PhotoLexicon, Volume 17, nr. 33 (August 2000) (en)

Jan Schiet

Adriaan Elligens


During his brief life, Jan Schiet rather quickly succeeded in building a thriving professional photography studio in post-World War II Amsterdam. His studio was specialised in industrial and advertising photography, and somewhat later, colour photography—something that was exceptional for the 1950s. Schiet was an impassioned administrator at the NFK (Nederlandse Fotografen Kunstkring, ‘Netherlands Photographers Art Society’) and an enthusiastic author of numerous informative trade articles. Just as Carel Blazer served as an authority for those struggling with technical matters at the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’), so too was Jan Schiet a walking encyclopaedia for those associated with him in the NFK.




Johannes Adrianus (Jan) Schiet is born on 3 July at Elandsgracht 10 in Amsterdam as the son of Adrianus Josephus Schiet and Francisca Johanna Kerklingh. His father is a co-partner of the Schiet soft drink factory at Elandsgracht 18, producer of the Dutch soft drink brand ‘Jel’, later called ‘Joy’. Jan Schiet attends the MULO (Meer Uitgebreid Lager Onderwijs, lower-level secondary school) in Amsterdam.

Ca. 1937

Schiet finds work as an assistant to the photographer Marius Meijboom on the Keizersgracht in Amsterdam.


Jan Schiet sets up business as an independent photographer at Elandsgracht 1 in Amsterdam, across from his childhood home, Elandsgracht 10.


In February, Schiet acquires his ‘Fotografengildendiploma’ (‘Photographers Guild Diploma’), conferred by the NFPV (Nederlandse Fotografen Patroonsvereeniging, ‘Netherlands Photographers Guild’, and signed by Jan Stokvis on behalf of the association’s supervisory board). Schiet is hereby registered as an accredited professional photographer and as a member of the NFPV.


On 18 May, the Opbouw publishing company (responsible for the Dutch women’s magazine Het Rijk Der Vrouw and Cinema & Theater) attempts to arrange Jan Schiet’s exemption from the German ‘Arbeitsinsatz’ (forced labour deployment) by written means, based on the argument: ‘considering that his photographic work is indispensable for us’.

On 30 May, Schiet becomes engaged to Joke Algra.

On 28 October, Schiet is arrested by the German occupying forces and imprisoned in the ‘Huis van Bewaring’ (‘Detainment Centre’) on the Weteringschans in Amsterdam, for being part of the resistance group ‘Hoogeboom-Bruins Slot’. During his detainment, Schiet and Algra marry.


Jan Schiet is sentenced to three years in a detention centre for ‘Beihilfe Bildung einer geheimen Verbindung” (‘Aiding the Formation of a Secret Connection’). He is subsequently transferred to the Camp Vught detention centre. On 24 March, Schiet is transported to the prison in Cleves, Germany. Hereafter, he is transferred to Zuchthaus Siegburg (‘Siegburg Prison’).

Back in Amsterdam, Schiet’s daughter Elly is born.


Schiet is liberated by the Allies on 10 April.

At the prison in Siegburg, Schiet makes a photo reportage on the field hospital, the production of coffins for the deceased typhus patients, and portraits of his emaciated fellow prisoners. The reportage has been preserved (PKL Collection, NIOD, ‘Netherlands Instituut voor Oorlogsdocumentatie’ or ‘Netherlands Institute for War Documentation’)). On 30 May, Schiet returns to Amsterdam.

On 28 December, Schiet moves to Westeinde 31 (‘2 Hoog’) in Amsterdam, together with his wife and daughter.


On 30 May, Schiet sets up a photo agency at Marnixstraat 360, across from the Handelsschool (‘Business School’) on the Raamplein.

Schiet’s son Hans is born.


Schiet’s daughter Marga is born.


Schiet becomes a member of the NFK (Nederlandse Fotografen Kunstkring, ‘Netherlands Photographers Art Society’), based on the introduction of the Amsterdam photographer Nico Zomer, as well a member of the NFK.


Schiet becomes a principal member of the NFK. Starting in this year, Schiet, Martien Coppens, and Cor van Weele together form the editorial board of the magazine Fotografie, twee maandelijks blad voor het fotografisch ambacht (‘Photography, Bimonthly Magazine for the Photographic Craft’) and the official trade magazine of the NFPV.


Jan Schiet obtains his diploma from the Fotovakschool (‘Vocational School of Photography’).


