Frits Rotgans
Ferdinand Ruhwandl
Abstract
As an industrial photographer and camera builder, Frits J. Rotgans has acquired a unique place in the world of Dutch professional photography. Rotgans obtained international renown with his self-built large-format cameras and remarkable panorama photos, which he managed to produce from spectacular vantage points. Although initially an advertising illustrator, he evolved from an autodidact into a highly sought-after professional, with ultra wide-angle and super telephoto lenses as his specialties. Working for a large Dutch and international clientele, Rotgans’ primary themes were the industrial reconstruction of the Netherlands, domestic shipping, and the aviation world. His autonomous work consisted primarily of wild game photography in Europe and Africa.
Biography
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1912 |
Frits Jacobus Rotgans is born on 27 June as the second son of Derktje Hofman (born 1884) and the architect August Carel Albert Rotgans (born 1884) in Amsterdam West. |
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1924-’27 |
After primary school, Rotgans attends the three-year study programme at the HBS (Hogere Burgerschool, an upper-level secondary school) on the Zocherstraat in Amsterdam. He learns the basic principles of photography from his father, who was already using photography’s potential for his model building. |
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1932 |
Shortly after serving in the military, Rotgans’ first photo appears in the personnel magazine of the Arbeiderspers (‘Workers Press’), entitled Wij (‘We’). Rotgans studies advertising at the Instituut voor Kunstnijverheidsonderwijs (‘Institute of Applied Art Education’) on the Gabriël Metsustraat in Amsterdam, the later Gerrit Rietveld Academy. Following his study, he establishes himself as an independent advertising designer. |
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1937-’39 |
Rotgans works for the Sieberg Car Company and other firms. From February 1937 to August 1939, he works for the company Ruysch Handels Firma. In this period, Rotgans lives with his first wife, Mien Oets, and his first daughter, Fenny, on the Kokosnootstraat and the Copernicuslaan in The Hague. |
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In 1939, Rotgans is mobilised in the military for a brief period. At the end of that year, he returns to Amsterdam and moves to Sarphatistraat 16, where he will live and work for the remainder of his life. Around 1950, Rotgans starts up a photography studio at this same address. |
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1942-’44 |
Going by the alias ‘Rugtas’ (‘Backpack’), Rotgans—involved in the Dutch resistance movement—starts drawing cartoons for the resistance magazine Ons Vrije Nederland (‘Our Free Netherlands’). His most important activity, however, is the falsification of identity papers for large numbers of people that have gone into hiding. Using a Contax 35 mm camera, Rotgans takes hundreds of colour slides depicting the German occupation of Amsterdam. |
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1944-’45 |
In 1944, Rotgans manages to barely escape arrest and flees to the south of the country, where he goes into hiding in Best. He acts as an interpreter for those who have liberated the Netherlands. |
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1947 |
Rotgans becomes a transport officer with the Nederlandse Rijnvaart Missie (‘Netherlands Rhine Shipping Mission’), part of the Essex Regiment of the British occupation army in Duisburg-Ruhrort, Germany. Here he meets his second wife, Hannelore Burgardt, whom he weds in 1947. Two children are born from this marriage, Monica and Frits Junior. |
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In the Ruhr region, Rotgans begins to photograph ships and their captains with a Reflex-Korelle 6×6 mirror reflex camera. |
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Using a Schneider Telexenar objective, Rotgans takes his first panorama photo from the top of a high bridge-span, in order to capture a sweep of two kilometers. From this, he develops his interest in large-format cameras and begins to build them himself. |
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1950s |
Frits Rotgans’ professional career begins around 1950. In 1952, his first book on Dutch shipping along the Rhine appears. For the coming ten years, his primary themes are inland waterway shipping, harbours, and later the trans-shipment and sea shipping industries. |
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Rotgans receives commissions to take panorama shots of seaports, docks, and cranes for numerous shipping companies. Among his clients are Maatschappij Nederland, de Koninklijke Nederlandse Scheepvaart Maatschappij (‘Royal Netherlands Shipping Company’), the Koninklijke Hollandse Lloyd, the ‘Phs. van Ommeren Concern’, Wilton Feyenoord, and DAMCO. |
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In the 1950s, Rotgans takes part in group exhibitions and wins several awards, including the main prize at a Pravda photo competition in Moscow, Russia. |
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Rotgans’ photos appear in Dutch and foreign newspapers and are discussed in German and Dutch trade magazines. |
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Towards the end of the 1950s, his technique starts being noticed by fellow professional photographers in the Netherlands. A short time later, his large-format cameras are also featured in American photography magazines. |
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In 1959, Rotgans’ photobook of Rotterdam is published. The book is mentioned in numerous reviews and brings Rotgans international fame. He also receives commissions aimed to promote the city of Amsterdam. |
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1960s |
During the 1960s, Rotgans’ interest shifts to aviation and wildlife photography. To this end, he travels to the United States and Scandinavia, as well as Africa, where he goes on safari, with his camera in hand. |
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Rotgans receives recognition in American photography circles for his self-built cameras. |
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In 1968, Rotgans’ marriage to Hannelore Burgardt comes to an end. |
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1970s |
In 1971, Rotgans marries Gisela Oberhoffer. |
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In the early 1970s, Rotgans learns he has a terminal illness and subsequently sells his studio. He transfers his black-and-white archive to the Amsterdam City Archive. |
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1978 |
On 30 May, Frits Rotgans dies in Amsterdam. |
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1992 |
From 1992 on, Frits Rotgans’ archive is managed by the Nederlands Fotoarchief (‘Netherlands Photo Archive’, now the ‘Netherlands Photo Museum’) in Rotterdam. |
Discussion
‘Chercher la beauté de la vie moderne.’ Quoting this motto of Baudelaire, Tillema opened an exhibition of Frits Rotgans’ work on 16 December 1960 at the bookstore Hector en Bazendijk in Rotterdam, featuring his photographs of the Europort. Even today, the work and significance of Rotgans can still be described in these words. He would agree to this, but only reluctantly, as he viewed both himself and photography chiefly in terms of craftsmanship, i.e. more from the standpoint of the professional technician than an artist. Rotgans never actually developed his own artistic credo, though he did make attempts to find one. ‘Photography is a profession, not just an art. A difficult profession, in which you have to work hard, a profession in which you can let your technical ingenuity go totally wild, and this I try to do. (…) I look at my work very critically, always giving it another try, you don’t get it for free’, as he stated in in one of his last interviews. Frits Rotgans is remembered by many for his unique panorama photos. But by as early as the mid-1960s, he had already gained a degree of notoriety outside Europe’s borders with his super telephoto and fisheye large-format cameras.
Having started out taking photographs on an amateur basis prior to World War II, in 1942 Rotgans took hundreds of unique colour slides depicting the German occupation of the Dutch capital. They were the first colour slides on this subject from this period. Even to this day, they are still frequently requested for memorials. Everyday images, with eye-catching details: prohibitory signs hung in café windows, propaganda posters on blank walls, German traffic signs. It was Rotgans’ sharp eye for the nondescript that typified his work: the footnotes of daily life, the chronological crumbs in the big picture of history.
