam (Meulenhofï) 1950, p. 153, 333.
Dans Kroniek 4 (januari 1950) 3, p. 31-33.
Foto 5 (april 1950) 4, omslag.
Wereldkroniek 53 (22 april 1950) 16, p. 16.
De Groene Amsterdammer 14 oktober 1950, p. 9.
Elegance 7 (december 1950) 12.
Scheveningse Koerier 29 juni 1951, p. 5.
Exportboek Zwanenberg’s Fabrieken 1952.
Point de vue images du monde (1952) 238.
Catalogus tent. Fotoschouw ’52, Den Haag (Gemeentemuseum) 1952.
De Week in Beeld (19 januari 1952) 3, omslag.
Fotorama 9 (januari/februari 1952) 1, p. 2.
Revue der Reclame 12 (mei 1952) 5, nap. 150.
Focus 37 (25 oktober 1952) 22, p. 457.
E. Elias, Nederland. Wonder uit water, Den Haag/Bandung (W. van Hoeve) z.j. (1954) p.68, 114, 148, 176-177.
Catalogus tent. Subjektive Fotografie 2. Ausstellung moderner Fotografie, veranstaltet von der staatlichen Schule für Kunst und Handwerk, Saarbrücken, 27 November 1954-27 Januar 1955, p. 19.
Otto Steinert, Subjektive Fotografie 2, München (Bruder Auer Verlag) 1955, p. 72, 97.
‘s-Gravenhage. Maandblad der Gemeente ‘s-Gravenhage. 10 (februari 1955) 2, p.21.
Bertus Aafjes (tekst), ‘s-Gravenhage, Den Haag/Bandung (W. van Hoeve) 1956, p.26, 32, 41, 57, 63, 74, 80, 97, 108, 117, 124, 127, 134.
Jan Elemans (tekst), Nijmegen. Stad onder de keizerskroon, Den Haag/Bandung (W. van Hoeve) 1957.
Focus 42 (5 januari 1957) 1, p. 16.
Focus 42 (19 januari 1957) 2, p. 38.
Focus 42 (2 februari 1957) 3, p. 65.
Fotorama 15 (januari 1958) 11, omslag.
Grossbild technik 6 (1959) 4, p. 24-25, 48-49.
Bollen catalogus Moerheim, 1960/61.
Kleurenavontuur op 0,025 mm – magische diepte, Leiden (N.V. Nederlandsche Rotogravure Mij.) z.j. (1961).
International Photo technik 8 (1961) 4, p. 232-233.
Camera 41 (maart 1962) 3, p. 36.
Scheppend Ambacht 13 (april 1962) 2, p. 38.
Gevaert Post 10 (september 1962) 9, omslag.
E. Elias, Holland. Meergeborenes Wunder, Den Haag (W. van Hoeve) 1963, 4de dr., p. 86-87, 153, 174-175.
Reprorama. Internationaal grafisch informatieblad, 1963.
N.V. Levensverzekering Maatschappij „Utrecht”. Jaarverslag 1964, Utrecht, 1965, p. 4, 12, 15.
Camera 44 (december 1965) 12, p. 29.
Kalender Nederlandsche Rotogravure Maatschappij N.V. Leiden, 1966.
Onze eigen tuin 12 (juni 1966) 2, p. 19.
Kalender Nederlandsche Rotogravure Maatschappij N.V. Leiden, 1967.
Friedrich Neugebauer, Katalog 1967/68 Baumshulen Josef u. Norbert Stöckl, Zeil a.d. Pram (Oö Landesverlag Wels) z.j.
Kalender Nederlandsche Rotogravure Maatschappij N.V. Leiden, 1968.
Onze eigen tuin 14 (maart 1968) I, p. 1.
Focus 53 (3 mei 1968) g, omslag.
Camera 47 (jurri 1968) 6, p. 1, 23.
Ute Eskildsen e.a., Subjektive Fotografie. Bilder der 50er Jahre, Essen (Museum Folkwang) 1984, p. 91.
Civis Mundi 23 (oktober 1984) 4, omslag.
Kalender Neroc bv, Leiden, 1987.
Auteur onbekend, Meinard Woldringh en zijn werk, in Fotografie. Studiegids Leidse Onderwijs Instellingen. Deel 3, z.p., z.j., p. 69-74 (met foto’s).