Schiet becomes the treasurer of the NFK.


The Schiet family moves to Valeriusstraat 23.

Schiet is part of the publications committee within the NFK, along with Martien Coppens, Victor Meeussen, and Meinard Woldringh.

Schiet is the initiator and co-organiser (together with Paul Huf, Marius Meijboom, and Martin Eppens) of the group exhibition (NFPV/GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’)/NFK) of Dutch advertising and industry photography during the Jaarbeurs (‘Annual Fair’) in Utrecht.

Following a conflict with the supervisory board of the NFPV, Schiet cancels his membership with this association as of 31 December.


Schiet joins the newly established Stichting Burafo (‘Burafo Foundation’).


Schiet becomes a member of Europhot.

Ca. 1960

Jan and Joke Schiet decide to separate. Schiet moves into the apartment above his studio on the Marnixstraat.


Jan Schiet is dismissed as a principal member of the NFK. Due to his busy schedule, Schiet hands his function as treasurer over to Jan den Boestert.


Jan Schiet, Hans Dukkers, Joan Colson, Johan Hamelberg, Marius Meijboom, and Frits Rotgans subpoena the ‘Bedrijfschap voor het Fotografisch Bedrijf’ (‘Trade Organisation of the Photographic Business’) as private citizens, concerning the required registration with this trade organisation, which they perceive as unjust.


In June, Schiet’s divorce from his wife, Joke Algra, becomes final.

On 18 July, Jan Schiet drowns during a sudden storm while on a sailing trip on the Braassemermeer Lake (near Roelofarendsveen). His daughter Marga and her friend are saved.


Schiet’s ex-wife, Joke Algra, marries the photographer Nico Zomer.


Jan Schiet was a resourceful photographer. The traits that fit him are, in part, the same that applied to all of his fellow professional colleagues at the NFK (Nederlandse Fotografen Kunstkring, ‘Netherlands Photographers Art Society’): a superior photographic technique and unparalleled craftsmanship, based on traditional photography. Schiet built a reputation as a successful advertising photographer very quickly. His passion for conceiving and devising solutions for commissioned photographic work was in tune with the wishes of the new advertising agencies emerging in Amsterdam in the 1950s. Schiet’s ‘photo stunts’ for advertising purposes, however, were not so appreciated by NFK members, ‘because they led him in the wrong direction, so that his love of artistic photography ended up becoming secondary.’ Advertising photography was something different than artistic photography. Schiet was indeed disappointed with the NFK’s constricting attitude. In spite of this, he managed to keep his status as a ‘principal’ member of the association for many years.

Schiet’s photographic training was brief: working as an assistant for Marius Meijboom in Amsterdam for no more than a period of two years in the late 1930s. He then obtained his ‘photographers guild’ diploma (conferred by the NFPV, Nederlandse Fotografen Patroonsvereeniging, ‘Netherlands Photographers Guild’), with which he became an accredited professional photographer. As was the case for many people, World War II also cut off Schiet’s career. Much later, in the early 1950s, he obtained his diploma from the Fotovakschool (‘Vocational School of Photography’), during working hours. Even at this early stage, Schiet was a valued principal member of the NFK.

For Schiet, the years of the war were a dramatic intrusion. He was part of the Amsterdam resistance group ‘Hoogeboom-Bruins Slot’, which was busy with activities such as falsified papers. Schiet was arrested along with approximately twenty other members of the group and sentenced to three years in a detention camp. Although not ‘politisch betätigt’ (‘poitically active’), he was accused of ‘Beihilfe einer geheimen Verbindung’ (…). The charge, appeal, trial, and locations of Schiet’s imprisonment have all been recorded and preserved in detail. He was first detained at the ‘Huis van Bewaring’ (‘Detention Centre’) in Amsterdam, hereafter at Camp Vught, then transferred to a prison in Cleves, Germany, and finally to a detention camp in Siegburg. It was here that Schiet came down with typhus, but survived. After being liberated by the Americans, he proceeded to document the horrors of the detention camp with a camera. On a side note, the activities of Schiet’s photo agency continued while he was imprisoned during the years of the war: corporate reportages, product photography, portraits, and architectural photos. The quality of craftsmanship produced by the unnamed individual who took Schiet’s place during the war was by no means inferior.