Rotgans’ eye for detail continued on after the war in the form of the technical perfection with which he took his shots—always attesting to an unparalleled depth of field and a craving for precision. He was to become the chronicler of minute particulars—giving our image of post-war developments in the Netherlands an extra dimension. It was not until about 1950 that Rotgans’ professional career actually began. In the years following the war, as a transport officer with the ‘Rijnvaart Missie’ (‘Rhine Shipping Mission’), he laid his hands on a Reflex-Korelle 6×6 single lens. Onto this camera, Rotgans mounted a 240 mm objective lens in order to photograph a kilometers-wide sweep while maintaining the correct perspective. It was the start of a ‘monumental’ project that would take him many years: a photographic cartography of shipping in the Netherlands and along the Rhine. His first book on this subject was published in 1952: De Nederlandse Rijnvaart (‘Dutch Shipping along the Rhine’). In 1957, he photographed a stretch of 200 kilometers between Cologne and Bingen, Germany, recorded on fifty panorama photo: an equivalent of four kilometers per photo. These were highly defined photos, allowing each and every detail to be seen.
Rotgans’ key themes were the industrial reconstruction of the Netherlands and the trans-shipment and transit functions of the port of Rotterdam, and later the Amsterdam ports, domestic shipping, and the shipbuilding industry. Because of its location, Rotterdam in the 1950s was a region of exceptional economic growth, referred to as the ‘Golden Delta’. It was in these days that the Maasvlakte, the Botlek, and the Europort were being developed at a fast tempo. Companies such as Dow Chemical, Esso, BP, and Gulf established offices along the Nieuwe Waterweg (‘New Waterway’) and drew in other business sectors as well. The image of the harbour—once defined by cranes and shipping companies—was now taking on a different appearance with its refineries, as well as the petrochemical and bulk chemicals industries. It was this development that Rotgans captured in his book on Rotterdam, published in 1959, the same year that Cas Oorthuys’ book came out. It was these images of the city that were shown at Rotgans’ first solo exhibition, mentioned above.
To these subjects, Rotgans added aviation photography and aviation photomontage in the 1960s: hundreds of airplanes passed before the eye of his camera. A number of these shots were based on commissioned work, but others were taken for his autonomous work. One can also retrace the expansion of Schiphol Airport with Rotgans’ photographic work. In 1976, these photos resulted in an exhibition at the Aviorama. The technique of photomontage—applied in Rotgans’ shots of office buildings taken on a commission basis—was also used in his Starfighter photos, with which he created quite a commotion.
Starting in the mid-1960s, Rotgans turned his focus to nature photography and wildlife reportages. He made trips to Norway and travelled on a number of African safaris, subsequently publishing his account in various newspapers and magazines. Like many of his generation, Rotgans had never received any professional photography training. Born into a family of architects and draughtsmen, his drawing talent was evident from an early stage. Rotgans’ initial desire was to become an aircraft constructor, but circumstances prior to the war prevented this. After having served in the military, he studied to become an advertising designer, a profession with which he was able to earn a living in the 1930s. After World War II, when Rotgans began to design and build his own cameras, his technical nature would come in handy. As an autodidact, Rotgans gradually evolved into a large-format photographer who was internationally in demand. By as early as the mid-1800s, the notion of panoramic photos was a familiar phenomenon that had been enthusiastically received. In the Netherlands, however, it had not yet found solid footing, with the exception of several attempts made by Dr. Peter Wotke around 1860. For Frits Rotgans, there had never been any genuine teachers or predecessors in this area of photography. When it came to his views on photojournalism, he turned to the work of Alfred Eisenstaedt as a role model. In terms of the technical aspects of photography, he was greatly influenced by Richard Grittner’s Handbuch der Kamerakunde (‘Handbook of Camera Art’). With Rotgans, it was always the professional requirements and the technical possibilities of photography that were given first priority, as opposed to the historical or social significance of his subjects. Rather than working within the limitations of any one camera, he had images ‘before his eyes’, for which purpose or whereby he would then seek to find a means for their technical realisation. Rotgans was a distant, rather introverted man. A perfectionist, who most certainly received recognition from his fellow photographers based on his professional technical skills, but who rarely allowed others to influence his choice of subject or ideas associated with photography.
Always in search of new challenges, Rotgans built the cameras he needed himself. He was assisted by the renowned precision instrument maker Henk Meinema, who supplied the necessary rings and other connectors. As a successor to the previously mentioned Reflex-Korelle 6×6, in 1950 Rotgans built a 9×14 cm camera, onto which an 8/47 mm super wide-lens could be mounted. In about 1952, he received commissions to make enlargements of two to three meters in length for use at exhibitions. Regarding this work, he observed: ‘This didn’t go so well with 6×6 negatives, more so because then the foreground or sky, as unimportant, was cut out. In order to still get a decent result, I made a roll film cassette myself for the format 6×15 cm on the Linhof 13/18 camera, which I had bought by this time, and now I was able to get large negatives, by less costly means, which produced an excellent result with a photo of a meter or more.’ In April 1954, Photo Magazin featured seven of Rotgans’ photos on full-page spreads. These images were what led to a commission from Agfa for Rotgans to produce his Photokina photo of 3×10 meters: ‘It still seemed a bit forced to me, to make an enlargement of a negative that was 15 centimetres long. That’s why I made a camera with a negative that was 40 centimetres in length, for which Agfa supplied me with sheet film in FF emulsion. Now I achieved the same quality that’s obtainable with a 35 mm camera for an enlargement of 1 m[eter] over [a length of] 10 m[eters]. It basically meant I was able to take a photo with a length of 10 meters that was virtually grain-free.’ Ten years later, using a similar camera, Rotgans took colour shots of nightclubs in Paris, which were printed across four pages in the German magazine Grossbild. Besides his previously built ‘Tin-Frizzie’, Rotgans wanted a camera with an adjustable objective plane. The result was his ‘Rotgans Ideal’, on which a 4/53 objective fit with a Polaroid 4×5 inch camera back. For his nature shots, he specifically built the ‘Silent Rotgans’. Into this camera’s wooden housing, Rotgans installed his old Reflex-Korelle, of which the mirror could be raised with the push of a finger as opposed to a spring. The Schneider Tele-Xenar 5.5 objective made it possible to obtain a high light intensity with a long focal length (500 mm). Rotgans was now able to focus via a ground glass and take a minimum of 50 shots on perforated 70 mm film, with an entirely noiseless shutter and a shorter exposure time than a regular large central shutter. This allowed him to photograph animals in the outdoors with a minimum of disturbance. In a 1975 interview concerning his photographic safaris, Rotgans explained his working aproach: ‘The cameras that I use cannot be purchased anywhere, I therefore have to make them myself. This entails using a a lot of multiplex and parts from other cameras, plus a great deal of improvisation.’ A problem with such large-format photography was its cost as well as the quantity of film material one was required to take along. ‘Any 35 mm amateur photographer used to carrying around rolls of film for a thousand or more shots can still fit this much film into a small suitcase. Obviously, with my cameras this is not possible. For colour photography, I take only fifty sheets of Ektacolor S sheet film with me, and of this, sometimes half of it ends up going back home. For black and white, I take a bit more with me; here the cost doesn’t play such a big role. Don’t forget that one colour shot of 8×10 inches costs about ten [Guilders] for material! (…) I don’t make prints until I know everything is exactly right, which, in my opinion, is the only way you can do this photography (wildlife, FR).’ Of the twenty to thirty colour negatives that Rotgans exposed during one of his trips, he said there were still always about ten ‘direct hits’ to found among them.
