PhotoLexicon, Volume 20, nr. 35 (August 2003) (en)

Johan Vigeveno

Pim Milo


As a photographer, Johan Vigeveno was an autodidact and an independent entrepreneur. His interests were varied, he was well educated, well traveled and got along wonderfully with people—all important qualities for a portrait photographer. His ambitions, however, led him as well into the areas of advertising and fashion photography, as well as audiovisual presentations. Vigeveno’s notoriety was derived chiefly from his staged assignment photography. In his field, he was also actively involved as an organiser, teacher, and supervisory board member.




Johan Maurits (Johan) Vigeveno was born on 14 December Lower Hutt, a suburb of Wellington, New Zeeland, as the son of Maurits Felix Vigeveno and Eleonora van der Stok. Johan’s father is a Dutch consul in New Zeeland. Johan has two older sisters, Tania and Sveeva. Eight years after John, a brother follows, Guido. Tania and Sveeva both later become photographers: Tania in London, Sveeva in Paris. Guido will later work at the Ministry of Foreign Affairs in The Hague.


Maurits Vigeveno is transferred to Singapore in 1945. Because there is still unrest in Europe and the Far East in the aftermath of World War II, Johan’s mother and her children move to Johan’s grandparents on his father’s side in the United States. Eight months later, the family is reunited in the Netherlands at Hattem, where they live with an aunt and uncle for a little less than one year.


At the start of the year, Johan’s father is assigned a staff function at the Ministry of Foreign Affairs. The Vigevenos move to Noordwijk.


In late 1949, at which time Johan is attending his first year at the Montessori School in Wassenaar, Maurits Vigeveno is hired for a job in Paris. The family will remain in Paris until 1956.


In 1953, Johan Vigeveno is sent to a boarding school in the pure mountain air of Switzerland as a result of his asthmatic condition. He attends primary school in the French-speaking village of Villars, Switzerland. Vigeveno manages to convince his father that there is no better boarding school to further his education than Le Rosey in Gstaad, where the discipline and quality of the study programme is at a very high level. In reality, Johan wishes to study at Le Rosey because it is a mixed boarding school and Gstaad is ‘the place to be’. Vigeveno completes his Gymnasium studies at Le Rosey.


Vigeveno’s father becomes the Dutch ambassador to Denmark, for which the family moves to Copenhagen. Vigeveno spends his holidays in Denmark. During his first holiday stay, he learns Danish in one summer.


Vigeveno receives a camera for his birthday.


Johan Vigeveno studies law at Leiden University and becomes a member of the student fraternity Minerva. He lives at Rapenburg 12, in the building called ‘Wallon’. Vigeveno learns photographic printing and developing in the darkroom of Minerva. In order to pay for his numerous trips to friends in Paris, London, Gstaad, as well as to his parents in Denmark, Vigeveno makes wedding reportages of student weddings and photographs the sculpture collection of the art collectors Piet and Ida Sanders.


Vigeveno works for one year on a fulltime basis on behalf of NBBS, the student travel agency. Because of his skill at drawing, Vigeveno is asked to run the travel agency’s publicity department. In the meantime, Vigeveno is doing an internship at the printing company Johan Enschedé in Haarlem in order to gain experience in the graphic arts. His dream is to design and publish books on his own. He considers quitting his study in law in order to accept an internship to work at Harper’s Bazaar, but ultimately decides to finish his studies.


Johan Vigeveno’s graduation thesis is on the topic of copyrights on comic book characters. For this purpose, he meets with the illustrators Goscinni in Paris and Hergé in Brussels, Belgium, respectively the creative spirits behind Asterix & Obelix and Tintin. Vigeveno also comes into contact with Thijs Chanowski, the director of the Dutch television series De Fabeltjeskrant (‘The Fables Newspaper’)


Vigeveno moves to Amsterdam, where he soon buys a house.


In 1970, Vigeveno earns his Master’s title at Leiden University. After having completed his law studies, he does an internship at the advertising studio Dart Design in Amsterdam. Because he is more interested in devoting his time and energy to photography versus graphic design, he submits an open application to Thijs Chanowski, who accepts him. Vigeveno is assigned the project ‘tourist information’. In late 1972, the project fails and Vigeveno is out of a job, at which point he decides to start for himself.


Vigeveno establishes himself as a graphic designer. He makes advertisements, for which he also writes the texts. His business is on a small scale, but he manages. He also receives photo assignments.


Vigeveno lives together with Judith Hees, an actress with Het Werktheater (‘The Work Theatre’). He starts shooting photos for Het Werktheater. Vigeveno’s relationship with Hees lasts until 1979.


Vigeveno and Bernie IJdis start up IJdis/Vigeveno, a company for audiovisual presentations, chiefly in the form of a diaporama.


Vigeveno becomes friends with the filmmaker Orlow Seunke. A small role is set aside for Vigeveno in each of Seunke’s films from this time forward.


The advertising agency Hammerschmidt House asks Vigeveno to photograph for an advertising campaign on behalf of the Stichting Geluidshinder (‘Noise Pollution Foundation’). The agency’s creative director Eric Ezendam has seen Vigeveno’s editorial work in magazines. It is noteworthy that he dares to take on this ‘experiment’, as art directors in the advertising business are generally minimally interested in editorial photography and work only sporadically with anything other than advertising photographers.


In 1982, Johan Vigeveno enters a relationship with Marlies Swaan. The couple weds in 1985. Inspired by her husband, Swaan becomes a photo model and combines this work with her study of the French language. Vigeveno and Swaan divorce in 1992.


The collaboration with Bernie IJdis is terminated, with the business partnership liquidated. IJdis goes on to become a documentary maker and Vigeveno establishes himself as a photographer at Prinsengracht 721 in Amsterdam. Vigeveno does work for the publications Viva and Ouders van Nu (‘Parents of Now’). He also takes on advertising assignments, including an advertising campaign for the De Beers diamond company in Amsterdam.

Gregor Frenkel Frank of the Grey advertising agency in Amsterdam asks Vigeveno to shoot photographs for an advertising campaign for the Collectieve Levensverzekering (‘Collective Life Insurance’). After this campaign, Frenkel Frank commissions him to work on a campaign for the cigar brand Oud Kampen, which will continue for more than ten years.


Vigeveno exhibits photos of children’s fantasies at the De Moor Cultural Centre in Amsterdam.