Schiet worked exclusively with a sheet film camera, and by his own account, he was the first in the Netherlands to acquire a Sinar professional camera in about the mid-1950s: ‘The best [camera] that I know is designed by a professional photographer from Switzerland and further developed by a precision [instrument] manufacturer. It can be extended like a kind of Meccano kit into all kinds of formats (…)’. According to Philip Mechanicus, who was hired as an assistant in January 1955, Schiet was ‘a master in rectification (…) Negatives were conserved by means of a formalin bath; I never experienced anything like that ever again.’

Schiet’s unpretentious, but enthusiastically written discourses published in the trade literature—for instance, on the equipping of the darkroom and studio, the proper use of the camera, and the ideal 9×12 format and accompanying lenses—are (still today) informative, crystal clear, and captivating for anyone wishing to learn something about these topics. Schiet introduced modifications to his equipment, if he thought he could do it better. In 1953, he published an article in the trade magazine Fotografie about using a flash as a ‘fill light’ for outdoor shots. It was a subject special enough to devote extensive coverage in an article. He wrote that a flash shot of this nature had to be done right the very first time, as lamps were costly acquisitions at the time—even for Schiet’s photo agency. Batteries alone were too unreliable as an energy source. To guarantee a stable voltage, Schiet worked with a capacitor that he had modified himself. He never kept his inventions to himself, but shared them wholeheartedly with others.

Schiet’s working approach to photography was the same as for making a film. Prior to a photo session, there was first the preliminary choice of location, a situation sketch, and perspective drawings that had to be prepared. If the studio was too small and the (advertising) budget allowed it, then the work floor was relocated to the Cinetone Film Studios in Duivendrecht. By as early as 1952, Schiet had already made a name for himself as a successful advertising photographer for special assignments. In that year, he wrote that ‘…photography in advertising is showing up much better…’, but that ‘…the Netherlands is just a bit too small for larger projects…’. In contrast to the work of, for instance, someone like the Amsterdam photographer Paul Huf, Schiet’s photographic solutions for advertising projects are rather conservative. In his (colour) shots for Heineken beer in the December 1957 issue of Het Beste (‘The Best’, from Reader’s Digest), commissioned by the Smits advertising agency, Schiet employed elements such as a pretty woman, rolled cathedral glass (to obtain an indistinct, blurred effect), and the main topic, two foaming glasses of beer. In the magazine Foto (the official trade magazine of the NFK), the assignment was characterised as being difficult, but successful: ‘The product, the article, had to be kept the main topic, with the surroundings playing a secondary role around it. A photographer then thinks in terms of sharp/unsharp (…) The brooding mind came no further than a window-pane of configured glass, and for the time being, found this to be a solution that was anything but original (…). An advertising photographer most certainly has to be artistically gifted, but periodically he also has to be able to stand very firmly on his own two legs (…). That’s why it still ended up being figurative glass, with the hidden underlying promise, to apply it without the would-be virtuosity and with complete objectivity. As a means, nothing more. Jan Schiet still comforts himself with the idea that, as far as he can tell, he was the first to put the articles in front the wavy glass, and the figuration behind it.’ This description says much about Schiet’s character and even more about commissioned photography as it was valued and practiced by members of the NFK. Schiet strove for originality, but was apparently far from being entirely satisfied: Foto (and implicitly, the NFK) placed the emphasis on ‘artistically gifted (…) standing very firmly on his own two legs (…) without the would-be virtuosity’. Compared to the photographic discoveries made by other photographers for the Het Bier Is Weer Best (‘The Beer is Again Best’) advertising campaign that had preceded this, Schiet’s charming photo comes across quite backwards. In 1958, it was Paul Huf who was ultimately awarded the commission to do an advertising campaign for the same agency, as well on behalf of Heineken. Was it because Schiet’s inventiveness failed to meet the mark that explains why he was not the one chosen for this particular commission? As far back as early 1953, the magazine Foto wrote that ‘(…) his skill at tinkering around has never overshadowed its effectiveness (…).’ Schiet’s pièce de résistance in this respect, as well embodying his desire for technical and organisational perfection, was (after 1957) a converted trailer called the ‘Schiettent’. It was typically one of Schiet’s creations: completely rebuilt himself and furnished with every convenience. The trailer was sometimes used as a backdrop, and when photographing outdoors, it served as a changing room so the models could avoid the peering glances of curious spectators.