Rotgans’ ambition was always to utilise the characteristics of any given camera optimally. He also wanted to achieve a maximum of sharpness in his enlargements—until they were perfect. He abhorred any kind of graininess, no matter what the print. Rotgans’ shooting formats became increasingly larger: starting with the two 6×9 roll film cameras brazed together in 1950, via 13×18 cm and 8×10 inches, until reaching what was ultimately his largest format of 20×60 cm sheet film, for which he used a Schneider Angulon 165 mm (1970). Rotgans used this camera for his larger projects, such as Schiphol Airport and his long shots of harbours. To do so, it was necessary to have his film cut separately by Agfa and Kodak. He also had to build his own cartridges to match these formats. A fourth type of Rotgans camera was for a 4.5/35 mm Takumar fisheye lens. With the help of a Plaubel slit shutter, Rotgans was able to take circular shots with a diameter of 9 cm in a 13×18 cm format. The camera was mounted beneath a hot-air balloon, taking photos of the earth with the horizon around it. His long shot photo of the Dutch House of Representatives (the ‘Tweede Kamer’), which was taken with this camera, was to become fairly well known.
On numerous occasions, Rotgans’ self-built cameras and his spectacular climbing parties drew the attention of the press. His characterisation as a photographer ‘on a high level’ was in part meant in a literal sense, particularly when considering the spectacular antics necessary to get all of his heavy gear up to a place where he was able to take his photographs from the highest possible vantage point, e.g. the top of a bridge, from a mast, a crane, or the top of the Euromast tower in Rotterdam. This lasted for as long as he was unable to obtain a permit to take aerial photos. At one point, Rotgans even experimented with mini-rockets onto which his cameras were mounted. In 1957, he added a twelve-meter-long steel rope ladder to his gear, which he constructed himself, complete with slipknots and allowing him to climb into tall trees unaided. Rotgans also had to have a vertical extension built on to his darkroom on the top floor of the Sarphatistraat, because his enlarger had taken on Gulliver-like dimensions.
It was not until about the end of Rotgans’ career, in 1974, that Linhof introduced the first commercial application for panorama cameras. Rotgans’ self-built cameras—in association with his work—must therefore be seen as historically significant in themselves and are therefore worthy of being preserved as museum artefacts.
Once one acknowledges that Rotgans’ actual period of productivity as a professional photographer barely spans twenty years (1952-1972), then it becomes clear that by today’s standards his archive of approximately 60,000 shots is of substantial size and importance. In addition—or rather, to serve this purpose—he built fifteen cameras. From the standpoint of craftsmanship, this is a remarkable achievement in Dutch professional photography. In terms of content, Rotgans’ work is of greater historical versus artistic value. Contrary to his contemporaries and fellow photographers who were active the 1950s and ’60s, he was not interested in communicating human emotion or social living conditions. Instead, he wished to show above all the endless possibilities of seeing itself for the human eye, based on his sense of surface distribution and harmony. When viewed in a socio-historical context, the highlights of Rotgans’ work are, firstly, the unique colour series of the German occupation during World War II, and secondly, his detailed documentation of shipping along the Rhine, as well as inland waterway shipping in the Netherlands and the Ruhr region of Germany, which provide a virtually complete picture of the transit and transport aspects of the development of the Dutch economy in the 1950s and ’60s. For contemporary history, Rotgans has extensively photographed the harbour, shipbuilding, and chemical industries in the Rhine Delta and in the Amsterdam harbour, with which many nostalgic connotations are associated to this day.
An element of Rotgans’ personality was that he observed ‘from a distance’ rather than from close up. Through the use of his wide-angle technique, he elevated nature, urban, and landscape photography to another level. His photos and montages of airplanes and, in broader terms, aviation, are of value in terms of corporate history value, but also for their spectacular character. Rotgans’ themes were always related to technical possibilities, which were always at the forefront of his mind. The same is true of the urban images he documented in his later years, particularly in Amsterdam.
The historical and present-day communicative expression and significance of Frits Rotgans lies chiefly in the disparity between the objective recognition of the Netherlands in the 1950s and ’60s and the amazement in terms of how one looks back to the same period some thirty years later.
Documentation
Primary bibliography
K.F.H. Wolters (tekst) en F.J.Rotgans (ontwerp en foto’s), De Nederlandse Rijnvaart, Rotterdam (Bureau Internationale Vaart) 1952.
A. Kossmann (tekst) en F.J. Rotgans (foto’s), Rotterdam, stad en haven, Den Haag/Rotterdam (Nijgh & Van Ditmar) 1959.
(artikel zonder titel), in Grossbild Technik 6 (1959)2, p. 11-15 (met foto’s).
Siegfried Kaufmann (tekst) en Frits Rotgans (foto’s), Das Breitbild in der Fotografie, in Fotografie 14 (maart 1960) 3, p. 104-110.
Erts van groeve tot staalfabriek als panorama gefotografeerd, in Focus 47 (16 februari 1962) 4, p. 14-21 (met foto’s).
Met camera en buks op elandjacht, in Focus 47 (8 juni 1962) 12, p. 12-20 (met foto’s).
Laurens A. Bodaan (tekst) en Frits J. Rotgans (foto’s), Plaatpraat, Amsterdam 1963.
G. Sprengers (tekst), Frits Rotgans en Dolf Toussaint (foto’s), Stedelijk Jaarverslag Gemeente Amsterdam, Amsterdam 1964.
Twee totaal verschillende b-r-e-e-d-b-e-e-l-d-f-o-t-o-‘s, in Focus 49 (24 april 1964) 9, p. 32-34 (met foto’s).
Ton Koot (tekst) en Frits Rotgans (foto’s), Amsterdam, München/Hannover (Knorr & Hirth Verlag GmbH) 1967 (idem Duitse editie).
De Kamer in vogelvlucht, in De Telegraaf 19 april 1967.
Afrikanische Tierlandschaften, in International Photo Technik 14 (1967) 3, p. 170-172 (met foto’s).
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Fotosafari met 1000 mm, in Focus 60 (januari 1975) 1, p. 26-33 (met foto’s).
Frits Rotgans, 35 jaar kleurenfotografie, in Focus 62 (juli 1977) 7,omslag,p. 34-41 (met foto’s).
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Catalogus 25e Kerstsalon. Nationale foto tentoonstelling, Amsterdam (Academie van Bouwkunst) 1964, omslag.