Auteur onbekend, Voordracht over kleurenfotografie met kleurenprojectie, in Focus 26 (14 oktober) 1939) 21, p. 616.
Fred. Quanjer, Haagsche A.F.V., in Focus 26 (23 december 1939) 26, p. 798.
W.C. van Dijk, Kleurenfoto’s beïnvloeden?, in Focus 27 (28 september 1940) 20, p. 574.
Auteur onbekend, Bij de foto’s, in Kleinbeeldfoto 6 (februari 1943) 11, p. 299.
Auteur onbekend, Bij de foto’s, in Kleinbeeldfoto 6 (maart 1943) 12, p. 325.
W. de K., M. Woldringh N.F.K., in Foto 4 (september 1949) 9, p. 304-314 (met foto’s).
D. Helfferich, 22 Fotografen en 1 meisje, in Foto 5 (april 1950) 4, p. 121-132 (met foto’s).
Paul Haesaerts, Verscheidenheid en eenheid van de fotografische poëzie, in Fotorama 9 (mei/juni 1952) 3, p. 61, 62.
Auteur onbekend, Affiche-middag en prijsuitreiking, in Revue der Reclame 14 (april 1954) 4, p. 126-127.
Auteur onbekend, Onze kleurenpagina’s, in Focus 39 (10 januari 1954) I, p. 2.
Auteur onbekend, Boekenkast. ‘s-Gravenhage, in Focus 41 (21 januari 1956) 2, p. 31.
De Spiegel (25 april 1959) 30, p. 15.
D.B., De N.F.K. vergadert over kleur, in Focus 45 (9 juli 1960) 14, p. 467.
W. Jos de Gruyter, Drie fotografen K.H. Smit, nik, M. Woldringh, nfk, S. Sannes. Een belangwekkende tentoonstelling in het Groninger Museum, in Focus 45 (26 november 1960) 24, p. 783-787.
Mien Ruys, Meinard Woldringh, in Onze eigen tuin september 1960.
J.H., Kleurenfoto’s in de Posthoorn, in Het Vaderland 11 januari 1961.
Piet Kort, Goede kleuren in foto’s van Meinard Worldringh, in Haagsch Dagblad 17 januari 1961.
V. Coucke, Internationale tentoonstelling van fotoscholen te Brussel, (van 3 tot 18 december 1960), in Fototribune 23 (februari 1961) 2, p. 8, 10.
Auteur onbekend, Natuur in kleur en zwartwit, in Eindhovens Dagblad 1 april 1961.
Auteur onbekend, Achter de foto-coulissen, in Elegance 18 (juli 1961) 7, p. 37 (met foto’s).
J.H. den Boestert, De deur staat open bij de N.F.K., in Foto 17 (maart 1962) 3, p. 130-132.
C.W. (= C. Woudstra), Kritiek op de 11e Nederlandse Kleurendag, in Focus 46 (5 januari 1962) 1 ,p. 27.
Catalogus tent. NFK, Nijmegen (Waag) 1963.
Auteur onbekend, The Picture on the cover, in Gevaert Amateur Service (1963) 4, omslag, p.2.
M.B., Somberheid overheerst op fototentoonstelling, in Nieuwe Apeldoomse Courant 7 december 1966.
F.F. Hazelhoff, Het werk van Meinard Woldringh, in Foto 22 (februari 1967) 2, omslag, p. 70-87 (met foto’s).
Dick Boer, Leidse fotografen in de Lakenhal, in Focus 53 (9 augustus 1968) 16, p. 13-15.
Jacques Meijer, Negen Leidse fotografen, in Fototribune 30 (september 1968) 9, p. 1.
Auteur onbekend, M. Woldringh overleden, in Haagsche Courant 14 oktober 1968.
Fred Hazelhoff, Ter herinnering aan Meinard Woldringh, in Foto 23 (november 1968) n , p. 528-529.
A.J. Lohr, In memoriam Meinard Woldringh, in ‘F.’ (december 1968) 6, p.8-11.
Nico Zomer, In memoriam, in Mededelingen NVVK februari 1969.
Jos de Gruyter e.a., Meinard Woldringh, Den Haag (Staatsuitgeverij) z.j. (1971).
