Lood van Bennekom
Irma van Bommel
Lood van Bennekom learned about photography from the American photographer Berenice Abbott in Paris during the late 1920s. After returning to the Netherlands, he evolved into a multi-faceted photographer, working in the areas of reportage, corporate, and advertising photography. Van Bennekom’s main specialisation, however, was fashion photography. During the 1950s, he was one of the pioneers responsible for the development of fashion photography in the Netherlands.
Lodewijk Hendrik (Lood) van Bennekom is born on 5 December in Amsterdam. After completing primary school, he attends trade school and subsequently works for several years as an electrician. He is an active member of the the AJC (Arbeiders Jeugd Centrale, ‘Workers Youth League’), the youth wing of the SDAP (Sociaal Democratische Arbeiders Partij, ‘Social Democratic Workers’ Party’).
Van Bennekom travels to Paris as an assistant to Adriaan van der Horst, the owner of a marionette theatre. In addition, he works as a film extra and makes designs for swimsuits.
In Paris, Van Bennekom meets Berenice Abbot, an American photographer. Van Bennekom renovates Abbot’s darkroom and does other menial tasks. She sparks Van Bennekom’s enthusiasm for the photographic profession and hires him as her assistant.
In the fall of 1928, Berenice Abbott acquires a major share of the negatives archive of the French photographer Eugène Atget, who died one year before in 1927. Van Bennekom assists with the systematisation and preservation of Atget’s archive and makes prints on daylight paper.
When Berenice Abbott returns to the United States in 1929, Van Bennekom is granted temporary access to her darkroom in Paris. Van Bennekom completes Abbot’s photo assignments and begins working for himself. His photos appear in French magazines such as Vu and Bravo. In August 1930, Van Bennekom returns to the Netherlands and finds employment with the Van Alfen advertising agency. He also does work as a press photographer for the socialist newspaper Het Volk.
Van Bennekom marries Elfriede Wilhelmine Kosianka, a woman of German nationality. In the same year, the couple’s daughter Tanja is born.
Van Bennekom moves to Eindhoven, where he finds employment as a corporate photographer for the Dutch light bulb manufacturer Philips.
Lood van Bennekom moves to Amsterdam and is hired as a corporate photographer employed by Bernard van Leer, a Dutch barrel manufacturer. Van Bennekom also photographs Van Leer’s private circus, called ‘Carvalhos’ (‘Kavaljos’), as did his predecessor Karel Kleijn back in 1934.
Van Bennekom takes part in the exhibition Foto ’37, held at the Stedelijk Museum in Amsterdam. Van Bennekom is hired as a staff employee with the magazine Kleinbeeld-foto (’35mm Photo’), where he mainly writes articles on various developing techniques (until 1941).
Van Bennekom and Elfriede Kosianka’s marriage ends in divorce. During the years of the war, Van Bennekom resides at different addresses in Beverwijk, Zandvoort, and Amsterdam. He makes passport photos for Jews in hiding, but also photographs paintings, property, and household effects for those who wish to document their possessions. In this endeavour he collaborates with the antique dealer Jacques Vecht, and the frame manufacturer Kees Heydenrijk.
For the weekly magazine Ons Vrije Nederland (‘Our Free Netherlands’), Van Bennekom produces photo reportages covering a wide range of topics.
In 1946, Van Bennekom marries Tosca (Wilhelmina Hendrika) Leenders, a woman who is eighteen years his junior. Unexpectedly, Bernard van Leer commissions Van Bennekom to photograph company factories in Basra, Singapore, and Hong Kong. During this trip (from September to December), he also takes shots of landscapes and people.
Lood van Bennekom Junior is born on 19 February.
As chief photographer for the RVD (Rijksvoorlichtingsdienst, ‘Netherlands Government Information Service’), Van Bennekom departs in June 1948 for the Dutch East Indies, together with the journalist Ben Koster. Van Bennekom’s wife and son join him in May 1949 and stay until December. The Van Bennekoms’ plans to reside in the Dutch East Indies on a permanent basis are impeded by Indonesia’s aspirations for national independence.
The Van Bennekoms’ daughter Mieke is born in the Netherlands. With the transfer of sovereignty to Indonesia, Van Bennekom is forced to return to the Netherlands in March 1950. From April on, the Van Bennekoms’ new home and working address is Hoofdweg 25 in Amsterdam. Van Bennekom and Koster continue their collaboration, producing journalistic reportages on a wide variety of topics for magazines such as Panorama, Wereldkroniek (‘World Chronicle’), and Revue. Koster writes the texts that accompany Van Bennekom’s photos.