Vigeveno shoots photos for the magazine Marie Claire. Renie van Wijk, the chief editor, says she believes he is the best portrait photographer in the Netherlands, but that she is required to switch photographers on a regular basis because of her status. In spite of this policy, the editorial department at Marie Claire will continue to give Vigeveno assignments, until his illness makes this impossible.


Under the curatorship of Leo Divendal and Adriaan Monshouwer, a retrospective of Vigeveno’s work is given at the Canon Image Centre in Amsterdam, better known as the Canon Gallery, entitled Hardop dromen (‘Dreaming Aloud’).


Under the title The Ceiling Is Too Low, the Milky Way Gallery in Amsterdam exhibits fifty photos of dancers from the Dutch National Ballet shot by Vigeveno in his studio. Vigeveno becomes the chairman of the PANL (‘Photographers Association of the Netherlands Foundation’), which he turns into a well-organised photographers association.


On 14 June, Vigeveno meets Sasja Scherjon, who works as an artist at the Europees Keramisch Werkcentrum (‘European Ceramics Work Centre’) in ‘s-Hertogenbosch. It is love at first sight.

Scherjon has a ten-year-old son, Christiaan, from a previous relationship, whom Vigeveno sees as the son he always wished to have. Christiaan, in turn, grows very fond of Vigeveno.


Vigeveno hands over the chairmanship of the PANL to Boudewijn Neuteboom, in order to devote more time to his private life.

In the summer of 1998, Scherjon and Vigeveno travel to New Zeeland, where Scherjon receives a ceramics award.

On 10 October 1998, Nora Elena is born, Vigeveno and Scherjon’s daughter. Not much later, Vigeveno is diagnosed with cancer.


On 13 March 1999, Johan Vigeveno and Sasja Scherjon marry.


On 11 September 2000, Vigeveno shoots his last photo, entitled The Sleeping Beauty, for the Dutch National Ballet, with the assistance of Boudewijn Neuteboom.

Johan Vigeveno dies on 10 December in Amsterdam. The obituaries appear in the newspaper on 14 December, the day he would have turned fifty-seven. On 16 December, a funeral ceremony takes place at the Paradiso in Amsterdam, where a diaporama presentation is shown, in which Vigeveno was as yet involved.


The organisers of Fotofestival Naarden organise a retrospective of Vigeveno’s oeuvre. On 4 October, Vigeveno’s photographic archive is transferred to the Maria Austria Institute in Amsterdam. Roughly estimated, this legacy comprises 700,000 image supports, chiefly 35 mm shots. One-third is colour material.


If Alfred Eisenstaedt’s statement ‘It’s more important to click with people than to click the shutter’ fits anyone, then it has to be Johan Vigeveno, the amiable, good-natured photographer, who greatly enjoyed putting people at ease. Among the photos on his first roll of film shot at Christmastime in 1957 with a camera he was given on his fourteenth birthday, is a black-and-white shot of his partner at the table during Christmas dinner. He would always consider this image to be one of the most beautiful photos in his oeuvre. His final photo, The Sleeping Beauty, shot for a poster of the Dutch National Ballet, was taken on 11 September 2000. In the intervening years, he photographed images with a great capacity for imagination, humour, and love for people, covering a wide variety of topics that all take place on the boundary between reality and fantasy.

Vigeveno’s father was a diplomat, which required that the family relocate on a frequent basis. ‘There’s not much consistency in my life. Everything is very much up and down and back and forth. This also applies to my different kinds of photography. It starts with the fact that if you are continually moving as the son of a diplomat, you can never attach anywhere (…) My ability to adapt is in part an aspect of my nature and in part the result of my early years.’ For Johan, there were many lonely periods. He saw very few other children and would withdraw into his own fantasy world.

Secondary school at Le Rosey, a distinguished boarding school in the village of Rolle on Lake Geneva, which moved to the ski resort town Gstaad in the winter, was a family substitute for Vigeveno. It was there that he made friends for life. The contacts and annual reunions later took him to the most exotic places around the world. Le Rosey was not a school that encouraged artistic development. During this time, however, Vigeveno actively drew and painted, and was also involved in acting and theatre.

Vigeveno’s path in life was not based on clear choices. After completing his studies at the Gymnasium (a prep or grammar school), he decided to attend Leiden University. It was what was expected of him back at home, while Johan himself felt he was lacking the necessary motivation to attend an art academy. He became a member of Minerva, a student fraternity in Leiden. Like the choice of his study, it was based more on an impulse, acting on the advice of his father and a cousin, not knowing that he could just as easily have chosen for another fraternity.

During his days studying in Leiden, Vigeveno was actively involved in various management boards and organisations. He was on the board of the student travel agency NBBS and, as a co-organiser of the student festival, maintained contacts with entertainers such as Conny Stuart and Paul van Vliet.

As an additional source of income, Vigeveno also taught English to young women studying to become secretaries. He designed and photographed the poster for the student film festival. When the first ‘Leids Studenten Kunstfestival’ (‘Leiden Students’ Art Festival’) organised a photo exhibition on the theme of ‘children’, Vigeveno submitted a number of photos. Much to his surprise, he took first, second, and third prize. One year later, the festival was devoted to the theme of ‘women’. Vigeveno took part once again, this time winning first prize.

The thesis with which Vigeveno completed law school was on the topic of copyrights on comic book figures, for which he had conducted interviews with Hergé (Tintin), Goscinny (Asterix & Obelix) and Thijs Chanowski (De Fabeltjeskrant ‘The Fables Newspaper’, a Dutch television show). His first job came as a result of his studies. Years later, he would also take part in a committee of the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’) concerning copyrights. For the rest, however, Vigeveno’s background as a jurist had no significance.

An open interview with Thijs Chanowski in the early 1970s resulted in a permanent position as a producer of the project ‘tourist information’. The assignment involved making cassettes with image and sound as well as film strips with slides to be rented out to travel agencies in order to promote holiday stays in locations such as Bali, Acapulco, Benidorm, and Kenya. Supported by a research department, Vigeveno drew up the scenarios and hired copywriters and photographers. This made him popular with people in the photography world. Upon learning that Vigeveno was handing out holiday trips, photographers such as Ed van der Elsken, Hans Pelgrom, and Koen Wessing responded to the offer. The sale of the programmes was a disappointment, however, with Vigeveno having to do an increasing amount of the work himself. He was also of the opinion that he could do things better than the copyrighters he was hiring. Thanks to his international upbringing and his knowledge of languages, Vigeveno was able to write English and French versions effortlessly. It was only a small step before he also started shooting his own photos. The programme on Great Britain was photographed entirely by Vigeveno, that of Denmark in part. At the end of 1972, the project was shut down due to a lack of commercial success, with Vigeveno unemployed as a result.