Auteur onbekend, De fotografie van Meinard Woldringh, in Focus 56 (februari 1971) 2, p.51.
R.W.D. Oxenaar, Inleiding uitgesproken bij de opening van de tentoonstelling „Meinard Woldringh” in de Lakenhal te Leiden op 11 februari 1971.
Jan Veenhuysen, Meinard Woldringh. In herinnering: objectief, subjectief-positief, in Focus 54 (18 april 1969) 8, p. 20-25 (met foto’s).
J.J.Th. Sillevis, Meinard Woldringh: creatief fotograaf en natuurobservator, in NRC Handelsblad 18 februari 1971 (met foto’s).
Paul Klare, Meinard Woldringhs „sappig landschap”, in De Tijd 20 februari 1971.
Willem A. Mulder, Pure fotografie van Meinard Woldringh in Leidse Lakenhal, in Leidsch Dagblad 11 maart 1971.
W. Jos de Gruyter, A melody in light and space, in Delta. A review of arts life and thought in The Netherlands, 14 (voorjaar 1971) 1, p. 12-23 (met foto’s).
Auteur onbekend, Aemstelle: Foto’s van Meinard Woldringh, in Amstelveen Alledag juli/augustus 1971.
Erik Beenker, Het ‘beter zien dan een ander’ van Woldringh, in Nieuwsblad van het Noorden 26 november 1971 (met foto’s).
Aafke Hoekstra, Puur „scheppingsverhaal” van Meinard Woldringh, in Nieuwe Apeldoomse Courant 24 juli 1972.
Auteur onbekend, Meinard Woldringh, in Rotterdams Nieuwsblad 25 november 1972.
Jurriaan van Kranendonk, Interessante foto’s in Prentenkabinet, in Leidsch Dagblad 28 januari 1977.
Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978, (met foto’s).
Flip Bool en Kees Broos (red.), Fotografie in Nederland 1920-1940, Den Haag (Staatsuitgeverij) 1979, p.2 0, 106, 107, 108, 109, 125, 159.
Irene Constandse, Nico Zomer, in Geschiedenis van de Nederlandse fotografie, Alphen aan den Rijn (Samsom) 1984 e.v.
Hedi Hegeman en Ingeborg Th. Leijerzapf, Willy Schurman, in Geschiedenis van de Nederlandse fotografie, Alphen aan den Rijn (Samsom) 1984 e.v.
Ingeborg Th. Leijerzapf, Nederlandse fotoliteratuur: essays en bronnen. Inleiding, in Geschiedenis van de Nederlandse fotografie, Alphen aan den Rijn (Samsom) 1984 e.v.
Carla van der Stap, Pim van Os, in Geschiedenis van de Nederlandse fotografie, Alphen aan den Rijn (Samsom) 1984 e.v.
Auteur onbekend, Mededelingen, in Civis Mundi 23 (oktober 1984) 4, p. 214.
Hans den Hertog, Meinard Woldringh de gedreven perfektionist, in Professionele Fotografie (februari/maart 1985) 1, p. 8-11.
Auteur onbekend, Kritzraedthuis, in Maas en Mijn 9 juli 1986.
Doris Grootenboer, Fotografen op reis. Gevarieerde expositie in Sittard, in Algemeen Dagblad 8 augustus 1986, p. 6.
Eric Bos, Een fotograaf uit het archief. Fotocollectie Groninger in Haarlems ziekenhuis, in Nieuwsblad van het Noorden 11 december 1987.
Ingeborg Leijerzapf, Meinard Woldringh, in Ingeborg Leijerzapf e.a., Roots & Turns. 20th Century photography in The Netherlands, Den Haag (SDU Publishers) 1988, p. 90-95, 170 (met foto’s).
Culturele Commissie van de Vakgroep Fotografie, vanaf 1946.
NFPV, tot 1954.
NFK, vanaf 1947, kernlid van 1948-1968, secretaris van 1948-1965, voorzitter van 1965-1968.
Europhot, vanaf 1953, redactioneel afgevaardigde van Europhot bij het tijdschrift Camera voor de afleveringen van Camera Europhot van 1960-1967.
Nederlandse Fotovakschool, Den Haag, lid van de Raad van Toezicht.