Tosca Leenders takes over Ben Koster’s journalistic tasks. From this point forward, Van Bennekom and Leenders collaborate on articles for the magazines Margriet and Eva, published by the Geïllustreerde Pers (‘Illustrated Press’), as well as the magazines Libelle, Katholieke Illustratie (‘Catholic Illustration’), and Beatrijs, published by Uitgeverij De Spaarnestad. They focus on ‘women’s’ topics and specialise in fashion. In Amsterdam, Van Bennekom photographs fashion shows put on by the Dutch clothing designer Max Heymans, the French couturier Hubert de Givenchy, and others. In 1953, the photobook Amsterdam bij nacht (‘Amsterdam by Night’, text by the journalist Bob Wallagh) appears in a pocketbook format, featuring a selection of Van Bennekom’s photos of Amsterdam shot from 1950 on. Philips commissions Van Bennekom to photograph bebop dancers for the album cover of Dan Terry and his Orchestra.
In August, an exhibition featuring Van Bennekom’s photos is held at the Kriterion, a student theatre in Amsterdam. On assignment for the publishing company Uitgeverij Bonaventura, Van Bennekom and Leenders begin reporting on the latest fashion developments in the Netherlands for the magazines Elseviers Weekblad and Elegance. In addition, Van Bennekom is also commissioned to photograph the new collections of various fashion houses and clothing manufacturers in the Netherlands. He also continues to do advertising work, supplying photos to the advertising firms Van Alfen, De la Mar, and Holdert.
In December, photos from Van Bennekom’s 1946 trip to Singapore and Hong Kong are exhibited at ‘La Cave Internationale’, a wine cellar/restaurant/gallery in Amsterdam.
Van Bennekom experiments briefly with nude photography.
In the 1960s, Van Bennekom relocates his studio twice due to a shortage of space: first to the Van Eeghenstraat and later to the Plantage Middenlaan, both in Amsterdam.
In December, Van Bennekom celebrates both his sixtieth birthday and forty years of working in the photography profession. Van Bennekom receives the ‘gouden speld’ (‘gold pin’) of the NVF (Nederlandse Vereniging van Fotojournalisten, ‘Netherlands Association of Photojournalists’).
From 1967 on, Van Bennekom collaborates with his son, who goes by the name of Lood van Bennekom Jr.
With his health diminishing, Van Bennekom accepts fewer assignments. He moves his studio back to his home on the Hoofdweg. By the time he stops working in 1972, his studio is no longer in operation. His son decides to go into film advertising.
Lood van Bennekom dies on 17 March 1978 in Amsterdam. His wife oversees the negatives archive until 1990, at which time she transfers it to the NFA (Stichting Nederlands Fotoarchief, ‘Netherlands Photo Archive Foundation’, presently known as the NFM [Nederlands Fotomuseum, ‘Netherlands Photo Museum’]) in Rotterdam.
Lood van Bennekom became involved in photography by chance. He learned the profession in Paris through Berenice Abbott, a student of Man Ray. Van Bennekom was initially hired to do electrical work in Abbot’s darkroom. It was she who sparked his enthusiasm for photography and eventually took him on as a photographic assistant. Van Bennekom assisted Abbot with a variety of tasks, including the systematisation of the archive of the French photographer Eugène Atget. In Abbot’s photobook The World of Atget, published in 1964, she mentions Van Bennekom: ‘To preserve the plates, my young Dutch assistant Lood van Bennekom and I cleaned each one, placed it in a glassine envelope, then numbered and classified them all. I had not realized the extent of Atget’s work, for this operation took months.’
Van Bennekom started out as Abbot’s assistant, but for the most part he was an autodidact. He was undoubtedly influenced by Abbott, Eugène Atget, and other photographers working in Paris during the second half of the 1920s. Van Bennekom’s primary source of learning, however, was practical experience. In his view, his days as a press photographer working for the Dutch socialist newspaper Het Volk served as a good training ground, ‘ therefore one responds quickly’’. As a corporate photographer—first with Philips and later with Van Leer—Van Bennekom gained a thorough understanding of the technical aspects of photography.
Van Bennekom would evolve into a photographer who practiced the design and technique of New Photography, something not entirely unexpected when considering the time he spent learning from Abbot in Paris. Van Bennekom’s endorsement of ideas espoused by the New Photography is evident in his entry to the exhibition Foto ’37—a close-up of a zebra’s head, transformed into a nearly abstract representation of black and white stripes—as well as photos featured in magazines such as Filmliga (‘Film League’), De Groene Amsterdammer (‘The Green Amsterdammer’), and various international photographic yearbooks.
