PhotoLexicon, Volume 25, nr. 40 (December 2008) (en)

Sem Presser

Simon B. Kool


The Amsterdam photographer Sem Presser knew how to combine an adventurous lifestyle with the building of an extensive photographic oeuvre, serving his profession for more than a half-century. Presser’s work chiefly spans from the period of press photography prior to World War II to the later genres of reportage and travel photography. He was a stranger to artistic pretension: ‘I am a craftsman.’ People were always a key element in his work. Presser did more to secure the interests of photographers in the Netherlands after World War II than anyone else and was involved in a large number of photography organisations. As a board member and/or initiator of the founding of the NVF (Nederlandse Vereniging van Fotojournalisten, ‘Netherlands Association of Photojournalists’) and the associated Bijstandsfonds (‘Welfare Fund’), Foto Anoniem (‘Photo Anonymous’), Burafo (Stichting tot Bescherming en Handhaving van Foto Auteursrechten, ‘Foundation for the Protection and Compliance of Photo Authorship Rights’), and the Fotografenfederatie (‘Photographers Federation’), Presser spent his entire career standing up for the rights of the photographer.




Samuel (Sem) Presser is born on 21 November on the Commelinstraat in Amsterdam East as the son of Salomon Alexander Presser, born in Amsterdam on 8 October 1891, and Heintje Peper, born in Amsterdam on 18 May 1892. Sem’s father is a diamond-cutter and a member of the ANDB (Algemeene Nederlandsche Diamantbewerkersbond, ‘General Netherlands Diamond-Cutters Federation’). The family moves to Lepelstraat 97, behind the Carré Theater, and thereafter to Pieter Aertszstraat 103, in the ‘Pijp’ neighbourhood of Amsterdam.


Sem Presser successfully completes primary school. After being held back at the HBS (Hogere Burgerschool, an upper-level secondary school), he obtains his diploma in a three-year ULO (Uitgebreid Lager Onderwijs, lower-level secondary school) programme at the Josef Israëls School on the Manegestraat.


Presser is an active member of the AJC (Arbeiders Jeugd Centrale, ‘Workers Youth Centre’), the youth movement of the SDAP (Sociaal-Democratische Arbeiderspartij, ‘Social Democratic Workers Party’), and the NVV (Nederlands Verbond van Vakverenigingen, ‘Netherlands Federation of Trade Unions).


Presser wins an Agfa box camera at a competition hosted by the socialist newspaper Het Volk.


Presser is hired as the youngest clerk with the company Pfeffer, a store for workmen’s clothing on the Jodenbreestraat in Amsterdam


On 6 May, Presser begins his career as a press photographer working for the Persdienst Foto Varia, a press photo agency operated by Sieg Vaz Dias. While starting out as an assistant, Presser soon manages to get his first photo published. Presser also writes and photographs for Vaz Dias’ Sunday newspaper De Zondagavond (‘The Sunday Evening’).


On 2 June, Presser leaves Foto Varia and establishes himself as an independent photographer, starting up his own company from the attic of his parents’ home on the Pieter Aertszstraat: the ANFP (Algemeen Nederlandsch Foto Persbureau, ‘General Netherlands Press Photo Agency’).


Presser is actively involved in providing shelter to German Jewish refugees.


On 1 May, Presser moves to Paleisstraat 17 in Amsterdam, from where he continues to run his press agency, now in collaboration with Ben van Meerendonk, a former fellow colleague at Foto Varia.


After one year, Presser relocates his business to Singel 137, again working alone. He makes the acquaintance of Ton Weehuizen, chief editor of Stad en Land (‘City and Country’), who commissions him to do photo reportage work. Presser makes his first reportage abroad, concerning the mobilisation of Belgium.


A photo that Presser shoots at military headquarters in The Hague in April, which depicts a meeting between General Henri Winkelman, the commander-in-chief of the Dutch armed forces, and Prince Bernhard, is published both in the Dutch magazine Het Leven (‘Life’) and the American magazine Life.


After the ‘Februaristaking’ (‘February Strike’) in Amsterdam, Presser realises he has to take future measures. Together with Weehuizen, he brings his archive into safety. Presser continues his work at Singel 137, where he also resides by this time, but organises a network of hiding places with the help of his friends at the AJC.


On 25 March, Presser weds Ruth Paula Schachno in Amstelveen. Schachno is a German Jewish refugee, born on 19 March 1921 in Berlin. Starting in May, the couple stays at various hiding addresses in the Netherlands.

In June, Presser and Schachno move to a hiding place in Arnhem. Under the alias Willem Jan Knol, Presser continues his illegal activities, which also include forging identity papers. During this period, Presser does the illustrations for two children’s books and publishes a chronological overview of events in the war. He also continues to photograph for the publishing company Geïllustreerde Pers (‘Illustrated Press’). Presser is arrested on three occasions but released each time.


Presser’s parents, Salomon and Heintje Presser, are transported to Auschwitz on one of the last transport trains leaving transit camp Westerbork. They are murdered on 6 September. On 17 September, Presser photographs combat taking place after the air-landing of British troops near Arnhem, known as ‘Operation Market Garden’. Presser loses his negatives during an evacuation.


With the liberation of Arnhem in April, Presser departs for Brussels, Belgium, with the help of the filmmaker John Fernhout. There he is classified by the military command as a staff war photographer for the ANeFo (Algemeen Nederlandsch Fotobureau, ‘General Netherlands Photo Bureau’), an agency that moves to Amsterdam following the German capitulation in May.

Upon returning to the Netherlands, Presser photographs the entry of Allied forces and visits the detention camps at Vught and Amersfoort, where Dutch collaborators have been imprisoned.

In early September, Presser leaves ANeFo and establishes himself once again as an independent photographer. He moves to Kerkstraat 195 in Amsterdam. This rental building, along with its contents, is assigned to Presser by the ‘Gemeentelijk Bureau van Roerende Goederen van vijanden en landverraders’ (‘City Bureau of Movable Property of Enemies and Collaborators’).

Presser becomes a member of the newly founded GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’).


Presser becomes a board member of the newly established NVF (Nederlandse Vereniging van Fotojournalisten, ‘Netherlands Association of Photojournalists’). Other members of the association in its start-up phase are Aart Klein, Henk Lamme, Harry Sagers, and Erik Hof.

In March, Presser travels to war-ravaged Germany, together with Klein and the journalist Hans Nesna, as an accredited British war correspondent on assignment for the RVD (Rijksvoorlichtingsdienst, ‘Netherlands Government Information Service’). The results are published in the book Zoo leeft Duitsland. Op de puinhopen van het Derde Rijk (‘How Germany Lives. On the Rubble of the Third Reich’).

In September, Presser attends the first Cannes Film Festival. He will return to the festival regularly each year through the early 1960s.

Presser is the only photographer allowed to accompany Queen Juliana and her husband, Prince Bernhard, to Scandinavia during their ‘trip of gratitude’. Upon returning to the Netherlands, Presser and Alexander Huguenot van der Linden compile a photo booklet from this material, which completely sells out within a week: Tolken onzer dankbaarheid. Dankbezoek van het prinselijk paar aan Denemarken, Zweden en Noorwegen voor de tijdens de hongerwinter geboden voedselhulp (‘Interpreters of Our Gratitude. The Princely Couple’s Visit of Thanks to Denmark, Sweden, and Norway for the Food Aid Provided During the Hunger Winter’).


In the spring, Presser takes a two-month train trip across Switzerland and Italy for the Kroniek van de Week (‘Chronicle of the Week’).

Presser takes a second trip to Germany, this time only with Nesna.


Photos of Presser’s second trip to Germany are published in Dans op de Vulkaan (‘Dance on the Volcano’).

In the spring, Presser travels to the Dutch East Indies aboard the SS Volendam, a ship being used to transport Dutch military troops. The photos Presser takes in the Dutch colony will appear one year later in the book Ind(ones)ië. Een Tropenjournaal (‘Indonesia. A Tropics Journal’), written by Louis Vrooland.

At the invitation of the Australian government, Presser travels on to Australia for a photo reportage on Dutch immigrants living there. He subsequently travels to Persia, India, the United States, and several Pacific islands.

Presser becomes chairman of the NVF.


At the recommendation of Simon Carmiggelt, Presser produces the series ‘Mensen op zondag’ (‘People on Sunday’) for Vrij Nederland, featuring Dutch artists, writers, and cabaret entertainers. Presser captures the ‘day off’ of Cruys Voorberg, Charley Toorop, Jan Sluyters, Hildo Krop, Corry Vonk, Wim Kan, and numerous other Dutch artists and writers in photographs.

The NVF awards a prize for the best press photo of the previous year for the first time. Presser builds the first ‘Zilveren Camera’ (‘Silver Camera’, a floating trophy) himself.


Starting on 1 January, Presser is a member of the editorial council of the magazine Fotografie, vakblad voor het fotografisch ambacht (‘Photography. Trade Magazine of the Photographic Craft’).

Starting on 1 March, Presser and Aart Klein together form the editorial staff of Mededelingen van de Nederlandsche Vereniging van Fotojournalisten (‘Notices of the Dutch Association of Photojournalists’). He resigns from both functions at the end of the year.


Presser ends his chairmanship at the NVF.


In 1951, Presser moves to Roquebrune-Cap-Martin, between Monaco and the Italian border in the French department of Alpes-Maritimes. From here, he travels around the world making reportages, both for newspaper and radio. He visits numerous countries in Europe and Africa, North and South America (including Suriname and the Antilles), Singapore, and the South Pole.

Presser writes the texts accompanying his own photos on a more frequent basis and publishes a series of travel guides.


Starting in this year, Presser works for the Dutch magazine De Week in Beeld (‘The Week in View’). A year later this publication is called Revue, followed later by Nieuwe Revu.

Presser wins the Silver Camera with a photo shot in Tignes, a village in Southern France.


After divorcing his first wife, Presser marries Johanna Hendrika Martina (Joke) van den Heuvel in Amsterdam.


Presser takes part in the group exhibition Quatre photographes néerlandais de France (‘Four Dutch Photographers of France’), held at the Institut Néerlandais (‘Netherlands Institute’) in Paris.


Presser participates in the exhibition 4 even hier (‘4 A Moment Here’, the Dutch version of the aforementioned exhibition), held at the RABK (Rijksakademie van Beeldende Kunsten, ‘National Academy of Fine Arts’) in Amsterdam.

Presser is also represented at an exhibition organised by Karl Pawek, entitled Wereldtentoonstelling van de Fotografie (‘World Exhibition of Photography’), which first appears at the Stedelijk Museum in Amsterdam under the title Mensen op weg (‘People Underway’). The other Dutch participants are Oscar van Alphen, Carel Blazer, Martien Coppens, Ed van der Elsken, Aart Klein, Wim van der Linden, and Lies Wiegman.


Sem en Joke Presser return to Amsterdam, residing at Vondelstraat 96. Presser travels to Vietnam for the Dutch newspaper De Telegraaf.


Work by Presser is shown at the Stedelijk Museum in Amsterdam as part of the world exhibition De Vrouw, Pawek’s project created as a follow-up to his 1964 world exhibition Mensen op weg. For years to come, these mega projects, organised by the German weekly Stern, will be exhibited at museums in thirty-six countries.


Presser becomes chairman of the NVF for a second time. Again he devotes his attention to improving photographers’ rights and elevating the profession itself. Under Presser’s chairmanship, the Bijstandsfonds (‘Welfare Fund’ of the NVF), Foto Anoniem (‘Photo Anonymous’), and the Fotografenfederatie (‘Photographers Federation’) receive their definitive form. As a board member of Burafo (Stichting tot Bescherming en Handhaving van Foto Auteursrechten, ‘Foundation for the Protection and Compliance of Photo Authorship Rights’), Presser also takes a strong stand on behalf of this agency, which oversees rights of authorship in the world of photography. During this period, Presser also represents the NVF in numerous committees.


Presser travels around the world on behalf of a project commissioned by the editorial board of the Grote Spectrum Encyclopedie (a Dutch encyclopaedia). The results of these travels are also published in foreign reference works such as the Academic American Encyclopedia and the German Das Grosse Lingen Universal Lexikon.


Presser is a board member of the World Press Photo Holland Foundation.


The Amsterdam City Archives acquires 190 of Presser’s negatives from the publishing company Arbeiderspers (‘Workers Press’). These images are what remain of the Vaz Dias archive, which was lost to fire, dating from the period 1935-1940. Included are cityscapes, portraits, as well as sports, theatre, and news photos shot by Presser.


Presser makes his final reportage for the Nieuwe Revu and no longer takes on commissioned work. From this time forward, Presser and his wife live off the earnings derived from his extensive archive. The Pressers also take several trips each year in order to supplement the archive.


Presser is a member of the Zilveren Camera Commissie (‘Silver Camera Committee’).


Presser is appointed as an Officer in the Order of Oranje-Nassau, based on his merits in the area of photojournalism—both with respect to his photographic work as well as his efforts in the area of association board management—and his illegal activities during the German occupation.


