PhotoLexicon, Volume 12, nr. 25 (April 1995) (en)

Adriaan Boer

Ingeborg Th. Leijerzapf

Hedi Hegeman


Adriaan Boer is chiefly known as the founder, editor, and publisher of various photography magazines in the Netherlands, of which Focus and Bedrijfsfotografie (‘Corporate Photography’) are the most important. Boer started out as a portrait photographer, running successful studios in Nijker, Baarn, and Bloemendaal. As an exponent of an autonomous photographic art in the Netherlands, he worked with and wrote magazine articles on the fine printing (‘edeldruk’) processes. Boer was a gifted speaker and writer who brought every aspect of the photographic medium to the attention of a broad Dutch audience.




Adrianus (Adriaan) Boer is born on 11 March in Rotterdam as the eldest son of Dirk Boer and Alida Jeannetta Timmers. Dirk Boer runs an oil business in Rotterdam together with his brother-in-law, under the name of ‘Boer en Timmers’.


At the age of eight, Boer receives a stereoscope with images as a Christmas present. This gift awakens his interest in photography.


Dirk Boer, Adrian’s father, dies. As the eldest son of the family, Adriaan takes responsibility for the financial care of his mother and five children at the age of seventeen. A decision is made to secure the family’s future by having Adriaan study to become a pharmacist. He begins working as an assistant at his uncle’s pharmacy in Baarn. His uncle is an amateur photographer.


The Boer family moves to Nijkerk, where Adriaan starts up his own pharmacy. He also opens a simple photography studio.


Boer’s first articles on photography are published in the Weekblad voor Fotografie (‘Weekly of Photography’). His written contributions concern problems such as preparing an iodide starch solution, retouching negatives, platinum papers, and petroleum light.


Boer offers his services as a contributor to the Weekblad voor Fotografie. He begins writing for the columns ‘Voor de critiek’ (‘For the Critique’) and ‘Vragenbus’ (‘Question Box’).


Boer establishes his studio in Baarn: first on the Hoofdstraat, and later at Teding van Berkhoutstraat F20. The family moves with him. In the town’s civil registry, Boer is registered as the family breadwinner in the profession of photographer. Boer runs a successful portrait studio in Baarn until 1912. He also receives topographic and advertising commissions.

For studio commissions, Boer typically relies on the carbon printing technique. For his autonomous work, he experiments with various fine printing (‘edeldruk’) processes.

Boer’s sister, Johanna (Anna) Boer, opens a studio in Amersfoort on the Jacob van Campenstraat, operated as an affiliate of the studio in Baarn.

As a deacon of the Dutch Reformed Church, Boer plays an active role in the religious life of Baarn. For the benefit of his own children, he co-founds the Christian primary school ‘Dr. Astro’.


In Baarn, Boer photographs the flower parade and the procession of Queen Wilhelmina and the queen mother, Emma, on their way to the royal coronation in Amsterdam.


Boer marries Alida Gerarda van Kampen. She is the eldest of three daughters of the pastor G. van Kempen, who regularly spends the summer months together with his family as a boarding-house guest of Adriaan’s mother. Four children are born from this marriage: Alida, Jo, Dick, and Ad.


Boer becomes the chairman of the NCvFK (Nederlandse Club voor Foto-kunst, ‘Netherlands Club of Photographic Art’), founded on 10 December in Amsterdam. Fellow board members include Ernst A. Loeb (secretary) and Johan Huijsen (treasurer).


In October, Boer and Ernest Loeb establish the magazine De Camera. Both men become members of the magazine’s editorial board. The magazine’s publisher, whose identity is unknown, is located in The Hague.

In August, Boer takes part in the Internationale Tentoonstelling van Foto-kunst (‘International Exhibition of Photographic Art’) at the Stedelijk Museum in Amsterdam.


Starting in this year, Boer regularly submits work to exhibitions outside the Netherlands. Boer wins a gold medal with his combination gum print De open deur (‘The Open Door’) at the Internationale Photographische Ausstellung (‘International Photographic Exhibition’) in Dresden, Germany. After Dresden, he also visits Berlin. In the same year, Boer travels to London, where he studies photogravure and other techniques with the photographer P.M. (?) Laws. Boer is commissioned to do a state portrait of the queen mother, Emma.

From 1912

Boer devotes time and effort to the ‘Vereeniging tot bijeenbrenging eener verzameling fotografieën in het museum van Kunstnijverheid te Haarlem’ (‘Association for the Assembling of a Collection of Photographs in the Museum of Applied Art in Haarlem’), established on 16 May of this year. From 1913 on, he serves for many years as the treasurer of the association, known in its abbreviated form as ‘Het Nederlandsch Fotografisch Museum’ (‘The Netherlands Photographic Museum’).

Boer is also asked to teach in an as yet to be established ‘department of photography’ at the School voor Bouwkunde, Versierende Kunsten en Kunstambachten (‘School of Architecture, Decorative Arts, and Artistic Crafts’), which is associated with the Museum van Kunstnijverheid. With this position in mind, the Boer family moves to Bloemendaal. For financial reasons, however, the teaching position never comes to fruition. When registering in the town of Bloemendaal, Boer cites his profession as ‘editor’.

Starting in May, Boer resides at Bloemendaalseweg 113b (‘Huize Liquenda’). He later moves to the following addresses, successively: Rustenburgerweg 1, Brederodeweg 9b, and Duinwijckweg 1.

Boer establishes his portrait studio at Huize Liquenda. To introduce himself, he distributes the brochure Ik heb mijn vak lief (‘I Love My Profession’) among prominent and wealthy families. The studio in Baarn is passed on to L. Breebart. During a visit to London, Boer familiarises himself with professional photography and the photographic organisations in the city.


Boer leaves the editorial department of De Camera. Immediately after, he establishes Focus, a study newspaper for amateur and professional photographers published every ten days. In order to obtain advertisers, Boer travels to Germany to visit photographic manufacturers in Germany—just one month prior to the outbreak of World War I. Boer’s trip is a success, as he establishes numerous contacts.

In Cologne, Boer also attends the Deutsche Werkbund Ausstellung (‘German Association of Craftsmen Exhibition’).


Together with Ernst Loeb, Boer designs the ‘Focus light meter’.


Boer is forced to suspend his work for six months due to a heart ailment. Following his recovery, he establishes the magazine Bedrijfsfotografie (‘Corporate Photography’) on 9 June. Boer also holds a position on the editorial board of this generally technical trade magazine about photography and reproduction techniques, as well as the photography business.

Bedrijfsfotografie becomes the trade magazine of the NFPV (Nederlandse Fotografen Patroonsvereeniging, ‘Netherlands Photographers Guild’).


Boer teaches a photography class at the Volksuniversiteit (‘People’s University’) in Hilversum.


Boer and the amateur photographer Jos C. Mol (co-director until 1923) establish the publishing company ‘N.V. Uitgeverij Focus’.

Boer visits the portrait photographer Karl Schenker, located on the Kurfürstendamm in Berlin. He interviews Schenker for Focus. Schenker takes Boer’s portrait.


Focus and Bedrijfsfotografie are taking up so much of Boer’s time that he decides to sell his portrait studio in Bloemendaal. The business is taken over by Aug. Oepkes, who continues the studio in the villa ‘Huize Skylge’ at Hartenlustlaan 11.


Boer sets up Fotovreugd (‘Photo Joy’): ‘a monthly magazine that aims to cultivate photo amateurs’. From its third year on, Adriaan’s son, Dick Boer, is the editor of this popular promotional magazine.

Adriaan Boer teaches the class he initially gave in 1920, this time at the Volksuniversiteit in The Hague.


Boer establishes Fotohandel (‘Photography Trade’), an informational magazine for photo dealers.


Boer’s wife Alida van Kempen dies.


Together with his son Dick, Boer establishes Het Veerwerk (‘The Mainspring’), a magazine for 8 mm filmmakers.

At the exhibition Klank en Beeld (‘Sound and Image’), held at the RAI Convention Centre in Amsterdam, Boer oversees the photography section.


Boer organises the first Internationale Focussalon (‘International Focus Salon’), held at the artists society ‘Arti et Amicitiae’ (‘Arts and Friends’) in Amsterdam.


Adriaan Boer marries Greet Heymens Visser, a flower painter from Laren. He cuts back on his commitments at the publishing company.


Adriaan Boer’s last book, entitled Foto’s met inhoud (‘Photos with Substance’), is published.

Dick Boer is called up for military service, with Adriaan obliged to oversee the business until his successor’s return.

On 24 April, Boer dies at the age of 65 in Bloemendaal. Four months later, Dick Boer takes over his father’s work definitively.


In his working life, Adriaan Boer displayed an unparalleled devotion, passion, and love for photography. The text of his Ex Libris from 1925 is befitting: ‘Altijd Bereid’ (‘Always Willing’).

First and foremost, Boer was a man of practical experience. He was blessed from childhood with objectivity, a feeling for efficient negotiating, and technical craftsmanship. He was also a driven idealist. For decades, Boer was a personal advisor to many. With his firm opinions and a willingness to approach conflicts head-on, Boer often came across as an authoritarian. Despite his ambitions and pretensions, however, Boer remained an honest and forthright man.

As the eldest son, Boer became the family breadwinner at the age of seventeen following the death of his father. In order to find paid work quickly, he started working as an apprentice/assistant in the pharmaceutical business. It was there that he likely first learned about photography from his uncle, who was also an amateur photographer. Pharmacies were frequently places where (amateur) photographers could purchase the chemical supplies they required for photography, and often as well for photo developing and printing. To become better acquainted with the profession, Boer followed a American ten-part correspondence course on the subject, entitled Self-Instruction Library of Practical Photography, in 1893.

Once he had made a permanent decision to lead the financially precarious life of a professional photographer, Boer took study trips to important European centres of photography, such as Berlin and London, to supplement the international trade literature he had read. Boer was extremely ambitious in acquiring knowledge, taking down notes during discussions with everyone he met, and corresponding with countless amateur and professional photographers, both in the Netherlands and abroad, about photographic techniques and matters of style. He gained practical experience by continually conducting experiments in the darkroom.

In 1893, Boer opened his first portrait studio, simultaneous with his work at the pharmacy in Nijkerk. His sister, Anna Boer, assisted him during his early endeavours as a professional photography. The years in Baarn that followed, from 1897 to 1912, were successful. Here Boer established a well-to-do clientele, from whom he received commissions that were more artistic and challenging. He used his earnings to pay for the costly ingredients required for the fine printing (‘edeldruk’) processes applied in his autonomous work.