Amsterdam 64. Stedelijk jaarverslag Gemeente Amsterdam, Amsterdam 1964.
Het Vrije Volk 19 juni 1964.
Catalogus World Press Photo ’66,
Den Haag (W. van Hoeve) 1966, p. 66.
Bureauagenda Amsterdam 1966, Amsterdam (Cloeck & Moedigh NV) 1966.
Joachim Giebelhausen, Industriefotografie für Technik und Wissenschaft, München (Verlag Grossbild Technik) 1966, p. 54-55, 238.
De Spiegel (19 maart 1966) 25, p. 28-29.
Brennpunkt (1966) 3, omslag, p. 2.
Rand Daily Mail 19 augustus 1966.
(Brochure) Architecture de lumière 16, Neuilly sur Seine (Société Auxilliaire de Diffusion et de Publications Spécialisées) 1967, p. 51-53.
Rudolf Hagelstange, Das Gute Mass: eine Brücke nach Holland, München (Mensch und Arbeit Verlag) 1968, p. 131, 140-141.
(Brochure) Jaarverslag Vereniging Nederlandse Verkeersvliegers, 1968, p. 16-17.
Het Vaderland 26 januari 1968.
Foto Film Geluids Gids februari/maart 1968, omslag.
VARA Gids 10 februari 1968, omslag, p. 4, 14-15.
De Spiegel (20 april 1968) 29.
Auteur onbekend, Amsterdam the city of the future. Where the beauty of the past meets the city of the future, in Herald Tribune mei 1968 (kleurenbijlage), p. 6-7.
Jaarverslag Shell Nederland Raffinaderij NV 1968, Rotterdam 1969.
(Brochure) Nederlandse Aannemers in het Buitenland, Den Haag 1969, p. 31.
Holland Silhouet (huisblad Gouda en omstreken) maart 1969.
Der Spiegel 29 maart 1969, omslag, p. 12.
Succes april 1969, omslag.
Den Haag breed bekeken (1), in Haagsche Courant 28 mei 1969.
Den Haag breed bekeken (2), in Haagsche Courant 29 mei 1969.
Den Haag breed bekeken (3), in Haagsche Courant 30 mei 1969.
Den Haag breed bekeken (4), in Haagsche Courant 31 mei 1969.
Jubilaumsschrift des Zentral-Vereins für deutsche Binnenschiffahrte, juli 1969.
Succes augustus 1969, omslag.
De Havenloods 18 (23 oktober 1969) 20.
Elseviers Weekblad 13 december 1969, p. 9.
ADM-bedrijfsorgaan 1970, p. 176.
C’70 (extra krant van de Arbeiderspers), Amsterdam 1970, omslag.
Het Vrije Volk mei 1970 (speciale uitgave).
Het Vaderland 9 juli1970.
De Typhoon 18 juli 1970.
Kölnische Rundschau 3 oktober 1970.
De Havenloods 20 (4 februari 1971) 5.
De Wolkenridder (KLM bedrijfskrant) 27 februari 1971.
De Havenloods 20 (2 december 1971) 48.
Karolien Smits en Will Stoffe, In een vliegtuig. Informatie Junior, Gorkum (DeRuyter NV) 1972.
Jean Deyot, Géographie 4e, IPAM Collections, Parijs (EDICEF) 1972, p. 9.
Catalogus tent. Holland persfoto ’70/’71, Amsterdam (Delta-Lloyd verzekeringsgroep n.v.) 1972.
Onze Jaren 45-70. 25 Jaar wereldgeschiedenis 12-18 februari 1972, p. 69.
De Havenloods 21 (30 maart 1972) 13, omslag.
De Havenloods 21 (15 juni 1972) 34, omslag.
Jaarkalender Offsetdrukkerij De Maas 1973.
Jaarverslag NV Luchthaven Schiphol 1972, Amsterdam 1973, p. 2, 9, 18.
J.H. Kruizinga, Amsterdam, stad der duizend bruggen, Naarden (Strengholt Boeken) 1973, omslag.
Holland Herald Q (1973) 9, Amsterdam (Media 2000 BV) 1973, p. 48.
Jaarverslag Mees & Hope 1974.
Auteur onbekend, Metro Amsterdam, in Technische Blätter (1974) 14, p. n , 21-22.
Jagdkalender 1975 (uitgave van het tijdschrift Wild und Hund), februariblad.
Auteur onbekend, Fotoboek 700-jarig bestaan van Amsterdam, Amsterdam (Amsterdam Boek BV) 1975.
Baanzicht 7 (maart 1975) 2, omslag.
J. Jobé, R.A. Plummer en G.W. Hilton, Raddampfer in Europa und Amerika, Lausanne (EDITA) 1976, p. 72, 93-94, 98-100, 122-123, 127-129.
De Wolkenridder (KLM bedrijfskrant) 30 (18 december 1976) 24, p. 20.
Werner Böcking, Schiffe auf dem Rhein in drei Jahrtausenden: Geschichte der Rheinschiffahrt, Moers (August Steiger Verlag) 1979,pl. 51D, 67, 70, 75, 78, 96A, 97.
Opzij 8 (mei 1980) 5, omslag.
Herman Hecht, Die Entstehung des Rhenania-Konzern. Die ersten dreissig Jahre, Heidelberg (Brausdruck Verlag GmbH) 1983, omslag, p. 43, 60.
Raimond Ie Viseur, Die Kaufleute aus Mülheim: 175 Jahre Stinnes. Eine deutsche Firmenchronik, Düsseldorf/Wien (Econ Verlag GmbH) 1983, p. 51, 63.
Martin van de Geer, Nederlandse Rijn- en binnensleepvaart, toen en nu, Alkmaar (De Alk BV) 1983, p. 29-30, 32, 52-53, 58-59,63-64, 102, 160.
Richard Boos en Rüdiger Krüpfganz, Historisches von Strom: Eine nautische Streifzug von Emmerich nach Basel, Band 1, Duisburg (Verlag Krüpfganz & Jüngling) 1984, p. 6.
Martin van de Geer, Rijnsleepvaart van Basel naar Rotterdam, Alkmaar (De Alk BV) 1986, p. 37, 159.
Kalender Neroc bv, Leiden 1987.
A.M. de Backer en A. de Boode, De schoonheid van hoogspanningslijnen in het hollandse landschap, Rotterdam (De Hef) 1987, p. 16.
Helmut Betz, Historisches von Strom: Die grossen Motorschlepper und die Entwicklung der Schubschiffahrt auf dem Rhein, Band 4, Duisburg (Verlag Krüpganz) 1988, afb. 1,8, 19.
in Algemeen Dagblad:
25 maart 1961.
12 mei 1961.
12 juni 1961.
12 september 1961.
7 oktober 1961.
19 december 1962.
8 februari 1963.
in Algemeen Handelsblad:
15 september 1960.
14 januari 1961.
21 januari 1961.
2 februari 1961.
3 februari 1961.
6 februari 1961.