Presser sits on the jury of the Silver Camera.


Presser receives the Joop Alblas Prize 1984. This leads to a retrospective of Presser’s work is held in the New Church in Amsterdam. On the occasion of this award and the exhibition, and as well to mark the fiftieth year of Presser’s career as a photojournalist, the book Sem Presser. Een halve eeuw fotojournalistiek (‘Sem Presser. A Half-Century of Photojournalism’) is published.

Presser receives the Gouden Plaquette (‘Golden Plaquette’) of the NVF.


Presser dies on 29 October at the Prinsengracht Hospital in Amsterdam, following a sickbed of several weeks. Paul Huf photographs Presser’s days in the hospital as well as the funeral service on 3 November.


The ‘Stichting Sem Presser Archief’ (‘Sam Presser Archive Foundation’) is established. The foundation’s aim is to oversee the preservation and management of Sem Presser’s archive as well as to monitor and enforce the rights of authorship with respect to his work. In addition, the foundation supports activities in the field of photography.


The Stichting Sem Presser Archief places Presser’s photo archive under the management of the MAI (Maria Austria Instituut, ‘Maria Austria Institute’) in Amsterdam.


Joke Presser-van den Heuvel dies on 3 December in Amstelveen.


On 15 December, the retrospective Met het hart in de lens. Foto’s van Sem Presser 1935-1986 (‘With the Heart in the Lens. Photos by Sem Presser 1935-1986’) opens at the Jewish Historical Museum in Amsterdam. On the occasion of the exhibition, the photobook De tijden van Sem Presser (‘The Times of Sem Presser’) is published by Uitgeverij Voetnoot. H.J.A. Hofland writes the introduction.

In the NRC Handelsblad’s monthly supplement M, the author Arnon Grunberg writes an essay to accompany the photos, entitled ‘Sem Presser en de kunst van het wegkijken’ (‘Sem Presser and the Art of Looking Away’).


The Stichting Sem Presser Archief transfers the personal archive of Sem and Joke Presser to the care of the IISG (Internationaal Instituut voor Sociale Geschiedenis, ‘International Institute of Social History’) in Amsterdam.


The exhibition Hier is Cannes (‘Here is Cannes’) opens at the Kunsthal in Rotterdam, featuring a selection of Presser’s photos shot at the Cannes Film Festival from 1946 to 1961. Uitgeverij Voetnoot publishes a photobook of the same title, with text by Huib Stam.


The ‘Sem Presser Fonds’ (‘Sem Presser Fund’) is set up. This ‘Fonds op Naam’ (‘Name-based Fund’) facilitates a yearly educational project for young people between the ages of thirteen and sixteen. Candidates are given an opportunity to photograph a current topic in the form of a photo series. The choice of subject matter is adopted from the photo assignment Document Nederland, organised by the Rijksmuseum in Amsterdam and the NRC Handelsblad.


Throughout his life, Samuel (Sem) Presser felt like a loner. As an only child in a Jewish working-class family, he learned to look after himself from an early age. Sem’s mother, Heintje, was prone to take her son more seriously than his father—a diamond-cutter by profession who was usually unemployed. Contrary to his father, Sem was successful at finding work following the completion of his ULO (Uitgebreid Lager Onderwijs, lower-level secondary school programme) studies. He hated that his father was unemployed: it was an experience that taught him to always have an income. The Presser family was neither fanatically left wing, nor fanatically Jewish. Sem attended the synagogue a couple of times, purely out of curiosity. Regarding politics, he would later say: ‘voting socialist was a tradition’. In 1931, Sem Presser became a member of the AJC (Arbeiders Jeugd Centrale, ‘Workers Youth Centre’)—the youth movement of the SDAP (Sociaal-Democratische Arbeiderspartij, ‘Social Democratic Workers Party’)—as well as the NW (Nederlandse Vakbond van Verenigingen, ‘Netherlands Trade Union of Associations’), a trade union aimed to educate young people both physically and spiritually. There he acquired a circle of friends with interests new to him. They also lived by stricter behavioural norms, with the use of alcohol and tobacco forbidden. The AJC brought Presser into contact with literature, art, politics and nature: themes that inspired him to become enthusiastic member, but which also taught him to develop and defend his own opinions. Presser had always known how to defend himself, starting at an early age. In the circle of the AJC, however, he also learned to stand up for his rights. He would later go on to apply his sense of justice on the behalf of all photographers in the various management functions he fulfilled. Thanks to his friends at the AJC and his own open mind, Presser courageously made it through the years of the German occupation with the fake identity papers in his possession. For many years, the fact he had survived the war gave him a feeling nothing could ever happen to him. As a result, there was no situation or individual he sought to avoid. The world lay open before him and it would have to be explored.

Presser often presented himself as an optimistic bon vivant. When hospitalised in October 1986, however, it became apparent that his past had been haunting him. He made attempts to welcome his friends in a jovial mood, initially surrounded by cigars and a drink—until he was no longer able to keep it up. His wife Joke would later relate: ‘The last ten days of his life were terrible. I slept next to him in the hospital and that’s when the whole period of 1940-1945 resurfaced. Fears he had never talked about. There were people outside busy pruning and cutting down trees. He could see them from his bed. Sem insisted they were enemies spying on him. Only with a great deal of effort could I talk this out of his head.’

It was at the Openbare Leeszaal (‘Public Reading Hall’) in Amsterdam that Presser decided to become a press photographer in the spring of 1935. Drawn by the profession’s romantic image, he wrote down the addresses of all thirty press agencies listed in the Heerenboekje (‘Gentlemen’s Booklet’) of Amsterdam. Of the established firms, the only person to respond was Sieg Vaz Dias, who had recently set up the photo agency ‘Persdienst Foto Varia’. Initially, Presser’s primary task was to clean the developing trays and to assist the ‘boss’, Ben van Meerendonk. He relayed police reports and oversaw the inventory of photographic plates. For doing this work, he earned Dfl. 10 a month. Presser learned the art of taking photographs—for him, the heart of the matter—within a few weeks of watching Van Meerendonk, yet he was not allowed to go out and photograph on Foto Varia’s behalf. After making several futile requests for permission to shoot photos himself, Presser decided to quit. Behind Vaz Dias’ back, he again made the rounds past the various Amsterdam press agencies, offering his services as a photographer. This time the Vereenigde Fotobureaux (‘United Photo Agencies’) hired him. When Presser reported this news to his former employer, Vaz Dias only laughed and finally agreed to take him on as a photographer. Consequently, Presser never went to work for Vereenigde Fotobureaux, remaining loyal to his old boss.

Presser’s own first photo appeared directly on the front page of the newspaper Algemeen Handelsblad on 8 July 1935: a queue of people out of work waiting to receive free bicycle tax plates on the Kloveniersbugwal in Amsterdam. When Vaz Dias later started publishing a Sunday paper, Presser seized the opportunity to furnish photos and provide the accompanying news stories. The newspaper Zondagavond (‘The Sunday Evening’) was printed in Antwerp, Belgium. Presser’s weekly trip to Belgium was his first foreign adventure: traveling there by train and returning by plane—along with the newspapers—via KLM Airlines and arriving at Schiphol Airport. Traveling was very much to his liking. While Presser later learned much more about technique and picked up a great deal from other photographers, he always maintained it was with Vaz Dias that he learned the photojournalistic trade.

Two years later, in June 1937, Presser left Foto Varia. In the attic of his parents’ home, he set up his first company as an independent photographer. He set himself apart by giving his business the impressive name ANFP (Algemeen Nederlandsch Foto Persbureau, ‘General Netherlands Press Photo Agency’). In May 1938, Presser and his press agency relocated to Paleisstraat 17 in Amsterdam, where he continued his work together with Van Meerendonk, his former colleague at Foto Varia.

In no time, Presser excelled in the commercial application of photography. His photographs of the royal family’s visit to Amsterdam are one case in point. Within three hours of the procession’s passing—which he managed to capture by brazenly positioning himself directly in front of the carriage, after having jumped the cordon fence—Presser’s picture postcards were already on display in the tobacco stores. Because they brought in more money, it was then that he came up with the idea to sell series on a more frequent basis. He managed to sell a series of eight photos of international chess tournament held at the Krasnapolsky Hotel in Amsterdam to the printing company Uitgeverij De Spaarnestad for almost eighty guilders, a substantial amount in those days. After Van Meerendonk was called up for ‘pre-mobilisation’, Presser moved his business to Singel 137, again working on his own. Ton Weehuizen, chief editor of the weekly De Week in Beeld (‘The Week in View’)—founded in 1936 (what would later become the Revue)—supplied Presser with reportage assignments. It was for this magazine that he produced his first photo reporting outside the Netherlands: the military mobilisation in Belgium.

In April 1940, Presser first made a name for himself with a photo taken at military headquarters in The Hague: a confidential meeting between General Henri Winkelman, the commander-in-chief of the Dutch armed forces, and Prince Bernhard. He had telephoned the military staff on behalf of the ANFP, promising to send in ‘one of his best men’, i.e. Presser himself. The photo was published both in the Dutch magazine Het Leven (‘Life’) and in the American Life magazine. The London representative of the latter publication had offered 100 dollars for the photo, but Presser managed to get twice this amount. Only after the liberation did Presser learned that they only actually published a crop of his image, the size of a postage stamp: “But I was able to live off it for the entire war.’

Following the German invasion of the Netherlands in May 1940, Presser was initially able to move about freely. In September, he opened up a small photo store together with a friend at Haarlemmerdijk 31, where people could have passport photos taken for identity passes required by the German occupying force. With the administration poorly managed, it was far from a successful enterprise. When picking up photos, no one could tell whose photos were whose and what orders had already been paid. In 1941, members of the Dutch resistance handed Presser a pamphlet dropped by British planes flying over Aalsmeer. In the pamphlet was a photo of Queen Wilhelmina, from which Presser made a reproduction that would be illegally dispersed across the Netherlands for the full duration of the war. He would continue to carry out tasks of this nature on behalf of illegal organisations throughout the war.

When the situation in Amsterdam hardened in the aftermath of the German raids and the February Strike of 1941, Presser shifted his efforts to the organisation of a network of hiding addresses, made possible through the help of his friends at the AJC. Just in the nick of time, he transferred his photo archive and administration to a safe location with the help of Ton Weehuizen. Presser was still living and working at Singel 137, and from July of the same year, he began moving around rather boldly using an identity card bearing the name of Willem Jan Knol, a controller for the insurance company Centraal Beheer. When called up to report to the Joodsche Raad (‘Jewish Council’) on the Nieuwe Keizersgracht in Amsterdam in January 1942, Presser knew it was time to take alternative measures. The first Jews had already been taken out of the city and transported to various work camps across the country. Presser organised future plans to flee or go into hiding. On 25 March 1942, he married the German Jewish refugee Ruth Paula Schachno in Amstelveen. Presser would later state their union was a war marriage, i.e. a marriage of convenience, intended to protect Schachno and help her obtain a Dutch identity card. The couple’s initial idea to flee to Switzerland failed due to the indefinite planning of their escape.

For a brief period, Sem and Ruth wore the Star of David as required of Jews by the German occupying forces starting on 2 May 1942. When by early June Jews were also forbidden to travel and Amsterdam was clearly becoming too dangerous, they tore the stars off their clothing in the bathrooms at Amsterdam Central Station. Emerging with a new identity, they boarded the train and went indefinitely into hiding. After a week of traveling via Zwolle and Nijmegen, while staying with Presser’s friends from the AJC, the couple finally found shelter at the home of Ms. Serné on Kloosterstraat 61 in Arnhem. They hid in a well-furnished attic apartment above a community centre of the housing association for a newly built workers’ housing district called the ‘Geitenkamp’, located in the northern part of Arnhem. Immediately upon his arrival, Presser set up a darkroom for himself in this attic.

Undaunted, Presser continued to photograph. His friend Weehuizen, by this time chief editor of the publishing company Geïllustreerde Pers (‘Illustrated Press’), was able to arrange assignments for him with the magazines De Week in Beeld and Margriet, the latter first appearing as an independent women’s magazine in 1942. While Presser furnished primarily children’s photos and reportages on the snow-covered forests of Arnhem, he also produced picture postcards, calendars, and a number of booklets for distribution in the illegal network. These latter publications were intended to raise money for the coordination of those in hiding. Presser came up with the idea, while Wim Polak—later a well-known city deputy mayor in Amsterdam, who himself had gone into hiding in The Hague—acted as publisher. The children’s book Ankie is jarig (‘It’s Ankie’s Birthday’) was reprinted several times. Polak’s wife, Bea Etty Polak-Biet, wrote the story, with illustrations by the painter Leo Schatz and photos by Presser. A sequel was also published under the title Ankie heeft een drukke dag (‘Ankie Has a Busy Day’). All of the children portrayed in the birthday cards and booklets—including ‘Ankie’—lived in the neighbourhood of Arnhem where the Pressers were in hiding.