During this period, Anna ran an affiliated studio on the Van Campenlaan in Amersfoort. Every Saturday evening, she would visit her brother in Baarn for him to assess the completed work. Anna’s long-term illness, however, eventually led to the transfer of her studio to Fritz Fikenscher. Besides countless numbers of cartes-de-visite portraits and cabinet card photos, Boer also took topographic shots (Historische Kring Baerne, ‘Baarn Historical Society’) and did advertising photography in Baarn. For Dirk Hornsveld, a renowned plant cultivator in Baarn, he photographed new kinds of dahlias on special photographic plates that had been made colour-sensitive.

On occasion, Boer also held art exhibitions at his studio. The catalogue for one such event in 1903 cites paintings, pastels, and watercolours by M.J. Nefkens, as well as charcoal drawings by Sara Ense and J.D. Belmer, along with other works. The painter/writer Jacobus van Looy frequently walked from Blaricum, the city where he lived, to Baarn in order to attend these sales exhibitions. He also had his portrait photo taken by Boer. In 1904, Boer informed his clients by letter that he had decided to stop with his exhibitions, due to his ever-expanding activities in the area of photography.

In 1909, Boer was commissioned to portray Emma, H.M. the Queen Mother, at Soestdijk. The commission likewise entailed interior shots of the palace, as well as portraits of members of the royal household. Boer described how he substituted a painting in the background behind Emma with a portrait of Wilhelmina. In doing so, the portrait depicted not only Emma in her palace, but it also showed the shared relationship between mother and daughter in a single image, thus serving to visualise the inheritance of the royal crown symbolically. For Boer, the carbon print—as an ‘imperishable’ technique—was the most obvious choice for this ambitious state portrait.

In Bloemendaal, where he established himself as a portrait photographer starting in 1912, Boer again approached, just as in Baarn, wealthy individuals inhabiting the town’s villas. He preferred to portray his sitters in their own surroundings. Boer worked to achieve light, spatiality, and an informal atmosphere. The ‘heimportret’ (‘home portrait’) was an ideal way for him to escape the enclosed studio as an impersonal location for taking photos. In their own living rooms, surrounded by their own furniture, people’s poses were more natural. The need for retouching was minimal when working with the beautiful, diffuse lighting of the sunrooms of Bloemendaal. The villas themselves were also good for a great number of commissions. Dick Boer, who at this time was studying as an apprentice in his father’s studio, recalls rinsing hundreds of interior shots.

After having sold his studio in 1922, Boer continued to write about the pitfalls of professional practice in Focus and Bedrijfsfotografie on a regular basis. It was in front of the display window of Carl Emil Mögle in Rotterdam that Boer first became acquainted with ‘art photography’, as he liked to call the Pictorialist movement. He stood there like a schoolboy with his nose pressed against the window, as well longing to take such beautiful photos himself. By Boer’s own account, it was from this doyen of photographic art in the Netherlands that he learned the basic principles of ‘photographic observation’. Even though his studio commissions supplied the revenue he needed to support himself, in actuality he lived for his autonomous work.

Boer was most drawn to landscape and genre photography. During his travels around the Netherlands—with a preference for Zeeland, the Gooi, Brabant, but also close to home in the dunes around Bloemendaal—he shot his photos and subsequently printed them himself, employing all kinds of technical variations to serve various purposes (exhibitions, publications, calendars, etc.). Both in De Camera and in Focus, he wrote about the photographic possibilities in various parts of the country for the benefit of the travel-hungry amateur. During his trips, Boer established contacts with his readers, and upon arriving home, he described the charming spots and the typical characteristics of a specific region. Attention was also regularly given to practical matters, such as transportation, cafés, and bars.

Characteristic of Boer’s photos is his eye for the various moods that come with each season, which he interprets in photographic technique. When photographing landscapes, he generally adhered to compositional rules derived from the fine arts. Because of his orientation to international photography, one can observe the influence of British photographers such as Alfred Horsley Hinton, James Craig Annan, Alexander Keighley, and David Octavius Hill.

For Boer, genre photography entailed primarily shots of family life in the country. He often had his figures pose in traditional Dutch attire. The exposure time when photographing in small dark interiors was sometimes considerable, forcing Boer to make well-considered choices with respect to the poses and positioning of his models. His compositions are balanced, typically with intense side lighting. Paintings of interiors were extremely popular towards the end of the nineteenth century. Boer maintained that this painterly profusion of rural landscapes and fishermen’s houses people was threatening to turn people away from genre photography. He deplored this even more, because it was precisely interior photography that in his estimation best reflected life. According to Boer, the key words for addressing this subject satisfactorily were: serenity, intimacy, and simplicity.

In his early work, Boer looked chiefly to Anglo-Saxon photography. When in London, he visited the photographer P.M. (?) Laws, from whom he is likely to have learned the photogravure technique. Boer was also friends with F.J. Mortimer, the editor of Amateur Photographer & Photographic News. Yet Germany was where Boer established numerous contacts with professional and amateur photographers, as well as the photo manufacturing industry and photo dealers. In these circles, he acquired new subscribers, authors for his magazines (Professor Otto Mente), made friends, and gathered information for his own articles on photography outside the Netherlands. In 1909, Boer travelled to Berlin, where he conducted interviews with professional photographers for De Camera. In his magazine Focus, he reported on the photography section of the Deutsche Werkbund Ausstellung (‘German Association of Craftsmen Exhibition’), held in Cologne, Germany, in 1914. At this exhibition, the oil print was predominant. In Boer’s opinion, however, an excess of ‘gimmicks’ prevented the intended effect of raising handmade photographic work to a higher level.

Boer’s contacts with his French counterparts were no less in number. In 1914, he wrote in Focus that the Dutch rarely exhibited their work in Paris and therefore knew very little of what was going on in France. Besides the language difference, he blamed this chiefly on the lack of magazines with appeal.

Boer was a multi-faceted technician, who experimented with virtually every photographic process, and especially with the so-called fine printing (‘edeldruk’) processes. He made these processes known to others via lucid lectures and enthusiastic demonstrations, which he gave throughout the country. He was passionate about handmade work, but he also believed it gave the photographer a chance to introduce his own personal touch. In this respect, Boer espoused the ideas of foreign photographers around the turn of the century, including Hugo Henneberg, Hans Watzek, and Robert Demachy, as well as members of the ‘Linked Ring’ in Great Britain. By the 1920s, Boer began distancing himself from these fine printing techniques: ‘(…) where I’m concerned, I always gladly promoted them with vigour, perhaps without paying enough attention to the major risks involved for the majority of those who practiced [them]’. ‘The thousands of utterly failed gum prints and tens of thousands of similar cases with the oil paint process have obliged one to be cautious’, as he wrote in the October 1924 issue of Focus. Notwithstanding, Boer continued to provide amateur photographers with information, particularly with regards to gum printing and the (brom-) oil print [for this technique, he actually preferred the term ‘pigmogravure’] in numerous series of articles.

During the early decades of the twentieth century, Boer had preferred gum printing because of its expressive quality and the possibility of working in larger formats. A high point in his oeuvre was the gold medal he won in Dresden (1909), awarded for a combination gum print depicting a small interior, entitled De open deur (‘The Open Door’). He was also very fond of the (brom-) oil print. The first issue of Focus began with a series on the bromoil print, to which the magazine’s success, in his view, could be directly attributed. Boer even had a large etching press standing in his own home, specifically for producing large quantities of bromoil transfers in a small format.

Professionally, Boer preferred carbon printing, based on the subtle variations in tonal scale achievable with this technique. In a strict sense, however, carbon printing was not a fine printing process. The silver pigment process, introduced in the Netherlands via Great Britain under the name of ‘carbro printing’ in 1919, offered much more freedom when it came to manipulating an image. Boer continued to hold the carbon print in high esteem, because of the liberty it afforded in terms of colour, its plastic relief, and its high print permanence.

Once he had learned to apply the photogravure process during his time in London, Boer regularly applied this technique in his autonomous work. He also made reproductions of his own work in photogravure. In 1912, it was even the technique he applied most frequently outside of the oil print, a practice that, among Pictorialist photographers, was more the exception than the rule. Rudolf Dührkoop and James Craig Annan were among the few who chose to print their photos with photogravure.

According to Boer, a good photographer should never strive for the (mechanical) reproduction of reality, but rather for reconciliation between the ideal and reality in a single image. As such, Boer was in step with the international movement arising from within amateur photography in the 1890s, which—just as in the applied arts—had found new value in traditional artisanry and sought to determine the fundamentals. Boer’s article in Elseviers Geïllustreerd Maandschrift (‘Elseviers Illustrated Monthly’, 1907) sparked intense polemics with those who failed to share in the high expectations he accorded art photography. Here he wrote about the new challenge of correctly expressing the character of the person portrayed and the advances in professional photography that art photography had brought about. Boer nevertheless condemned the public’s unwillingness to pay a higher price for higher quality products.

Boer never betrayed the Pictorialist ideal of beauty but was somewhat exasperated by the essentially non-productive discussion centring around the matter of whether photography could be considered art. He positioned himself more or less somewhere between the two opposing viewpoints: those who viewed photographic manipulation as acceptable and the purists. The latter group was in favour of the pure application of photographic techniques and means, without manual manipulation. Boer’s autonomous work was romantic and executed in the form of hand-processed fine prints. He nevertheless viewed himself as a ‘pure’ art photographer. This purity was most evident in his attitude towards nature. As he wrote in the Focus of 16 June 1921: ‘Photography takes humanity back to nature, and teaches him to indulge in the beauty of a full life, and through this, gives rise to the expression of the deepest and most honourable feelings.’

In this same year, Boer called on his Focus readers to go beyond mere externalities alone, just for once, within the framework of a competition: ‘Wanted: a thought.’ The editorial department received a multitude of negative reactions with respect to the purpose and difficulty of this competition. Boer responded by emphasising that he had not meant lay down any stipulations. At the same time, he provided a number of examples, as an indication of what his intentions were: a vase of dried sunflowers with the title ‘mortality’, or standing sheaves of rye as ‘Our Daily Bread’.

Typical of Boer’s view towards his colleagues was his appreciation for what he referred to as the ‘poetic soul’ of Léonard Misonne and the ‘inspirited’ work of Dirk Blank. The fact that Blank was introduced to the bromoil print via Boer’s publications is likely the explanation for the somewhat paternalistic tone of Boer’s words in Focus: ‘Practiced thus, idealised thus, photography is brought to life and liberated from its manacles.’

Boer also made regular mention of more modern photographic movements in Focus. A demonstration given by the German photographer Erwin Quedenfeldt at the Hotel Americain in Amsterdam in 1913 opened his eyes to the principle of photography as surface decoration, void of visual depth. From 1920 on, however, Boer’s remarks on the ‘photographics’ of Quedenfeldt and his pupil Henri Berssenbrugge were increasingly disparaging. He began to see this form of photographic art as an impure imitation of Futurism and Cubism. In 1907, Boer described landscape photography as a barely cultivated, but most beautiful and exalted area of photography, in which the tone, colour, and mood of nature had yet to be recited in the purest possible manner. One had to be wary of the rash imitation of painterly themes. In 1910, Boer wrote that the formal aspects—form and line—were most clearly expressed in subjects ‘(…) not found in a scent of beauty’.