It was at this point that Vigeveno decided to begin for himself. He ‘established himself’ as a copywriter, producer, graphic designer, and a photographer of diaporamas (‘banddia’) presentations, stating no clear preference for any one of these disciplines. At the same time, he undertook an active search to obtain photo assignments. He presented his children’s photos to the editorial department of the magazine Ouders van Nu (‘Parents of Now’), which bought the publication rights for thirty of his photos. Through Ouders van Nu, Vigeveno came into contact with the editors at Mensen van Nu (‘People of Now’). His photos were also published in this magazine and he likewise received a number of assignments. Vigeveno showed the travel photos shot for Chanowski to the women’s magazine Libelle, resulting in an assignment to make several travel reportages. These publications in turn exposed Vigeveno’s work to others, with the number of clients steadily growing. By 1978, he felt that the quality of his own photos was getting better, but it was still not until 1983 that he dared refer to himself as a bona fide photographer.

In 1974, Vigeveno started up a company specialised in audiovisual presentations, together with Bernie IJdis: IJdis/Vigeveno. The initiative for this collaboration came from IJdis. The two men knew each other from the advertising agency KVH, where IJdis’s clients included the International Wool Secretariat. Vigeveno and IJdis had founded a magazine for this company. As a team, IJdis thought up the sales promotions for companies and oversaw the finances. Vigeveno was responsible for making the diaporamas, which entailed writing the copy, doing the design, photographing and production. In doing so, he took on the lion’s share of the work. In addition, he also carried out individual photo assignments. The diaporama programmes for the Internationaal Wool Secretariat were shown worldwide. As a result, he was commissioned to make a diaporama programme for the collective ‘Gold’ campaign. Vigeveno traveled around the world in connection with the products wool and gold. He met, for instance, gold smugglers in India and the pianist Walter Valentino Liberace (1919-1987), whom he photographed sitting behind his gold grand piano.

The only schooling in photography that Vigeveno had undertaken were the two workshops he followed at the former Canon Gallery in Amsterdam. The first was given during the spring of 1983 by the American conceptual photographer Duane Michals. In his photos and texts, Michals depicts his own experiential world as reality in photos and texts. His photography is more akin to narrative poetry and surrealist painting than documentary or journalistic photography. Vigeveno identified both with Michals’ work and his sense of humour. It was a comforting idea that he too added text beneath his photos. In the context of the workshop, Vigeveno produced a sequence about a jealous man who suspects his girlfriend is unfaithful, as a parody of Michals’ oeuvre: ‘From the ease with which I made that story in a half-day, you can tell that Michals’ style was to my liking. I have not been influenced by him, but do feel recognition.’ In 1984, Vigeveno took part in the workshop of Frank Horvat, an Italian fashion photographer living in France. Horvat worked for famous magazines such as Picture Post, Life, Elle, Vogue, Harper’s Bazaar, Esquire, and Twen.

Vigeveno was active in various areas in which photography was applied: portrait, advertising, fashion, and illustrative photography, as well as conceptual, staged photography. He felt no desire to limit himself to any one genre, on one hand because he liked everything, on the other hand because he enjoyed taking on new challenges. He shot portraits for the magazine Marie Claire for a period of five years. The Dutch woman’s magazine Viva used him as a fashion photographer. For the Dutch glossy Elegance, Vigeveno produced—besides fashion—a monthly series on the dreams of renowned Dutch people. In Man, he published both fashion photos and portraits. He did an extensive series in colour for Elle, the so-called ‘chain photo’. This went from one person to the next, for instance, the politician Hedy d’Ancona, who was able to decide with whom she wished to be portrayed. The person she chose was then able to select someone whom he/she wished to appear in the next photo. It became a long series. Vigeveno also shot portraits for Avenue. In the end, he worked for virtually all of the Dutch glossy magazines, without any conflict of interest. In addition, Vigeveno photographed for the theatre. In the 1990s, he was the regular photographer of the Dutch National Ballet. He was also registered with Thed Lenssen Film as a director of ‘commercials’.

Portrait photography is an important component of Vigeveno’s oeuvre. The psychological aspect thereof particularly intrigued him. The architect Herman Hertzberger teasingly asked at the beginning of his portrait shoot: ‘How do you think you’re going to bring out the real ‘me’ in twenty minutes?’ This is indeed the challenge: to get a person’s personality to surface in the short span of a session. Vigeveno’s first portrait was of the actor Fons Rademakers. It took him fifteen minutes to complete it. Not long after that, Vigeveno came across a portrait of Rademakers shot by the photographer Taco Anema, which was precisely the same as his. ‘That actor had simply put on his photo face,’ Vigeveno related. ‘That’s when I realised it was not all that simple. Especially actors put up a big fit. They are aware of every muscle in their face and are very familiar with how to show up in the photo as favourably as possible.’

Vigeveno was gifted at using his natural charm to put people at ease very quickly. Once he had figured out how to get people to take off their masks—it often seemed as if he was just fooling around, which could lead to hilarious situations—his ‘clients’ frequently revealed more of themselves than they realised.

Vigeveno shot his first advertising photos in 1980, for the Stichting Geluidshinder (‘Noise Pollution Foundation’) on assignment for the advertising agency Hammerschmidt House. He functioned at his best, when the assignment was as open as possible. He was given no texts or sketches, but themes such as ‘street clamour’, ‘neighbours in the garden’, or ‘noise in the house’. Early on a Saturday morning, for instance, Vigeveno took a photo of a former girlfriend sitting on a large staircase. For years, this photo served as a kind of visual logo for the Stichting Geluidshinder as well as the basis for a television commercial. Because Vigeveno had no experience as a director, at least not with moving images, a professional director was hired. The model, however, only wanted to work when Vigeveno was on the set, so that she could be directed by him. During a holiday in the United States in 1983, Vigeveno received word that the De Beers diamond company was commissioning him to photograph for an advertising campaign. He rushed back to the Netherlands. There was no way he was going to miss an opportunity to work in total freedom with an almost unlimited budget and top models from the United Kingdom.