It was the photographer Nico Zomer who advocated Schiet’s application to the NFK in the early 1950s. Based on his submitted work, Schiet was immediately accepted into the association and was even made a principal member shortly thereafter. Regular membership could be changed to a principal membership within a given period of time, following the approval of a more extensive submission consisting of an additional twenty-five shots. For many photographers of the NFK, this proved to be an impenetrable obstacle. For many years, Schiet served as the association’s treasurer. In addition, he was the contact person for any photographer daring to apply for candidacy in the Amsterdam chapter of the NFK, but also for those who were ultimately rejected (e.g. Godfried de Groot and Kees Scherer, for reasons unknown). Ironically, in 1962 Schiet himself was dismissed as a principal member when thirteen of the fifteen members voted negatively on the works he submitted.

Schiet was more genuinely interested in documentary photography than other NFK members. Unlike experimental, subjective photography and abstraction, documentary photography (i.e. ‘human interest’ photography) failed to concur with the association’s aesthetic ideals.

Over the years, Jan Schiet wrote enthusiastically about the documentary photography he encountered at exhibitions in the magazine Fotografie, including work by the photographers David Seymour, Brassaï, Henri Cartier-Bresson, Robert Doisneau, Robert Capa, Denise Colomb, Eugene Smith, and Werner Bischof.

Schiet was well aware of the particular professional audience for which he wrote. When it came to the subject of documentary photography, he acknowledged that the understanding of those in the circles of the NFK and those like-minded was in fact quite limited. Regarding the 1956 ‘Photo Salon’ in Brussels, Belgium—with the NFK being an important participant based on its submission to this exhibition—Schiet stated in Fotografie: ‘There are only a few photographers who are capable of understanding their fellow man and who photograph him precisely at that moment. Instead, one goes to a great deal of trouble to portray him in a strange situation, with crazy light effects and backdrops, or in the gutter, and preferably with sad faces so as to hide the emptiness through astonishment (peculiarity). Though admittedly, the content of many abstract photos likewise consists only of the element of astonishment (in the sense of eliciting astonishment). This most definitely even applies to photos by Otto Steinert, not to mention Heinz Hajek Halke.’ Schiet had no hesitation in pointing out limitations found in the work of the two most celebrated practitioners of Subjective Photography.

The question then arises why Schiet, being a photographer working in Amsterdam, never joined up with those photographers who had come together to form the GKf. Not only did he possess a mental attitude that fit this group, but in addition, his war past (resistance, imprisonment) was similar to some of its members who had actively resisted the German occupier during the years of World War II, had also been imprisoned, or were forced to go into hiding. Jan Schiet’s ideas were not essentially any different from those of the GKf. Despite his contacts with Carel Blazer and the photographers at Particam Pictures (e.g. Austria/Jonker/Klein/Zilver Rupe), there was never any talk of a convergence. Perhaps the photography of the GKf members was too closely associated with a social engagement that was then seen as being linked to communist sympathies by those in the circles of the NFK, and which was therefore considered controversial. This is the reason why Schiet, who was raised Catholic, chose for the NFK.

Schiet launched an exhibition featuring his photos of Paris at Café Eijlders, an Amsterdam café where artists came together, entitled Parijs Van Alle Dag (‘Day-to-Day Paris’). He was perhaps inspired in this endeavour by an article that appeared in the Amsterdam newspaper Het Parool (written by the photo editor Theo Ramaker) regarding the enthusiastic reception of Ed van der Elsken’s photos of Paris, which were being shown as part of the exhibition Post War European Photography being held at the Museum of Modern Art in New York in the summer of 1953. Theo Ramaker opened Schiet’s exhibition at Café Eijlders. Cor van Weele’s remarks on this exhibition were: ‘(…) Jan Schiet has experienced Paris as a true-blooded amateur; with his camera, he has taken hold of what he wants to show us here. Nevertheless, when seeing the large number of photos on display here, we feel something of that characteristic atmosphere of this world city.’ That it was something, and nothing more, is certain to have been related to the detachment and reserve with which Schiet approached the Parisians, as affirmed by photos published at the time. Schiet was highly enthusiastic about Nico Jesse’s Vrouwen van Parijs (‘Women of Paris’), which appeared in 1954. ‘Looking only with your technical eye, then there are things to criticise in many of these photos. But when both eyes are open, then one virtually no longer notices it. This is much better, of course, than a technically perfect photo that has no significance.’