As a magazine editor, Boer devoted his attention to innovations in photography such as New Objectivity. His appreciation for the modern movements, however, vacillated substantially. Jan van der Pant’s renewed purity appealed to him more than the ‘expressionistic’ forms of photography. When referring to Alvin Langdon Coburn’s ‘Vortographs’ as ‘photofuturism’ in 1918, Boer described them as an incomprehensibly experimental solution to ‘(…) the problem of formal beauty void of naturalistic forms’.

In response to trade literature from abroad, Boer discussed new design—overdrawings and combination prints—such as produced by Man Ray and Studio Yva in Berlin. He described German photograms and the work of the Dutchman Jan Kamman as ‘Nieuwe wegen in de kunstfotografie’ (‘New Roads in Artistic Photography’, 1928). Boer viewed the photogram in particular as a healthy product of the mind.

In many areas, Boer was a perfectionist. This was most certainly true when it came to his photographic equipment. In his studio, he used tripod cameras; on his bicycle trips, he travelled with his 18×24 cm travel cameras. Boer also owned a 6×6 folding camera, a Rolleidoscope stereo camera, and later, the smaller Patent Etui camera, the Ica Picolette, and a Mentor Reflex (6×9 cm). Large cameras were becoming obsolete with the advances being made in the perfection of enlarging devices as well as the options for adjusting lens sharpness. Boer’s photographic legacy comprises 539 glass negatives, a number of slide positives (probably used as an intermediate step during his fine printing processes), and a number of stereo negatives. For developer, Boer preferred the mild-working chemical compound pyrogallol. His autonomous photos were dispersed on a large scale in the form of picture postcards published by Weenink en Snel. Several calendars also appeared with intaglio and photogravure prints. For years, Boer experienced tremendous success with his ‘Focus Light Metre’, manufactured for the first time in 1917 and which he described in self-built variants. The basic idea behind the device was chemically registering the amount of of light on a strip of photographic paper. The result could then be read from a piece of cardboard with scale measurements.

Boer was always completely up-to-date when it came to developments in colour photography. In 1909, a visit to the German photographer Josef Rieder (Neue Photografische Gesellschaft Steglitz-Berlin, ‘New Photographic Society Steglitz-Berlin’) eventually led to his own experimentation with the ‘Askau’ printing technique, with a written account of this process appearing in De Camera. His legacy also includes a number of colour prints on zinc. Yet Boer was not nearly as engrossed in colour as Bernard Eilers, whose multi-colour processes he greatly admired. In a 1909 article on the so-called ‘Rembrandt lighting’, Boer drew a distinction between the often superficial ‘(…) little backlighting of photographers (…)’ and the penetrating light of the renowned Dutch painter of the seventeenth century. In his view, the photographer Martin Kaufmann Jr. was the only person to approach this dramatic kind of lighting with integrity. The light in Boer’s own work is generally sunnier and less dramatic. This is also true of his small interior shots, which were nevertheless as well labelled ‘Rembrandtesque’ in the reviews.

In Boer’s photos, the compositions are always very well conceived. He was likewise quick to impress on his readers that the angle of view, the choice of lens, and the cropping of the image all have a significant influence on the subject’s representation. While modern art had already distanced itself from the painter’s tradition of the Old Masters, Boer still believed it was important for these works to be studied.

During his lectures, Boer propagated the ‘motif finder’: a piece of cardboard measuring 9×12 cm with an opening of 6×9 cm, which enabled an amateur to isolate his desired motif. Additionally, many rules were quite unnecessary if one kept the keywords of serenity and simplicity in mind.

Under the influence of film, Boer observed a growing interest in surface arrangement. Precisely photography had a great deal to benefit from the way in which the surface was used, as it was more static then film and generally bound to black-and-white. Together with light and the depiction of surface texture, it was the construction of a photo that conveyed its spiritual qualities and mood. In his column ‘Photo Critique’ in Focus, Boer was regularly preoccupied with the ‘(…) unravelling of a beautiful piece of lacework (…)’. Through analyses of this kind, he showed his fellow photographers which visual elements could be used to construct beauty.

Following his first contributions to the Weekblad voor Fotografie (‘Weekly of Photography’), Boer’s life work ultimately became the publication of an extended series of magazines, subordinating his own autonomous work in favour of publishing and editing. In the end, he sold his own studio in order to begin a publishing company in 1922. Boer was both the initiator and a member of the editorial board for De Camera, Focus, and Bedrijfsfotografie (‘Corporate Photography’). These were without doubt his three most important magazines. ‘Uitgeverij N.V. Focus’ later went on to publish other magazines such as Fotovreugd (‘Photo Joy’), Fotohandel (‘Photo Business’), and Het Veerwerk (‘The Mainspring’). In 1941, the company—then under the direction of Dick Boer— was ordered by the German occupying forces to stop with the publication of most of the magazines. Only Het Veerwerk was allowed to continue on until May 1943.

By authoring a wide range of articles on all sorts of topics, Boer grew to become an authority on the technical and artistic aspects of photography. Adaptations of his articles in book form were extremely popular: De fotografie vereenvoudigd (‘Photography Simplified’), Portretfotografie voor den amateur (‘Portrait Photography for the Amateur’), Foto-critiekjes (‘Photo Critiques’), Het vergrooten. Een practische handleiding (‘Enlargements. A Practical Manual’), and Foto ‘s met inhoud (‘Photos with Content’). Boer’s awards, the jury seats he held, and his lectures affirm the public recognition of his authority.

From 1908 on, De Camera appeared as a ‘fourteen-day modern photographic magazine’, under the editorial direction of Adriaan Boer and Ernst A. Loeb. The magazine’s aim was to become a trade publication for every professional or amateur photographer in all areas of photography: a highly broad-based perspective. At the same time, it was meant to keep up with the times, i.e. to be modern, and to stimulate new interest in the medium as observed by its editors. Boer was responsible for columns such as: ‘From the Editors’, ‘For the Beginner’, ‘Our Chemical Cabinet’, and ‘Technical Matters’. In his articles, he warned against errors related to technique and design. He also delineated the principles of photography succinctly. In addition, he used these columns to introduce techniques such as carbon printing and various other fine printing processes, often for the first time in the Netherlands. In Boer’s written contributions to the series ‘Verborgen krachten’ (‘Hidden Powers’, 1909) and ‘De man en zijn werk’ (‘The Man and His Work’), he discussed leading professional photographers, including Tollens, Mögle, Clausing, and Bersenbrugge, as well as ‘lonesome workers’ such as Jan R. van Nijendaal. The column ‘For the Professional’ often covered bookkeeping, because ‘(…) a photographer is someone who is also businessman (…)’. The Camera study portfolio, the Camera lectures—given to countless numbers of amateur photography associations—and Boer’s individual discussions of photographs sent in to the magazine were all based on educating people’s tastes.

Starting with the seventh issue of the second year, Boer stood alone as De Camera‘s editor. His colleague Ernst Loeb had taken leave to devote more time to his own photographic work. Boer himself was fired of 1 January 1914. C.M.J. Hermelink was subsequently named as the acting editor. The publisher’s explanation for this shift was a desire to work with someone new, someone useful to the readers. On several occasions, Boer referred back to this matter in his brochures and in Focus. In his view, he had not been able to fully express his own ideas due to differences of opinion with the publisher.

The first issue of Focus, tiendaagsch fotoblad voor Groot Nederland (‘Focus, Ten-Day Photography Magazine for the Vast Netherlands’) appeared on 10 January 1914 in Bloemendaal, independently edited by Adriaan Boer and the official trade publication of the RAFV (‘Rotterdamse Amateur Fotografen Vereniging, ‘Rotterdam Amateur Photographers Association’), the HAFV, the NCvFK (Nederlandse Club voor Foto-kunst, ‘Netherlands Club of Photographic Art’; until the fifth year), and the NAFV (Nederlandse Amateur Fotografen Verenigingen, ‘Federation of Netherlands Amateur Photographers Associations’; starting in the fourth year). The term ‘Groot Nederland’ (‘Great Netherlands’) stood for the Netherlands, Belgium, and the Dutch East Indies. Boer had solid personal contacts with photographers in these countries, as well as Professor Kraemer, a missionary who had settled in the Dutch East Indies.

In this first issue, Boer wrote: ‘With everything, the major aim of my effort remains: elevating the artistic level of photographic art in the Netherlands (…) based on the principle that photography, although an impersonal technique in itself, can become art in the hands of an artistically talented worker who has mastered technique.’ Boer strove to keep up with the times, without discarding old values.

In the column ‘Ons matglas’ (‘Our Ground Glass Screen’), Boer presented current events. He was also responsible for other columns, such as ‘Raad en daad’ (‘Advice and Deed’), ‘Ons vakhoekje’ (‘Our Professional Corner’), and ‘Fotocritiek’ (‘Photo Critique’). In 1921, Uitgeverij Focus was changed to a public limited company (a ‘Naamloze Vennootschap’), with J.C. Mol serving as its co-director until 1923. The company’s office was no longer located at Boer’s own home. The staff grew steadily in size.

To hold on to his readers, Boer hosted competitions, with themes such as: Aan den arbeid (‘At Work’), Bejaarde personen (‘Elderly People’), Ons interieur (‘Our Interior’), Landschappen met wolken (‘Landscapes with Clouds’), and Gedachte (‘Thought’). Starting in the 1920s, there were regular articles devoted to film. The first 8 mm film competition in the Netherlands was organised by Focus. Boer also gave his support to the creation of the ‘Nederlandse Smalfilmliga’ (‘Netherlands 8 mm Film League’). He was a supervisory director (‘commisaris’) with the founding of Polygoon cinema newsreel company.

As its name implies, the magazine Bedrijfsfotografie (‘Corporate Photography’), established in 1919, was aimed more at the professional photographer versus the amateur. The magazine was initially meant to function as the trade magazine of the NFPV (Nederlandse Fotografen Patroonsvereeniging, ‘Netherlands Photographers Guild’). At the last minute, however, the association’s management board decided to set up its own publication. Notwithstanding, Boer pushed forward with Bedrijfsfotografie‘s publication, and within several years, he managed to gain the NFPV’s favour. This magazine devotes significant attention to the technical aspects of the trade, such as lighting errors, shots taken in artificial light, the sensitivity of photographic material, and optics. It also addresses economic topics, vocational education, legislation, exhibitions, and personal particulars. While aiming for a different target group, one regularly encounters articles that overlap with those found in Focus.