Gregor Frenkel Frank of the Grey advertising agency had seen Vigeveno’s photos in the magazine Mensen van Nu and had decided to hire him immediately for a campaign on behalf of Collectieve Levensverzekering (‘Collective Life Insurance’). The reason was that he wanted the photos to be ‘naturel’. In Frenkel Frank’s view, one rarely encountered the warmth and honesty that Vigeveno’s photos radiated. Advertising photography was filled with an excess of posing. He went on to hire Vigeveno as well to photograph for an advertising campaign concerning the cigar manufacturer Oud Kampen. They would end up working together for Oud Kampen for a total of ten years.

As a staging, conceptual photographer, Vigeveno was of an exceptional calibre. His major strength, and his greatest pleasure, lay in conceiving and arranging photos, as well as in the conception and execution of photographed narratives. He did a number of visual narratives for the magazine Man, featuring himself as the main character: a Woody Allen type, involved in fighting a losing battle with fashion and the fitness culture.

The magazines approached Vigeveno primarily for his staged photography. While it was indeed something he was good at, over time he began to tire of this genre and long for something different: ‘I wasn’t just looking for new challenges. Up to 1987, I was doing only illustrative photography. The subjects that the magazines come with are repeated regularly. ‘Having an affair’ is a theme that returns every year. I believe I’ve done ‘hyperventilation’ seven times and ‘postnatal depression’ about three times. I have no desire to do ‘incest’ again. As I already had a very strong picture the first time around. That’s why I wanted to do something different and let the editorial departments know I wanted to produce fashion photos.’

When the Vigeveno family moved from France to Denmark in 1956, Johan’s sister Sveeva remained in Paris, where she shared an apartment with Brigitte Bardot. Sveeva was determined to become a model and would succeed in doing so. Through her stories about the modelling profession and the photographers Helmut Newton and Irving Penn, for whom she modelled, Johan had become interested in fashion photography at a young age. At the time, this interest had no influence on his choice. Only after years of doing staged and advertising photography, as well as so-called ‘realistic’ portrait photography, did he make the switch to fashion photography based on his desire to do to practicing ‘pure’ photography.

Rupert van Woerkom, in the 1980s chief editor of the magazines Elegance and Man, was familiar with Vigeveno’s work exclusively through the ‘Sumatra Cum Laude’ campaign for Oud Kampen. Vigeveno showed him his portfolio, expressing his wish to do fashion photography. Van Woerkom and his staff judged his work to be too contrived, too epic, and above all, too cheerful. Other photos in his portfolio, however, did appeal to them: especially the man behind the photographer, they found to be interesting, vulnerable, and unaffected. In Van Woerkom’s opinion, Elegance was ill suited to Vigeveno, as it would not give him the chance to fully manifest his ideas. When Van Woerkom released his magazine Man in 1985, however, he turned to Vigeveno. He was subsequently commissioned to do a fashion reportage as well as portrait photography.

The creative director Lodewijk van der Peet also worked frequently with Vigeveno. In 1980, Van der Peet worked at the advertising agency Hammerschmidt House, for whom Vigeveno had done the Stichting Geluidshinder campaign. The collaboration, however, dates from after this time, at the Wunderman advertising agency. Vigeveno was more or less forced to do so by the firm’s creative director, Nico Dresmé. Van der Peet recalls: ‘When I arrived at Wunderman, Nico had already worked with Johan for PTT Post. In 1983, I was allowed to do the follow-up campaign, so it was logical that I worked with Johan. We became friends, close friends even. I wanted a photo of a family that had to look as if it had been taken by a local photographer, such as a wedding or passport photographer. As a preliminary study, Johan and I went to a real people’s photographer to have ourselves photographed and all the while observing the craft. That photographer asked for what purpose the portrait was intended. For our mother in Australia, we said. From that time on we were brothers and have remained that seventeen years long.’

Van der Peet felt that Vigeveno was too easily prone to thinking he could do anything. He thought his portraits were strong, but his fashion photography stranded. Vigeveno paid more attention to the narrative side as opposed to the aesthetic: ‘For Johan it was something like “a hell of a job” to get things sharp, let alone photographing structure well.’ Fashion photography has to show the clothing, material texture, and beauty.

Vigeveno was not a technical person. He compensated this by hiring good technical assistants, who in turn were able to teach him how to deal with models. His best collaboration was with Pieter van der Heijden, who later became a lighting technician, because he was the type of assistant who saw a lamp was out as soon as he arrived and then immediately set out to repair it. When it came to ideas, Vigeveno had no need of an assistant. While it sometimes seemed as if he was just messing about, he never did anything without a reason. Everything from A to Z was stored in his head. His approach was uninhibited, he liked many things, including the suggestions of others, but at the same time he did exactly what was in his head. Not everyone thought that he was a good photographer, but, as a conceptual photographer, Vigeveno’s clients saw him as someone who stood out above many others.

In 1991, the Canon Gallery in Amsterdam organised an exhibition featuring work by Vigeveno, under the title Hardop dromen (‘Dreaming Aloud’). Vigeveno’s initial response to exhibiting his work was negative. In his view, he had no personal style and was therefore out of place in a gallery. The gallery’s aim, however, was to show that, even in a varied oeuvre, the mark of the maker is distinctly present. The exhibition indeed showed that Vigeveno’s photos, despite the wide range of themes, clearly conveyed the photographer’s personality. To his own surprise, Vigeveno concluded: ‘That diversity wasn’t weakness, but rather my strength’.

Vigeveno taught classes as a guest instructor at various institutions, including the ABK in Rotterdam, together with the photographer Wout Berger, and at the HKU (Hogeschool voor de Kunsten, ‘School of the Arts’) in Utrecht, together with a stylist, where he gave a one-week seminar two times a year. Vigeveno also taught classes at the MTS voor fotografie en fotonica (Middelbare Technische School, ‘Intermediate Technical School of Photography and Photonics’) in The Hague, as well as at the De Moor Cultural Centre, Fotogram, the Rietveld Academy, and the RABK (Rijksakademie van Beeldende Kunsten, ‘National Academy of Fine Arts’) in Amsterdam. Together with Hans Aarsman, and later Lodewijk van der Peet, Vigeveno organised the programme De Nationale Fotoquiz (‘The National Photo Quiz’) for Het Fotocafé (The Photo Café) at De Moor (later called the ACF, Amsterdams Centrum voor Fotografie, ‘Amsterdam Centre of Photography’). Fifteen short documentary films were shot for the programme at the studios of photographers Kees de Graaf and Bertien van Manen. Every cliché and stereotype was introduced, with Vigeveno playing all of the roles. He proved to be a skilled actor and was especially brilliant in the role of Andy Warhol.