In the meantime, Presser was also collecting data for a booklet that—when considering the circumstances—would have an enormous distribution. Dat gebeurde hier. Kroniek van vijf jaar oorlog (‘That Happened Here. Chronicle of Five Years of War’) was published for the first time under the pseudonym of Wim Knol in the summer of 1944. The booklet appeared after Allied forces had landed in Normandy, with a first edition of 20,000 copies followed by a second edition in September of 30,000. The publisher was again Wim Polak, who—as he later related—managed to finance 300 people in hiding, along with all of the school meals in The Hague with the revenue it brought in (On 8 August 1981, Presser even spoke of an edition totalling 200,000 copies. The numbers stated here are from the Koninklijke Bibliotheek [‘Royal Library’]–SBK).

In the illegal network, Presser applied his photographic and technical knowledge in the falsification of identity papers. His specialty was reconstructing already existing cards. The photo on the card was bleached out with potassium ferricyanide, without removing the pasted seal so as to prevent damage. A new sensitive layer was then meticulously applied with a small brush, on which a new portrait was exposed in the darkroom. It was a difficult task, requiring a stable hand. Fixing and rinsing were done with a paintbrush. Starting in 1942, Presser produced hundreds of these specimens with the assistance of his wife, Ruth.

In the summer of 1944, Presser asked his friends in hiding in The Hague to prepare a darkroom for his use. He had been informed of the liberating forces’ advances and was certain Queen Wilhelmina would soon be coming ashore at Scheveningen.

During Operation Market Garden—the failed attempt of the Allied forces to liberate the city of Arnhem by crossing over the River Rhine in September 1944—Presser shot photos of advancing troops. On 18 September, he even managed to penetrate through to the bridge over the Rhine. Presser broke through the fighting lines on two occasions. With the military campaign’s failure, however, he was left with no other choice but to withdraw and seek cover.

By again negotiating with the Germans, Presser and his wife were given permission to live in a house on the banks of the Rhine. Upon one day discovering the Germans had placed artillery in front of their door, thus making them a target for Allied forces on the opposite side of the river, they were obliged to make a speedy getaway. It is likely during an evacuation around this time that Presser lost his negatives of the war combat. Later, he would always maintain that he had taken the negatives and buried them, and had been unable to find them after the war. In 2001, however, Ruth claimed she was certain the negatives had been left behind, wrapped in a fruit container and forgotten in the haste of an obligatory departure: ‘We were running around with wheelbarrows, with mattresses, and all kinds of furniture. Then it could very easily happen, that you overlook such a container.’ Only several dozen prints have survived from this period.

For Ruth and Sem Presser, the liberation came on 16 April 1945 while staying at a small house on an estate in Velp, their destination after evacuating Arnhem. While trying to get to Amsterdam as quickly as possible, they were arrested on the road heading west by the British, who immediately seized Presser’s camera. After one day and a night, they were finally released. Ruth proceeded on to Amsterdam, thereafter losing all touch with Presser.

During these chaotic days, Presser travelled on to Belgium with the help of the filmmaker John Fernhout. Arriving in Brussels, he was hired by the film agency ANeFo (Algemeen Nederlandsch Fotobureau, ‘General Netherlands Photo Bureau’) and classified on the spot as a war photographer with the agency’s staff by the ‘Nederlandse Militair Gezag’ (‘Dutch Military Authority’). Upon returning to the Netherlands, it was in this function that Presser photographed the German capitulation at Hotel De Wereld in Wageningen on 5 May 1945. Presser’s own perception was that he had photographed Lieutenant General Reichelt and the commander-in-chief of the German army, Johannes Blaskowitz, through a hole in the wall of the damaged hotel.

In 1991, however, René Kok, the director of the image archive of the RIOD (Rijksinstituut voor Oorlogsdocumentatie, ‘National Instituut for War Documentation’), revealed that Presser had actually taken his shot prematurely. The man he believed was Blaskowitz was in fact Reichelt’s interpreter. At that moment, the German military commander was still at German headquarters in Hilversum. Throughout his life, Presser was proud to have witnessed the capitulation of the German occupying forces. He never learned the truth.

During the liberation of The Hague on 8 May, Bea and Wim Polak witnessed Presser entering the city, waving from the first motorcycle sidecar of the Allied forces. Presser had apparently also photographed the Allies entering a variety of other cities in the Randstad, the populated western part of the Netherlands, in the days of the liberation. In June, Presser travelled to Camp Vught, where members of the NSB (Nationaal-Socialistische Beweging, ‘National Socialist Movement in the Netherlands), Dutch collaborators with the Germans, and members of the SS had been imprisoned after being handed over to the liberating forces. Later that summer, he would also visit the ‘Bewarings- en verblijfskamp Laan 1914’ (‘Prison and Residence Camp Lane 1914’), as the former ‘Lager Amersfoort’ (the Amersfoort concentration camp) had now been renamed.

In the years after the war, Presser knew exactly what people wanted. He compiled booklets with photos (as well purchased from other photographers) of the royal family in exile and Winston Churchill’s visit to the Netherlands in May 1946, which were published by Scheltens & Giltay. The catching titles of these booklets sold well: Oranje in dagen van strijd. 1940-1945. Onze koninklijke familie in Engeland Canada en Amerika (‘Orange in the Days of Battle. 1940-1945. Our Royal Family in Britain, Canada, and America’) from 1945, and Winston Churchill in ons midden. Zijn zegetocht door ons land 8-13 mei 1946 (‘Winston Churchill in Our Midst. His Victory March through Our Country 8-13 May 1946’).

In March 1946, Presser travelled by car on assignment for the RVD (Rijksvoorlichtingsdienst, ‘Netherlands Government Information Service’) as an accredited British war correspondent through a devastated Germany, together with the photographer Aart Klein and a journalist. The trio had been promoted to the rank of ‘British Army Captain’, donning the insignia PRS (‘Public Relations Service’). This enabled them to sleep, eat, and fill their petrol tank at every press camp throughout the country free of charge. The results of this trip were published in the book Zoo leeft Duitsland. Op de puinhopen van het Derde Rijk (‘How Germany Lives. On the Rubble of the Third Reich’). The idea was conceived by both photographers, who knew each other from the AJC and the Amsterdam artist’s society ‘De Kring’ (‘The Circle’). In the 18 January 1997 issue of Vrij Nederland, Aart Klein related the following: ‘The idea was born there [in De Kring]: we must go to Germany. We went to The Hague, to the Rijksvoorlichtingsdienst. There was the man who would later become president of the TROS [broadcasting company], [Joop] Landré. We want to go to Germany, we said. (…) Landré made arrangements so that we could go. In Apeldoorn, Sem and I were given uniforms with an officer’s insignia. That gave us entry everywhere.’

The publisher Scheltens en Giltay was willing to produce a book about the trip, but only if Hans Nesna, a renowned journalist at the time, accompanied them. The book that was published reflected the hierarchy: a brief sentence is the only reference made to the two photographers, with no way of determining who took which photo. Both photographers travelled together for part of the trip, but they also worked separately in order to obtain a better overall image in the limited two-week period of time they had been allotted. Presser and Klein drove by car from Amsterdam to Herford, Germany, where Presser decided to travel on ahead to Berlin on his own. Klein and Nesna headed on to Hamburg and Hannover and hooked up later again with Presser in Berlin, where they all spent several days together. On the return trip, the three men visited Braunschweig and Herford. From there, Presser flew back to Amsterdam, with Klein and Nesna traveling on to the Ruhr Valley, Nuremberg, and Munich. Even today, these images of so many cities in a state of chaos remain profound. In response to a planned second edition, Presser addressed a letter to the publisher dated 30 December 1946 with the request that both photographers be named on the title page: ‘(…) even more so because, as we see it, the writer’s foreword devotes too little attention to our concerted responsibility for the trip and the book.’ The new edition states the names of both photographers.

One year later, Presser again made a trip to Germany for a photo reportage, accompanied by Nesna but without Klein. This time they travelled by train. Presser’s name was now stated on the title page. Published by Scheltens en Giltay under the title Dans op de vulkaan (‘Dance on the Volcano’), in these photos the Cold War is already perceivable.

Presser returned to Berlin for a third time in June 1949, this time with Alexander Huguenot van der Linden for a reportage in Ons Vrije Nederland (‘Our Free Netherlands’). For weeks on end, this magazine published images of Berlin in crisis, as well as photos of the duo’s trip via the infamous ‘Autobahn van Helmstedt’ (‘Highway of Helmstedt’), the sole corridor into the isolated former capital.

Presser became a member of the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’) in 1945, a couple of months after it was founded. He later stated that he had done so based on his friendship with Carel Blazer and Cas Oorthuys during and immediately following the war. By his own account, he was ‘not in the least like a photographer drawn towards the artistic side’. Presser was there when the GKf first went public in the period 1 October to 8 November 1948, as well participating in the group exhibition Foto ’48 at the Stedelijk Museum in Amsterdam, together with photographers such as Blazer, Oorthuys, Emmy Andriesse, Eva Besnyö, and Wim Brusse. In a special issue of the magazine Kroniek van Kunst en Kuituur (‘Chronicle of Art and Culture’) released on the occasion of the exhibition, the GKf photographers’ credo was worded as follows: ‘With the exhibition Foto ’48, the photographers of the G.K.F. wish to present an impression of contemporary photography. Photography’s goal is not the pretty picture, but communication by means of the camera. This photography fulfils a supportive function and, in practice, is linked to the assignment.’ That Presser was designated to be the photographers’ spokesperson, out of all the GKf’s members, is striking. He was also given an opportunity to make a case for photojournalism in an article published in the same magazine, in which he emphasised the importance of a photo’s expressiveness above aesthetic: ‘The press photographer of today would rather refer to himself as a photojournalist, and he is right. Precisely as a journalist, it his task to seek out, recognise, and estimate the value of all forms in which life manifests itself, and finally, to depict these in such a way that his audience is able to understand (and, of course, ideally appreciate) his train of thought.’ So soon after the war, taking a moral stand was apparently also desirable, i.e. a political stance that demonstrates the origin of the GKf’s members: ‘As a photographer, one can create an image of great beauty, by relying on a dilapidated house, a distraught person, or a battle field as requisites. When a photojournalist has to depict these subjects, then the photo of the house should be accusatory, that of the person distressing, and that of the battle field appalling. If he achieves this first, then he has completed his task.’

Directly upon his arrival in Amsterdam in May 1945, Presser joined up with a crisis group representing photographers’ interests, established through the initiative of those previously working as illegal photographers during the war. Things were bad, as he described the situation in Vrij Nederland in October 1950: ‘Compared to 1940, the economic power structures had been altered completely. The magazines were able to publish very few photos and were therefore hiring no photographers. The independent [photographers] and their fellow colleagues who did have jobs, when seen as a group, were of another level than press photographers prior to the war. Many had received a good education and had ended up in photography out of a passion for the good cause. Others had been able to expand their knowledge during the war by studying. A number of the old-timers, possessing an infallible knowledge of the profession but a limited overall development, were now no longer able to work in press photography. All of this had an influence on the new organisation, which arose from the merging of the crisis group and the old association [the NVPF, Nederlandse Vereniging van Persfotografen en Film-operateurs, ‘Netherlands Association of Press Photographers and Film Operators’–SBK]. The Nederlandse Vereniging van Fotojournalisten [NVF, ‘Netherlands Association of Photojournalists’)], currently totalling 150 members, was born.’

In 1946, Presser became a board member of the NVF, an association that he believed was doing more to promote the journalistic interests of the photographer than the GKf. It must be kept in mind that, during this period, the Ministry of Economic Affairs required that all photographers become a member of an official trade organisation. The distribution of the scarce amount of photographic material available was linked to such a membership.

Starting on 2 October 1948, Presser became the chairman of the NVF for the first time. In no time, he succeeded in creating an atmosphere of professionalism. The NVF’s statues stated that apprentices and aspirant members wishing to be accepted in the organisation were required to take regular exams. Candidates were tested not only on their photographic skills, but also on their general development and mastery of foreign languages. Moreover, one could only become a member if one adhered to the stipulated sales terms, for instance, by charging the established minimum fees. A disciplinary council and an arbitration board were also set up. In order to regulate the flow of press photographers at public events, the Contact Commissie Fotopers (‘Photo Press Committee Contact ‘) was established. In his role as chairman, Presser was also strict when it came to internal matters. At one point, he persuaded the board treasurer to publish a list of those who were behind in their payments—much to the treasurer’s own dismay and accompanied by his humble apologies. It was a list that included many prominent names.