Ernst Loeb described the first decade of the twentieth century—the era of De Camera—as an extremely strenuous period: ‘Finally, the budding movement [the photo Pictorialists primarily of the NCvFK] had its own trade publication and Boer was in his element. Helping out, taking the lead, [and] encouraging was, after all, his life and that could now happen,’ as he wrote in a biography about Boer in the 9 February 1920 issue of Focus. Organising competitions was a very important part of this role. Boer also helped to support the interests of the new photographic art by co-founding and becoming an active board member of the NCvFK in 1907. Following his definitive decision to get involved in the journalistic side of photography, however, he gave up his position as the chairman of this club. He wanted to be an independent judge. Particularly in the magazine Focus—the trade magazine for countless amateur photography organisations—Boer devoted regular attention to the benefits of the trade association world. The founding of photography clubs was promoted through a small series of articles (published in September/October 1916), in which Boer wrote about the purpose, the setting up, and the running of such organisations. He even drew up conceptual scheduling books. During evening association meetings, he was often present himself.

World War I, however, signalled the onset of a malaise in photographic art. In 1919, Boer advocated the sale of art photos in order to spark the public’s interest and to create somewhat of a financial buffer for the (amateur) photographer. By proposing to abolish juries, he tried to enliven the exhibition world. This principle of open submissions, however, was again subsequently abandoned in 1922. In Boer’s estimation, the level of the Internationale Tentoonstelling van Foto-kunst (‘International Exhibition of Photographic Art’) held at the Stedelijk Museum in Amsterdam in 1908 had never been surpassed, even by as late as 1920. He had not yet discovered any new talents. The only area that looked promising to Boer was the growth of the photography clubs. He viewed the organising of amateur photographers in particular to be of vital importance for improving of the standing of photographic art. It was up to them to support each other and grow in their ideas and technique.

Boer was the organiser of the ‘Het Nederlandsch Fotografisch Museum’ (‘The Netherlands Photographic Museum’) in Haarlem, an association set up based on an historical awareness and designed to create a photographic collection in the Museum voor Kunstnijverheid (‘Museum of Applied Arts’): ‘(…) for exhibitions we desire—and rightfully so—that our workers prove their progress repeatedly through new work. And thus the old becomes, no matter how good and important it once was and how significant for the development of the photographer and photography, lost in the end.’

The museum’s collection was international in its scope, and comprised—through donations and acquisitions—examples of the earliest processes, ranging from daguerreotypes to the work of contemporary (artistic) photographers. Boer expected the collection to become an important beacon of photographic knowledge and taste for the general public, as well as a stimulus for producing photographic art. With the outbreak of the war, however, the collecting of contributions was suspended. Housing the collection remained problematic: i.e. storage space in the Museum voor Kunstnijverheid. In Focus, Boer drew attention to the collection and its difficulties on a regular basis. By the time the museum was shut down in 1926, the collection was probably being stored at various locations, with a portion consequently lost. In 1955, what remained was transferred to the Leiden University Print Room.

In Boer’s day, no vocational educational programme in photography as yet existed in the Netherlands in an institutionalised form. This was primarily due to a lack of funding. For a brief time, in 1912, it seemed a future in vocational education lay in store for Boer. He was invited to teach photography at the ‘School voor Bouwkunde, Versierende Kunsten en Kunstambachten’ (‘School of Architecture, Decorative Arts, and Artistic Crafts’) in Haarlem by the school’s director, E.A. Saher. Boer moved to Bloemendaal and prepared himself for the running a department of photography at this institution. In the end, however, the creation of such a function proved to be financially infeasible.

Adriaan Boer’s didactic talents allowed him to evolve as a journalist by instructing his audience in the areas of photographic design and technique in written form. His photographic oeuvre is diverse and executed with technical perfection. His commissioned and his autonomous work were closely related. Boer’s strict notions when it came to quality and craftsmanship can be observed in both areas. Speaking about photography in countless lectures, articles, and books, he remained loyal to the knowledge he had acquired through self-study and practical experience. Boer’s thinking was by no means free of tenets taught by the academies, derived from the painterly tradition. To a degree, it was his—in the long run—somewhat conservative view of photography that enabled him to build an extremely large following of photography fans, with magazines such as Focus and Bedrijfsfotografie, enduring right up until his death in 1940. Through his strong personal charisma, technical versatility, and principled ideas, Adriaan Boer managed to continually captivate his loyal readers.


Primary bibliography

Fotografie bij petroleumlicht, in Weekblad voor Fotografie 1 (6 januari 1894) 1, p. 165.

De Tentoonstelling te Groningen, Geïllustreerd Weekblad voor Fotografie 8 (22 juni 1901) 24, p. 195-197.

De Internationale Fotografie-Tentoonstelling te Amsterdam, Geïllustreerd Weekblad voor Fotografie 9 (6 september 1902) 36, p. 281-284.

L’art pour 1’art, in Geïllustreerd Weekblad voor Fotografie 11 (22 oktober 1904) 43, p. 339-340.

Een chroomdruk procédé met olieverf, in Geïllustreerd Weekblad voor Fotografie 12 (7januari 1905) 1, p. 4-7.

Ozobromide. Een belangrijk nieuw procédé, in Geïllustreerd Weekblad voor Fotografie 13 (1906) 37, p. 289-291; 13 (1906) 39, p. 305-307.

Sepia “Japine” platina papier, in Geïllustreerd Weekblad voor Fotografie 13 (1906) 48, p. 381-382.

De ontwikkeling der fotografie in onzen tijd, in Elseviers Geïllustreerd Maandschrift 17 (december 1907) 12, p. 365-371.

Fotografie als kunst, in De Prins der geïllustreerde bladen 7 maart 1908 (met foto’s).

The pictorial possibilities of Holland, in The Amateur Photographer & Photographic News 10 juni 1912, p. 584-587 (met foto’s).

Pictorial photography in Holland, in Photograms of the Year 1912, p. 26-27; 1917-1918, p. 31-32; 1918, p. 31; 1920, p. 23; 1921, p. 32.

(circulaires) Mijn breuk met De Camera, 1 en 11, 1914.

De fotografie als kunst-uiting, in Natuur en Vernuft 1918.

Foto-critiekjes verzameld en gerangschikt door Frits Gerhard, Bloemendaal (Focus) 1922.

Het pigmogravure procédé, in Ernst A. Loeb, Kunstfotografie voor den amateur, Bloemendaal (Focus) 1922, p. 74-105.

Portretfotografie voor den amateur, Bloemendaal (Focus) 1922.

De fotografie vereenvoudigd, Bloemendaal (Focus) 1923.

Het vergrooten. Een practische handleiding, Bloemendaal (Focus) 1925.

De vrije procéde’s in de fotografie, in J.W. Boon (voorw.), Veertig jaren fotografie. Gedenkboekje uitgegeven door de Nederlandsche Amateur-Fotografen-Vereeniging ter gelegenheid van haar veertig jarig jubileum 7 sept.-5 nov. 1927, Amsterdam 1927, p. 56-68.

Onze werkers, in J.W. Boon (voorw.), Veertig jaren fotografie. Gedenkboekje uitgegeven door de Nederlandsche Amateur-Fotografen-Vereeniging ter gelegenheid van haar veertig jarig jubileum 7 sept.-5 nov. 1927, Amsterdam 1927, p. 85-103.

Photography in Holland, in Photograms of the Year 1930, p. 18-19.

Holland, in Photograms of the Year 1933, p. 19.

Fotografie, in Winkler Prins Encyclopedie, Amsterdam (Elsevier) 1935.

Foto’s met inhoud, Bloemendaal (Focus) 1940.


in Bedrijfsfotografie:

Het broomolieprocedé voor den vakman, 1 (9 juni 1919) 1, p. 3-5 t/m 1 (27 oktober 1919) 9, p. 101-102.

De alleen werkende vakfotograaf, 1 (21 juli 1919) 2, p. 17-18 t/m 1 (27 oktober 1919) 9, p. 100-101.

Vergrooten met reflexlicht, 1 (13 oktober 1919) 8, p. 88-90.

De combinatie-gomdruk, 1 (8 december 1919) 12, p. 139-140 t/m 1(12 april 1920) 21, p. 245-247.

Oud en nieuw over den kooldruk, 2 (5 augustus 1920) 3, p. 28-29 t/m 3 (26 mei 1921) 11, p. 189-190.

De geellichtontwikkeling naar Lüppo Cramer, 3 (2ojanuari 1921) 2, p. 20-22.

Een beroeps-commissie voor de portretfotografie, 3 (3 maart 1921) 5, p. 81, 83.

De kwestie F. Kramer, Licht en Schaduw, Bedrijfsfotografie en nog wat, 3 (14 april 1921) 8,p. 128-129, 131.

Een mooi nieuw atelier, 3 (7 juli 1921) 14, p. 238.

Iets over oliedruk en olieoverdruk, 3 (4 augustus 1921) 16, p. 262-264.

Een pigmogravure variant, 3 (1 september 1921) 18, p. 304-306.

Fotografisch vakonderricht in Duitschland, 3 (24 november 1921) 24, p. 407-410 t/m 3 (22 december 1921) 26, p. 446-448, 453.

Allerlei over het vergrooten voor den vakman, 42 (19 januari 1922) 2, p. 25-28, 31 t/m 4 (13 april 1922) 8, p. 173-176.

Nieuwe inzichten, 4 (30 maart 1922) 7, p. 146, 149-152, 155-156.

De economische kant, 4(13 april 1922) 8, p. 168, 171-173.

Het inrichten van een kunstlicht atelier, 4 (13 april 1922) 8, p. 176-180.

Het fotografisch bedrijf in onzen tijd, 4 (27 april 1922) 9, p. 192-194 t/m 4 (7 december 1922) 25, p. 556, 559-561.

De heimfotografie, 4 (8 juni 1922) 12, p. 263-264, 267-268 t/m 4 (31 augustus 1922) 18, p. 400-401.

Het groote negatief, 4 (28 september 1922) 20, p. 452,455-457.

Fotografische toestanden in Duitschland, 4 (23 november 1922) 24, p. 535-538.

Het radeeren van negatieven en positieven, 4 (21 december 1922) 26, p. 588-591.

Het vraagstuk der halatie in de vakpraktijk, 5 (18 januari 1923) 2, p. 34-38.

C.M. Dewald †, 5 (1 maart 1923) 5, p.96.

Het ontwikkelen in de warmte, 5 (2 augustus 1923) 16, p. 370-374.

Een nieuw procédé voor kunstfotografie, 5 (13 september 1923) 19, p. 439-442.

Gevoeligheidsverhooging van platen, 5 (8 november 1923) 23, p. 549-550, 553-554.

Prof. G.H. Emmerich †, 5 (8 november 1923) 23, p. 556-557.

Het maken van directe positieven, 6 (10 april 1924) 8, p. 175-178, 181-183.