The supervisory board of the PANL (Photographers Association of the Netherlands) had seen Vigeveno presenting the programme De Nationale Fotoquiz. His performance had made an impression. When in 1995 the Stichting PANL held a discussion night on the topic of whether it should close its doors or continue further, Vigeveno was asked to lead the talk. At the end of the night, he offered to assume the role of chairman. With his charismatic appeal, Vigeveno managed to put together entirely new management board and secretariat. Under his chairmanship, the PANL went from being a foundation to becoming an association with many active members. In 1998, Vigeveno decided to take more time off to be with his family. He transferred his chairmanship at the PANL to the photographer Boudewijn Neuteboom. Upon his departure, the board made Vigeveno an honorary member.

Johan Vigeveno was a world citizen. He made contacts easily, and in doing so, he came into contact with various creative and commercial sectors involved in the production of images. The manner in which he worked, both from a registrational and conceptual perspective—without relying on strict precepts—has resulted in an intriguing and distinct oeuvre in Dutch portrait, advertising, and fashion photography.


Primary bibliography

K. de Vries, J. Vigeveno, P. Spierenburg e.a., Auteurs over recht. Nota over het auteursrecht van de Federatie van kunstenaarsverenigingen, Amsterdam (Federatie van Kunstenaarsverenigingen) 1980.

G. Frenkel Frank en Johan Vigeveno, Tien jaar portretten voor Oud Kampen, Kampen (Oud Kampen Sigaren) 1987.


(foto’s in boeken, tijdschriften en ander drukwerk)

Ouders van nu (juli 1972) 10, p. 50-51.

Ouders van nu (december 1972) 3, p. 41-47.

School. Maandblad waarin school en thuis elkaar ontmoeten (maart 1975) 7, omslag.

Nederlands Theater- en Televisiejaarboek (1977/1978) 27, p. 56, 65.

[Verjaardagskalender met foto’s van Mensen van nu], Utrecht, (Z&K Tijdschriften BV) ca. 1978.

Teun Kamphorst en Willem van Toorn, …En een tijd om te spelen, Grafisch Nederland 1978.

Wij. Magazine voor aanstaande en jonge ouders (1978) 10.

Filmfan september 1978, p. 15.

Wij. Magazine voor aanstaande en jonge ouders (1979) 2.

Wij. Magazine voor aanstaande en jonge ouders (1979) 5.

Nederlands Theater- en Televisiejaarboek (1979/1980) 29, p. 52.

Wij. Magazine voor aanstaande en jonge ouders (1980) 9.

Ouders van nu (april 1980) 4, omslag, p. 7, 19-25, 27-34.

Vrij Nederland. Bijvoegsel (28 juni 1980) 26 [= VN’s detective- en thrillergids], omslag.

Nederlands Theater- en Televisiejaarboek (1980/1981) 30, p. 199.

Margriet (20 juni 1981) 26, p. 79, 81, 83.

Margriet (1 oktober 1982) 39, p. 70.

Margriet (8 oktober 1982) 40, p. 48-49.

Margriet (29 oktober 1982) 43.

Vrij Nederland. Bijvoegsel (11 juni 1983) 23, omslag.

Het Nederlands Theaterboek (1983/1984) 33, p. 43.

Marian Spinhoven, Jacqueline Wesly en Marije de Jong (tekst), Johan Vigeveno (foto’s), Voorbehoedsmiddelenboekje Veilig vrijen, Weesp (Weekblad Viva i.s.m. Schering Nederland b.v.) 1984.

Trouw 21 mei 1984.

de Volkskrant 21 mei 1984.

NRC Handelsblad 22 mei 1984.

Man 13 (1985) 3, p. 5.

Trouw 11 februari 1985.

Nederlands Theaterboek (1984/1985) 34, TT. Toneel Teatraal 106 (september 1985) 8, p.63.

Avenue 20 (oktober 1985) 10, p. 24, 26-27.

Nederlands Theaterboek (1985/1986) 35, TT. Toneel Teatraal 107 (oktober 1985) 8, p. 66, 68.

Man 14 (juni 1986), p. 8.

Man 14 (september 1986), p. 6.

Man 14 (november 1986), p. 6, 10.

Holland in Canada ‘87/La Hollande au Canada ’87, p. 8-9, 45, 54, 61-62.

Computervisie 6 (1987) 3.

Man 14 (januari 1987), p. 10.

Man 15 (februari 1987), p. 6.

Man 15 (maart 1987), p. 8.

Man 15 (mei 1987), p. 63.

Man 15 (juni 1987), p. 14.

HP. Haagse Post 11 juli 1987, p. 61.

Humanist. Maandblad over humanisme, mens en wereld (oktober 1987) 10, omslag, p. 21.

HP. Haagse Post 31 oktober 1987, p. 42-43.

Vara gids 7 november 1987, p. 30.

(Kerstkaart) Hillen Interieurarchitectuur, Amsterdam z.j. [december 1987].

Perfektie. Magazine van de Mitsubishi Dealer organisatie (1988) 3, p. 20-21.

(Folder) BG. De Brakke Grond, januari 1988.

Catalogus tent. Geliefde personen, Plaatwerk 4 (maart 1988) 22/23, p. 57.

Vrouw & Bedrijf 3 (april 1988) 3, p. 24.

Zeker Wijzer voorjaar 1988.

(Folder) Berhaus International Fashion Group, voorjaar/ zomer 1988.

Nieuws Tribune (5 mei 1988) 18, p. 30-31.

Nederlands Theaterboek (1987/1988) 37, TT. Toneel Teatraal 109 (oktober 1988) 8, p. 123.

(Folder) Berghaus International Fashion Group, winter 1988.

Stan Meuwese, The youth of the Netherlands. A sketch, Leiden (Stichting voor het Kind/Stichting Kinderpostzegels Nederland) 1989, p. 36.

Perfektie. Magazine van de Mitsubishi Dealer organisatie (1989) 2, p. 8-9, 23.

Zeker Wijzer voorjaar 1989.

(Folder) Modam Nieuwsgalerij, Amsterdam 1989.

Search. Magazine voor medici (december 1989) 5, p. 4-7.

Photography Annual of the Netherlands/Nederlands Jaarboek voor Vakfotografie 1 (1990), p. 45, 79.

Search. Magazine voor medici (maart 1990) 1, p. 4-7.

Pauline Remmers en Gerry Belo (tekst), Vrouw in deze eeuw, in Marie Claire december 1990, p. 46-52, 54.

Stedelijk Jaarverslag. Gemeente Amsterdam 1990.