In the early 1950s, Jan Schiet’s photo agency was a respected address in Amsterdam for industrial, architectural, and advertising photography that was perfect in its technique. Schiet focused on staged interior and outdoor scenes of a complex nature. But in actuality he believed the Netherlands was too small for larger advertising projects. During the 1950s, Schiet also specialised in colour photography. Too little of this material has survived, however, to make a justified statement concerning his work in this area. Schiet was a driven man who achieved a great deal in the Dutch photography world, despite the brief duration of his career. He established his name in the areas of advertising and professional photography, in the management of an important photographic trade association, and in numerous articles addressing the technical side of the profession, as well as photo exhibitions both in the Netherlands and abroad. Following his sudden death—Schiet drowned at the age of forty-three during a sailing trip, as a result of a water spout that struck during a sudden storm—most of Schiet’s negatives archive was lost. Those who had taken over his studio harboured no interest in preserving his images.


Primary bibliography

Anoniem [= Jan Schiet en Cor van Weele], De grote Steichen was ook bij de N.F.K., in Foto 7 (december 1952) 12, p. 318.

Die Bilderserie im Inserat, in Camera. Internationale Monatsschrift für Photographie und Film 40 (juni 1961) 6 [Europhot editie], p. 35-38 (idem Engelse ed.: The picture series applied to advertising, in Camera. Interantional magazine for photography and motion picture).


in Fotografie. Vakblad voor het fotografisch ambacht:

Potloodretouche op glanzende foto’s, 2 (maart 1952) 2, p. 28.

Fotografie als uitdrukkingmiddel, 2 (mei 1952) 3, p. 52-53.

Uit de praktijk. Bedorven Natrium-Sulfiet?, 2 (mei 1952) 3, p. 55.

Uit de praktijk. Werkt uw fixeerbad nog naar behoren?, 2 (mei 1952) 3, p. 55.

Uit de praktijk. Hoe voorkomt men bruine vingers en metolvergiftiging, 2 (juli 1952) 4, p. 84.

De wereldtentoonstelling voor fotografie te Luzern, 2 (september 1952) 5, p. 108-110.

Uit de praktijk. Het veranderen van de papiergradatie, 2 (november 1952) 6, p. 138-139.

In het brandpunt. Edward Steichen in ons land, 3 (januari 1953) 1, p. 1-2.

Belichtingstijd bij flitsen en het richtgetal, 3 (januari 1953) 1, p. 7-8.

Met behulp van een flitslamp het lichteffect op een foto veranderen, 3 (maart 1953) 3, p. 40-45 (met foto’s).

Interessant nieuwtje. 10.000 maal vergroten zonder scherpte verlies, 3 (juli 1953) 4, p. 102.

Nood, 3 (november 1953) 6, p. 157. De reclamefotografie in kleuren, 4 (maart 1954) 2, p. 33-34.

De tentoonstelling op de Jaarbeurs, 4 (maart 1954) 2, p. 34-42.

Materiaalweergave, 4 (mei 1954) 3, p. 61-62.

Ingezonden [reactie van J.S. op ingezonden brief van A. Hulskamp], 4 (mei 1954) 3,p. 72.

“Vrouwen van Parijs”. Tekst van André Maurois – Foto’s van Nico Jesse, 4 (december 1954) 6, bijlage.

Biennale de la Photo et du Cinema te Parijs, 5 (1955) 2, p. 37-38.

Fotosalon in het stadhuis van Brussel, 6 (1956) 1, p. 5-10.

De donkere kamer, 6 (1956) 1, p. 19-23.

Het atelier, 6 (1956) 2, p. 54-59.

De dode stof, 6 (1956) 3, p. 81-87 (met foto’s).

De levende mens, 6 (1956) 4, p. 111-115.

Fototechnische kwesties, 7 (1957) 3, p. 79-80.

Operatie Snor, 8 (1958) 3, p. 78-79 (metfoto’s).

Opening van de tentoonstelling Werner Bischof, 9 (1959) 1, p. 4.

Plastic-lijsten, 9 (1959) 1, p. 13.


foto ‘s in:

Catalogus tent. Fotoschouw 52, Den Haag (Gemeentemuseum) 1952, ongepag

Fotografie. Vakblad voor het fotografisch ambacht 2 (juli 1952) 4, p. 91.

Fotografie. Vakblad voor het fotografisch ambacht 2 (september 1952) 5, p. 106.

Fotografie. Vakblad voor het fotografisch ambacht 3 (januari 1953) 1, p. 9.