After his time in Paris, Van Bennekom was able to find work rather quickly back in the Netherlands, despite the recession. As a photographer with a perspective that was modern, plenty of options were open to him in new areas of photography, such as advertising, press and corporate photography. In the 1930s, Van Bennekom shot photos on assignment for the advertising agency Van Alfen, to be used in campaigns such as ‘Brick roads, good roads’ and ‘Leather soles, healthy soles’. Photographic prints from this period are a rarity, as Van Bennekom’s archive prior to 1946 was entirely lost as a result of water damage.
While Van Bennekom had no shortage of clients, it appears he toyed with the idea of moving to the United States in the second half of the 1930s, In 1937, Abbot replied from New York to a letter she had received Van Bennekom. In her response, she writes that Kertesz is also in New York and that she plans to ask his opinion regarding the possibility of Van Bennekom establishing a studio of his own in the city. She nevertheless warns of the difficulty to get one’s feet on the ground as a photographer in the US: “From my own observations I should say, it is far, very far from easy to get a footing here. There is terrific and vast competition. Even with luck, business perseverance and having something specially good, you would surely need to plan on spending several years to get a real start. That is merely my honest opinion. What do you expect of the capitalist system anyway? Hard labour and prostitution of your work.”
Throughout his career, Van Bennekom continued to do work in the field of advertising photography. He not only received commissions from advertising agencies, but also directly from corporate clients, such as the beer brewing companies Amstel and Heineken, the ‘Houtvoorlichting’ (‘Wood Information’), Douwe Egberts, Verkade, Brabantia, and the ‘Keuringsdienst voor Waren’ (‘Department of Product Safety’). Philips was also one of his regular clients.
Immediately after World War II, Van Bennekom began working for the magazine Ons Vrije Nederland (‘Our Free Netherlands’), including reportages on the Dutch painting forger Han van Meegeren, the anti-tuberculosis campaign, and the Dutch steel manufacturer Hoogovens. His name was typically mentioned alongside the photos appearing in this weekly magazine, occasionally with the addition of ‘ABC Press’. Several of Van Bennekom’s photos, however, were published without citation of authorship. A number of reportages—e.g. on the topic of Canadians still residing in the Netherlands after the war and on the Bureau voor Oorlogsdocumentatie (‘Office of War Documentation’)—can be attributed to him based on his own notations. In terms of layout and subject, Van Bennekom’s journalistic reportages, e.g. employees at work in a particular factory, resemble reportages produced by André Kertesz for the French pictorial magazine Vu in the late 1920s.
During his trip to Southeast Asia in 1946, Van Bennekom made reportages on the landscape and the people. He was particularly interested in their day-to-day activities. Van Bennekom’s negatives and prints for the reportages produced in the Dutch East Indies on assignment for the RVD (Rijksvoorlichtingsdienst, ‘Netherlands Government Information Service’) in 1948 en 1949 might just as well be considered lost. Back in the Netherlands, he began doing reportages in collaboration with the journalist Ben Koster, covering all kinds of topics, e.g. a reportage in the magazine Revue about Montmartre, a café built by artists in Amsterdam. Unfortunately, many of these reportages are difficult to trace, as—even as late as the 1950s—the names of photographers and writers were still often left unmentioned. Van Bennekom developed the ideas for these reportages himself, initially together with Koster, and later with his wife, Tosca. He would then go out and try to sell them to illustrated magazines. In collaboration with Tosca Leenders, Van Bennekom began to focus on women’s magazines, producing reportages on textile art, the working woman, and fashion.
Van Bennekom had already shown an interest in fashion during his time in Paris, then making his own swimsuit designs. In the years after WWII, he produced a number of reportages that concerned fashion. By the 1950s, however, his attention shifted almost entirely to fashion photography. During these years, French fashion designers were again the trendsetters in the fashion world. They made frequent visits to the Netherlands to show their new collections, accompanied by their models. Van Bennekom produced photo reportages on the fashion shows put on by designers such as Hubert de Givenchy, Jacques Griffes, and Jacques Fath, which were held at the Carlton and Victoria hotels in Amsterdam, and the Kurhaus Hotel in Scheveningen.
In the 1950s, the Netherlands experienced the emergence of its own haute couture and a boom in the clothing industry. In emulation of the fashion industries in Italy and the US, the Dutch clothing manufacturers likewise focused on leisure clothing and teenage fashion wear. Both the couturiers and the clothing manufacturers regularly put on fashion shows. It became standard practice to have their collections photographed and subsequently published in newspapers, magazines, and sales catalogues. Inspired by these developments, Van Bennekom decided to take his camera and follow the Dutch fashion industry.