MTS voor Fotografie en Fototechniek, Den Haag, bestuurslid van 1956-1968.
1936 Diploma, toegekend als onderscheiding voor fotografisch werk in een Cosmorama-Fotokamp.
1942 Eerste prijs, Groote Wedstrijd, Kleinbeeld-foto.
1936 (g) Amsterdam, Verenigingsgebouw AAFV (Keizersgracht 428-430), Derde Amsterdamse Kerstsalon van Fotografische Kunst.
1947 (g) Amsterdam, Arti et Amicitiae, “Zevende Nationale Salon van Fotografische Kunst.
1949 (g) Hilversum, Hotel „Hof van Holland”, (Jubileumtentoonstelling HAFV ‘t Gooi).
1950 (g) Eindhoven, Stedelijk van Abbemuseum, Vakfotografie 1950.
1950 (g) Den Haag, Panorama Mesdag, (Haagse Fotokring).
1951 (g) Saarbrücken, Staatliche Schule für Kunst und Handwerk, Subjektive Fotografie.
1951 (g) Amsterdam, Arti et Amicitiae, Dertiende Nationale Kerstsalon van Fotografische Kunst.
1952 (g) Den Haag, Gemeentemuseum, Fotoschouw ’52.
1952 (g) Luzern, Kunsthaus, Welt-Ausstellung der Photographie.
1953 (g) Maastricht, Kunstzalen De Jong-Bergers, Nederlandse Fotografie 1953.
1954 (g) Utrecht, Jaarbeurs, Voorjaars beurs.
1954/1955 (g) Saarbrücken, Staatliche Schule für Kunst und Handwerk, Subjektive Fotografie 2.
1955 (g) Eindhoven, Stedelijk van Abbemuseum, (NFK).
1956 (g) Leiden, Prentenkabinet der Rijksuniversiteit Leiden, (NFK).
1957 (g) Brussel, Galerie Aujourd’hui du Palais des Beaux-Arts, Images Inventies.
1957 (g) Den Haag, Vrije Academie, Verzonnen beelden.
1957 (g) Eindhoven, Stedelijk van Abbemuseum, Fotografie als uitdrukkingsmiddel (rondreizende tentoonstelling).
1960 (g) Groningen, Groninger Museum, 3 Fotografen.
1961 (e) Den Haag, Galerie De Posthoorn, M. Woldringh exposeert foto’s in kleur.
1961 (g) Amsterdam, Stedelijk Museum, Dag Amsterdam.
1961 (e) Den Bosch, Koninklijke Academie voor Kunst en Vormgeving, Natuur in kleur en zwart-wit.
1963 (g) Nijmegen, De Waag, (NFK).
1963 (g) Keulen, Mein interessantester Auftrag (Photokina).
1966 (g) Apeldoorn, Gemeentelijke Van Reekum Galerij, Nederlandse Fotografen Kring.
1967 (g) Brugge, Huidevettershuis, (NFK).
1968 (g) Leiden, Stedelijk Museum De Lakenhal, Negen Leidse Fotografen.
1971 (e) Leiden, Stedelijk Museum De Lakenhal, Meinard Woldringh (rondreizende tentoonstelling).
1977 (e) Leiden, Prentenkabinet der Rijksuniversiteit Leiden, Meinard Woldringh.
1978/1979 (g) Amsterdam, Stedelijk Museum, Fotografie in Nederland 1940-1975.
1984 (e) Scheveningen, Zeebiologisch Museum (Foto-expositie strand en zee).
1984/1986 (g) San Francisco, Museum of Modern Art, Subjektive Fotografie: images of the 50’s.
1986 (g) Sittard, Kritzraedthuis, Nederlandse fotografen op reis, een keuze.
1988 (g) Houston, Sarah Campbell Blaffer Gallery, Roots & Tums. 20th Century photography in The Netherlands.
1988 (e) Haarlem, Elisabeth Gasthuis, Meinard Woldringh.
Leiden, Prentenkabinet, bibliotheek en documentatiebestand.
Lelystad, Mevr. M.B. Woldringh-Boissevain, mondelinge informatie.
Ludo Bergmans, Hans den Hertog en Rein en Ellen Meijer, mondelinge informatie.
Leiden, Prentenkabinet van de Rijksuniversiteit.