Fotografie. Vakblad voor het fotografisch ambacht3 (december 1953) 6, p. 155.

Fotografie. Vakblad voor het fotografisch ambacht 4 (mei 1954) 3, p. 66, 68-69.

Bouwkundig Weekblad 73 (29 maart 1955) 13, p. 146-148.

Bouwkundig Weekblad 7 4 (15 mei 1956) 20, p. 246.

Bouwkundig Weekblad 74 (10 juli 1956) 27/28, p. 329, 332.

Herman Craeybeckx, Gevaert fotohandboek, Antwerpen (Gevaert) 1957, 10de dr.

N. Luning Prak, Industriële vormgeving, Amsterdam/Rotterdam (Scheltema en Holkema/W.L. en J. Brusse) 1957, afb. 86 (serie: Wonen in de Lage Landen. Een reeks monografieën over de esthetische, culturele, sociale en technische aspecten van het wonen en bouwen in Nederland en België, 16).

Rein H. Fledderus, Over winkels, Amsterdam (Van Holkema & Warendorf) z.j. [1957], p. 108.

[Advertentie] Van een onbekende meester, Heineken is de meester, in Algemeen Handelsblad 1 juni 1957, p. 6-7.

Fotografie. Vakblad voor het fotografisch ambacht? (1958) 3, omslag, p. 73.

Hella Haasse, Het Student, Baarn (Het Wereldvenster) 1958, p. 76-77.

H. van de Waal, Wat is abstract?, in Foto 13 (maart 1958) 3, p. 85.

A. Klein (samenst. en tekst), Bouwen in kalkzandsteen, z.p. (Vereniging van Nederlandse Kalkzandsteenproducenten) z.j. [1960], afb. 7, 31, 33-34, 50 en vignetten.

[Gids] Hedendaagse bouwkunst, Amsterdam/Modern architecture, Amsterdam/Moderne Baukunst, Amsterdam/Architecture contemporaine, Amsterdam, Hilversum (G. van Saane “Lectura Architectonica”) 1961, afb. 40, 69, 76.

F.M. Wagter, M.J. van der Pol en J. Elffers, Wat maken wij van ons huis?, Den Haag/Rotterdam (Nijgh & Van Ditmar) 1962, 4de dr., afb. 48, 136 (serie: Wonen in de lage landen).

Goedwonen 15 (december 1962) 12, p. 366.

Brochure Research, [uitgave t.g.v. ingebruikname van het Centrale Researchlaboratorium Brocades te Haarlem], Haarlem (Brocades) z.j. [1963], p. 2,4-5, 7-8, 11, 13-14, 17, 19-20, 22-23, 25.

De Telegraaf 12 januari 1963.

Het Parool 19 januari 1963.

Het Parool 9 februari 1963.

Het Parool 23 februari 1963.

Het Parool 1 maart 1963.

Het Parool 9 maart 1963.

Expositie Nederlandse Fotografen Kring. De Waag, Nijmegen 22 juni-14 juli, in Foto 18 (juni 1963) 6, p. 311.

R.W. Heringa e.a. (samenst.), Architektenburo Spruit de Jong Heringa 1955-1980, Utrecht etc. (Architektenburo Spruit de Jong Heringa) 1980.

Helma Toxopeus-Dirks en Peter H. Toxopeus, Hoe een leek tot spel kwam. Een geschiedenis van de dramatische vorming, Amersfoort etc. (Acco) 1990, p. 133.

Secondary bibliography

Jan en Ria May, Mijmeringen over 50 foto-exposities, Amsterdam (La Gave Internationale) z.j.

Catalogus tent. Subjektive Fotografie, Saarbrücken, (Staatliche Schule für Kunst und Handwerk) 1951, p. 33.

Auteur onbekend, Jan Schiet: niet alleen kunstenaar maar ook technicus, in Revue der Reclame 12 (mei 1952) 5, p. 133.

Wouter de Keizer, Jan Schiet N.F.K., in Foto 8 (februari 1953) 2, p. 39-46 (met foto’s).

Cor van Weele, Een baardloze jongeman die hard werkt. Tentoonstelling “Parijs van alle dag” foto’s Jan Schiet in Café Eijlders, Amsterdam, van 14 nov. T.m. 11 dec, in Fotografie. Vakblad voor het fotografisch ambacht 3 (november 1953) 6, p. 149-150.