Max Heymans was among the first couturiers in the Netherlands. He began as a hat designer circa 1948 and, in the 1950s, expanded his collection with dress suits and dresses. Several years later, Tim Bönig and Peter Voorn likewise gingerly began as hat designers, subsequently making a name as couturiers. Van Bennekom photographed fashion shows put on by all three designers, but also shows by Ferry Offerman, Dick Holthaus, Edgar Vos, as well as various clothing manufacturers, including Schuttersveld, Vico, and Sturka. Van Bennekom’s photos were featured regularly in Elseviers Weekblad and Elegance, alongside photos by Godfried de Groot, Lou van Kollem, Marius Meijboom, and Hans Dukkers.
Van Bennekom’s fashion photos follow the general line in fashion photography. Typical of the 1950s are the elegant, ballerina-like poses of the models, as found in photos by Irving Penn and Henry Clarke of the same period. In the 1960s, this style was replaced by a more playful touch, as encountered in the work of David Bailey and Richard Avedon, and introduced in the Netherlands by Paul Huf. Such playfulness was achieved through the increased informality of the models’ poses, different kinds of camera angles (both high and low), and the inclusion of amusing backdrops and accessories.
In addition to journalistic reportages featuring fashion shows, Van Bennekom as well photographed fashion collections on assignment for couturiers and clothing firms, but also for newspapers and magazines. These shots were made in the studio, where a carefully selected background, professional lighting, and a highly conceived composition could be used to show the clothing at its best. Van Bennekom also produced fashion reportages ‘on location’. He chose a wide variety of settings for his backgrounds, e.g. a painting studio, a modern furnished home, the Keukenhof, Lake Braassem, Amsterdam’s historic harbour area, a manège, a beer brewery, and a film studio. On occasion, Van Bennekom also added narrative elements to these ‘location’ shots. In 1960, for instance, an original reportage on teenage fashion featured in the magazine Elegance was shot by Van Bennekom at an Amsterdam film studio, with the models made to resemble people acting in a film. As such, Van Bennekom was one of the first photographers in the Netherlands to present fashion in this way. These narrative reportages appeared more frequently in the luxury publication Elegance than the weekly magazine Elseviers Weekblad, which was printed on newsprint paper.
Lood van Bennekom became a staff photographer for the fashion and hat designer Peter Voorn and the shoe manufacturer Bata International, with fashion accessories becoming his specialty. By applying special lighting techniques, he was able to show the structures of different materials in detail. He was able to create original photos by using a simple composition for one photo and introducing a new setting for the next. Both Voorn and Bata gave Van Bennekom total freedom in the realisation of his projects. Dutch clothing manufacturers, however, often demanded to be on-hand for fashion shoots, resulting in conflict situations. There desire was to have the photos shot frontally to ensure that ‘every button could be seen’. Van Bennekom, by contrast, wanted to make photos that were visually appealing, devoting more attention to the interaction of composition, pose, staging, framing, and lighting as opposed to highlighting any single detail. To achieve an expressive shadow effect, he would light his subject only on one side.
In the 1950s, there were very few professional photo models in the Netherlands. This chiefly stemmed from society’s low view of the modelling profession, an attitude that change no earlier than the 1960s. Van Bennekom therefore had only a limited number of professional photo models from which to choose. Nevertheless, with wigs and make-up he managed to transform his models into various ‘types’ of women. On occasion, Van Bennekom’s wife, Tosca, would also pose. Later in the 1960s, he used photo models from ‘Top Telefoon’, a modelling agency run by Tony and Hubert Wijnberge.
Van Bennekom worked with different types of cameras, but preferred the negative formats 6×6 and 9×12. He remained faithful to black-and-white photography, though during the second half of the 1960s, portions of his fashion reportages were shot in colour at the client’s request. Van Bennekom was very interested in the technical side of photography. He experimented primarily with formulas for photographic developers. Ready-made developing fluids were not yet available in the stores, and one therefore had to prepare these oneself. In the 1930s, Van Bennekom presented a report of his findings in the photography magazine Kleinbeeld-foto (’35mm Photo’). A decade later, his technical experience would prove to be extremely useful during a trip to Indonesia. Due to the warm and humid climate, Van Bennekom was obliged to take his own measures in order to protect his film material: he developed full rolls of film on a daily basis, subsequently immersing them in a stop bath to keep the emulsion from melting. In 1946, there were no pre-hardened film rolls as yet available on the market. In the record books that Van Bennekom kept, he recorded not only the assignment, but also the format of each negative, the film material, and the developer that was used.