2 maart 1961.
3 maart 1961.
10 maart 1961.
15 maart 1961.
18 maart 1961.
27 april 1961.
26 mei 1961.
30 mei 1961.
in De Amsterdamse Haven:
1 (18 maart 1970) 14, p. 7.
1 (15 april 1970) 16, p. 9.
2 (16 september 1970) 2, p. 5, 10.
2 (17 maart 1971) 14, p. 2.
3 (september 1971) 1, omslag.
3 (oktober 1971) 2, omslag.
3 (november 1971) 3, omslag.
3 (december 1971) 4, omslag.
3 (januari 1972) 5, p. 2.
4 (mei 1973) 4, p. 11, 13-16.
in Aspekt (weekblad voor Amsterdam en randgemeenten):
1 september 1971.
8 september 1971.
15 september 1971.
29 september 1971.
6 oktober 1971.
13 oktober 1971.
20 oktober 1971.
3 november 1971.
10 november 1971.
17 november 1971.
1 december 1971.
2 februari 1972.
12 april 1972.
5 juli 1972.
25 oktober 1972.
6 december 1972.
24 januari 1973.
2 mei 1973.
in De Courant Nieuws van de Dag:
13 januari 1961.
20 november 1962.
3 januari 1963.
28 februari 1963.
28 mei 1963.
27 september 1963.
6 december 1963.
28 oktober 1969.
in Damco-Nieuws (maandblad van Damco Scheepvaart Maatschappij NV, Rotterdam):
(1952) 10, omslag, p. 87.
(1952) 11, p. 98.
(1953) 3, omslag, p. 28, 31.
(1953) 4, p. 38.
(1953) 5, omslag
(1953) 6, omslag, p. 70.
(1953) 7, omslag.
(1953) 8, p. 90, 93.
(1953) 10, omslag, p. 112, 119.
(1953) 11, omslag.
(1953) 12, p. 137, 141.
(1954) 1, omslag, p. 3.
(1954) 3, omslag.
(1954) 4, omslag.
(1954) 5, omslag.
(1954) 6, omslag.
(1954) 8, p. 87.
(1954) 9, p. 100-101.
(1954) 10, omslag.
(1954) 11, omslag, p. 123, 126.
(1954) 12, p. 148.
(1955) 1, omslag, p. 93.
(1955) 2, p. 15, 20.
(1955) 3, omslag, p. 28.
(1955) 6, omslag.
(1955) 10, omslag, p. 115.
(1955) 1l , p. 127-129.
(1956) 2, p. 14.
(1956) 4, p. 38.
(1956) 5, p. 50.
(1956) 6, omslag, p. 62-63.
(1956) 7, p. 82.
(1956) 8, p. 87.
(1956) 9, omslag.
(1956) 10, p. 110-111,117.
(1956) 11, omslag, p. 122-123, 132.
(1957) 2, omslag, p. 19-21.
(1957) 4, p. 46.
(1957) 5. omslag.
(1958) 8, p. 102.
(1958) 10, p. 118.
(1958) 11, omslag.
(1958) 12, omslag.
(1959) 1, omslag, p. 8.
(1959) 2, p. 22-23, 25-26.
(1959) 3, p. 39.
(1959) 4, p. 50.
(1959) 5. omslag, p. 60-61.
(1959) 9, p. 115.
(1960) 6, p. 70-71.
(1960) 7, p. 84.
(1960) 12, p. 146.
(1963) 2, omslag.
(1963) 4, omslag, p. 42.
(1963) 10, omslag.
(1963) 11, omslag, p. 126.
(1963) 12, p. 138.
(1964) 2, p. 14-16.
(1964) 4, p. 41.
(1964) 10, p. 111.
in Elseviers Weekblad:
17 december 1955.
22 december 1955.
31 december 1955.
14 januari 1956.
1958.
14 november 1959.
12 december 1959.
16 april 1960.
13 augustus 1960.
17 december 1960.
20 april 1963.
21 december 1963.
in Focus:
45 (24 december 1960) 26, p. 873-876.
46 (8 juli 1961) 14, p. 430-431.
50 (10 december 1965) 25, p. 20-21.
51(10 december 1966) 11, p. 18-19.
59 (april 1974) 4, p. 44-45.
in Internationale Photo Technik:
7 (1960) 3, p. 138-139.
8 (1961) 2, p. 86.
9 (1962) 3, p. 185.
11 (1964) 3, p. 164.
13 (1966) 1, p. 42-43.
15 (1968) 1, p. 55.
15 (1968) 3, p. 291.
15 (1968) 4, p. 346.
18 (1971) 1, p. 88.
20 (1973) 1, p. 76-77.
21 (1974) 1, p. 84.
21 (1974) 3, p. 27.
23 (1976) 4, p. 18-19.
in Nieuwe Rotterdamsche Courant:
1955.
10 februari 1959.
28 maart 1959.
16 mei 1959.
1 juni 1959.
2 juni 1959.
18 juni 1959.
15 augustus 1959.
21 augustus 1959.
2 september 1959.
26 maart 1960.
5 november 1960.
1963.
in Het Parool:
2 oktober 1958.
15 januari 1960.
30 augustus 1960.
7 september 1960.
2 februari 1961.
29 maart 1963.
11 augustus 1965.
11 september 1965.
15 december 1965.
13 mei 1969.
3 juni 1969.
5 juni 1969.
6 juni 1969.
9 januari 1970.
25 februari 1970.
26 mei 1970.
10 juni 1970.
23 juni 1970.
18 september 1970.
in De Telegraaf:
1958.
1960.
13 oktober 1960.
17 juni 1961.
26 juni 1961.
18 september 1961.
9 november 1961.
14 november 1961.
21 november 1961.
29 december 1961.
1 februari 1962.
27 februari 1962.
12 maart 1962.
15 maart 1962.
21 maart 1962.
23 maart 1962.
14 juni 1962.
4 augustus 1962.
20 november 1962.
24 november 1962.
17 december 1962.
29 december.
12 januari 1963.
9 april 1963.
28 mei 1963.
29 juni 1963.
17 juli 1963.
3 augustus 1963.
5 september 1963.
9 september 1963.
14 oktober 1963.
18 november 1963.
1 januari 1964.
17 april 1967.
10 december 1968.
23 augustus 1969.
1 april 1970.
7 mei 1970.
11 juli 1970.
3 februari 1978.
in De Volkskrant:
4 juni 1957.
5 februari 1959.
27 maart 1959.
2 april 1959.
9 juni 1959.
14 november 1959.
16 november 1959.
27 mei 1960.
4 juni 1960.
14 juni 1960.
5 oktober 1960.
10 december 1960.
14 december 1960.
12 januari 1961.
27 januari 1961.
2 februari 1961.
9 maart 1961.
25 april 1961.
19 mei 1961.
18 december 1961.
21 december 1961.
9 februari 1962.
9 maart 1962.
7 april 1962.
5 juni 1962.
11 augustus 1962.
22 september 1962.
15 oktober 1962.