Auteur onbekend, Twee fotografen exposeren, Jan Schiet en Ad Windig, in HetParool 17 november 1953.

H., Jan Schiet N.F.K. in Café Eijlders. ‘Parijs van alle dag”, in Foto 8 (december 1953) 12, p. 326.

Auteur onbekend, Analyse der platen. Vakwerk op de Jaarbeurs, in Focus 39 (3 april 1954) 7, p. 192-196.

A. Hulskamp, Ingezonden [ingezonden brief], in Fotografie. Vakblad voor het fotografisch ambacht 4 (mei 1954) 3, p. 72.

K/H [= Kees Helder],Jan Schiet n.f.k. De fotograaf die zulk een plezier in zijn werk heeft, in Foto 11 (oktober 1956) 10, p. 342-348 (met foto’s).

Marijke Vetter en Kees Scherer, Zij verdreven de somberheid uit een oude woning;, in Eva 23 februari-2 maart 1957, p. 60-62.

Anoniem, Jan Schiet fotografeert camping life, in Focus 42 (augustus 1957) 17, p. 405-408.

Anoniem, Jan Schiet n.f.k. maakt een bierkiekje, in Foto 13 (maart 1958) 3, p. 104-107 (met foto’s).

Anoniem, Operatie Snor, in Ons bedrijf. Personeelsblad artillerie-inrichtingen Hemburg Zaandijk (juli/augustus 1958) 65/66, p. 10-12.

Catalogus tent. nfk, Nijmegen, (De Waag) 1963, ongepag.

D.H. [= Daan Helfferich], De Nederlandse Fotografen Kring biedt een belangrijke tentoonstelling voor u in Nijmegen, in Foto 18 (juni 1963) 6, p. 317-318.

R. Nieman, NFK zestig jaar, in Elseviers Weekblad 29 juni 1963.

Anoniem, [artikel over reclamefotograaf Jan Schiet], in Rijam schoolagenda 1964/1965.

Auteur onbekend, Noodweer na tropische dag. Vijf doden. Grote materiële schade, in Haagsche Courant 20 juli 1964, p. 1-2.

Auteur onbekend, Moedige redding tijdens noodweer op Braassem. Amsterdamse fotograaf verdronken. Metershoge golven met wrakke boot getrotseerd, in Leidsch Dagblad 20 juli 1964.

Anoniem, [korte vermelding van ‘t overlijden van Jan Schiet], in Foto 19 (augustus 1964) 8, p. 383.

D.B. [= Dick Boer] Jan Schiet †, in Focus 49 (31 juli 1964) 16, p. 18.

Anoniem, In memoriam Jan Schiet, in Fototribune. Maanblad voor fotografen en cineasten (september 1964) 9, p. 458.

M.C. [= Martien Coppens], Rolwold raasde over Nederland: vier doden, in Vakfotografie (1964) 4, omslag, schutblad voor- en achterzijde, p. 1-3 (met foto’s).

Ed. B. Schucht, Jan Schiet, in Vakfotografie (1964) 4, p. 3.

M. Woldringh, Jan Schiet in de nfk, in Vakfotografie (1964) 4, p. 4-10 (met foto’s).

M.W. de Vries, Jan Schiet en de reclame, in Vakfotografie (1964) 4, p. 11-18 (met foto’s).

Lambert Tegenbosch, Jan Schiet, in Vakfotografie (1964) 4, p. 19-23 (met foto’s).

Meinard Woldringh, Die Freude an der Photoarbeit, in Camera. Internationale Monatsschrift fü̈r Photographie und Film 43 (november 1964) 11, p. 30-36 (idem Engelse ed.: Pleasure from photography, in Camera. International magazine for photography and motion picture).

Els Barents (red.), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978, p. 98, 115, losse biografie (met foto’s).

Catalogus tent. Zien en gezien worden. Fotografische zelfbespiegeling in Nederland van ca. 1840 tot heden, Nijmegen (Nijmeegs Museum ‘Commanderie van Sint-Jan’) 1983, p. 92-93.

Okke Groot, Duizend bommen en granaten. Onvermoede vondsten bij de Artillerie-Inrichtingen, in Nieuwsbrief Nederlands Fotogenootschap (december 1998/januari 1999) 24, p. 3-6.

Adriaan Elligens (tekst), Jan Schiet foto’s, Amsterdam (Voetnoot) 1999.