In 1958 and 1959, Van Bennekom also experimented with nude photography, with a desire to photograph the naked figure in vague contours. He achieved this by immersing the photo material in special developing baths. Around 1958, Van Bennekom developed plans to publish a book on nude photography, including a treatise on his developing technique. The book never came to fruition. Van Bennekom had also previously considered publishing a photobook on his trip to Singapore and Hong Kong on assignment for Van Leer in 1946. Two spiral-bound albums with photos from this trip is all that was accomplished. Van Bennekom did manage to carry out his plans for a photobook on the subject of Amsterdam at night. Published in 1953 under the title Amsterdam bij nacht (‘Amsterdam by Night’), the book includes night shots of the Amsterdam canals, with images of streetlamp reflections on the water, illuminated facades and bridges, streets lined with rows of shiny automobiles, advertising bollards, and the city’s nightlife. In terms of theme, title, and imagery, Amsterdam bij nacht is reminiscent of Brassaï’s photobook Paris de nuit, published in 1933.
Although Lood van Bennekom worked in various areas, his merit lies especially in Dutch fashion photography. Coinciding with the emergence of the Dutch haute couture and the growth of the Dutch clothing industry, fashion photography became his specialty in the 1950s. His archive (ca. 11,400 negatives) provides an accessible overview of fashion photography of the 1950s and ’60s. It therefore serves as both an important documentation of the history of Dutch photography and the history of Dutch fashion.
Bob Wallagh (tekst), Amsterdam bij nacht, Amsterdam (De Kern) 1953.
Brief 1 (ingezonden brief), in Foto 12 (januari 1957) 1, p. 16.
Lood van Bennekom zestig jaar, in Ariadne 20 (8 december 1965) 49, p. 1294-1295.
Een levensgevaarlijke reportage, 1 (juni 1937) 3, p. 80-85.
Kleinbeeld-notities, 1 (december 1937) 9, p. 286-287.
Kleinbeeld-notities, 1 (januari 1938) 10, p.313.
Een jaar ervaring met de Champlin, 1 (februari 1938) 11, p. 345-346.
Circus en variété, 2 (juni 1938) 3, p. 90-92.
Kleinbeeldnotities, 2 (augustus 1938) 5, p. 179.
Perspectief, 2 (oktober 1938) 7, p. 234-237.
Champlin 16, 2 (januari 1939) 10, p. 353-355.
800 Opnamen in 12 uur, 3 (april 1939) 1,p. 12-13.
De kleine camera in een groot bedrijf, 3 (december 1939) 9, p. 318-320.
Welke film, welke ontwikkelaar, 4 (oktober 1940) 7, p. 198-200.
Het ontwikkelen van kunstlichtopnamen, 4 (november 1940) 8, p. 237.
Het bewaren van oplossingen, 4 (december 1940) 9, p. 264.
Tips en nieuws, 4 (januari 1941) 10, p. 305.
Photographie 1931, p. 66.
Modern Photography 1933.
Filmliga (mei 1933) 6, p. 164.
Op de hoogte 1934, p. 21 g.
Wij. Ons werk, ons leven 13 maart 1936, p. 16-17.
Wij. Ons werk, ons leven (1937) 22, p. 16-17.
De Groene Amsterdammer 61 (19 juni 1937) 3133, p. 8.
Photography Year Book. The International Annual of Camera Art 3 (1938), p. 87, 92, 213.
Ons Vrije Nederland (10 november 1945) 23, p. 3-5.
Ons Vrije Nederland (17 november 1945) 24, p. 7-9.
Ons Vrije Nederland (8 december 1945) 27, p. 8-9.
Ons Vrije Nederland (22 december 1945) 29, p. 10.
Ons Vrije Nederland (1945) Kerstbijlage, p. 1-3,14.
Ons Vrije Nederland (16 februari 1946) 37, p. 4.
Revue (30 mei 1953) 10 (Artisten bouwen Montmartre in Amsterdam).
Platenhoes van Dan Terry and his Orchestra, (Philips B07677R), 1953/1954.
Proost Prikkels, Prikkels (1954) 185.
J.J. Grannetia (red.), Tien jaar korps vrijwillige politie, Amsterdam 1956.
Kijkprikkels, Prikkels (november/december 1958) 231, p. 48.
Algemeen Dagblad 31 december 1969, p. 21.
Accent 7 maart 1970, p. 34-35 (Bata).
Accent 11 april 1970, p. 37 (Boutique Theresia).
Accent 23 mei 1970, p. 50 (Rimmel).