Amidol voor kortbelichte platen, 6 (23 oktober 1924) 22, p. 531-533.

De toestand der vakfotografie in Duitschland, 6 (4 december 1924), 25 p. 604, 607-608.

Reclame voor het portret in Duitschland, 6 (18 december 1924) 26, p. 629-632.

De weeldebelasting en de fotografie, 7 (28 februari 1925) 5, p. 97-98.

Jos-Pe kleurenfotografie op papier, 7 (14 maart 1925) 6, p. 134-137.

Een mooi nieuw positiefprocédé met stuifverven, 7 (29 augustus 1925) 18, p. 395-397.

Nieuwe gezichtspunten in het pigmo overdrukprocedé, 8 (27 februari 1926) 5, p. 114-117.

Gevoeligheidsverhooging van platen, 8 (22 mei 1926) 11, p. 249-251.

Electrische negatiefretouche. Ervaringen met het Vibro Electro Retoucheerapparaat, 8 (22 mei 1926) 11 , p . 255-256.

Het maken van groote negatieven zonder behulp van diapositieven, 8 (14 augustus 1926) 17, p. 395-397; 8 (28 augustus 1926) 18, p. 431-433.

De practische cursus van collega A.M. Schein, 8 (23 oktober 1926) 22, p. 509.

Het fotografeeren van zilveren voorwerpen, 8 (20 november 1926) 24, p. 560-561.

Een nieuw middel voor het plaatselijk verzwakken van ontwikkelingsbeelden, 8 (18 december 1926) 26, p. 609-610.

Technische details voordracht broomolieprocedé, 9 (12 februari 1927) 4, p. 81-83.

De pigmogravure-overdruk, 9 (21 mei 1927) 11, p. 263-268; 9 (4 juni 1927) 12, p. 288-290.

Een mooie, goedkoope en vlugge sepiakleuring, 9 (21 mei 1927) 11, p. 273-275.

Atelier W. Bleuzé, Rotterdam, 9 (4 juni 1927) 12, p. 301-302.

Atelierverplaatsing P. Brandsma, Amsterdam, 9 (4 juni 1927) 12, p. 302-303.

Losmaken van de beeldlaag van negatieven, 9 (18 juni 1927) 13, p. 315-319.

Het redden van onderbelichte platen door sluiering, 9 (27 augustus 1927) 18, p. 456-457.

Propaganda voor de portretfotografie, 9 (19 november 1927) 24, p. 608-609.

Bepaling van brandpunt en lichtsterkte van optiek, 9 (3 december 1927) 25, p. 620-623.

Over kunstlichtopnamen met een zich verplaatsende lichtbron, 10 (28 januari 1928) 2, p. 37-40.

Een en ander uit de geschiedenis van het gebruik van kunstlicht voor de portretfotografie, 10 (28 januari 1928) 2, p. 45-49.

Een en ander over het gebruik van kunstlicht voor de portretfotografie, 10 (11 februari 1928) 3, p. 63-67.

De practijk der fotografie bij electrisch gloeilicht, 10 (25 februari 1928) 4, p. 92-95 t/m 10 (19 mei 1928) 10, p. 266-268.

Het zichtbaar maken van onzichtbare dingen door fotografie, 10 (25 februari 1928) 4, p. 101-104.

Opnamen met een zich verplaatsende lichtbron, 10 (10 maart 1928) 5, p. 134-136.

Dubbellaag pigmo-overdruk, 10 (7 april 1928) 7,p. 184-185.

Fotomaton perspectieven, 10 (19 mei 1928) 10, p. 256-259.

Het fotografeeren van winkelétalages, 10 (19 mei 1928) 10, p. 269-271.

De grootte van de zilverkorrel bij verschillende ontwikkelaars, 10 (30 juni 1928) 13, p. 341-343.

Het trekvrij opplakken van groote foto’s, 10 (28 juli 1928) 15, p. 397-399.

Hoe verzekert men de houdbaarheid van foto’s onder ongunstige omstandigheden, 10 (11 augustus 1928) 16, p. 424-425.

Reproductie naar blauwdrukken, 10 (25 augustus 1928) 17, p. 447-449.

Gomdruk voor de vakpractijk, 10 (22 september 1928) 19, p. 488-490 t/m 10 (29 december 1928) 26, p. 673-676, 681.

Vergroote negatieven, 10 (22 september 1928) 19, p. 491-493.

De Fotomaton, 10 (17 november 1928) 23, p. 594; 10 (1 december 1928) 24, p. 617-620.

Vensters in interieurs, 10 (15 december 1928) 25, p. 659-661.

Tentoonstelling moderne fotokunst te R’dam, 11 (17 januari 1929) 2, p. 21-23.

Een vereenvoudigd pigmogravure procédé, 11 (14 februari 1929) 7, p. 77-80.

Hoe staat het met de gevoeligheid onzer platen bij groote koude? 11 (21 februari 1929) 8, p. 87-88.

De organisatie der vakfotografen in Duitschland, 11 (21 februari 1929) 8, p. 90-92 t/m 11 (21 maart 1929) 12, p. 139-141.

Bij den zestigsten verjaardag van Cornelis G. Leenheer, 11 (18 april 1929) 16, p. 185-189.

Fotografisch vakonderricht in Nederland, 11 (9 mei 1929) 19, p. 226 t/m 11 (23 mei 1929) 21, p. 244-249.

Portretten met groote koppen, 11 (30 mei 1929) 22, p. 257-258.

Atelier Schreurs, Den Bosch, 11 (13 juni 1929) 24, p. 286-287.

Vakonderricht in de fotografie, 11 (20 juni 1929) 25, p. 291-292.

Ons vakonderwijs, 11 (4 Juli 1929) 27, p. 319-322.

Zilveren jubileum F. de Haas, Arnhem, 11 (5 september 1929) 36, p. 422-424.

Lectoraat en vakschool voor fotografie, 11 (31 oktober 1929) 44, p. 518-519.

Silhouetten, 11 (31 oktober 1929) 44, p. 520-522.

Welke lichtkleur is het best voor portretopnamen? 11 (31 oktober 1929) 44, p. 524-527.

Collega H.A. van Santen zestig jaar, 11 (7 november 1929) 45, p. 536-538.

Reimert Kehlet te Kopenhagen en zijn werk, 12 (24 januari 1930) 2, p. 36-39.

Een fotografische herinnering aan Jac. v. Looy, 12 (7 maart 1930) 5, p. 86-88.

De etalage en de auteurswet, 12 (4 april 1930) 7, p. 121-122.

De verbouwing bij W. Bleuzé Jr. te Leiden, 12 (2 mei 1930) 9, p. 162-164.

Een naaldeprik als lens, 12 (22 augustus 1930) 17, p. 312-314.

Een zeldzaam jubileum. R. Ziegler, vijftig jaar fotograaf, 12 (26 december 1930) 26, p. 482-483.

Veertigjarig jubileum Jan Amesz, 13 (9 januari 1931) 1, p. 4-5.

Mevrouw E. Lendvai-Dircksen, Charlottenburg, 13 (9 januari 1931) 1, p. 6.

Vergrooten zonder hinder van korrel, 13 (20 maart 1931) 6, p. 102.

Tentoonstelling van portretten van Franz Ziegler bij Kleykamp, 13 (15 mei 1931) 10, p. 190-191.

Aanval of verdediging?, 13 (15 mei 1931) 10, p. 191.

Het nieuwe atelier van J. Bleuzé, Rotterdam, 13 (26 juni 1931) 13, p. 239-240.

Het fotografisch atelier van F. Geveke, Amsterdam, 13 (10 juli 1931) 14, p. 254-255.

De kleine camera in de vakpractijk, 13 (18 september 1931) 19, p. 346-350.

Afdrukken met de lens, 13 (2 oktober 1931) 20, p. 365-369.

Atelierverbouwing W. Bleuzé Sr., Rotterdam, 13 (2 oktober 1931) 20, p. 370.

Het nieuwe atelier Van Maarseveen, Den Haag, 13 (27 november 1931) 24, p. 441.

Het vraagstuk van ons positiefmateriaal, 13 (11 december 1931) 25, p. 461-464.

A.S. Weinberg †, 14 (29 januari 1932) 2, p. 25-26.

Tentoonstellingwerk J.J. Kok, 14 (11 maart 1932) 5, p. 87.

De heliogravure, 14 (9 september 1932) 18, p. 334-336 t/m 14 (16 december 1932) 25, p. 472-474.

Practische wenken voor het aanbrengen van cellophaan op bromide- en andere gelatinefoto’s, 14 (9 september 1932) 18, p. 347-348.

Het herbouwde atelier van Franz Ziegler, 14 (4 november 1932) 22, p. 414-415.

Een hulpmiddel voor het maken van reproducties zonder reflectie, 15 (19 mei 1933) 10, p. 197-198.

Godfried de Groot en zijn nieuwe atelier, 15 (3 november 1933) 22, p. 423-424.

Gedachten over vakscholen en kunstfotografie, 15 (17 november 1933) 23, p. 459-451.

Opmerkingen over portretfotografie in verband met Lerski’s boek “Köpfe des Alltags”, 15 (17 november 1933) 23, p. 451-453.

Het maken van foto’s in teekenmanier, 15(15 december 1933) 25, p. 476-478 t/m 16 (1 juni 1934) 11, p. 184-186.

Vijf en twintigjarig zakenjubileum J.J. Kok, Hilversum, 16 (23 maart 1934) 6, p. 103-105.

Bij Koningin Emma als fotograaf, 16 (6 april 1934) 7, p. 112-114.

De vakfotograaf en de fotohandel, 16 (6 april 1934) 7, p. 122-125.

“Portrat-Photographie” von Franz Fiedler, 16 (27 juli 1934) 15, p. 259-260.

Carl Emil Mögle †, 16 (7 september 1934) 18, p. 316-318.

Het verzwakken van negatieven volgens verschillende methoden, 16 (21 september 1934) 19, p. 334-337.

Tentoonstelling H. Berssenbrugge, Amsterdam, 16 (21 september 1934) 19, p. 338.

Snel-fotografie voor den actieven vakman, 16 (19 oktober 1934) 21, p. 372-375.

Vervaardiging van broomzilverfoto’s in het groot. Een bezoek aan de N.V. Jos Pé te Arnhem, 16 (19 oktober 1934) 21, p. 383.

J. Bockstart. Veertig jaren in de fotografie, 16 (2 november 1934) 22, p. 389-390.

Kleeflak voor filmmontage, 16 (16 november 1934) 23, p. 412-414.

Allerlei over droog opplakken, 17 (11 januari 1935) 1, p. 15-19.

Vorderingen in driekleurenfotografie. Belangrijke resultaten van Bern. F. Eilers, 17 (25 januari 1935) 2, p. 26-28.