BulkBoek nr 187A. Catalogus 90-91, omslag.

Avenue 26 (juli 1991) 7, p. 17-18, 21.

Avenue 26 (december 1991) 12, p. 22-23.

Mannen (12 juni 1992) 25, p. 32-34.

(CD-cover) Hetty Heyting, We doen net of we slapen, 1993.

Photography Annual of the Netherlands 4 (1993), p. 39.

Nieuwe Viva (5 februari 1993) 6, p. 16-17, 52.

Nederlands Theater jaarboek (1993/1994) 43, p. 255.

Photography Annual of the Netherlands 5 (1994), p. 42-43.

Nederlands Theaterjaarboek (1994/1995) 44, p. 56, 167.

Taco Anema e.a. (red.), GKf 50. Fotografie 1945-1995, Amsterdam (De Verbeelding) 1995,p. 146.

Catalogus tent. GKf. Vijftig jaren van toekomst, Groningen (Stichting Aurora Borealis) 1995, ongepag.

Pieter van Leeuwen, Lars Polder en Rob van ‘t Woudt, Fotograferen, Utrecht (Stichting Educatieve Omroep Teleac i.s.m. Bureau Voorlichting Foto Film Video) 1995, p. 162-166.

Viva & Co 1995, p. 27-28.

Marie Claire juni 1995.

Kinderen december 1995, p. 71.

Nederlands Theaterjaarboek (1995/1996) 45, p. 235.

Eva van Schaik, Hans van Manen. Leven & werk, Amsterdam (Arena) 1997, tegenover p. 449.

(Folder) Gek van liefde/Fool for love van Sam Shepard, Tournee 1997/1998.

Ouders van nu (juli 1997) 7, p. 77, 100-103.

(Folder) De CJP Adressenservice september 1998, ongepag.

Marion Bloem, Voor altijd moeder, Beemster (Brokaat) 2001, p. 80 (serie: Zilverbrokaatreeks nr. 3).

Christine Boonstra e.a. (red.), De voorstelling begint op straat! Tien jaar Nederlandse Theaterafficheprijs/The show starts on the street! Ten years of the Dutch Theatre Poster Prize, Amsterdam (Theater Instituut Nederland/BIS) 2001, p. 45, 79.


in Margriet:

(16 mei 1980) 20, bijlage De dag van de twee koninginnen, p. 14, 22.

(16 juni 1981) 26.

(29 januari 1982) 4.

(5 februari 1982) 5.

(21 mei 1982) 20.

(24 september 1982) 38.

(1 oktober 1982) 39.

(8 oktober 1982) 40.

(3 december 1982) 48.

(17 december 1982) 50.

(7 januari 1983) 1.

(29 mei 1984) 28.

(7 december 1984) 50.

(11 januari 1985) 3.

(22 maart 1985) 13.

(26 april 1985) 18.

(15 november 1985) 47.

(6 december 1985) 50.

(28 maart 1986) 14 t /m

(11 april 1986) 16.

(11 juli 1986) 29 t /m (8 augustus 1986) 33.

(22 augustus 1986) 35.

(10 september 1986) 36.

(7 november 1986) 40.

(21 november 1986) 48 t/m (1 december 1986) 52.

(6 maart 1987) 11.

(20 maart 1987) 13.

(27 maart 1987) 14.

(10 april 1987) 16.

(1 mei 1987) 19.

(15 mei 1987) 21.

(5 juni 1987) 24.

(15 juli 1987) 29.

(23 september 1987) 39.

(9 oktober 1987) 42.

(30 oktober 1987) 45 t/m (25 december 1987) 52.

(1 januari 1988) 1 t/m (29 april 1988) 18.

(22 juli 1988) 30.

(29 juli 1988) 31.

(12 augustus 1988) 33 t/m (26 augustus 1988) 35.

(9 september 1988) 37 t/m (30 september 1988) 40.

(14 oktober 1988) 42.

(21 oktober 1988) 43.

(4 november 1988) 45 t/m (18 november 1988) 47.

(2 december 1988) 49.

(23 december 1988) 52.


in Mensen:

(april 1980) 4, omslag, p. 12, 14, 54.

(oktober 1981) 10, p. 70-71.

(november 1981) 11, omslag, p. 56-59.

(december 1981) 12, omslag, p. 56-59.

(januari 1982) 1, omslag.

(februari 1982) 2, p. 28-31.

(maart 1982) 3, omslag.

(april 1982) 4, omslag, p. 12-15.

(mei 1982) 5, p. 18-20.

(juni 1982) 6, omslag.

(juli 1982) 7, omslag, p. 26, 28, 30, 32.

(augustus 1982) 8, omslag.

(oktober 1982) 10, p. 28-29.

(november 1982) 11, omslag, p. 20-22.

(januari 1983) 1, omslag, p. 3, 6-7.

(maart 1983) 3, omslag, p. 43-45.

(april 1983) 4, omslag, p. 58-59.

(mei 1983) 5, omslag.

(juni 1983) 6, omslag, p. 16.

(juli 1983) 7, omslag, p. 52-54.

(september 1983) 9, omslag.

(oktober 1983) 10, omslag, p. 32-35.

(november 1983) 11, omslag.

(december 1983) 12, omslag, p. 36-37.

(maart 1984) 3, omslag, p. 50-51.

(mei 1984) 5, omslag, p. 9-12, 28.

(juli 1984) 7, omslag, p. 32-33, 35, 54-55.

september 1984, omslag, p. 6-7, 10-11.

oktober 1984, p. 42-43, 46.

november 1984, omslag, p. 6-7, 27, 31, 34-37.

december 1984, omslag.

januari 1985, omslag, p. 6-8, 10, 42-45.

februari 1985, omslag, p. 38-39, 42-43.

maart 1985, omslag.

april 1985, omslag, p. 58.

mei 1985, omslag.


in Mensen van nu:

(juli 1973) 4, p. 19-21, 46-47.

(augustus 1973) 5, p. 20-21.

(oktober 1973) 7, p. 14-15, 46-47-

(december 1973) 9, p. 10-11.

(januari 1974) 10, p. 42-43.

(april 1974) 1, omslag.

(juni 1974) 3, omslag.

(november 1974) 8, p. 22-23.

(januari 1975) 10, omslag, p. 48-49.

(mei 1975) 2, p. 44-46.

(juni 1975) 3, p. 44-45.

(juli 1975)4, omslag.

(augustus 1975) 5, p. 53.

(september 1975) 6, omslag, p. 20.