15 december 1962.
22 december 1962.
2 januari 1963.
15 januari 1963.
1 maart 1963.
3 juli 1963.
13 juli 1963.
23 november 1963.
24 februari 1964.
16 maart 1964.
11 mei 1964.
19 augustus 1964.
22 september 1964.
29 september 1964.
5 oktober 1964.
25 januari 1965.
30 oktober 1965.
20 december 1965.
in Wild und Hund:
(1957) 17, p. 323.
(1960) 14, p. 288-289.
(1961) 14, p. 292.
(1961) 18, p. 368-369.
(1961) 25, p. 526-527.
(1962) 15, p. 306-307.
(1967) 14, p. 322.
(1968) 10, p. 225.
(1968) 16, p. 380.
(1969) 16, p. 380.
(1971) 14, p. 328-329.
(1971) 20, p. 466.
(1972) 3, p. 64.
(1972) 5, p. 116.
(1972) 10, p. 232.
(1972) 11, p. 257.
(1972) 14, p. 330.
(1972) 16, p. 387.
(1973) 5, p. 107.
(1973) 6, p. 138.
(1973) 18, p. 416.
(1973) 20, p. 476.
(1973) 21, p. 39.
(1974) 6, p. 139.
(1974) 8, p. 184-185.
(1974) 23, p. 547.
(1974) 25, p. 593.
(1975) 20, p. 474-475.
(1975) 22, p. 527.
(1975) 23, p. 557.
(1976) 9, p. 211-212.
(1976) 10, p. 235.
(1976) 13, p. 303.
(1977) 2, p. 38-39.
(1977) 4, p. 184.
(1977) 12, p. 280-281.
(1977) 13, p. 297.
(1977) 16, p. 372.
(1977) 17, p. 393-396.
(1978) 5, p. 114.
(1978) 8, p. 184-185.
(1979) 11, p. 266-267.
(1979) 12, p. 281.
(1980) 23, p. 568.
(1980) 24, p. 604.
(1984) 15, p. 788.
(1984) 26, p. 5-13.
(1985) 11, p. 41.
(1989) 10, p. 14.
in Zeitschriftfür Binnenfahrt:
(1951) 4, omslag, p. 117.
(1951) 6, omslag, p. 229, 243.
(1951) 9, omslag.
(1951) 12, omslag.
(1952) 1, omslag.
(1952) 5, omslag.
(1952) 8, omslag.
(1952) 9, omslag.
(1952) 10 (jubileumuitgave), omslag, p. 6, 52, 126.
(1952) 11, omslag.
(1953) 1, omslag.
(1953) 2, omslag.
(1953) 4, omslag.
(1953) 5, omslag.
(1953) 11, omslag.
(1954) 1, omslag.
(1954) 5, omslag.
(1954) 8, omslag, p. 264, 280, 292, 296.
(1954) 11, omslag, p. 402.
(1955) 7, omslag, p. 226-227.
(1955) 8, omslag, p. 311.
(1956) 1, omslag.
(1956) 4, omslag, p. 123.
(1956) 6, omslag.
Most important clients:
Albert Heyn.
Boldoot.
Bos & Kalis.
BP.
Capi-Lux.
Cloeck & Moedigh.
Damco Scheepvaart Maatschappij.
Delta Chemie Enck.
DEMAG Aktien Gesellschaft.
Deutsche Binnentankreder Vereinigung.
Gemeente Amsterdam.
Gemeente Utrecht.
Heineken Nigeria.
Holland Amerika Lijn.
KLM.
Luchthaven Schiphol.
Frans Maas.
Maple Leaf.
Merwede.
Phs. van Ommeren.
Schweizischer Rederei AG Basel.
Shell Nederland.
Steenkolen Handels Vereniging.
V. Stevin.
Stoomvaart Maatschappij Nederland.
Stork.
Taks Berging.
TORAnglia.
Total Frankrijk.
Ver. Machine Fabrieken Epe.
Vredestein.
Wehkamp.
Westfalische Aktien Transport Gesellschaft.
Wilton Feijenoord.
Secondary bibliography
Anthony van Kampen, “Foto Frits Rotgans”… wat dat betekent, in De Blauwe Wimpel (maandblad voor scheepvaart en scheepsbouw) 9 (juni 1954) 6, p. 150-151 (met foto’s).
A.A. Joosten, Fotograaf van de scheepvaart, in De Schuttevaer 28 oktober 1955.
Auteur onbekend, Een fotograaf die alles ziet, in De Volkskrant 4juni 1957.
Auteur onbekend, Wide angle and radar, in Photo Magazin (internationale edition) (1958) 2, p. 32-33 (met foto’s).
J.J. Hens, Wat ik zag en hoorde, dat mij trof…, in Foto 13 (oktober 1958) 10, p. 399-407 (met foto’s).
R. Nieman, Herfstparade der fotografen, in Elseviers Weekblad 25 oktober 1958.
De Tijd/Maasbode 1 november 1958.
Trouw 2 november 1958.
Het Parool (Rotterdam) 2 november 1958.
(Brochure) De Boekverkoper, Den Haag (Nijgh en van Ditmar) 1959.
Walter Boje, Wie die farbige Tanzstudie entstand, in Grossbild Technik 6 (1959) 2, p. 16.
Walter Kross, Fotos unter schwierigen Bedingungen, in Grossbild Technik 6 (1959) 2, p. 30.
Auteur onbekend, vindingrijk en onverschrokken, in Objektief (februari 1959) 4.
Auteur onbekend, Groeiproces van een stad, in Nieuwe Rotterdamsche Courant 10 februari 1959.
Auteur onbekend, Rotterdam. Dit is niet zomaar een foto, in Revue 21 maart 1959, p. 22-25 (met foto’s).
Auteur onbekend, Droom tot werkelijkheid geworden, in De Tijd/Maasbode 22 mei 1959.
De Havenloods 8 (28 mei 1959).
Elseviers Weekblad 31 mei 1959.
Vrij Nederland 6 j uni 1959
R. Nieman, Foto’s op zeer hoog niveau, in Elseviers Weekblad 21 november 1959.
Het Dagblad voor de Scheepvaart 12 december 1959.
De Rotterdammer 14 december 1959.
Algemeen Handelsblad 19 december 1959.
Handels en Transport Courant 19 december 1959.
Rotterdams Nieuwsblad 23 december 1959.
Nieuwe Rotterdamsche Courant (overzeese editie) (1959) 51.
Nieuwe Rotterdamsche Courant 24 december 1959.
Gelders Dagblad 29 december 1959.
V.V., Rotterdam, stad en haven, in Het Centrum 30 december 1959.
Tubantia 31 december 1959.
Utrechts Nieuwblad 2 januari 1960.
L.W.S., Een nieuw fotoboek, in Het Parool (Rotterdam) 2 januari 1960.
HollandShipping & Trading 8 januari 1960.
Th. Ramaker, Rotterdam: weids beeld van de Maasstad, in Het Parool 13 januari 1960.