Het herstellen van oude verbleekte foto’s, 17 (8 februari 1935) 3, p. 42-45.

Lieven Gevaert †, 17 (22 februari 1935) 4, p. 62-64.

Jan Stokvis’ vestiging te Den Haag, 17 (19 april 1935) 8,p. 156.

Over de toepassing van nieuwe lichtbronnen, 17 (28 juni 1935) 13, p. 247-248.

Het nieuwe Kodak gebouw in Den Haag, 17 (12 juli 1935) 14, p. 259-260.

Fotodruk Industrie L. van Leer & Co, 17 (1 november 1935) 22, p. 418.

Het vraagstuk der korrelgrootte bij portretnegatieven, 17 (1 november 1935) 22, p. 423-426; 17 (15 november 1935) 23, p. 443-445.

Het pigmogravure of broomolieprocedé, 17 (29 november 1935) 24, p. 459-462.

Andere methoden van kleurenfotografie, 18 (1 mei 1936) 9, p. 174-175.

Het fotografeeren van bloemen en planten, 18 (21 augustus 1936) 17, p. 324-326; 18 (4 september 1936) 18, p. 349-351.

De duurzaamheid onzer foto’s, 18 (11 december 1936) 25, p. 483-487.

Proefatelier fa. Boonen & Co, 19 (30 april 1937) 9, p. 162-163.

Het nieuwe atelier van Franz Ziegler, Den Haag, 19 (14 mei 1937) 10, p. 180-181.

De N.V. E. Fischel Jr. bestaat 1 mei 70 jaar, 20 (29 april 1938) 9, p. 166.

Ons vakonderwijs, 20 (14 oktober 1938) 21, p. 395-398.

Eeretentoonstelling Bern. F. Eilers, 21 (13 januari 1939) 1, p. 5-7.

Getrouwe reproducties van teekeningen, prenten enz., 21 (11 augustus 1939) 16, p. 298-300, 305; 21 (25 augustus 1939) 17, p. 325-326.

“Psychologische Photografieën, 21 (3 november 1939) 22, p. 416-418.

Frans Ziegler †, 21 (17 november 1939) 23, p. 445-447.


in De Camera:

De man en zijn werk. C.E. Mögle, 1 (14 november 1908) 4, p. 58-61.

De man en zijn werk. P. Clausing Jr., 1 (11 december 1908) 6, p. 101-102.

De man en zijn werk. H.J. Tollens C.Hz., 1 (23 december 1908) 7, p. 121-122.

Technische vragen. Het droog opplakken van foto’s, 1 (23 december 1908) 7, p. 131-133.

Uit de praktijk. Ensyna papier, 1 (2 maart 1909) 11, p. 215-216.

De man en zijn werk. Alb. Kapteijn, 1 (15 april 1909) 13, p. 242-245.

De man en zijn werk. G.S. de Veer, 1 (1 mei 1909) 14/15, p. 247.

Technische vragen. De askau-druk, 1 (15 april 1909) 13, p. 247-248.

Ons jachtterrein, 1 (15 mei 1909) 16, p. 297-301 (met foto’s).

De man en zijn werk. W.J. van Zanen, 1 (1 juni 1909) 17, p. 317-318.

De man en zijn werk. J. Meyer te Meppel, 1 (1 juli 1909) 19, p. 359-360.

Voorname Duitsche fotografen 1. Hugo Erfurth, Dresden, 1 (15 juli 1909) 20, p. 373-374, 377-378.

“Rembrandt”-verlichting, 1 (31 augustus 1909) 23, p. 421-427.

Over kinderportretten, 1 (30 september 1909) 25/26, p. 457- 458, 461-464.

Voorname Duitsche fotografen. C.J. von Dühren, Berlijn, 2 (15 november 1909) 3, p. 21-22.

De man en zijn werk. A.J. Weinberg, 2 (12 december 1909) 5, p. 43-44.

Verborgen krachten, 2 (28 december 1909) 6, p. 56-57.

De “Neue Photografische Gesellschaft”. Steglitz-Berlijn, 2 (26 januari 1910) 8, p. 77-78.

Onze Kunst. Nachtfotografie, 2 (12 maart 1910) 11, p. 107-108.

Enige beschouwingen over gomdruk, 2 (29 april 1910) 15, p. 148-149; 2 (15 mei 1910) 16, p. 156-157.

De man en zijn werk. H. Berssenbrugge, 2 (13 juni 1910) 18, p. 172-173.

Over Helena Goude en haar werk, 2 (15 september 1910) 24, p. 228-229.

Een eigenaardige toepassing van bromide papier, 2 (15 september 1910) 24, p. 233.

Een opmerking over de techniek der gomdruk, 3(1 november 1910) 1, p. 9.

Over fotografie in natuurlijke kleuren, 3 (1 juni 1911) 16, p. 152 t/m 3 (15 juli 1911) 19, p. 184-186.

Een nieuwe verzwakkingsmethode, 3 (1 juli 1911) 18, p. 174.

Fotografisch vakonderricht, 3 (1 september 1911) 22, p. 216-217.

Zilverpigmentdruk in de practijk, 3 (1 oktober 1911) 24, p. 233-235.

Over standontwikkelen, 4 (1 april 1912) 11, p. 98-99.

Het portret, 4(15 september 1912) 22, p. 197-198; 4 (1 oktober 1912) 23, p. 204-205.

Het werk van wijlen W. Husselman, 4 (1 oktober 1912) 23, p. 203.

Een aardige en practische donkere kamer, 5 (15 december 1912) 4, p. 41-42.

1863-1913. Een gouden jubileum. J.C. Reesinck Zutphen, 5 (1 april 1913) 11, p. 99-99.

“Lichtvlek” bij objectieven, 5 (15 mei 1913) 14, p. 128.

Landschapstochten voor den fotograaf in eigen land. Zuid-Beveland en Walcheren, 5 (1 juni 1913) 15, p. 142-143 (met foto’s).

P. Clausing (in memoriam), 5 (15 augustus 1913) 20, p. 175.

Nieuwe banen, zonder?, 6 (1 november 1913) 1, p. 7-8.

Een prachtige nieuwe kleurenplaat, 6 (1 december 1913) 3, p. 25-26.


in Focus:

Het Broomolie procédé, 1 (30 januari 1914) 3, p. 29 t/m 1 (10 maart 1914) 34/35. p. 380-381.

Nachtfotografie, 1 (28 februari 1914) 6, p. 57-58.

Het zelfvervaardigen van mooi afdrukpapier, 1 (30 augustus 1914) 24, p. 271- 273.

Het zelf maken van een betrouwbaren fotometer voor opnamen, 1 (10 november 1914) 26, p. 299-301; 1 (20 februari 1915) 32/33, p. 361-362.

De kooldruk 1 (30 december 1914) 28/29, p. 320-322 t/m 2 (10 september 1915) 16/17, p. 131-132.

Stereoscopische lichtbeelden, 2 (10 april 1915) 1/2, p. 3-5.

Het beinvloeden van het beeldkarakter van bromidevergrootingen ten bate van het broomolieprocede, 2 (25 oktober 1915) 21, p. 159-160.

Het werk van Alb. Kapteijn, 2 (25 oktober 1915) 21, p. 161.

Diapositieven in chromaat-zilver gelatine, 2 (31 januari 1916) 30, p. 234-237; 2 (20 februari 1916) 32, p. 262-263.

De enkelvoudige gomdruk, 3 (10 april 1916) 1, p. 4-5; 3 (20 april 1916) 2, p. 18-20 (met foto).

Een mooie, goedkoope en vlugge sepiakleuring, 3 (10 mei 1916) 4, p. 43-44.

Wandelingen door mijn werkkamer, 3 (20 juni 1916) 8, p. 105-107 t/m 4 (10 mei 1917) 4, p. 55-56, 61.

De pigmogravure procede’s, 3 (10 november 1916) 22, p. 301, 306-307 t/m 4 (10 mei 1917) 4, p. 62-63.

Een en ander over nachtfotografie, 3 (10 december 1916) 25, p. 349-351.

Het bepalen van den vertragingsfactor van geelfilters, 4 (10 juni 1917) 7, p. 100-101.

Het beoordelen van het effect van geelfilters, 4 (20 juni 1917) 8, p. 116, 121.

De anilin-sensibilisatie voor pigmentprocedé’s, 4 (20 september 1917) 17, p. 244-247.

De pigmogravure procede’s, 4 (10 november 1917) 22, p. 314-316 t/m 4 (30 november 1917) 24, p. 343-345.

Een nieuw versterkingsrecept, 4 (30 november 1917) 24, p. 338-339.

Lichtgevoeligheidsmeting en kleurgevoeligheisbepaling van fotografische platen, 4 (20 december 1917) 26, p. 369-370 t/m 4 (28 februari 1918 ) 33, p. 456-457.

De “Focus” belichtingsmeter in de practijk, 4 (20 maart 1918) 35, p. 480-482.

De pigmogravure procédés, 5 (30 april 1918) 3, p. 46-47.

Kooldruk met anilin sensibilisatie, 5 (30 mei 1918) 6, p. 88, 90, 92 t/m 5 (10 juli 1918) 10, p. 159-161.

Pigmogravure, 5 (10 juli 1918) 10, p. 151, 153, 155 t/m 5 (30 oktober 1918) 21, p. 318-320.

Gedachtenwisseling. De gevaren van pigmo, 5 (30 juli 1918) 12, p. 187.

Ontwikkelaars zonder natrium sulfiet, 5 (10 november 1918) 22, p. 331-332.

Bromidepapier en wat daarmee te doen is, 5 (10 februari 1919) 31, p. 470-473 t/m 6 (11 april 1919) 1, p. 5-6.

Portretfotografie voor amateurs, 6 (2 juni 1919) 5, p. 96-98 t/m 6 (6 oktober 1919) 14, p. 298-299.

Gomdruk op bromidebeelden, 6 (22 september 1919) 13, p. 277-278.

De Quedenfeldt map, 6 (17 november 1919) 17, p. 352-353.

Focus portret galerij. Ignaz Bispinck, 6 (12 januari 1919) 21, p. 438-439; Alb. Kapteyn, 6 (26 januari 1919) 22, p. 460-461; G.O. ‘t Hooft, 6 (23 februari 1920) 24, p. 502-503; D. Blank, 7 (19 april 1920) 2, p. 23-24; H. Berssenbrugge, 7(17 mei 1920) 4, p. 64-65.

Het zilver-pigment-procedé, 7 (5 april 1920) 1, p. 3-5.

Interieurfotografie, 7 (21 oktober 1920) 15, p. 281-283 t/m 8 (24 februari 1920) 4, p. 71-72.

Ontwikkeling bij geel licht, 8 (16 december 1920) 19, p. 353-354.