In 1951, Presser ended his chairmanship based on his desire to emigrate to France. Even after he left the Netherlands, however, he continued to follow the NVF closely. In the May 1953 issue of the magazine Fotojournalist, Presser stated that he was disturbed by the tumultuous departure of the chairman at the time. He called for greater tolerance and above all for a greater degree of self-critique among its members: ‘That association of ours is an odd club. It consists of members who are among the most unpleasant kind of people—in economic terms. We all have dinky little businesses that (due to the structure of our work) are never going to get any bigger. We have a limited market that virtually never expands and with which each of us is all too familiar. With every initiative we develop, we run into each other and then we immediately become competitors of one another. We manufacture our product chiefly based on risk and it becomes virtually worthless if it can’t be sold right on the spot. In addition to this, the nature of the work breeds qualities by no means advantageous to us outside of our work: we enjoy asserting ourselves, are loud, brag a lot, are as restless as schoolboys with rats in their pocket, and as restless as immigrants the night before they make it to the coast (…).’

When Presser returned to Amsterdam in 1965, he was soon interfering in the association’s business once again. He continued to put just as much effort into garnering recognition and improving the social standing of photographers, as well representing the NVF on numerous committees and boards, including the Fotografenfederatie (‘Photographers Federation’), the Auteursraad (‘Authors Council’), and Europhot, the European photo rights organisation.

That Presser was an administrator in heart and soul is apparent from the fact that, in addition to his supervisory activities for the NVF, he still found time amidst all of his travels and meetings to take on the following functions: a member of the Amsterdam Kunstraad (‘Arts Council’); from 1971 until his death, a board member of the World Press Photo Holland Foundation; and a committee and jury member of the Zilveren Camera (‘Silver Camera’) between 1976 and 1983, and again in 1985.

At a board meeting of the NVF in June 1947, Aart Klein proposed the idea of a monthly national photo competition to be held in the Netherlands. Klein’s underlying motivation was to spark a discussion about photography and the photographic profession. The decision was made to select a ‘Photo of the Month’ from images submitted. It was this idea that ultimately gave birth to the Dutch photography award, the ‘Zilveren Camera’ (‘Silver Camera’).

During the NVF’s annual meeting in 1948, held at the Gildehuis on the Voetboogstraat in Amsterdam, all of the organisation’s members were allowed to hang up their best photo on the wall. Those photographers and business relations who were present were then subsequently given an opportunity to choose the best. In this first year, the winner was awarded with a speech and a toast. Because this was judged to be an excessively meagre form of tribute, the board decided to introduce a floating trophy. The idea was to present the winner with a ‘Silver Camera’. For such an option, however, there were insufficient funds. It was then that Presser came up with the idea of revamping a disused Nettel camera by covering it with a silver coat of paint, with the names of the winners engraved on the cartridge slider. As such, the floating trophy was born.

The ‘Silver Camera’, the prize for the best press photo of the previous year, was awarded by the NVF for the first time in 1949. The winner was selected by all in attendance at the Minerva Pavilion in Amsterdam, including family and business relations, from among the hundreds of photos that had been mounted on the walls by the association’s members. Waldo van Suchtelen was awarded the prize for his photo ‘Aardappels rooien op de Dam’ (‘Grubbing Potatoes on the Dam [Square]’). The occasion also marked the first ‘Day of the Photojournalists’: a day on which aspirants were given a chance to become a full-fledged NVF member by passing a ‘test of proficiency’. The board—in all likelihood Presser—had found a number of Dutch cabaret entertainers willing to figure as models for the various assignments. On the Museumplein in Amsterdam, improvisational acts were performed by Heintje Davids, Johan Kaart, Lou Bandy, and ‘Snip en Snap’ (two men dressed as old ladies), while the budding photographers shot their photos. Photographers were expected to capture, for instance, pancakes in mid-air while being flipped in a pan. Due to the success of the first Silver Camera and the publicity surrounding the event, the decision was made to organise an annual ‘Day of the Photojournalists’. The day and the exam became a tradition that lasted for years, but which disappeared with the arrival of the photography trade schools and a more prestigious presentation of the Silver Camera award.

Of all the reportages that Presser made shortly after the war, those concerning the Cannes Film Festival were to have the greatest influence on the further course of his career. Presser attended the festival for the first time in September 1946, to which he travelled by train in the company of the film critic Simon van Collem. The two men had known each other since primary school. Also attending the festival were the filmmaker Bert Haanstra, the writer Simon Carmiggelt, and the critic B.J. Bertina. In Cannes, Presser made the acquaintance of Sadi de Gorter, who later became the cultural and press attaché of the Dutch embassy in Paris. Presser enjoyed the atmosphere at the festival, including his first encounters with champagne and the ‘Concours d’élégance’. He shot photos of the stars and the setting, and also began to write the texts accompanying his photos. In these images, one can observe Presser enjoying himself, with the stars responding to his charms. He was meeting the big names of the film and art world, including Sophia Loren, Gina Lollobrigida, Orson Welles, Erich von Stroheim, Jean Cocteau, and Pablo Picasso. It was in Cannes that Presser developed a fine nose for the latest news concerning celebrities. He would continue to return each year on a regular basis until the early 1960s.

In the spring of 1947, Presser took a two-month train trip across Switzerland and Italy on behalf of the Kroniek van de Week (‘Chronicle of the Week’), a publication of De Spiegel. Christelijk nationaal weekblad (‘The Mirror. Christian National Weekly’). It was the first time he ever felt free of any obligation to stay on top of current events. He fully enjoyed ‘the liveliness of the people, their colour, and the way in which they lived’. This journey, which he described in Een halve eeuw fotojournalistiek (‘A Half Century of Photojournalism’) as being ‘the delightful spring trip’, would remain his favourite for the remainder of his life. He visited Genoa, Venice, Rome, and Naples. Presser would later sum it up as follows: ‘Fall down the other side of the Alps into the Mediterranean world: seemingly carefree, strong are the colours and smells, strange is the food and drink, garlic and olives everywhere. Every minute I proceed, I encounter an overwhelming number of new motifs—on this trip I shot photos that are among those dearest to me.’

On board the SS Volendam, a ship of the Holland America Line that was being used to transport Dutch military troops, Presser travelled to the Dutch East Indies in the spring of 1948, together with the journalist Carel Enkelaar. The voyage was followed by a trek across this troubled Dutch colony. The results were presented one year later in the book Ind(ones)ië. Een tropenjournaal (‘Indonesia. A Tropics Journal’) by the writer Louis Vrooland, republished by Scheltens en Giltay. At the invitation of the Australian government, Presser than travelled on to Australia for a reportage on Dutch immigrants living there. It became a round-the-world trip, with subsequent visits to Persia, India, and a couple of Pacific islands, followed by the United States, including California, Chicago, and New York.

Following the initial years of scarcity in the post-war Netherlands, there arose an ever-growing need for visual material, accompanied by a thrilling narrative. After a while, a few illustrated magazines began to reappear. Presser was receiving an increasing number of assignments for De Week in Beeld, renamed as Revue. Het Nederlandsch familieblad (‘Review. The Netherlands Family Magazine’) in 1953. His friend Weehuizen saw him as the ideal photographer: one who was likewise capable of writing a good story. Presser did reportages on Albert Schweitzer in Lambaréné, on Gabon, Suriname and the Antilles, as well as North and South America. Some of these reportages were also published in the magazines Saturday Evening Post and Look, as well as the New York Times.

It was in 1949 that Presser also took his most frequently published photo: a large family with many children, photographed in the living room for De Week in Beeld. Presser is also likely to have written the text accompanying the article, which concerned the day-to-day life of Jacob and Cornelia. The photo’s composition—with the father, his pregnant wife, and their sixteen children—is one of Presser’s most famous photos. Years later, he made an attempt to photograph the children a second time and even submitted a project proposal with the AFK (Stichting Amsterdams Fonds voor de Kunst, ‘Amsterdam Fund for the Arts’), but the plans never came to fruition.

Presser wrote his popular travel guides in the French town of Roquebrune. These guides conveyed the carefree spirit of the 1950s. Presser described situations with adventurous suspense and travelled to places his readers would otherwise have discovered only decades later. These travel guides conveyed the joy of the happy traveller, but also the lamentations of the adventurer who finds himself in primitive conditions. In Wandelingen langs de Rivièra (‘Walks Along the Riviera’), Presser wrote about the freebies, the swindlers, and the ‘slender cypresses that run up into the blue sky like racing bikes’. With the photos he shot, he managed to perfectly capture what people in the Netherlands wanted to see: the picturesque poverty, romantic towns, a view looking out over a shining sea, the richness and hubbub of Cannes, Monte Carlo, the sleek limousines, beautiful women, and late-night parties. Presser approached these subjects with his camera unabashedly.

Fearful of falling into a rut, Presser had decided to leave the Netherlands in 1951. As he described the situation himself (in reference to his experiences during World War II): ‘Here everything fares too well for someone once in hiding.’ With his repeated visits to Cannes, Presser had become acquainted with director of the French radio network, who owned a house in the town Roquebrune on the French Riviera. Through him, Presser was able to rent an apartment in April of the same year in the town of Roquebrune-Cap-Martin, situated between Monaco and the Italian border in the French department Alpes Maritimes. For a period of fifteen years, it was from here that Presser travelled the world, making reportages for newspaper and radio.

Roquebrune was also where Presser began building a new life with Joke van den Heuvel, whom he had met in Paris during Queen Juliana and Prince Bernhard’s state visit to the city in 1950. Van den Heuvel was studying cultural anthropology in France at the time and had met Presser while working a student job as a receptionist in a hotel. Leaving the Netherlands behind, Presser filled up his car with furniture and drove from Amsterdam to the village of Rocquebrune-Cap-Martin on the coast of Southern France. Joke joined him later in ‘the little house of nothing’.

Agreements concerning future assignments from the newspaper De Telegraaf, the magazine Elsevier, and the AVRO broadcasting company assured Presser of work. Others taking advantage of his services in the years to come were the women’s magazine Margriet, the VARA broadcasting company, and the magazine De Week in Beeld. It was remarkable for a left-wing journalist to be working for a client such as De Telegraaf, so soon after the war. The photographer Aart Klein would later observe: ‘Sem made demands. There were never any reductions in his fee. You were a good guy during the war? That’s got nothing to do with it, he’d respond. I’m still good.’ In the end, Het Parool and Het Vrije Volk (‘The Free People’) simply paid far less.

The first one-and-a-half years in France, according to Presser himself, could best be described as a period of idleness. He tried to live on one day’s work each week, accompanied by a little photography, a little writing, and for the rest, lying in the sun and swimming. At night there was socialising with friends and neighbours. After that, Presser began to write and photograph more intensively for his travel guides, as well doing reportages for Dutch and foreign media. His radio talks for the AVRO were transmitted via Radio Monte Carlo.

Presser always managed to find news: ranging from the annual meeting of the gypsies in Saintes-Maries-de- la-Mer, the film festival in Cannes, and King Farouk’s gambling in Monte Carlo, to Pablo Picasso’s family life. From Roquebrune-Cap-Martin, one has a beautiful view of Monte Carlo and the bay of the Principality of Monaco. Presser and Van den Heuvel could be seen there often, searching for the latest society-related news. In March 1954, Presser wrote in De Telegraaf: ‘The Prince of Monaco isn’t ready to marry.’ Yet when Rainier III and the American film star Grace Kelly married on 19 April 1956, Presser was there. He had previously photographed Kelly in 1955, when appearing prominently on a float all her own during the flower parade that opened the film festival each year. Presser reported on the couple’s fairy-tale wedding for the Dutch newspapers, weeklies, and radio. He also photographed and conducted brief interviews with Dutch celebrities during their stays on the Côte d’Azur, including Heintje Davids, Jan de Hartog, and the tennis star Fenny ten Bosch. Presser even had his own column in De Telegraaf: ‘Nederlanders in den Vreemde’ (‘Dutch People abroad’). This allowed him to travel in a wide circle around his new abode—from Paris to Rome.

In 1952, Presser won the Silver Camera with a photo of a crying woman who had just learned that her village, Tignes, was to be completely submerged under water in order to build a reservoir. The photo itself was part of a more extensive reportage that Presser had done on the construction of the first water reservoir built in the French Alps.

Presser’s new place of residence on the Mediterranean was also to become the home base for his many trips around the world. He visited very continent. One of his trips entailed flying in an American army plane from Alaska to the South Pole. Presser returned on a regular basis to Amsterdam, as well for his wedding to Joke on 17 August 1954. Ed van der Elsken shot the wedding photos. It was Presser’s definite wish to marry in Amsterdam, so as to avoid the French ‘rigmarole’, as he put it.

In 1963, Presser’s work was shown at the group exhibition Quatre photographes néerlandais de France (‘Four Dutch Photographers of France’), held at the Institut Néerlandais (‘Netherlands Institute’) in Paris, where Sadi de Gorter was the director. The other participants were Dutch photographers as well living in France: Dominique Berretty, Fred Brommet, and Eddy van der Veen. In 1964, the same exhibition was shown in Amsterdam at the RABK (Rijksakademie van Beeldende Kunsten, ‘National Academy of Fine Arts’) in Amsterdam, under the appropriate title 4 even hier (‘4 A Moment Here’).