(oktober 1975) 7, p. 26-27.

(november 1975) 8, p. 48.

(januari 1976) 1, omslag.

(februari 1976) 2, p. 39.

(maart 1976) 3, p. 10-11.

(april 1976) 4, omslag, p. 19.

(mei 1976) 5, p. 22, 24-25.

(juni 1976) 6, omslag.

(juli 1976) 7, p. 54.

(augustus 1976) 8, p. 3, 10-11.

(september 1976) 9, p. 10-12, 24-25.

(november 1976) 11, p. 44-45, 48.

(december 1976) 12, omslag, p. 22-23, 29-34.

(januari 1977) 1, p. 28-31, 33-34.

(april 1977) 4, p. 34.

(mei 1977) 5,p. 37.

(juni 1977) 6, p. 17.

(juli 1977) 7, p. 19-20.

(augustus 1977) 8, omslag, p. 10-12, 26-27.

(september 1977) 9, omslag.

(oktober 1977) 10, omslag, p. 18-19, 34, 50-51.

(november 1977) 11, omslag, p. 17, 32-35.

(december 1977) 12, omslag, p. 21, 44-47, 50-51.

(januari 1978) 1, omslag.

(februari 1978) 2, p. 36-37.

(mei 1978) 5,p. 23, 52-53.

(juni 1978) 6, omslag, p. 43.

(augustus 1978) 8, omslag, p. 17-18, 32, 35.

(september 1978) 9, omslag, p. 32-33.

(oktober 1978) 10, omslag, p. 14-15, 17.

(november 1978) 11, omslag, p. 43-46.

(december 1978) 12, omslag, p. 8-10, 45-48.

(januari 1979) 1, omslag, p. 8-10.

(februari 1979) 2, omslag.

(april 1979) 4, p. 27, 52-53, 55.

(augustus 1979) 8, omslag, p. 8-9, 32, 34-35.

(september 1979) 9, omslag, p. 24-25.

(november 1979) 11, omslag, p. 24-25, 27.

(januari 1980) 1, omslag.

(februari ig8o) 2, omslag.

(maart (1980) 3, omslag, p. 17.

(april 1980) 4, omslag, p. 12, 14, 54.

(mei 1980) 5, omslag.

(juni 1980) 6, omslag.

(juli 1980) 7, omslag, p. 33.

(december 1980) 12, omslag.

(maart 1981) 3, omslag,

(april 1981) 4, omslag, p. 12-13, 15.

(mei 1981) 5, omslag, p. 48-51.

(juni 1981) 6, omslag.


in Viva:

(23 oktober 1981) 43.

(23 juli 1982) 29.

(24 september 1982) 38.

(26 november 1982) 47.

(15 april 1983) 15.

(22 april 1983) 16.

(20 mei 1983) 20.

(17 juni 1983) 24 t/m (1 juli 1983) 26.

(22 juli 1983) 29.

(5 augustus 1983) 31.

(26 augustus 1983) 34.

(2 september 1983) 35.

(16 september 1983) 37.

(23 september 1983) 38.

(14 oktober 1983) 41 t/m (28 oktober 1983) 43.

(11 november 1983 ) 45 t/m (2 december 1983) 48.

(15 december 1983) 50.

(23 december 1983) 51.

(24 februari 1984) 9.

(9 maart 1984) 11.

(23 maart 1984) 13.

(11 mei 1984) 20.

(18 mei 1984) 21.

(15 juni 1984) 25.

(29 juni 1984) 27.

(13 juli 1984) 29 t/m (27 juli 1984) 31.

(7 september 1984) 37.

(9 oktober 1984) 41.

(16 november 1984) 47.

(30 november 1984) 49.

(14 december 1984) 51.

(21 december 1984) 52.

(11 januari 1985) 3 t/m (25 januari 1985), 5.

(8 februari 1985) 7.

(12 april 1985) 16 t/m (26 april 1985) 18.

(17 mei 1985) 21.

(7 juni 1985) 24 t/m (28 juni 1985) 27.

(12 juli 1985) 29.

(30 augustus 1985) 36.

(13 september 1985) 38.

(27 september 1985) 40.

(25 oktober 1985) 44.

(15 november 1985) 47 t/m (29 november 1985) 49.

(13 december 1985) 51.

(3 januari 1986) 2.

(10 januari 1986) 3.

(24 januari 1986) 5.

(21 februari 1986) 9.

(7 maart 1986) 11 t/m (28 maart 1986) 14.

(2 mei 1986) 19.

(16 mei 1986) 21.

(6 juni 1986) 24.

(20 juni 1986) 26.

(4 juli 1986) 28.

(11 juli 1986) 29.

(1 augustus 1986) 32.

(15 augustus 1986) 34.

(29 augustus 1986) 36.

(5 september 1986) 37.

(3 oktober 1986) 41.

(17 oktober 1986) 43 t /m (31 oktober 1986) 45.

(14 november 1986) 47.

(28 november 1986) 49 t /m (12 december 1986) 51.

(9 januari 1987) 3.

(16 januari 1987) 4.

(30 januari 1987) 6.

(13 februari 1987) 8.

(13 maart 1987) 12 t/m (27 maart 1987) 14.

(8 mei 1987) 20.

(5 juni 1987) 24.

(12 juni 1987) 25.

(26 juni 1987) 27.

(10 juli 1987) 29.

(17 juli 1987) 30.

(31 juli 1987) 32.

(14 augustus 1987) 34.

(21 augustus 1987) 35.

(25 september 1987) 40 t /m (23 oktober 1987) 44.

(4 december 1987) 50.

(1 januari 1988) 1 t/m (5 februari 1988) 5.

(19 februari 1988) 8.

(26 februari 1988) 9.

(8 april 1988) 15.

(6 mei 1988) 19.

(17 juni 1988) 25.

(1 juli 1988) 27.

(12 augustus 1988) 33.

(7 oktober 1988) 41.

(14 oktober 1988) 42.

(4 november 1988) 45.

(25 november 1988) 48 t /m (9 december 1988) 50.

(23 december 1988) 52.

(3 februari 1989) 6.

(17 februari 1989) 8.

(24 februari 1989) 9.

(17 maart 1989) 12.

(7 april 1989) 15.

(14 april 1989) 16.

(19 mei 1989) 81.

(16 september 1996) 38.

(30 december 1996) 1.