De Salon Léonard Misonne, 8 (21 april 1921) 8, p. 152-153.

Het opplakken van foto’s, 8 (28 juli 1921) 15, p. 331-334.

Het pigmogravure procédé, 8 (22 september 1921) 19, p. 416-419; 8 (29 oktober 1921) 21, p. 460-462.

Fotografisch leven in Duitschland, 8 (3 november 1921) 22, p. 481-482 t/m 8 (1 december 1921) 24, p. 527-529.

De wetenschappelijke grondslagen der pigmogravure, 9 (23 februari 1922) 4, p. 72-74.

Een bond van Nederlandsche fotoclubs, 9 (4 mei 1922) 9, p. 202-205.

Lichtconcentratie. Hare beteekenis in de kunstfotografie en de verschillende middelen om haar te bereiken, 10 (31 mei 1923) 11, p. 258-260; 10 (14 juni 1923) 12, p. 285-287.

Directe positieven, 10 (26 juli 1923) 15, p. 372-374.

In memoriam J.H. Duyvis, 11 (10 januari 1924) 1, p. 4-5.

Het maken van directe positieven, 11 (3 april 1924) 7, p. 180-182; 11 (17 april 1924) 8, p. 207-212.

Hedendaagsche stroomingen in de beoefening der fotografie, 11 (15 mei 1924) 10, p. 263-278.

Diapositieven en lantaarnplaatjes in kooldruk, 11 (27 november 1924) 24, p. 637-638 t/m 11 (27 december 1924) 26, p. 696.

Weeldebelasting en de fotografie, 12 (21 februari 1925) 4, p. 84.

Jos Pe kleurenfotografie op papier, 12 (7 maart 1925) 5, p. 111-113.

Het versterken met kleurstoffen, 12 (13 juni 1925), p. 282-284.

De gomdruk, 12 (5 september 1925) 18, p. 427-431 t/m 12 (14 november 1925) 23, p. 572-573.

De Pigmo-overdruk, 13 (9 januari 1926) 1, p. 4-6 t/m 13 (20 maart 1926) 6, p. 147-149.

Het werk en de persoonlijkheid van Jan van der Pant, 13 (6 maart 1926) 5, p. 115-118.

Een practische methode voor gevoeligheidsverhooging, 13 (1 mei 1926) 9, p. 223-224.

De ware beteekenis der standontwikkeling, 13 (4 september 1926) 18, p. 456-458; 13 (18 september 1926) 19, p. 486.

Plaatselijk verzwakken van bromidebeelden, 13 (13 november 1926) 23, p. 616.

De zilverpigmentdruk, 14 (22 januari 1927) 2, p. 36-39.

Tijdstroomingen in de kunstfotografie, 14 (19 februari 1927) 4, p. 90-94.

Het verzwakken van ontwikkelingsbeelden met jodium, 14 (16 april 1927) 8, p. 211-212.

Het kleuren van ontwikkelingsbeelden volgens de beitsmethode, 15 (7 januari 1928) 1, p. 4-5 t/m 15 (4 februari 1928) 3, p. 66-68.

Pigmogravure waarom en hoe?, 15 (3 maart 1928) 5, p. 127-128 t/m 15 (4 augustus 1928) 16, p. 426-427.

Generaal-majoor L.E.W. van Albada 60 jaar, 15 (14 april 1928) 8, p. 211-212.

Een nieuwe desensibilator. Cyanetum hydrargyricum, 15 (26 mei 1928) 11, p. 291-292.

Nieuwe wegen in de kunstfotografie, 15 (1 september 1928) 18, p. 477-480.

Veertig jarig jubileum der firma Schaap & Co, 16 (2 februari 1929) 3, p. 67.

Aftrekbare ontwikkelingspapieren volgens het patent Klaver en wat daarmee mogelijk wordt, 16 (16 februari 1929) 4, p. 93-94.

Directe positieven op kinofilm, 16 (2 maart 1929) 5, p. 136-137.

De nieuwste kunstfotografie, 16 (26 oktober 1929) 22, p. 588-589.

Kleurgevoeligheid, geelfilters en gevoeligheidsmeting, 16 (23 november 1929) 24, p. 640-642.

De kool- of pigmentdruk. In theorie en practijk, 17 (1 maart 1930) 5, p. 122-123 t/m 17 (22 november 1930) 24, p. 629-630.

Een fotografische herinnering aan Jac. van Looy, 17 (15 maart 1930) 6, p. 150-151.

Fotogrammen, 17 (15 maart 1930) 6, p. 153-154.

Adr. en Dick B. (= Adriaan Boer en Dick Boer), Otto Mente zestig jaar, 18 (14 maart 1931) 6, p. 149.

Desensibilisatie en gevoeligheid, 18 (25 april 1931) 9, p. 243-245.

Adriaan Boer en Dick Boer, Otto Mente †, 19 (28 mei 1932) 11, p. 317.

Voordeelen en moeilijkheden van het pigmogravure-procedé, 20 (4 februari 1933) 3, p. 68-71 t/m 20 (4 maart 1933) 5, p. 132-134.

Het silchrotintprocedé voor directe positieven, 20 (13 mei 1933) 10, p. 292-293.

Directe positieven bij ontwikkeling, 21 (17 februari 1934) 4, p. 114-115.

Vorderingen in driekleurenfotografie. Belangrijke resultaten van Bern. F. Eilers, 22 (19 januari 1935) 2, p. 33-34, 58.

Fotografische ontwikkelaars. Akademisch proefschrift door Ir. M.C.F. Beukers, 22 (19 januari 1935) 2, p. 38.

Lieven Gevaert †, 22 (16 februari 1935) 4, p. 95.

Ontwikkelingsproeven, speciaal in verband met korrelstructuur, 22 (22 juni 1935) 13, p. 368-370 t/m 22 (31 augustus 1935) 18, p. 517-519.

Adolphe Burdet vijf en zeventig jaren, 22 (26 oktober 1935) 22, p. 632-634.

Tentoonstelling fotografisch werk Hub. Leufkens, 23 (28 maart 1936) 7, p. 212.

Kleurenfoto’s door Bern. F. Eilers, 23 (11 april 1936) 8, p. 225-226.

Foto-Electr. belichtingsmeters bij het vergrooten, 23 (23 mei 1936) 11, p. 321-322.

Inleiding tot den gomdruk, 23 (20 juni 1936) 13, p. 376-378.

Hoe ik mijn beste gomdrukken maak. Verslag van een vraaggesprek met H. Berssenbrugge, 23 (4 juli 1936) 14, p. 404-407.

Kleurenfotografie nu en vroeger, 25 (26 maart 1938) 7, p. 204-205.

Gen.-majoor L.E.W. van Albada zeventig jaar, 25 (23 april 1938) 9, p. 259-260.

Het goed recht der vrije procédé’s, 25 (7 mei 1938) 10, p. 291-293; 25 (21 mei 1938) 11, p. 322-323.

Kleurenfotografie op papier. Een mooie toepassing van silchrotint, 25 (21 mei 1938) 11, p. 317-319.

Correctie van kleurendiapositieven, 25 (22 oktober 1938) 22, p. 639.

Eere-tentoonstelling Bern. F. Eilers, 26 (7 januari 1939) 1, p. 5-7.


images in:

Wereldkroniek 11 (9 juli 1904) 15, p. 234.

Wereldkroniek 11 (1 augustus 1908) 18, p. 281-282.

Jaarboek NCvFK 1908.

Photographische Mitteilungen 46 (1909), p. 97.

Wereldkroniek 17 (3 december 1910) 36, p. 575.

Photograms of the Year 1912, pl. LXXIV.

Photograms of the Year 1915, pl. XXVII.

Photograms of the Year 1921, pl. LIV.

Camera. Illustrierte Monatschrift für die Gesamte Photographie 13 (juni 1935) 12, p. 421.

Bedrijfsfotografie 20 (18 maart 1938) 6, p. 109.

Bedrijfsfotografie 22 (17 mei 1940) 10, p. 169-172.


in De Camera:

1 (30 september 1909) 25/26, p. 469.

2 (26 januari 1910) 8, na p. 77.

2 (29 augustus 1910) 23, na p. 219.

3 (1 april 1911) 11, p. 97.

3 (15 april 1911) 12/13, p. 114.

4 (15 juni 1912) 16, na p. 144.

5 (1 juli 1913) 17, bijlage.

6 (1 november 1913) 1, p. 3.


in Focus:

2 (10 april 1915) 1/2, na p. 6.

2 (10 augustus 1915) 13/14, p. 103.

3 (20 december 1916) 26, p. 363-364.

4 (10 april 1917) 1, p. 1.

4 (30 mei 1917) 6, p. 88.

4 (30 augustus 1917) 15, p. 218.

5 (10 september 1918) 16, p. 232, 234.

5 (10 januari 1919) 28, p. 427-430.

6 (19 mei 1919) 4, p. 81-82.

6 (29 december 1919) 20, p. 416.

7 (21 oktober 1920) 15, p. 285-288.

8 (5 mei 1921) 9, p. 183.

11 (21 augustus 1924) 17, p. 442.

15 (7januari 1928) 1, p. 18.

17 (19 juli 1930) 15, p. 402.

22 (2 maart 1935) 5, p. 135-142.

Secondary bibliography

Catalogus van de schilderijen-tentoonstelling in het atelier van Adr. Boer, Teding van Berkhoutstraat F20, Baarn, te houden van 13 tot en met 18 april 1903

Laura de Berk, De Internationale Tentoonstelling van Foto-kunst, in Geïllustreerd Weekblad voor Fotografie 15 (8 augustus 1908) 32, p. 249-253.

Alb. de Haas, Kunstberichten. Uit Haarlem, in Onze Kunst 12 (1913), p. 43-44.

H. de Boer, De Jaarlijksche Tentoonstelling van Fotowerken te Amsterdam, in De Camera 6(1 november 1913) 1, p. 1-4.

Auteur onbekend, Een autoriteit op fotografisch gebied, in De Hollandsche Revue 25 (1920), p. 121-124.

Auteur onbekend, Tentoonstelling van Foto-werken, Nieuwe Arnhemsche Courant 27 oktober 1925.

Auteur onbekend, Adriaan Boer 60 Jahre alt, in Photographische Industrie 27 februari 1935, p. 206.

C.G.L., Adriaan Boer 60 jaar, in Bedrijfsfotografie 17 (8 maart 1935) 5, p. 80.

A.H., Prominente Photokünstler, in Camera. Illustrierte Monatschrift fü̈r die Gesamte Photographie 13 (april 1935) 10, p. 335.

H.G. Cannegieter, Persoonlijkheden. Adriaan en Dick Boer, in Morks’ Magazijn (juli 1936) 7, p. 336-349 (idem in: Bedrijfsfotografie 18 (27 november 1936) 24, p. 463-467).