Accent 12 december 1970, p. 51 (Peter Voorn).
oktober 1956, p. 26 (Maison Leeser).
oktober 1957, p. 66-67 (Tim Bönig).
januari 1959, p. 9-17.
maart 1959, p. 17-22.
mei 1959, p. 4, 7-8, 10, 27, 38-39.
juni 1959, p. 39-41.
juli 1959, p. 9-15.
augustus 1959, p. 9-13, 25-27.
november 1959, p. 16 (Peter Voorn), 37-42.
december 1959, p. 37-41.
januari 1960, p. 42-44.
februari 1960, p. 58-62.
maart 1960, p. 36-40.
april 1960, p. 16, 18 (Modart, Dick Holthaus).
mei 1960, p. 80-81.
juni 1960, p. 34-39, 71-73.
juli 1960, p. 62-63.
augustus 1960, p. 29-31.
september 1960, p. 64-65.
november 1960, p. 80-82 (Van Daal & Meyer).
december 1960, p. 98-99 (Peter Voorn, Toon Smit).
februari 1961, p. 22-24 (Vico, Anco, Max Haar, Olman).
maart 1961, p. 55 (Michel).
november 1961, p. 30, 32 (Peter Voorn, Bata International).
februari 1962, p. 31-33.
maart 1962, p. 4-9 (Max Haar, Vico, Dreese, Olman, Peter Voorn).
april 1962, p. 36 (Peter Voorn, Bata, Noordwijk).
oktober 1962, p. 4, 6 (Bata International, Peter Voorn).
in Elseviers Weekblad:
16 januari 1954, p. 31 (René Patton).
13 maart 1954, p. 21 (Tim Bönig, Klement de Jong).
20 maart 1954, p. 25 (Joan Beavis).
27 maart 1954, p. 25 (Wim van Eijk).
10 april 1954, p. 29 (Willy Loos).
8 mei 1954, p. 21 (Antoine, Jacques Griffe).
22 mei 1954, p. 21 (Fashion Week).
12 juni 1954, p. 19 (Tim Bönig).
11 september 1954, p. 25 (Offerman, Sweda, Metz & Co., Tim Bönig, Max Heijmans).
25 september 1954, p. 39 (Bertram, Dior, Carven, Jacques Bergmans, Scheepjeswol, Conny Weyers).
2 oktober 1954, p. 21 (Boussac, Kuiper, Katja Robinsky).
9 oktober 1954, p. 43 (Jacques Fath).
16 oktober 1954, p. 42 (Jersey Novelty, Wilma, Vendôme).
23 oktober 1954, p. 33 (lederwaren).
30 oktober 1954, p. 45 (Jacques Griffe).
6 november 1954, p. 41 (Wala).
20 november 1954, p. 29 (Fashionweek).
27 november 1954, p. 29 (Noplatex, Mecona, Jenny, Falcon, Zwacon).
22 januari 1955, p. 33 (Sambo, plisséstof).
12 maart 1955, p. 46 (Max Heijmans).
2 april 1955, p. 25 (De Givenchy, Blok van Heijst).
16 april. 1955, p. 39 (Jacques Fath).
4 juni 1955, p. 35 (bakvismode).
2 Juli 1955, p. 41 (strandmode).
17 september 1955, p. 41 (Nansen Couture).
24 september 1955, p. 45 (Carven, Max Heijmans, Méry Raffalo).
1 oktober 1955, p. 45 (Fath, Bertram).
22 oktober 1955, p. 42 (Gerson Dreese, Tony Wagemans).
5 november 1955, p. 43 (Balmain).
26 november 1955, p. 39 (Sweda).
28 januari 1956, p. 30 (Helfi).
10 maart 1956, p. 47 (Tim Bönig).
24 maart 1956, p. 43 (Theresia).
7 april 1956, p. 35 (Fath).
9 juni 1956, p. 41 (Etec, Holland Confectie).
8 september 1956, p. 45 (Leeser, Tim Bönig, Eylders, IWS, Menko).
8 december 1956, p. 36 (Plaza, Max Haar, Holland Confectie, Eroïca).
15 december 1956, p. 41 (Ten Bergen, Maja Coats).
9 februari 1957, p. 40 (Sweda, Baren).
16 maart 1957, p. 41 (Tim Bönig, Edgar Vos).
23 maart 1957, p. 43 (Irma Spruit).
30 maart 1957, p. 41 (Sport Shop).
27 april 1957, p. 45 (Nansen Couture).
11 mei 1957, p. 42 (Bercofa, Olman, Anco, Plaza).
22 juni 1957, p. 41 (Bonebakker, Steltman, Schaap).
29juni 1957, p. 37 (kinderkleding).
28 september 1957, p. 36 (Irma Spruit).
5 oktober 1957, p. 47 (l’Abeille).
11 januari 1958, p. 17 (circus Kavaljos van Bernard van Leer).