Assignments (selection)

(na het jaar staat vermeld de opdrachtgever en tussen haakjes het onderwerp en/of het doel waarvoor de foto ‘s zijn gemaakt)

1977 e.v. Het Werktheater (voorstellings- en publiciteitsfoto’s).

1980 Reclamebureau Hammerschmidt House (advertentiecampagne Stichting Geluidshinder).

1982 e.v. Libelle (portretten en reportages, o.a. Reïncarnatie, 1990).

1983 Diamantairs De Beers (advertentiecampagne).

1983 Reclamebureau Grey (campagne Collectieve Levensverzekering).

1983 e.v. Viva (portretten en reportages, o.a. Veilig vrijen, 1984).

1985 e.v. Man (modereportage en portretten).

1985 e.v. Margriet (portretten en reportages, o.a. Mannen praten niet, 1987).

1986-1998 Reclamebureau Grey (campagne voor Oud Kampen sigaren).

1986 e.v. Reclamebureau Wunderman (o.a. campagne PTT Post).

1990 e.v. Marie Claire (portretten).

1994 e.v. Het Nationale Ballet (publiciteitsfoto’s voor affiches, programma’s e.d.).

1996-1999 Uitgeverij Gottmer (schrijversportretten).

Secondary bibliography

Catalogus tent. Geen Commentaar. Fotografen als ooggetuigen van agressie en geweld, Amsterdam (Nederlandse Kunststichting) 1982, ongepag.

Folder Fotografisch Totaalprojekt in De Moor. Het andere gebouw, Amsterdam (De Moor) 1989.

Ingeborg Leijerzapf e.a. (tekst), Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw/The decisive image. Dutch photography from the 20th century, Amsterdam (BIS) 1991, p. 77, 214.

Herman Hoeneveld, Johan Vigeveno, in P/F Professionale Fotografie (1993) 6, p. 43-50 (met foto’s).

Bettina Voos (productie), Niet geschoten is altijd mis, in Man Reizen. Bijlage bij Man 22 (oktober 1994), p. 22-27.

Mediagids. Fotograferen, Utrecht (Stichting Educatieve Omroep Teleac) 1995, p. 21.

Anoniem, Vrije fotografie. Johan Vigeveno, in P/F Professionale Fotografie (1997) 7, p. 24.

Ger van Leeuwen en Maartje Wildeman (red.), Dansfotografie in Nederland/Dance Photography in the Netherlands, Amsterdam (International Theatre &Books) 1998, p. 42.

Anoniem, PANL. Superieure presentatie van Nederlandse kwaliteit, in P/F Professionale Fotografie (1998) 2, p. 42.

Veilingcatalogus Dutch Photography 1900-2000. Veilingnr. 202, Amsterdam (Glerum) 2000, p. 72 (lot 123 en 123 A).

Pim Milo, Johan Vigeveno: Fotograaf en meester in veelzijdigheid, in Catalogus Legio Fotofestival Naarden 2001, Naarden (Stichting FotoFestival Naarden) 2001, p. 54-61.

Pim Milo, Johan Vigeveno 14 december 1943 [-] 10 december 2000, in Hollands Licht (2001) 1, omslag, p. 8-10.

Wim van Sinderen (red.), Fotografen in Nederland. Een anthologie 1852-2002, Amsterdam/Gent/Den Haag

(Ludion/ Fotomuseum Den Haag) 2002, p. 404-405.


GKf ca. 1979-2000.

Bestuur Amsterdams Fonds voor de Kunst 1986-1989.

Bestuur Stichting PANL 1995-1998, daarna erelid.


1963 Eerste, tweede en vierde prijs, tentoonstelling georganiseerd door Leids Studenten Kunstfestival met thema ‘kinderen’.

1964 Eerste prijs, tentoonstelling georganiseerd door Leids Studenten Kunstfestival met thema ‘vrouwen’.


1963 (g) Leiden, [tentoonstelling met thema ‘kinderen’, onderdeel van Leids Studenten Kunstfestival].

1964 (g) Leiden, [tentoonstelling met thema ‘vrouwen’, onderdeel van Leids Studenten Kunstfestival].

1982/1983 (g) Amsterdam, Nederlandse Kunststichting, Geen Commentaar. Fotografen als ooggetuigen van agressie en geweld [reizende tentoonstelling: Amersfoort, Kreatief Sentrum De Hof; Den Bosch, Het Kruithuis; Utrecht, Hedendaagse Kunst; Zwolle, Provinciehuis].

1986 (g) Amsterdam, Stedelijk Museum, 100 Meter foto in het Stedelijk (GKf).

1987 (e) Amsterdam, De Moor.

1988 (g) Amsterdam, Stedelijk Museum, Geliefde personen (GKf).

1989 (g) Amsterdam, De Moor, Het andere gebouw.

1991 (e) Amsterdam, Canon Image Centre, Hardop dromen.

1991 (g) Amsterdam, De Moor, Mijn belangrijkste foto van 1990.

1991 (g) Amsterdam, Nieuwe Kerk, Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw [Collectie Stichting Dutch Photography].

1995 (e) Amsterdam, Melkweg Galerie, The ceiling is too low.

1995 (g) Groningen, Der Aa-Kerk, GKf. Vijftig jaren van toekomst (Fotomanifestatie Noorderlicht).

1995 (g) Rotterdam, Nederlands Foto Instituut, Lichtjaren. 50 Jaar GKf-fotografie (FotoFestival Naarden).

1996 (g) Amsterdam, Melkweg Galerie, Beyond Reality. Mythos-Dreams and Fantasy-Fiction.

1996 (e) Amsterdam, Muziektheater, [fotograaf Johan Vigeveno portretteert dansers buiten het theater, tussen de mensen op straat].

2001 (e) Naarden, Gele Loods, Johan Vigeveno 1943-2000 (FotoFestivalNaarden).

2002/2003 (g) Den Haag, Fotomuseum Den Haag, Fotografen in Nederland 1852-2002.

2003 (g) Naarden, Gele Loods, Style of life. Tijdschriftfotografie in Nederland, 1945-nu (FotoFestival Naarden).


Amsterdam, Gregor Frenkel Frank.

Amsterdam, Judith Hees.

Amsterdam, Lodewijk van der Peet.

Amsterdam, Sasja Vigeveno-Scherjon.

Amsterdam, Rupert van Woerkom.

Leiden, Studie en Documentatie Centrum voor Fotografie, Prentenkabinet Universiteitsbibliotheek Leiden.

Leusden, Jan Wingender (collectie nederlands fotoboek).


Amsterdam, Maria Austria Instituut.