Auteur onbekend, Bij de platen in dit nummer, in Bedrijfsfotografie 20 (18 maart 1938) 6, p. 101-102.

Dick Boer, Adriaan Boer †, in Bedrijfsfotografie 22 (17 mei 1940) 10, p. 161-165.

Dick Boer, Bij de platen van Adriaan Boer, in Bedrijfsfotografie 22 (17 mei 1940) 10, p. 166-167.

Bern. F. Eilers, Aan Adriaan Boer, in Focus 27 (22 juni 1940) 13, p. 367-368.

Catalogus tent. Foto-tentoonstelling “Haagsche Amateur Fotografen Vereeniging” 50 jaar, Den Haag 1957, p. 13, 18.

Hof-fotografen, in De Telegraaf 13 mei 1967, bijlage.

Dick Boer, Adriaan Boer/Pionier der kunstzinnige fotografie. Een keuze uit zijn voornaamste werk met analyse der composities, korte levensloop en karakterschets door Bernard F. Eilers, Haarlem (Focus) 1969.

Claude Magelhaes, Nederlandse fotografie. De eerste honderd jaar, Utrecht/Antwerpen (Bruna & Zoon) 1969, p. v, XVIII, afb. 67.

P.L. van der Vliet, Adriaan Boer. Kundig pionier der kunstzinnige fotografie, in De Volkskrant 3 januari 1970.

J.J.Th. Sillevis, Adriaan Boer, pionier der kunstzinnige fotografie, in Nieuwe Rotterdamse Courant 21 januari 1970.

Auteur onbekend, Adriaan Boer belicht door zoon, in Het Parool 7 maart 1970.

Auteur onbekend, Dick Boer opent fotoexpositie in Bloemendaal, in Haarlems Dagblad 30 april 1971.

Ingeborg Th. Leijerzapf (red.), Fotografie in Nederland 1839-1920, Den Haag (Staatsuitgeverij) 1978, p. 70, 79, 91.

Flip Bool, Kees Broos (red.), Fotografie in Nederland 1920-1940, Den Haag (Staatsuitgeverij) 1979, p. 5-7, 20-25, 27-28, 43, 57, 61, 72, 88-89, 95, 120, 146 (met foto’s).

(Brochure) Adriaan Boer 1875-1940. Ter gelegenheid van de tentoonstelling ‘De fotografie van Adriaan Boer’, z.p. (Amersfoort) 1985.

Jan Coppens, Terugblik op Adriaan Boer, in Foto 40 (juni 1985) 6, p. 30-31.

(Brochure) Adriaan Boer – een tijdsbeeld -, z.p. (Hoevelaken) (Bouwfonds Nederlandse Gemeenten) z.j. (1987).

Bas Roodnat, Warme sfeer in de edeldrukken van Adriaan Boer. Negentig historische fotowerken in het Raadhuis van Overveen, in NRC Handelsblad 28 februari 1987.

Ingeborg Th. Leijerzapf (red.), Het Fotografisch Museum van Auguste Grégoire. Een vroege Nederlandse fotocollectie, Den Haag (SDU) 1989, p. 17, 29, 107.


in Focus:

Anthony Guest, Hollandsche fotokunst te Londen, 2 (10 oktober 1915) 19/20, p. 152-153.

Auteur onbekend, Het Nederlandsch Fotografisch Museum (naar een voordracht op 13 oktober 1913), door Adriaan Boer, gehouden voor de Haagsche Fotoclub “Daguerre”, 5 (30 oktober 1918) 21, p. 311-314.

E.A. Loeb, Bij het portret van Adriaan Boer, 6 (9 februari 1919) 23, p. 480-482.

Auteur onbekend, Correspondentie. Kwestie Fr. Kramer, 9 (9 februari 1922) 3, p. 56.

J.B., Hilversumsche Fotografische Club, 9 (23 maart 1922) 6, p. 139.

J.G. Staal, Hengelosche Amateur-Fotografen Vereeniging, 11 (13 november 1924) 23, p. 634.

M.H.J. Veenenbos, H.A.F.V, 12 (24 Januari 1925) 2, p. 52.

Auteur onbekend, Fotografie aan de Volksuniversiteit, Den Haag, 14 (8 januari 1927) 1, p. 4.

Dick Boer, Beknopte analyse der platen in dit nummer, 22 (2 maart 1935) 5, p. 134.

Dick Boer, Adriaan Boer 60 jaar, 22 (2 maart 1935) 5, p. 123-127.

Dick Boer, Adriaan Boer †, 27 (27 april 1940) 9, p. 253.

Dick Boer e.a., Adriaan Boer †, 27 (11 mei 1940) p. 283-291.

Auteur onbekend, Het laatste werk van Adr. Boer. “Foto’s met inhoud”, 27 (22juni 1940) 13, p. 365.

Bern. F. Eilers, Aan Adriaan Boer, 27 (22 juni 1940) 13, p. 367-368.

Auteur onbekend, “Foto’s met inhoud” verschenen. Het laatste werk van Adriaan Boer, 27 (3 augustus 1940) 16, p. 447.

A.P.W. van Dalsum, “Foto’s met inhoud”, 27 (3 augustus 1940) 16, p. 467.

Dick Boer, Adriaan Boer, oprichter en eerste redacteur van “Focus” 1875-1940, 39 (10 januari 1954) 1, p. 3.

Dick Boer, Over de oprichter van Focus Adriaan Boer, 49 (24 april 1964) 9, p. 10-19 (met foto’s).

C. van Russen Groen, Herinnering aan Adriaan Boer, 49 (17 juli 1964) 15, p. 12-13.


NCvFK, tot 1915 (bestuurslid in 1906, voorzitter in 1908).

De Camera (medeoprichter, lid van de redactie 1908-1914).

Focus (oprichter, lid van de redactie vanaf 1914).

Jury (1908-1909) voor de Nederlandse afdeling Vakfotografie voor de Internationale Photographische Ausstellung, Dresden 1909.

Propagandacommissie Ve Congres International de Photographie te Brussel, 1910.

Jury, Tweede Jaarlijksche Nationale Tentoonstelling van Fotowerken (NAFV), Amsterdam 1914.

Jury, Jaarlijksche Onderlinge Wedstrijd TH Delft, 1914.

NAFV, vanaf 1916.

Bedrijfsfotografie (oprichter, lid van de redactie vanaf 1919).

Fotovreugd (lid van de redactie 1927-1928).

Jury, Eindhovense fotosalon, Eindhoven 1922.

Commissie ten dienste van leden en buitenleden der NAFV welke zich ten doel stelt het uitzenden van Nederlands fotowerk naar buitenlandse tentoonstellingen te bevorderen, vanaf 1925.

De Fotohandel (lid van de redactie vanaf 1928).

Het Veerwerk, maandblad voor smalfilmers (lid van de redactie vanaf 1932).


1909 Gouden medaille, Internationale Photographische Ausstellung, Dresden.

1911 Medaille (open pictorial class), 26e Jaarlijksche Tentoonstelling, Birmingham.

1911 Bronzen medaille, Ausstellung für Bildniss und Figurenbild (Gesellschaft zur Förderung der Amateurphotographie Hamburg).

1913 Gouden medaille, Salon International d’Art Photographique, Gent.

1914 Gouden medaille, Koloniale tentoonstelling, Semarang.


1907 (e) Amsterdam, Kunstzaal Barend Groote (Kalverstraat 43).

1908 (g) Amsterdam, Stedelijk Museum, Internationale Tentoonstelling van Foto-Kunst.

1909 (g) Dresden, Internationale Photographische Ausstellung.

1911 (g) Birmingham, 26e Jaarlijksche Tentoonstelling.

1911 (g) Hamburg, Ausstellung für Bildniss und Figurenbild (Gesellschaft zur Förderung der Amateurphotographie Hamburg).

1913 (g) Gent, Paleis van Schoone Kunsten, Salon International d’Art Photographique.

1913 (g) Haarlem, Kunstnijverheidsmuseum.

1914 (g) Amsterdam, Ivens & Co, (broomoliedrukken).

1914 (g) Birmingham, (Birmingham Photographic Society).

1914 (g) Semarang, Paviljoen van den Semarangschen Kunstkring, Koloniale tentoonstelling (rondreizende tentoonstelling).

1915 (g) Londen, The London Salon of Photography.

1921 (g) Amsterdam, Stedelijk Museum, Achtste Jaarlijksche Nationale Tentoonstelling van Fotowerken.

1922 (g) Amsterdam, Paleis voor Volksvlijt, De Mensch.

1922 (g) Eindhoven, Foyer van de Chicago Bioscoop, Eindhovense fotosalon.

1923 (g) Dordrecht, Lokaal van de Dordtsche Vrouwenclub, Eerste Dordtsche Fotosalon.

1923 (g) Haarlem, Prinsenhof, (fototentoonstelling Volksuniversiteit).

1923 (g) Weltevreden (Batavia), Hotel der Nederlanden, Eerste Internationale Foto-Salon (Eerste Nederlandsch Indische Amateur Fotografen Vereeniging

1925 (g) Bandoeng, Jaarbeurs, International Exhibition of Photography.

1969 (g) Den Bosch, Noord-Brabants Museum, Nederlandse Fotografie. De eerste honderd jaar (rondreizende tentoonstelling).

1980 (g) Rotterdam, Wijkmuseum Hillesluis, ‘De Gomdruk’.

1985 (e) Amersfoort, Kreatief Centrum De Hof, De fotografie van Adriaan Boer.

1987 (e) Overveen, Raadhuis, foto’s van Adriaan Boer (1875-1940).

1987 (e) Hoevelaken, Bouwfonds Nederlandse Gemeenten (Westerdorpsstraat 66), Adriaan Boer 1875-1940.

1989 (e) Haarlem, Kloostergangen/Refter Stadhuis, Adriaan Boer Kollektie.

Radio programs

1932 (mei) Radiovoordracht door Adriaan Boer vanuit de RAI te Amsterdam (NCRV).

1939 (27 september) De wereldoogst van kunstfoto’s 1939 (NCRV), radiovoordracht door Adriaan Boer naar aanleiding van de Focus Fotosalon.


Haarlem, Stichting Nederlands Foto- & Grafisch Centrum (Spaarnestad Fotoarchief).

Leiden, Prentenkabinet, bibliotheek en documentatiebestand (o.a. ongepubliceerde bijvakscriptie kunstgeschiedenis van Erik J.A. Zevenhuizen, De fotografische musea in Nederland, Rijksuniversiteit Leiden 1988).


Baarn, De Historische Kring Baerne.

Haarlem, Stichting Nederlands Foto- & Grafisch Centrum (Spaarnestad Fotoarchief).

Leiden, Prentenkabinet van de Rijksuniversiteit Leiden.