Jurgen van Gessel, Herinneringen aan Jan Schiet (1921-1964), Amsterdam 1999.

Anoniem, Fotograaf Jan Schiet, in Het Parool 27 oktober 1999, p. 20.

Eddie Marsman, Vrolijk, degelijk en vernuftig. Jan Schiets werk doorstaat tand des tijds, in Foto 54 (december 1999) 12, p. 48-53 (met foto’s).

Auteur onbekend, De voorloper van het bommetje, in Items. Design . visuele communicatie, architectuur 18 (december 1999 /januari/februari 2000) 8, p. 13.

Sandra Heerma van Voss, Iedereen even gelukkig, in NRC Handelsblad 7 januari 2000, Boeken, p. 32.


NFPV 1941-1954.

NFK 1950-1964 (kernlid van 1951-1962, penningmeester 1953-1962).

Redactie Fotografie. Vakblad voor het fotografisch ambacht 1951-1959 (redactie met Martien Coppens en Cor van Weele

1951-1954, redactioneel medewerker 1955-1959).

Europhot, vanaf 1959.


1947/1948 (g) Amsterdam, Arti et Amicitiae, Negende Nationale Kerstsalon van Fotografische Kunst (AAFV).

1948/1949 (g) Amsterdam, Arti et Amicitiae, Tiende Nationale Kerstsalon van Fotografische Kunst (AAFV).

1949/1950 (g) Amsterdam, Arti et Amicitiae, Elfde Nationale Kerstsalon van Fotografische Kunst (AAFV).

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

1951 (g) Den Haag. Pulchri Studio, (NKF).

1951 (g) Saarbrücken, Staatliche Schule für Kunst und Handwerk, Subjektive Fotografie.

1951/1952 (g) Amsterdam, Arti et Amicitiae, Dertiende Nationale Kerstsalon van Fotografische Kunst (AAFV).

1952 (g) Den Haag, Gemeentemuseum, Fotoschouw ’52 [tentoonstelling t.g.v. het 50-jarig bestaan van de NFK].

1952/1953 (g) Amsterdam, Arti et Amicitiae, Veertiende Nationale Kerstsalon van Fotografische Kunst (AAFV).

1953 (e) Amsterdam, Café Eijlders, Parijs van alle dag.

1953/1954 (g) Amsterdam, Arti et Amicitiae, Vijftiende Nationale Kerstsalon van Fotografische Kunst (AAFV).

1954 (g) Hoensbroek, Kasteel Hoensbroek, Nationale Fototentoonstelling.

1954 (g) Utrecht, Jaarbeurs, Voorjaarsbeurs [ o.a. expositie van NFPV/GKf/NFK].

1954/1955 (g) Amsterdam, Arti et Amicitiae, Zestiende Nationale Kerstsalon van Fotografisch Kunst (AAFV).

1956 (e) Amsterdam, La Cave Internationale, [industrie- en reclamefoto’s van Jan Schiet].

1956 (g) Leiden, Prentenkabinet der Rijksuniversiteit Leiden, NFK fototentoonstelling.

1957 (g) Brussel, Galerie Aujourd’hui du Palais des Beaux-Arts, Images Inventées (reizende tentoonstelling).

1957 (g) Curacao, Hotel Intercontinental, El Globe.

1960 (g) Brussel, Paleis van Schone Kunsten, [internationale tentoonstelling van lichtgrafieken].

1960 (g) Den Haag, Vrije Akademie, [internationale tentoonstelling van lichtgrafieken].

1961 (g) Amsterdam, Arti et Amicitiae, 20e Internationale Focus Salon.

1963 (g) Nijmegen, De Waag, nederlandse fotografen kring.

1983/1984 (g) Nijmegen, Nijmeegs Museum ‘Commanderie van Sint-Jan’, Zien en gezien worden. Fotografische zelfbespiegeling in Nederland van ca. 1840 tot heden.

1999 (e) Amsterdam, R. Malasch/Galerie Serieuze Zaken, Jan Schiet.


Amsterdam, Jurgen van Gessel.

Amsterdam, Philip Mechanicus.

Leiden, Prentenkabinet, bibliotheek en documentatiebestand.

Leusden, Jan Wingender (collectie nederlands fotoboek).

Salviac (Frankrijk), Hans Schiet.


Den Haag, Sectie Militaire Geschiedenis, Ministerie van Defensie.

Leiden, Prentenkabinet Universiteit Leiden.