After fifteen years of living abroad, Presser and Joke decided to return to Amsterdam indefinitely in 1965. The reason for this repatriation would never become entirely clear. Presser himself told various different stories. One was that he had become tired of the touring buses with Dutch tourists stopping in front of his house in Roquebrune. It had generally become too busy there for his taste. But it was also possibly a homesickness for Amsterdam: ‘(…) I just couldn’t stand it any longer between Route Nationale No. 7 and the sea, with that eternally blue sky.’

In 1973, Presser made his last reportage for Nieuwe Revu. From 1976 on, he no longer accepted any official press assignments and began working exclusively on his extensive archive. Each year, Presser and Joke still ventured out to supplement the archive, traveling to ’empty places’ on the map.

At the time of Presser’s departure to France back in April 1951, the NVF had bidden him farewell with the following explicit text: ‘And Sem was there! He was there as a symbol of proficiency, organisational talent, and fighting spirit. An extremely talented chairman, who knew what he wanted. We have no need to mention that he had a difficult time. The difficulties that come with our profession these days, and which place pressure on all of us individually, lay collectively on his shoulders. (…) It is customary that those who remain behind are the ones to present the departing gifts. But with Presser’s departure, he presented us with a gift. Because even though the members have rejected his proposal, it remains a gift of inestimable value. A gift, because he has seen an opportunity to bring it to our attention that the difficulties in our profession can only be overcome when we try to solve these difficulties concertedly. (…) The awareness that effective measures have to be realised in solidarity—this awareness he has given us. Thanks for this farewell gift, Sem!’

These words of esteem, which carried a bitter undertone, were made in reference to Presser’s failed attempts for the association to come to an arrangement with respect to rights of authorship and selling fees. His intense desire to accomplish the founding of an agency intended to oversee photographic rights of authorship, however, had ultimately led to a serious management crisis within the NVF. At the annual meeting of April 1951, it turned out that too few members were interested in a body assigned the task of protecting and enforcing photographers’ rights of authorship. At the urging of the association’s judicial advisor, R.P. Kokosky, the disillusioned board decided not to step down immediately, but continued to stay on for an additional three months.

Presser relentlessly pursued his dispute against those who failed to pay their bills and the illegal use of photographs. He was still repulsed by publishers who placed copyright signs in the front of their books, reserving all rights for themselves, but who saw the publication of photos without the permission of the photographer who took them as a commonly accepted practiced. In an open letter published in De journalist of August 1975, Presser reproached the director of the publishing company Arbeiderspers (‘Workers Press’), Theo A. Sontrop. After having received an invoice from Presser, Sontrop remarked that he would have preferred to leave the page blank had the rates being charged for his photos been made known in advance. Presser wrote back that this seemed to be an appropriate way for a publisher to pass his time: ‘(…) publishing books with blank pages. That saves one salaries, typesetting and printing costs, and immediately solves the problem of unpleasant reviews. It’s always comical to hear a publisher stating his “rate” is this or that. Does he also determine what price he wants to pay with the paper supplier, the printer, the binder? Does he tell his grocer how much he’d like to pay for a kilo of sugar? Does he give his customers a chance to decide what they’d like to pay for his books?’

From 1968 to 1981, Presser was chairman of the NVF for a second time. Under his chairmanship, the so-called ‘Bijstandsfonds’ (‘Welfare Fund’) and the Fotografenfederatie (‘Photographers Federation’) would assume their definitive form. Most of these organisations were born from the dissatisfaction that Presser expressed when it came to matters concerning rights of authorship. Immediately after becoming chairman, he would again put his energy into strengthening Burafo (Stichting tot Bescherming en Handhaving van Foto Auteursrechten, ‘Foundation for the Protection and Compliance of Photo Authorship Rights’). In practice, however, the organisation proved to be so weak that, when it came down to a dispute, most photographers preferred to hire a solicitor of their own. The re-founding of Burafo, including new statutes, would not occur until 1980, following numerous consultations. The three associations that made up the Fotografenfederatie—the NVF, the GKf, and the BFN (Beroeps Fotografen Nederland, ‘Professional Photographers Netherlands’)—now backed the initiative. A second endeavour long cherished by Presser was realised only years after he stepped down as chairman: the ‘Stichting Foto Anoniem’, established in late 1984. The purpose of this foundation was to prevent the use of anonymous ‘floating photos’ without any form of compensation. When using an image by a photographer whose identity was unknown, a publisher was subsequently able to acquire the relevant data for a minor fee. In the event the foundation was unable to determine the image’s provenance, the fee that was paid for its placement would then be deposited into a fund should the rightful claimant ever be ascertained. The Stichting Foto Anoniem had no commercial interest of its own. On one hand, its aim was to protect users from becoming involved in potential legal problems related to a photo’s publication. On the other hand, the foundation ensured that ‘free’ archive photos could no longer compete with photographers’ rights of authorship in general. In the 2 December 1985 issue of De Journalist, Presser wrote that he was excited about De Volkskrant’s announcement that, from this time forward, all published photos would be accompanied by the photographer’s name. This decision was most certainly attributable to the years of persistence and advocacy on Presser’s part, with the matter even being taken to court.

Presser won his final court case on Wednesday, 29 October 1986—the very day he died at the Prinsengracht Hospital in Amsterdam. The district court in The Hague judged in his favour in a dispute with the Letterkundig Museum (‘Literary Museum’), which had used his photos in their publications for years without permission or remuneration. The museum had consistently violated copyright law, and for this reason, was ordered to pay compensatory damages as well as the court costs.

From the moment he decided to become a photographer, Presser talked about his cameras. He loved his machine, but was lacking when it came to a knowledge of its technical aspects. A camera simply had to do its work. Doing repair work himself was never Presser’s expertise. Because he shot self-portraits throughout his life, often in the mirror, we are also able to name many of his cameras. In dozens of photos, we see him with his Asahi Pentax, Agfa Super Isolette, or Rolleiflex. He accomplished very little with his first box camera, the very first Agfa box camera of 1932. The only recollection of Presser’s initial efforts is a simple self-portrait, taken at home.

Presser’s first published photo was shot with a British Thornton-Pickard plate camera, taken after Ben van Meerendonk had explained how the camera worked. Later, in the 1930s, he worked with the Zeiss-Ikon Miroflex. At this time, he also spoke of a Kine Exakta.

It is not known which cameras Presser used during the war. Even though gaining access to supplies was difficult, he was apparently able to take photographs for the entire duration of his period in hiding. Presser never spoke of the matter himself, but his first wife, Ruth Schachno, in the aforementioned interview conducted in 2001, stated that they had been able to obtain film by having good relations with the wholesaler ‘Fischel’. In 1944, Presser shot photos during the unsuccessful Battle of Arnhem with a Flexaret, a 1939 model from Czechoslovakia. For his trip across Switzerland and Italy in 1947, we know he was equipped with a Rolleiflex.

From the second half of the 1950s on, Presser always relied on an Agfa Super Isolette: a smaller 6×6 camera—a handy second camera to have on hand—which to his own disappointment was lost at some point during a trip to Eastern Europe. Not wanting to take any chances, he later bought three of these cameras at once while in Hong Kong.

Presser wrote extensively about taking his first colour photo. To photograph the coronation of Princess Juliana in 1948, he had borrowed a Linhof Technika from Cas Oorthuys. Philips had handed out eight colour sheet films to eight different photographers in order to film the coronation festivities at the New Church in Amsterdam. The company did so on the condition that Philips was free to use one of the shots itself. Out of the eight photographers, Wiel van der Randen, who had been working on assignment for the magazine Panorama, was the only photographer with any experience in colour photography. According to Presser, Van der Randen had recommended an excessively long exposure time in comparison with that of a black-and-white exposure. Presser took his last two shots with a shorter exposure time. By his own account, these were the only successful photographs of the coronation that had been taken in colour.

Presser worked chiefly with a Rolleiflex, probably as early as 1936, but also with a Asahi Pentax and a Nikkormat. He liked being able to adjust the image at a later stage in the darkroom and felt limited by having to make a decision on the spot when using colour film. Despite his passion for simplicity, he gave into the temptation of experimenting with filters and infrared film, as it produces such a ‘beautiful pictorial effect’.

According to Joke Presser: ‘He worked preferably by hand, on 1/500, with fast films, same lens. He loved natural light’. At various times, Presser spoke of a predilection for ‘his beloved backlighting’.

Presser was seemingly unaware of the standpoint espoused by the New Photography movement prior to the war and in no way influenced by the ‘Decisive Moment’ after the war. Any experimentation was seen as a form of entertainment. Presser’s later work, produced on commission for various encyclopaedic publications, was more like the obligatory colour stock photography.

While Presser wanted nothing to do with artistic pretension, his work distinguishes itself through its high quality with respect to image and composition. Various museums and collections had already been acquiring his photos during his lifetime.

As a photographer, Presser can be seen as a full-fledged chronicler of his day. His work reveals mild humour with an eye for detail. People in their own life surroundings have always been central to his photography. Although Presser portrayed the complexity of day-to-day life on a human scale, one never encountered any form of a social indictment. He was there in the role of a reporter—not to apply his work on behalf of any social or political cause, or to support a position in one art movement or another.

Although an individualist in his work as a photographer, Presser intensely enjoyed the glowing hustle and bustle of participating in an association. He was an ardent leader of the group, who knew how to rouse people’s sentiments at times when it was needed. Besides his importance as a photographer, it was above all Presser’s commitment to the profession, as well as the rights of his fellow photographers, that was of tremendous value. At key moments, he played an instrumental role in determining the fundamental rights of authorship accorded photographers on behalf of the NVJ (Nederlandse Vereniging van Journalisten, ‘Netherlands Association of Journalists’). During the post-war period, no one had as much influence on the landscape of photography in the Netherlands as Sem Presser. In Presser’s jubilee book of 1985, however, Joop Swart would prophetically observe: ‘In recent decades, Dutch press photography has slowly evolved into what is now referred to as photojournalism, though that is not always what it is. In that arduous process, Presser played the role of a trailblazer. (…) And likewise, the obstinacy with which he wished to control the editorial presentation of his work, initially incurred the wrath of many a designer, chief editor, and printer. But in doing so, he paved the way in the mass media for greater accountability, higher esteem, and therefore also better pay for the press photographer, although it sometimes seems as if the waters behind the icebreaker Presser are rapidly freezing up again.’


(A selection; an extended overview of the documentation until 2000 is published in Henrik Barends and Adriaan Elligens, De tijden van Sem Presser (The Times of Sem Presser), Amsterdam (Voetnoot 2000, p. 173-197)

Primary bibliography

(Pressers personal publications: text, eventually with photography, and photo books etc.)


Sem Presser, Ik ben dol op vis. Maar ik weet nu hoe moeilijk het is om ze te vangen!, in De Wiekslag. Het blad van de rode valken 10 (januari 1940) 1, p. 2-3.

Wim Knol [= Sem Presser] (samenstelling), Dat gebeurde hier. Kroniek van vijf jaar oorlog, Amsterdam (Polak) 1944.

Sem Presser (samenstelling), Oranje in dagen van strijd. 1940-1945. Onze koninklijke familie in Engeland, Canada en Amerika, Amsterdam (Scheltens & Giltay) z.j. [ca. 1945].

Anoniem [Sem Presser copyright], Winston Churchill in ons midden. Zijn zegetocht door ons land 8-13 mei 1946, Amsterdam (Scheltens & Giltay) z.j. [1946].

Sem Presser (tekst)/(tekst en foto’s), [70 artikelen], in De Week in Beeld (13 juli 1946) 1 t /m (7 maart 1953) 10.

S.P. [= Sem Presser], Finland. Vrij en niet vrij, in Fen Fryske Groun. Familie-illustratie voor Friesland (10 augustus 1946) 3, p. 3-5 (met foto’s).

Pr. [= Sem Presser], Verlangt u terug naar Nederland? 7. Sem Presser praat met Joseph Stroom, gids in Italië, in Kroniek van de week (5 juli 1947) 19, p. 6.

Sem Presser, [9 artikelen], in Zuid. Katholiek weekblad voor Brabant en Limburg (12 juli 1947) 5, 19 januari 1948, (9 april 1949) 14, (7 oktober 1950) 50, (26 april 1952) 17, (14 februari 1953) 7, (21 februari 1953) 8, (28 februari 1953) 9, (7 maart 1953) 10.

S. Presser (tekst en foto’s), We zwerven door de wereld. Rome waar grote mensen kleine kinderen zijn, in Kroniek van de week (11 oktober 1947) 1, p. 3-5.

S. Presser (tekst en foto’s), Naar de stad der gondels, in Kroniek van de week (25 oktober 1947) 2, p. 8-9.

S. Presser (tekst en foto’s), Napels zien…, in Kroniek van de week (22 november 1947) 4, p. 12-13.

Sem Presser, De foto-journalistiek, in Catalogus tent. Foto ’48, Kroniek van Kunst en Kultuur 1948 (speciale editie), ongepag.