Auteur onbekend, Panorama- en luchtfoto’s, meisjes en kinderen, in Algemeen Handelsblad 2 februari 1960.
Haags Dagblad 6 februari 1960.
Auteur onbekend, Rotterdam, flats en kranen, in Het Binnenhof ‘9 februari 1960.
Auteur onbekend, Rotterdam, ville et port, in Revue de la Navigation 25 februari 1960.
De Tijd/Maasbode 27 februari 1960.
Vrij Nederland 12 maart 1960.
H.F. van Loon en Jan Punt, Ook Nederland heeft foto-graven. Wij presenteren u: Onze camera adel, in De Telegraaf 19 maart 1960.
Elseviers Weekblad 19 maart 1960.
De Gooi- en Eemlander 1 april 1960.
Auteur onbekend, Rotterdam: supranationale stad, in De Leeuwarder Courant 2 april 1960.
De Leidsche Courant 5 april 1960.
Hermes 3 (29 april 1960), p. 14-15.
Auteur onbekend, Magistrale lofzang op stad en haven, in Oostbrabant 29 april 1960.
De Volkskrant 27 mei 1960.
Het Eindhovens Dagblad 23 juni 1960.
De Gelderlander 27 juni 1960.
Auteur onbekend, Dertig fotografen zwermden uit over Amsterdam, in Het Parool 16 september 1960.
Auteur onbekend, Rotterdam, Stadt und Hafen. Ein Foto Album von Frits Rotgans, in Der Hafenkurier 21 november 1960.
R. Nieman, Een gigantisch projekt in beelden, in Elseviers Weekblad 10 december 1960.
Tas, (commentaar op ‘t werk van Frits Rotgans), in Algemeen Dagblad 21 december 1960.
Oelus, (commentaar op ‘t werk van Frits Rotgans), in Algemeen Dagblad 22 december 1960.
Der Hafenkurier 22 december 1960.
Joost A., Frits Rotgans… in de hoogte en in de breedte…, in Foto 16 (februari 1961) 2, p. 74-79 (met foto’s).
Auteur onbekend, Extreme Bildschnitte, in International Photo Technik8 (1961) 3, p. 176-179 (met foto’s).
D.A. Anema, FritsJ. Rotgans. Tweevoudig schutter van groot formaat, in De Telegraaf 2 september 1961 (met foto’s).
Auteur onbekend, Uniek ‘dubbelpanorama’ van Rotterdams slagader, in De Telegraaf 30september 1961, p. 17.
Auteur onbekend, Rotterdams scheepvaart-verkeer onderwerp van unieke fotocombinatie, in De Schuttevaer 27 oktober 1961.
De Telegraaf 9 november 1961.
De Telegraaf 21 november 1961.
De Telegraaf 29 december 1961.
De Telegraaf 24 november 1962.
Auteur onbekend (= Simon Nathan), Getting the big picture, in Popular Photography 52 (januari 1963) 1, p. 33.
Auteur onbekend, Geschichte eines Fotos. Röchling’sche Eisen- und Stahlwerke, Völklingen/Saar, in International Photo Technik (1963) 2, p. 94-101 (met foto’s).
Simon Nathan, Simon Nathans “Tin Lizzie” makes hit on two continents, in Camera News (1963) 3.
Vrij Nederland 19 maart 1963.
De Volkskrant 19 maart 1963.
(Brochure) 50 Jahre Schneider Optik, Bad Kreuzbach, mei 1963, p. 20.
Auteur onbekend, Fotograaf ‘maakt’ met euromasten driemaster van nieuwe tanker Esso Cambria, in Het Parool 8 mei 1963, p. 7.
De Telegraaf 17 juli 1963.
De Telegraaf 3 augustus 1963.
De Telegraaf 8 augustus 1963.
Nieuwe Rotterdamsche Courant 7 september 1963.
De Telegraaf 1 september 1963.
Simon Nathan, Wide field pictures, in US Camera oktober 1963, p. 54-92 (met foto’s).
Nieuwe Rotterdamsche Courant 21 december 1963.
Auteur onbekend, Foto-expositie in Amsterdam. Breedbeeldfotograaf Frits Rotgans toont zijn meesterschap, in De Telegraaf 24 december 1964.
Han G. Hoekstra, Hoogstaand fotograaf, in Het Parool 11 september 1965 (met foto’s).
Auteur onbekend, Quiz 48, in International Photo Technik 13 (april 1966) 2, p. 143.
Hans Hubmann, Stellungnahme der Jury, in International Photo Technik 13 (1966) 3, p. 183-186.
Auteur onbekend, Auflösung von Quiz Nr. 48, in International Photo Technik 13 (1966) 3, p. 222.
Auteur onbekend, Kleurenfoto’s uit donkere tijd, in Focus 53(31 mei 1968) 11, p. 31.
Simon Nathan, Simon says. That Simon/Wide – and how it grew, in Popular Photography 66 (april 1970) 4, p. 58, 112.
Simon Nathan, Simon says. Finally grown Simon/Wide makes it, in Popular Photography 66 (mei 1970) 5, p. 60, 62.
W. Schön, Unsichbare Hilfsmittel, in International Photo Technik 18 (1971) 1, p. 19-21, 60-61.
Aspekt, 1 september 1971.
Het Parool 26 september 1972.
A. de Jong, Omslagfoto: Frits Rotgans, Amsterdam, in TFF (maandblad voor audio-visuele technieken) (december 1972) 12, omslag, p. 3.
Auteur onbekend, Foto-expositie Frits Rotgans, in Foto 31 (mei 1976) 5, p. 22.
Frank Zijp, Rotgans, fotograaf van formaat, in Het Parool 18 mei 1976.
Auteur onbekend, Frits Rotgans: great length for width, in Holland Herald 11 (1976) 6, p. 22-23 (met foto’s).
Auteur onbekend, Unieke expositie over ‘breedbeeldfotografie’, in De Telegraaf 9 juni 1976.
Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978, losse biografie.
Olivier Vrooland, Fotografie in grootformaat, in Foto 33 (februari 1978) 2, omslag, p. 28-39 (met foto’s).
Auteur onbekend, Studio Frits Rotgans, in Foto 33 (april 1978) 4, p. 28.
Rob van den Dobbelsteen, Frits Rotgans vecht in laatste uren voor erkenning, in Het Parool 27 mei 1978.
Bert Sprenkeling, Frits Rotgans (66) overleden, in Het Parool 30 mei 1978.
Auteur onbekend, Rotgans overleden, in Foto 33 (juli 1978) 7, p. 19-20.
Flip Bool en Kees Broos (red.), Fotografie in Nederland 1920-1940, Den Haag (Staatsuitgeverij) 1979, p. 109.
(Brochure) tent. De Illegale Camera, Amsterdam (Paleis op de Dam) 1980.
Auteur onbekend, Waarom zijn de velden zo plat?, in Panorama (11 januari 1980) 2, p. 48-53.
Catalogus tent. Zien en gezien worden, Fotografische zelfbespiegeling in Nederland van ca. 1840 tot heden, Nijmegen (Nijmeegs Museum ‘Commanderie van Sint-Jan) 1983, p. 67, 92.