25 Januari 1958, p. 39 (Menko).
1 maart 1958, p. 39 (Klaassen).
22 maart 1958, p. 45 (Metz, Madame Grès).
17 mei 1958, p. 39 (Plaza).
24 mei 1958, p. 40 (Noordwijk).
28 juni 1958, p. 39 (Maja Coats).
29 november 1958, p. 39 (Gerson Dreese, Egon Pfeiffer, Jolo, Zwacon, Plaza).
27 december 1958, p. 36 (in schildersatelier Kouwen).
17januari 1959, p. 47 (Menko).
28 februari 1959, p. 46 (Perfecto).
9 mei 1959, p. 35 (Fashion Week).
14 november 1959, p. 59 (skikleding).
28 november 1959, p. 59 (Fashion Week).
16januari 1960, p. 31 (Perfecto).
12 maart 1960, p. 55 (Peter Voorn, Kees Loos).
19 maart 1960, p. 55 (1’Abeille, Toon Smit).
2 april 1960, p. 51 (Katja Robinsky).
14 mei 1960, p. 35 (op kermis).
2 juli 1960, p. 48 (kindermode).
17 september 1960, p. 46 (Van Daal & Meyer).
8 oktober 1960, p. 23 (1’Abeille, Dick Holthaus).
22 oktober 1960, p. 28 (De Jong).
12 november 1960, p. 32 (Falcon, Gerson Dreese).
3 december 1960, p. 29 (zomermode: Max Haar, Berghaus, Stibbe, Standard, Plaza).
22 april 1961, p. 51 (Gerson Dreese).
16 september 1961, p. 42 (Peter Voorn).
14 oktober 1961, p. 55 (Van Daal & Meyer).
11 november 1961, p. 53 (Zwacon).
24 februari 1962, p. 38 (Bata, Noordwijk).
17 maart 1962, p. 23 (Peter Voorn).
31 maart 1962, p. 54 (Katja Robinsky, Gerson Dreese).
8 september 1962, p. 43 (Bata).
29 september 1962, p. 44 (Haring, Van Daal & Meyer).
13 oktober 1962, p. 27 (Anco, Frans Molenaar).
20 oktober 1962, p. 45 (Peter Voorn).
27 oktober 1962, p. 49 (lederwaren).
23 maart 1963, p. 47 (Haring, Peter Voorn, Bata).
7 maart 1964, p. 57 (Bata).
18 april 1964, p. 48-49 (Peter Voorn, Kühne, Triumph).
19 september 1964, p. 25 (Irma Spruit, Kuiper).
24 oktober 1964, p. 27 (Kühne, Peter Voorn, Haring).
12 december 1964, p. 24 (Peter Voorn).
6 maart 1965, p. 27 (Bata).
13 maart 1965, p. 25 (Bata).
20 maart 1965, p. 29 (Konarska).
27 maart 1965, p. 27 (Leacril in Venetië).
3 april 1965, p. 29 (Kuiper Zeist).
10 april 1965, p. 27 (Ann Vredevoogd, Maison Kühne).
24 april 1965, p. 27 (Maison Kuiper).
8 mei 1965, p. 27 (Maison Haring).
25 september 1965, p. 19 (Maison Kuiper, Bata International).
16 oktober 1965, p. 20 (Sybrand Starreveld).
20 november 1965, p. 87 (Peter Voorn).
9 april 1966, p. 93 (Bata).
24 september 1966, p. 62 (Bata).
12 november 1966, p. 87 (Peter Voorn).
25 maart 1967, p. 69 (Konarska, Kuiper), 72 (Bata).
18 november 1967, p. 91 (Sybrand Starreveld).
25 november 1967, p. 89 (Peter Voorn).
23 maart 1968, p. 85 (Lucyna Konarska).
28 september 1968, p. 87 (Lucyna Konarska).
9 november 1968, p. 99 (Bata).
21 december 1968, p. 88 (Peter Voorn).
15 maart 1969, p. 75 (Bata).
31 mei 1969, p. 79 (Modehuis Joyeuse).
(10 januari 1953) 2, p. 32-33.
(14 februari 1953) 7, p. 28-29.
(7 maart 1953) 10, p.32-33.
(16 mei 1953) 20, p. 36-37.
(6 juni 1953) 23, p. 56-57.
(13 juni 1953)24, p. 32-33.
(1 augustus 1953) 31, p. 4.
(26 september 1953) 39, p. 40-41.
(17 april 1954) 16, p. 38.
(29 mei 1954) 22, p. 4.
(30 oktober 1954) 44, omslag.
915januari 1955) 3, p. 12.