Pr. [= Sem Presser] (tekst en foto’s), Trein voor de koningin, in “Onze Illustratie ” [uitgave van De Week in Beeld] (3juli 1948) 14, p. 2-3.

Sem Presser (tekst)/(tekst en foto’s), [62 artikelen], in Margriet 2 oktober 1948, 1 december 1949, 25 februari 1950, 1 mei 1954, 9 oktober 1954, 5 februari 1955, (1955) 30, 11 februari 1956, 25 augustus 1956, 20 oktober 1956, (22 februari 1958) 8 t/m (1965) 52, (7 oktober 1967) 40, (23 maart 1968) 12, (1 juni 1968) 22, (7 februari 1975) 6.

Anoniem [= Sem Presser], The living mirrors of Amsterdam, Amsterdam (KAHA) zj. [1949].

S. Presser (tekst en foto’s), Twee prinsesjes op ski’s. Wintervacantie in St. Anton, in O.V.N. Ons Vrije Nederland. Geïllustreerd Weekblad 8 (26 februari 1949) 35, omslag, p. 3-5.

Sem Presser (tekst)/(tekst en foto’s), [10 artikelen], in Wereldnieuws. Geïllustreerd Weekblad 21 (5 maart 1949) 9, 21 (23 april 1949) 16, 21 (16 juli 1949) 28, 24 (12 januari 1952) 2, 24 (24 mei 1952) 21, 24 (28 juni 1952) 26, 25 (21 maart 1953) 12, 25 (28 maart 1953) 13, 25 (11 juli 1953) 28, 25 (18 juli 1953) 29.

Sem Presser (tekst en foto’s), Europa’s nieuwe “hoofdstad”. Straatsburg bereidt zich voor op zijn taak als toekomstige zetel van het eerste Europese Parlement, in O.V.N. Ons Vrije Nederland. Geïllustreerd Weekblad 8 (2 april 1949) 40, p. 3-6.

Sem Presser (tekst en foto’s), Nederland werd iets groter, in O.V.N. Ons Vrije Nederland. Geïllustreerd Weekblad 8 (7 mei 1949) 45, p. 3-7.

Anoniem [= Sem Presser], Van de voorzitter, in Mededelingen van de Nederlandse Vereniging van Fotojournalisten (maart 1950) 1, (juli 1950).

S. Presser, Persfotografen werden: fotojournalisten. Loopjongens, spoeljongens, manusjes-van-alles – zó is het begonnen. Georganiseerden (Tuchtraad en Examens) zó werd het later, in Vrij Nederland 11 (21 oktober 1950) 8, p. 8.

Sem Presser (tekst en foto), I’m proud of this picture, in The Saturday Evening Post 18 november 1950, p. 98.

Sem Presser, Over fotografie, in Drukkersweekblad (december 1950) kerstnummer, ongepag.

Anoniem [= Sem Presser], Mijmeringen van een voorzittershamer, in De Fotojournalist (april 1951) 8, p. 2.

Sem Presser, Mijmeringen van een voorzittershamer…, in De Fotojournalist (mei 1951) 9, omslag, p. 7.

Sem Presser (tekst en foto’s), Fotojournalistiek vereist schoonheidsgevoel, mensenkennis, vakmanschap, in Gevaert Fotodienst 8 (mei/juni 1951) 24, p. 4-7 (idem Franse ed, in Photo-Service Gevaert).

Sem Presser (tekst)/(tekst en foto/foto’s), [273 artikelen], in De Telegraaf 19 mei 1951 t/m 22 juli 1961.

Sem Presser (tekst)/(tekst en foto’s), [11 artikelen] in De Courant Het nieuws van de dag 7 juni 1951, 5 januari 1952, 22 januari 1952, 31 januari 1952, 19 februari 1952, 9 april 1952, 25 augustus 1952, 16 april 1953, 9 mei 1953, 20 mei 1953, 23 oktober 1954.

Sem Presser (tekst en foto’s), Mens en lens, in Fotorama. Internationaal tijdschrift voor fotografie 9 (maart/april 1952) 2, p. 46-49, 56 (idem Duitse, Engelse en Franse ed.).

Sem Presser (tekst)/(tekst en foto’s), [11 artikelen], in Zondagsvriend 20 (27 maart 1952) 13, (19 maart 1953) 12, (26 maart 1953) 13, (25 juni 1953) 26, (2 juli 1953) 27, (18 november 1953) 47, (25 november 1953) 48, (25 maart 1954) 12, (1 april 1954) 13, (17 februari 1955) 7, (12 mei 1955) 19, (7 juli 1955) 27.

Sem Presser (tekst en foto’s), Heus, knip nog eens, in Fotorama. Internationaal tijdschrift voor fotografie 10 (1953) 11, p. 312-317 (idem Duitse, Engelse en Franse ed.).

Sem Presser, Dat gevreet moet afgelopen zijn!, in De Fotojournalist mei 1953, p. 18.

Sem Presser (tekst)/(tekst en foto’s), [333 artikelen], in Revue. [Het] Nederlands[ch] familieblad/Revu/Nieuwe Revu (13 juni 1953) 12 t/m (8 december 1973) 50, (1974) 25, (4 november 1983) 44.

Sem Presser (tekst en foto’s), Parijs, Amsterdam (Scheltens & Giltay) z.j. [1954] (serie: Hoe breng ik mijn vacantie door?).

Sem Presser (tekst en foto’s), Oh, ’t kost zoveel moeite. Verzuchting vanuit een klein huisje aan de Rivièra, in De Radiobode [AVRO] 24 (14 februari 1954) 7, p. 5.

Sem Presser (tekst en foto’s), Eerst kijken dan kieken, in Jonge kracht. Orgaan van de Arbeiders Jeugd Centrale 9 (maart 1954) 2, omslag, p. 18-19.

Sem Presser, [8 artikelen], in Utrechtsch Nieuwsblad 31 maart 1954, 3 april 1954, 1 augustus 1955, 21 december 1955, 28 maart 1956, 27 januari 1959, 20 maart 1959, 22 mei 1959.

Sem Presser (tekst)/(tekst en foto’s), [34 artikelen], in Elseviers Weekblad 15 mei 1954 t/m 14 december 1957.

Sem Presser, Van pantoffeltjes tot… los angelos. Bij het afscheid van Eric A. Hof, in De Fotojournalist juni 1954, p. 15.

Sem Presser (tekst en foto’s), De Ardennen in België, Luxemburg en Frankrijk, Amsterdam (Scheltens & Giltay) z.j [1955] (serie: Hoe breng ik mijn vacantie door?).

Sem Presser (tekst en foto’s), België. Antwerpen, Brussel, Brugge, Gent en de Noordzeekust, Amsterdam (Scheltens & Giltay) z.j. [1955] (serie: Hoe breng ik mijn vacantie door?).

Sem Presser (tekst en foto’s), Rivièra, Amsterdam (Scheltens & Giltay) z.j. [ca. 1955] (serie: Hoe breng ik mijn vacantie door?).

Sem Presser (tekst en foto’s), Praatje over het licht, in Fotorama. Internationaal tijdschrift voor fotografie 12 (januari/februari 1955) 19, p. 580-584 (idem Duitse, Engelse en Franse ed.).

Sem Presser, Zwitserland, Amsterdam (Scheltens & Giltay) z.j. [ca. 1956] (met foto’s) (serie: Hoe breng ik mijn vacantie door?).

Sem Presser (tekst en foto’s), Als de fotograaf… een vrouw heeft…, in Fotorama. Internationaal tijdschrift voor fotografie 13 (juli/augustus 1956) 4/II, p. 136-140 (idem Duitse, Engelse en Franse ed. en gedeelte van het Nederlandse artikel in Catalogus tent. Geliefde personen, Plaatwerk 4 (maart 1988) 22/23, p. 29-31 (met andere foto’s)).

Sem Presser (tekst en foto’s), [10 artikelen] in V.W. Maandblad voor hen die vooruit willen) juli 1956 t/m juni 1957.

Sem Presser, Reclame uitzendingen van Tele Monte Carlo, in Televisier 1 (december 1956) 3, ongepag.

Sem Presser, Spanje, Amsterdam [Schellens & Giltay] z.j. [ca. 1957] (serie: Hoe breng ik mijn vacantie door?).

Sem Presser, Bespaar ons de aanblik van uw naboots-zonnen, in Philips-Koerier 13 (19 januari 1957) 14, p. 4.

Sem Presser, Reclame en kleuren t.v. in Frankrijk, in Televizier 1 (april 1957) 7, ongepag.

Sem Presser (tekst en foto’s), Voorjaarsbevlieging. Op één dag van de sneeuw in de zee, in Het Nationale Kompas 30 (15 april 1957) 1, p. 12-15,

Sem Presser, Tanger, in Televizier 1 (mei 1957) 8, ongepag.

Sem Presser (tekst en foto’s), Pinot de edelste wijnstok, in Het Nationale Kompas 30 (1 oktober 1957) 3, p. 12-15.

Sem Presser (tekst en foto’s), En wij lachen maar…, in Fotorama. Internationaal tijdschrift voor fotografie 14 (december 1957) 10, [deel II], p. 414-418 (idem Duitse, Engelse en Franse ed.).

Sem Presser (tekst en foto’s), Wandelingen langs de Rivièra, Amsterdam/Brussel (Elsevier) 1958.

Sem Presser, Langs het gruis van Italië. Zonnige kusten met rijke historie, in Het Nationale Kompas 31 (z.j. [1958]) 2, p. 2-6 (met foto’s).

Sem Presser (tekst en foto’s), Spiegeltje, spiegeltje aan de wand…, in Fotorama. Internationaal tijdschrift voor fotografie 15 (april 1958) 1 2, [deel II], p. 526-530 (idem Duitse, Engelse en Franse ed.).

Sem Presser (tekst en foto’s), [12 artikelen], in Reizen. Toeristisch Maandblad 1 (april 1958) 1, 1 (mei 1958) 2, 1 (juni 1958) 3, 1 (augustus 1958) 5, 1 (september 1958) 6, 1 (oktober 1958) 7, 1 (februari 1959) 11,2 (mei 1959) 2, 2 (juni 1959) 3, 2 (september 1959) 6, 3 (september 1960) 6, 3 (januari 1961) 10.

Sem Presser, De Franse Rivièra gonst van dat éne gerucht…, in Elseviers Weekblad 5 april 1958.

Sem Presser, [korte tekst zonder titel], in Bert Schierbeek (inl.), Kijkprikkels, Amsterdam (Proost & Brandt) november 1958, p. 7, 20, 40 (met foto’s) (serie: Prikkels nr. 231).

Sem Presser, Met Sem Presser achter de camera. Tips voor amateurfotografen, in Het Nationale Kompas 32 (z.j. [1959]) 1, p. 6-10 (met foto’s).

Anoniem [= Sem Presser], Charmante Teddy Scholten won: Cannes koos “beetje”. Glansrijke zege in Songfestival, in Algemeen Dagblad 12 maart 1959.

Sem Presser (tekst en foto’s), Waarde kiekkastbezitter, in Tussen de rails 7 (mei 1959) 12, p. 15-17, 19.

Sem Presser, Balans van Cannes, in Elseviers Weekblad 16 mei 1959, p. 64.

Sem Presser, De Rivièra: logeren, eten en vermaken, in Elseviers Weekblad 15 augustus 1959.

Sem Presser, Open briefje aan het bestuur van de NVF, in De Fotojournalist december 1959.

Sem Presser (tekst)/(tekst en foto’s), [5 artikelen], in Elseviers Weekblad 1 april 1961 t/m 29 juli 1961.

Sem Presser (tekst en foto’s), Sem Presser maakt foto’s in Nieuw Guinea, in Focus 46 (27 mei 1961) 11, p. 312-317.

Sem Presser, Ik woon aan de Rivièra, in De Boekenkorf [uitgave van de Bijenkorf] (juni 1961) 20, p. 12-13.

Sem Presser, Morris Gordon krijgt in New York gouden speld van N.V.F., in De Fotojournalist oktober 1961, p. 6.

Sem Presser, Wie verre reizen doet, verre leden ontmoet, in De Fotojournalist 15 juli 1962, p. 21.

Sem Presser (tekst en foto’s), Jeugd van Australië heeft 20.000 km strand, in Romance (11 augustus 1962) 32, p. 29-32.

Sem Presser, Kritische kanttekening over World Press Photo-boek, in De Fotojournalist maart 1963, p. 17.

Sem Presser (tekst en foto’s), Mijn Rivièra, in Romance (april 1963) 4, p. 62-76.

Sem Presser (tekst en foto’s), Het echte Parijs, in Romance (oktober 1963) 10, p. 50-57.

Sem Presser, Weten jullie het nog oudjes?, in De Fotojournalist 14 december 1963, p. 3-4.