Bas Roodnat, ‘Tegen de huizen slaan echo’s van soldatenlaarzen’, in NRC Handelsblad 6 augustus 1988.
in Focus:
Theo Ramaker, Fotograaf van proporties. Frits J. Rotgans draagt baard noch snor, 45 (23 januari 1960) 2, p. 47-50 (met foto’s).
Theo Ramaker, Dag Amsterdam dag, 45 (1 oktober 1960) 20, p. 674-676.
D.B. (= Dick Boer), Panoramafoto’s. Frits Rotgans, Lijnbaan, Rotterdam, 46 (7 januari 1961) 1, p. 33.
Auteur onbekend, Analyse der platen, 46 (8 juli 1961) 14, p. 425.
Dick Boer, 5 Landen van Europa op één alpenfoto,47 (14 september 1962) 19, p. 18-19, 21-22.
Dick Boer, Analyse der platen, 50 (10 december 1965) 25, p. 18.
Dick Boer, Weer een panorama van Frits Rotgans, 51 (27 mei 1966) 11, p. 17.
D.B. (= Dick Boer), Merkwaardige foto’s van Frits Rotgans, 51 (5 augustus 1966) 16, p. 2-6 (met foto’s).
Auteur onbekend, Groothoekfotografie. Weer een staaltje van Frits Rotgans, 52 (17 februari 1967) 4, p. 18-20 (met foto’s).
Auteur onbekend, Afrikaanse foto-avonturen, 52 (10 november 1967) 23, p. 16-23 (met foto’s).
Auteur onbekend, Weer een stunt van Frits Rotgans, 53 (8 maart 1968) 5, p. 14-17 (met foto’s).
Jan Vorts, De ‘silent Rotgans’, 53 (14 juni 1968) 12, p. 26-28.
Auteur onbekend, Foto’s van Frits Rotgans, 54 (24 januari 1969) 2 p. 16-21 (met foto’s).
C.W., De fotoserie met foto’s van Jac.B. Rieder, Josev Svoboda en Frits Rotgans, 57 (maart 1972) 3, p. 14-20 (met foto’s).
Auteur onbekend, Frits Rotgans: Amsterdam, niet alleen maar metro-narigheid, 61 (april 1976)4, p. 36-41 (met foto’s).
Auteur onbekend, Frits Rotgans overleden, 63 (juli 1978) 7, p. 19.
Memberships
NFPV.
Awards
(z.j.) Onderscheiding (vergrotingskoker), Pravda Fotoconcours, Moskou.
1953 Eervolle vermelding, Vijftiende Nationale Kerstsalon van Fotografische Kunst, Amsterdam.
1961 Penning n.a.v. de tentoonstelling Dag Amsterdam, Amsterdam.
1966 2de prijs, Fotowedstrijd ‘Der Mensch in unserer Zeit’, uitgeschreven door het tijdschrift International Photo Technik.
Exhibitions
1950/1951 (g) Amsterdam, Arti et Amicitiae, Twaalfde Nationale Kerstsalon van Fotografische Kunst.
1951 /1952 (g) Amsterdam, Arti et Amicitiae, Dertiende Nationale Kerstsalon van Fotografische Kunst.
1953/1954 (g) Amsterdam, Arti et Amicitiae, Vijftiende Nationale Kerstsalon van Fotografische Kunst.
1954 (g) Keulen, Photokina.
1954/1955 (g) Amsterdam, Arti et Amicitiae, Zestiende Nationale Kerstsalon van Fotografische Kunst.
1958 (e) Rotterdam, Boekhandel Hector en Bazendijk (Korte Lijnbaan).
1958 (g) Keulen, Photokina.
1959 (g) Londen, London Salon of Photography (Golden Jubilee Exposition).
1959 (e) Amsterdam, CapiLux.
1960 (g) Rotterdam, Floriade.
1960 (e) Rotterdam, Boekhandel Hector en Bazendijk (Korte Lijnbaan), (panoramafoto’s Europoort).
1962 (e) Duisburg, Das Haus der Photo und Kinofreunde vom Niederrhein.
1963 (g) Keulen, Photokina.
1964 (g) Amsterdam, Academie van Bouwkunst, 25e Kerstsalon. Nationale Foto Tentoonstelling
1965 (g) Amsterdam, Opstandingskerk (Bos en Lommerplein), ‘n Kijk op Amsterdam (rondreizende tentoonstelling door Amsterdam).
1965 (g) Amsterdam, Havengebouw.
1966 (g) Den Haag, Haags Gemeentemuseum, World Press Photo ’66.
1970 (g) Amsterdam, Arti et Amicitiae, Publiphotl 70.
1971 (g) Amsterdam, Roothaanhuis, Publiphotl 71.
1972 (g) Amsterdam, De Bijenkorf, Holland persfoto ‘71/’72 (rondreizende tentoonstelling).
1972 (g) Amsterdam, Floriade.
1976 (e) Amsterdam, Aviorama (Schiphol).
1976 (e) Zaandam, Ahold Hoofdkantoor (Ankersmidplein 2).
1977 (e) Amsterdam, Gemeentearchief.
1978/1979 (g) Amsterdam, Stedelijk Museum, Fotografie in Nederland 1940-1975.
1980 (g) Amsterdam, Paleis op de Dam, De Illegale Camera.
1982 (g) Amsterdam, Amsterdams Historisch Museum.
1983/1984 (g) Nijmegen, Nijmeegs Museum ‘Commanderie van Sint-Jan’, Zien en gezien worden. Fotografische zelfbespiegeling in Nederland van ca. 1840 tot heden.
1988 (g) Amsterdam, Verzetsmuseum, De Ondergedoken Camera.
1989 (g) Voorburg, De pen als wapen: de ontwikkeling en betekenis van de politieke karikatuur.
1989 (g) Amsterdam, Anne Frank Huis, De Ondergedoken Camera.
1991 (g) Stadskanaal, De Illegale Camera.
1991 (g) Amsterdam, Nieuwe Kerk, Het Beslissende Beeld (Dutch Photography).
Sources
Amsterdam, Ferry André de la Porte.
Amsterdam, Gemeentearchief.
Amsterdam, J. de Heus (biografische gegevens).
Amsterdam, Stichting FJ. Rotgans (documentatie, biografische gegevens, camera’s, en kleurenarchief).
Dordrecht, dhr. Suykerbuik (Rijn- en binnenvaartarchief).
Leiden, Prentenkabinet (bibliotheek en documentatiebestand).
Collections
Amsterdam, Amsterdam Ports Association.
Amsterdam, Gemeentearchief.
Amsterdam, NV Luchthaven Schiphol.
Amsterdam, Stichting Frits J. Rotgans.
Leiden, Prentenkabinet van de Rijksuniversiteit Leiden.
Rotterdam, Stichting Nederlands Fotoarchief.
Utrecht, Gemeentearchief.
Washington, Holocaust Museum.