(19 februari 1955)8, p. 2.
in De Vrouw en haar Huis:
1963, p. 272 (Peter Voorn, Bata), 556 (Bata).
1964, p. 347 (Peter Voorn), 562 (Bata).
1965, p. 319 (Bata), 543 (Bata).
1967, p. 369 (Peter Voorn).
1969, p. 59 (Peter Voorn).
(modefoto’s in opdracht van dag-, week- en maandbladen en in opdracht van de hieronder genoemde couturiers, confectie- en accessoirebedrijven)
Bata International (schoenen).
Leo van Berkel.
Blok en Heijst (schoenen).
Van Daal & Meyer (bont).
Hubert de Givenchy.
Jansen & Tilanus (lingerie).
Klement de Jong.
Metz & Co.
Ten Kate (kousen).
Peter Voorn (hoeden).
Ann Vredevoogd (hoeden).
Zajde (Lady Fashion).
Auteur onbekend, Een nieuwe muze,.. met drie beenen en één oog. De tentoonstelling “Foto ’37” in het Stedelijk Museum te Amsterdam, in Het Vaderland 31 juli 1937, C,p. 7.
Ziegler, Tentoonstellingsoverpeinzingen, in Bedrijfsfotografie 19 (29 oktober 1937) 22, p. 405-406.
Auteur onbekend, Lood van Bennekom, in De Groene Amsterdammer 10 december 1955, P. 13.
B. Roodnat, Over Lood van Bennekom, in Focus 41 (3 maart 1956) 5, p. 102-105 (met foto’s).
J.J. Hens, Wat ik zag… en hoorde…. dat mij trof. Lood van Bennekom, in Foto 11 (februari 1956) 2, p. 60-61.
Berenice Abbott, The World of Atget, New York (Horizon Press) 1964, p. X.
Auteur onbekend, Lood van Bennekom zestig jaar, in De Fotojournalist december 1965, p. 11, 18.
(kort artikel over 40-jarig jubileum), in Het Parool 2 december 1965, p. 2.
(kort artikel over 40-jarig jubileum), in De Telegraaf 4 december 1965, p. 11.
(kort artikel over 40-jarig jubileum), in Revue der Reclame 8 december 1965.
Auteur onbekend, Allerlei mensen, in Elseviers Weekblad 11 december 1965, p. 49.
Willem Frederik Hermans, “Hoe naïef was Atget?”, in NRC Handelsblad 24 februari 1978, p. 3.
Flip Bool en Kees Broos (red.), Fotografie in Nederland 1920-1940, Den Haag (Staatsuitgeverij) 1979, p. 20,60,95-96, 130-131, 134, 142, 145.
Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978, p. 20, 24, 111, 117, losse biografie.
Jury, tentoonstelling Kleinbeeld ’39, Amsterdam 1939.
GKf, vanaf 1945.
1959 Zilveren medaille voor modefototentoonstelling tijdens het VIIe Internationale Zijdencongres van het Internationaler Seidenverband, München.
1965 Gouden Speld van de NVF ter ere van 40-jarig jubileum.
1935 (g) Amsterdam, Nieuwe Kunstschool (Reguliersdwarsstraat 73), Modern schilderwerk, grafiek, reclame, fotografie.
1937 (g) Amsterdam, Stedelijk Museum, foto ’37.
1953 (g) Maastricht, Kunstzalen De Jong-Bergers, Nederlandse Fotografie 1953.
1954 (g) Utrecht, Jaarbeurs, Voorjaarsbeurs.
1954 (e) Amsterdam, Studententheater Kriterion.
1955 (e) Amsterdam, La Cave Internationale.
1957 (g) Amsterdam, Arti et Amicitiae, World Press Photo ’56.
1958 (g) Leiden, Prentenkabinet der Rijksuniversiteit Leiden, Foto’s GKf
1959 (g) München, (tentoonstelling naar aanleiding van het VIIe Internationale Zijdencongres van het Internationaler Seidenverband).
1960 (g) Amsterdam, Stedelijk Museum, (foto’s uit eigen collectie).
1988 (g) Amstelveen, Cultureel Centrum, Dutch Photography (rondreizende tentoonstelling).
Amsterdam, Tosca van Bennekom-Leenders.
Leiden, Prentenkabinet, bibliotheek en documentatiebestand.
Rotterdam, Nederlands Fotoarchief.
Amsterdam, Stichting Dutch Photography. Haarlem, Stichting Nederlands Foto & Grafisch Centrum (Spaarnestad Fotoarchief).
Leiden, Prentenkabinet der Rijksuniversiteit Leiden.
Rotterdam, Nederlands Fotomuseum