Sem Presser (tekst en foto’s), Duizend meter dichter bij god, in Romance (februari 1964) 2, p. 22-27.

Sem Presser (tekst en foto’s), Een stad danst op de vulkaan, in Romance (maart 1964) 3, p. 18-23.

Sem Presser, Zimmer frei, in De golvende band [huisuitgave van Golfcartonfabriek Z. de Zeeuw N.V.] 28 mei 1965 (bevrijdingsnummer), p. 4-5.

Sem Presser, Verpacht de plaatsen!, in De Fotojournalist mei 1966, p. 9, 15.

Sem Presser (tekst en foto’s), E3 weg van Europa 3, in Panorama 12 (15 augustus 1967) 33, p. 24-28.

Sem Presser (teksten foto’s), E3 weg van Europa 4, in Panorama 12 (22 augustus 1967) 34, p. 24-29.

Sem Presser, Lepradorp Hoshiarpur. Helpt u mee mensen redden?, in Caritas (januari/februari 1969), p. 2-6.

Sem Presser, Fotogilde verenigt velerlei belangen, in De Journalist 20 (1 juni 1969) 10, p. 23.

Sem Presser (tekst en foto’s), [60 artikelen], in Het rijk der vrouw 15 maart 1970 t/m 4 oktober 1972.

Sem Presser (tekst en foto’s), Hun lezen moet u een zorg zijn, in Prinses 14 november 1970, p. 12-15.

Sem Presser (tekst en foto’s), U kunt met één gulden duizenden mensen gelukkig maken, in Prinses 21 november 1970, p. 20-23.

Sem Presser, Het kan leuk worden met de Engelsen, in Boerderij. Magazine voor het platteland 56 (20 oktober 1971) 3, p. 8-11 (met foto’s).

Sem Presser, Denen zijn geen domme jongens, in Boerderij. Magazine voor het platteland 56 (8 maart 1972) 23, p. 8-9, 11 (met foto’s).

Sem Presser, Noren hebben hun vrijheid lief, in Boerderij. Magazine voor het platteland 56 (10 juli 1972) 41, p. 8-11 (met foto’s).

Sem Presser (tekst en foto’s), Fotovisie op de vrouw. Sem Presser: Mijn camera is mijn notitieboekje, in Eva (26 augustus 1972) 35, p. 38-43.

Ed van der Elsken, Eddy Posthuma de Boer, Sem Presser e.a. (tekst en foto), Zeven fotovisies op één vrouw, in Eva (30 september 1972) 40, p. 60-65.

Sem Presser, [korte inleiding zonder titel], in Jaar te kijk 1973. De Zilveren Camera, Bussum (De Gooise Uitgeverij) 1973. ongepag.

Sem Presser, Ierland heeft eigen gezicht, in Boerderij. Magazine voor het platteland 57 (18 juni 1973) 38, p. 8-11 (met foto’s).

Sem Presser, [korte inleiding zonder titel], in Jaar te kijk 1974. De Zilveren Camera, Bussum (De Gooise Uitgeverij) 1974, ongepag.

Sem Presser, [korte inleiding zonder titel], in Jaar te kijk 1975. De Zilveren Camera, Bussum (De Gooise Uitgeverij) 1975, ongepag.

Sem Presser, Open brief. Publiek antwoord aan de heer Th.A. Sontrop, directeur van de Arbeiderspers te Amsterdam, in De Journalist 26 (15 augustus 1975) 15/16, p. 5 (idem, in Foto 42 (januari/februari 1987) 1/2, p. 82).

Sem Presser, Sem Presser maakte drieduizend dia’s op Galapagos-eilanden, in De Journalist 26 (1 september 1975) 17, p. 19 (met foto’s).

Sem Presser, [korte inleiding zonder titel], in Jaar te kijk 1976. De Zilveren Camera, Amsterdam (Plusprodukties) 1976, p. 2.

Sem Presser (tekst en foto’s), Een stukje paradijs vlak bij de grens: De Eifel, in Het rijk der vrouw 3 maart 1976, p. 88-90, 92, 94-95.

Sem Presser, [korte inleiding door de voorzitter van de Nederlandse Vereniging van Fotojournalisten], in Jaar te kijk 1977.

De Zilveren Camera/Year on view. The Silver Camera, Amsterdam (Plusprodukties) 1977, p. 4.

Sem Presser, Versleten goud eerbetoon voor Joep Friezer, in De Journalist 28 (24 maart 1977) 7, p. 55.

Sem Presser, [korte inleiding zonder titel], in Jaar te kijk 1978. De Zilveren Camera, Amsterdam (Kontekst Groep BV) 1978, p. 2.

Sem Presser, Wisseltrucs, in Zero [Een speciale uitgave van Avenue] z.j. [1978] proefnummer 2, p. 18.

Sem Presser, SP onderweg. Geef nooit je kaartje aan een Amerikaan, in Wereld 20 januari 1978 [no. 0], p. 33.

Sem Presser, [korte inleiding zonder titel], in Jaar te kijk 1979. De Zilveren Camera, Amsterdam (Allert de Lange) 1979. ongepag.

Sem Presser, ‘n Tukje in een tropisch bad, in Zero 1 (september 1979) 3, p. 45-46.

Sem Presser, Ingezonden brief Sem Presser 27 augustus 1979, in GKf bulletin september/oktober 1979, p. 7-8.

Sem Presser, Sem Presser contra Haags Gemeentemuseum, of het kan niet op ‘n koopje, in De Journalist 30 (13 september 1979) 18, p. 31.

Sem Presser, [korte inleiding zonder titel], in Jaar te kijk 1980. De Zilveren Camera, Amsterdam (Elsevier) 1980, ongepag.

Sem Presser, Kom maar op met je pensioentje jongens. Sem Presser in Costa Rica, in Zero 3 (oktober 1981) 6, p. 52-53 (met foto’s).

Sem Presser, Het hekje, in Arnhem [speciale uitgave van De Nieuwe Krant t.g.v. Arnhem 750] juni 1983, p. 45.

Sem Presser, Belangen beroepsfotografen, in FotoProf. Professioneel Foto Magazine 2 (december 1984) 4, p. 39.

Lars Polder (red.) en Sem Presser e.a. (tekst), Sem Presser. Een halve eeuw fotojournalistiek [Uitgave ter gelegenheid van Sem Pressers vijftigjarig jubileum als fotojournalist en zijn onderscheiding met de Joop Alblas Prijs], Amsterdam etc. (Elsevier) 1985 (met foto’s).


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

Gerard Kruger en Harry Peters (samenstelling), Je ziet maar, z.p. (Stichting

Nederlandse Schoolradio) z.j., p. 7.

Algemeen Handelsblad 8 juli 1935 t/m 1 december 1936.

De Telegraaf 12 juli 1935 t/m 23 september 1936.

Het Volk 27 augustus 1935, 18 oktober 1935, 10 februari 1936 t/m 13 maart 1936.

Schoevers Koerier september 1935.

Stad en Land 8 september 1935.

Volk en Vaderland 8 september 1935.

Wij. Ons werk ons leven 8 september 1935 t/m 28 februari 1936.

Het Kind 25 januari 1936.

De Zondagavond 10 mei t/m 24 mei 1936.

De Dag 25 mei 1936.

Nieuwe Rotterdamsche Courant 17 oktober 1936.

[boekje bij LP] Das Concertgebouw-Orchester. Willem Mengelberg. Brahms. Ein deutsches Requiem. Bach. Choräle und Chöre aus der Matthäus-Passion. […] z.p. (Philips) z.j., ongepag. (serie: Documenta Musicae. “Live” Aufnahmen 1939-1940).

Piet Lied (rijmpjes) en Jan Knip (foto’s), Fotografisch abc boek. Voor kinderen die al groot zijn, Bussum (F.G. Kroonder) 1940, ongepag.

Het Leven. Geïllustreerd 35 (13 april 1940) 15, omslag, p. 458-459.

Life mei 1940.

De Week in Beeld (27 september 1940) 28, (16 november 1946) 10, (25 januari 1947) 2, (16 oktober 1948) 29, (26 maart 1949) 12, (9 juli 1949) 27, (14 januari 1950) 2, (5 augustus 1950) 31, (16 september 1950) 37, (10 maart 1951) 10.

Anoniem [= Bea Etty Polak-Biet (tekst), Leo Schatz (tekeningen) en Sem Presser (foto’s)], Ankie is jarig, z.p. [Den Haag] [Polak] z.j. [ca. 1943].

H.J. Tijssen (tekst), Van zeventien september tot de bevrijding, z.p. [Velp] (Middenstandsdrukkerij) z.j. [1945], omslag, p. 4-8, 10-11, 13-27.

Ons Vrije Nederland. Geïllustreerd Weekblad 5 (1945) 19. ongepag.

De Geïllustreerde z.j. [1 december 1945] 23, (29 december 1945) 27, 4 (2 februari 1946) 32.

Bea E. Polak-Biet (tekst) en Sem Presser (foto’s), Ankie heeft een drukke dag, Amsterdam (De Telg) 1946.

J.C. de Joode e.a. (tekst), De slag om Arnhem/The battle of Arnhem/La bataille d’Arnhem. September 1944-April 1945, Arnhem (Gemeente Archief) z.j. [1946], afb. 29-32, 34.

Eduard Necker Veterman, Keizersgracht 763. Een blauwboek, Amsterdam (Republiek der Letteren) 1946, afb. na pagina’s 4, 12, 48, 64.

Hans Nesna (tekst), Aart Klein en Sem Presser (foto’s), Zoo leeft Duitsland. Op de puinhopen van het Derde Rijk, Amsterdam (Scheltema & Giltay) 1946.

I. Rona (samenstelling), Het jaar 1945, z.p. [De Graafschap] 1946 (speciaal nr. van Ons Vrije Nederland).

Piet Weidema (tekst), Charles Breijer, Sem Presser en Wim van Veen (foto’s), Dagen van vriendschap. Pasen 1946 20-21-22 april Amsterdam. [Fotografisch overzicht van Het Centrale Vriendschapsfeest Pasen 1946 in Amsterdam], Amsterdam (De Telg) 1946.

C.A. Huguenot van der Linden (samenstelling en tekst), Tolken onzer dankbaarheid. Dankbezoek van het prinselijk paar aan Denemarken, Zweden en Noorwegen voor de tijdens de hongerwinter geboden voedselhulp, Amsterdam (De Telg) april 1946, ongepag.

De Wiekslag. Het blad van en voor de trekvogels der AJC 10 (mei 1946) 7.

De open deur 10 (3 mei 1946) 22, januari 1966.

Jonge kracht. Orgaan van de Arbeiders Jeugd Centrale (augustus 1946) 8, (juni/juli 1947) 6/7.

Zuid. Katholiek weekblad voor Brabant en Limburg 14 juni 1947, 9 augustus t/m 13 december 1947.

De Hervormde Kerk. Weekblad van de hervormde raad voor kerk en publiciteit 3 (19 juli 1947) 29, 5 (12 november 1949) 45.

Hans Nesna (tekst) en Sem Presser (foto’s), Dans op de vulkaan, Amsterdam (Scheltens & Giltay) z.j. [1948].

Louis Vrooland (tekst) en S. Presser (foto’s), Ind(ones)ië. Een tropenjournaal, Amsterdam (Scheltens & Giltay) z.j. [1948].

Daily Mirror 11 augustus 1948, 4 september 1951.

De Nieuwe Dag 56 (12 augustus 1948), p. 1.

Met vlag en wimpel 3 (september 1948) 10, omslag.

De Vrije Katheder 8 (oktober 1948) 6, p. 20.

Utrecht in woord en beeld (16 oktober 1948) 29, (12 februari 1949) 6, (26 maart 1949) 12.

Vrij Nederland 9 (13 november 1948) 11 t/m 11 (6 januari 1951) 19, 36 (22 februari 1975), 7 (27 maart 1976), 37 (12 juni 1976), 50 (20 mei 1989), 56 (8 juli 1995) 27.

Nederlands Jaarboek voor Fotokunst 1948/49, p. 118.

Eigen erf (26 maart 1949) 12, omslag (achterzijde), p. 3-5.

Wereldnieuws. Geïllustreerd Weekblad 21 (14 mei 1949) 19, 21 (18 juni 1949) 24, 24 (2 augustus 1952) 31, 24 (15 november 1952) 46.

Mensen op zondag, in Vrij Nederland 9 (21 mei 1949) 38 t/m 10 (5 november 1949) 10.

The Knickerbocker. The magazine of the low countries 11 (juni 1949), (juli 1949) 1, (september 1949) 3, (december 1949) 6.

Alexander Huguenot van der Linden (tekst) en Sem Presser (foto’s), Op de rand van burgeroorlog. Vier woelige dagen in Berlijn. Een speciale reportage van de Spoorwegstaking, in O.V.N. Ons Vrije Nederland. Geïllustreerd Weekblad 8 (11 juni 1949) 50, omslag, p. 3-9.

Alexander Huguenot van der Linden (tekst) en Sem Presser (foto’s), “Soms zijn ze heel beleefd”. Een reportage van een reis over de roemruchte autobaan Helmstedt-Berlijn, in O.V.N. Ons Vrije Nederland. Geïllustreerd Weekblad 8 (18 juni 1949) 51, omslag, p. 3-7.

Alexander Huguenot van der Linden (tekst) en Sem Presser (foto’s), Waar het Derde Rijk ten onder ging. Berlijn 1949. De grootste ruïne van Europa – maar geenszins een dode stad, in O.V.N. Ons Vrije Nederland. Geïllustreerd Weekblad 8 (25 juni 1949) 52, omslag, p. 3-7.

Alexander Huguenot van der Linden (tekst) en Sem Presser (foto’s), Westduitsland herstelt zich. De geldhervorming van verleden jaar heeft geleid tot een zeer snelle en opmerkelijke verbetering van de economische toestand, in O.V.N. Ons Vrije Nederland. Geïllustreerd Weekblad 9 (2 juli 1949) 1, p. 3-7.

Margriet 10 september 1949, 23 september 1950, 30 september 1950, 18 november 1950, (25 mei 1963) 21, (22 oktober 1966) 43, (19 augustus 1967) 33, (1973) 39, (1978) 16.

Met open luiken. Contactorgaan Raad van Ontwikkeling Hoogovenstaten 1 oktober 1949, p. 4.

Sunday Mirror 6 november 1949.

De Spiegel. Christelijk nationaal weekblad (31 december 1949) 14, p. 12.

Catalogus tent. Vakfotografie 1950, Eindhoven (Stedelijk Van Abbe Museum) 1950, ongepag.

U.S. Camera Annual [international edition] 1950, p. 46-47, 390.

G. Veenma e.a., Steendruk, offsetdruk, Amsterdam (Nederlandse Bond van Steen- en Offsetdrukkerijen en Fotofithografische Inrichtingen) zj. [1950], ongepag.

See 9 (maart 1950) 2, p. 25.

Picture Post 47 (13 mei 1950) 7, 55 (april 1952) 1.

The Christian Science Monitor 22 juli 1950, p. 13.

London Opinion augustus 1950, p. 52.

Pix 5 augustus 1950, p. 23.

De Nieuwe Courant 22 december 1950.

Piet Zwart, Tekst en illustratie 1800-1950, in Drukkersweekblad (december 1950) kerstnummer, ongepag.

London Opinion kerstmis 1950, p . 3 1 .

Catalogus tent. Van Juliana tot Juliana [tentoonstelling van voorwerpen uit het Koninklijk Huisarchief, daartoe afgestaan door H.M. de Koningin], z.p., z.j. [1951], ongepag.

Fotografia. Rivista bimestrale d’arte e tecnica fotografica 4 (1951) 2, p . 8.

Vecko-Journalen (1951) 20, omslag, p. 21-23.

Zondagsvriend 19 (1 januari 1951) 2, p . 15.

Nieuwsblad voor de Boekhandel 118 (8 maart 1951) 10, p. 194.

Epaca 2 (5 mei 1951) 30, p. 41.

Revue. Die Weltillustrierte (23 juni 1951) 25, p. 5.

Nederlands Theater Jaarboek (1951/1952) 1, ongepag.

D. Wijnbeek, Juliana Regina 1952. Vierde deel, Baarn (Hollandia) 1952, p . 46.

Billed Bladet 15 (5 februari 1952) 6, 15 (8 april 1952) 15, 15 (29 april 1952) 18.

Schwabische Illustrierte. Die Deutsche Illustrierte 7 (22 maart 1952) 12, p. 315.

Schweizer Illustrierte Zeitung 41 (25 maart 1952) 13, 41 (27 mei 1952) 22.

Katholieke Illustratie 86 (4 april 1952) 14, p. 418-419.

De Lach 27 (16 mei 1952) 29, omslag.

Vizier 7 (19 juli 1952) 29, omslag.

Lilliput augustus/september 1952, p. 23.

Eva. Het rijk der vrouw 9 (30 augustus 1952) 35, omslag (achterzijde).

Het Parool 27 oktober 1952, 3 oktober 1964, 2 november 1985, 2 februari 2000, 8 mei 2000, 14 juli 2000, 2 september 2000, 25 september 2000, 15 februari 2003.

De Tijd 27 oktober 1952, (18 maart 1988) 11.

Point de Vue Images du monde 3 (20 november 1952) 233, 19 (12 juli 1963) 787.

5 Jaar majesteit. Extra uitgave van Margriet en Revue ter gelegenheid van het eerste regeringslustrum van Koningin Juliana, z.j. [1953], p. 2, 4, 7, 14. 43. 48.

Sunday Pictorial 18 januari 1953, p. 10.

Gevaert Post. Tijdschrift voor het personeel van de “Gevaert photo-producten N.V.” 1 (juli 1953) 1, omslag.

Spinnewiel. Revue pour le personnel des établissements d’aoust frères (augustus 1953) 49, omslag.

Revue. Het Nederlands familieblad (30 januari 1954) 5, omslag, p. 2-5.

Se og Hør. Det ny radio blad (22 mei 1954) 22, p. 6-7.

Photography Year Book 1955, afb. 62, p. 168.

Catalogus 1a Mostra Internazionale di Fotografïa Artistica per invito, Pescara (Palazzo Pomponi) 1956, ongepag.

J. van Doveren en Fred. Thomas (tekst), De bonte droom van het circus, Den Haag (Het Nederlands Zuivelbureau) z.j. [1956].

Photography Year Book 1956, afb. 165, p. 193.

Catalogus 1a Mostra Internazionale Biennale di Fotografia, Venetië (Edizioni Biennale Fotografica) 1957, ongepag.

A.H.S. Craeybeckx, Gevaert foto handboek. Een praktische leidraad voor al wie fotografeert, Mortsel (Antwerpen) (Gevaert) 1957, 10de geheel bijgew. dr., p. 16.

A.H.S. Craeybeckx, Op fotojacht. Wenken en raadgevingen voor de amateur, Mortsel (Antwerpen) (Gevaert) z.j. [ca. 1957], 15de dr., p. 60 (idem [ca. 1958] 16de dr., p. 58).

Photography of the world 1957, afb. 89-90, p. 65.

Photography Year Book 1957, afb. 92, p. 188.

Photo-Digest 10 (maart/april 1957) 2, 10 (mei/juni 1957) 3.

Camera. Revue mensuelle internationale de la photographie et du film 36 (mei 1957) 5, p. 213.

The New York Times Magazine 28 juli 1957, p. 6-7.

Bert Bakker e.a. (samenstelling), A. Roland Holst, Amsterdam/Den Haag (De Bezige Bij/Nederlands Letterkundig Museum en Documentatiecentrum) 1958, afb. 20, 43 (idem 1983, 4de geh. herz. en uitgebr. dr. door Daisy Wolthers, afb. 36) (serie: Schrijvers Prentenboek, deel 1).

Willem Boswinkel, David Koning en Joop Schultink, Het Nederlands Ballet, Haarlem/Antwerpen (Gottmer), 1958, na p. 24, na p. 48.

Norman Hall (ed.), Gallery One. Some pictures which matter, Londen (‘Photography’ Magazine) 1958, p. 44, 101.

Gras Heyen, Waren wij maar zeventien, Amsterdam (De Bezige Bij) 1958, p. 10-11, 14-15.

Photography Year Book 1958, afb. 123, p. 195.

Reizen. Toeristisch Maandblad 1 (mei 1958) 2, 1 (augustus 1958) 5, 1 (februari 1959) 11, 2 (januari 1960) 10, 3 (mei 1960) 2, 3 (maart 1961) 12.

Photography Year Book 1959, afb. 75, p. 209.

Wilhelmina, Eenzaam maar niet alleen, Amsterdam (W. ten Have) 1959, p. 14 (idem Finse ed.: Ensom .. men ikke alene, z.p. (Lutherstiftelsen) 1959; Zweedse ed.: Ensam men inte allena, Stockholm (Bonniers) 1959; Engelse ed.: Lonely but not alone, Londen (Hutchinson) 1960; Duitse ed.: Einsam und doch nicht allein, Stuttgart (Evang. Verl.-Werk) 1961).

Het Vrije Volk 10 juni 1959 t/m 17 augustus 1960.

Photography Year Book 1960, afb. 56b, p. 200-201.

Képi blanc januari 1960, p. 45.

Se. Nyhetstidningen i Bild (13 april 1960) 16, p. 23.

Han Hoekstra, Dag Amsterdam, Amsterdam (N.V. Het Parool) 1961, p. 114.

Photography Year Book 1961, afb. 88, p. 221.

[Tentoonstellingskrant] Dag Amsterdam, de stad en de mensen, het leven zoals het reilt en zeilt, neergelegd in een keurverzameling van 400 foto’s. […], Amsterdam (Het Parool) 1961, p. 21.

Merian. Das Monatsheft der Stadte und Landschaften 14 (januari 1961) 1, 14 (december 1961) 12.

Catalogus van de Nationale en Internationale Fototentoonstelling ter gelegenheid van het 40-jarig bestaan van de Bond van Nederlandsche Amateurfotografen Vereenigingen 1922-1962, Amersfoort (De Zonnehof) 1962, ongepag.

Mathieu Smedts, Den vaderland getrouwe. Een boek over oorlog en verzet, Amsterdam (De Arbeiderspers) 1962, na p. 224.

Photography Year Book 1962, afb. 190, p. 218.

The New York Times 21 januari 1962, p. 21.

Christopher Hibbert, Arnhem 17-26 september 1944, Leiden (Sijthoff) 1963, afb. 14-15, 19, 36-39.

Linea Recta februari 1963, p. 275.

Nouvelles de Hollande. Bulletin Hebdomadaire d’Information de l’Ambassade Royale des Pays-Bas 19 (1 juni 1963) 793, p. 4.

Kalender Société Marseillaise de Crédit 1964, z.p. (Société Marseillaise de Crédit) 1963, afb. juni, augustus.

Photography Year Book 1964, afb. 164, ongepag.

Catalogus Weltausstellung der Photographie [thema: Was ist der Mensch], Hamburg (Gruner + Jahr) z.j. [1964], afb. 330 (Nederlandse ed.: Catalogus Wereldtentoonstelling van de Fotografie, Hamburg (Henri Nannen); Franse ed.: Catalogus Exposition Mondiale de la Photographie, Hamburg (Henri Nannen).

Valencia Atraccion 39 (maart 1964) 350, omslag.

De Fotojournalist juni 1964, p. 7.

J. Buisman (red.), Noord-en Zuid-Amerika, Amsterdam (De Geïllustreerde Pers) 19765, p. 130.

Werelddiakonaat 8 (april 1965) 4, ongepag. J. Buisman (tekst), West- en Oost-Europa, Amsterdam (De Geïllustreerde Pers) 1966, omslag (achterzijde).

Focus 51 (7 januari 1966) 1, omslag.

De Telegraaf/De Courant Nieuws van de Dag in kleur 1 oktober 1966.

Anoniem, Bezetting en bevrijding in fotovlucht. Een zorgvuldig samengestelde verzameling van 58 foto’s ten dienste van de zelfwerkzaamheid bij de geschiedenisles, Den Haag (Van Goor) z.j. [ca. 1967], ongepag.

Revu/Nieuwe Revu (6 april 1967) 14 t/m (15 juni 1968) 24, (10 oktober 1970) 42, (7 oktober 1972) 41, (1 september 1973) 36, (2 augustus 1990) 32.

Catalogus 2. Weltausstellung der Photographie. Die Frau, Hamburg (Gruner + Jahr) 1968, afb. 211 (Nederlandse ed.: Catalogus tent. De Vrouw. 2 de Wereldtentoonstelling van de Fotografie).

Vivante Afrique (november/december 1968) 259, omslag.

Wina Born, De Franse keuken. Avenue culinair, Amsterdam (De Geïllustreerde Pers) 1969, schutblad (achterzijde).

P.R.A. van Iddekinge (samenstelling en tekst), Arnhem september 1944, Arnhem (Gemeentearchief Arnhem) 1969, p. 26- 28,31 (idem, z.p. (Gijsbert en v. Loon) 1982).

J. Klaarenbeek, Reuzen van de dierenwereld, Haarlem (Spaarnestad) 1969, p. 17 (idem Franse ed.) (serie: Biologische speurtochten).

Creative Camera (april 1969) 58, p. 136.

De Bijbel z.j. [ca. 1970] 14, Band 1, p. 417.

[Reisgids] Gouden FIT Reizen zomer 1970, Eindhoven (FIT Vliegreizen) z.j. [1970].

Th. van Leeuwen, Wonderen van de groene wereld, Amsterdam (De Geïllustreerde Pers) 1970, p. 19,96, 103, 116, 118, 122, 150, 153, schutblad (achterzijde) (idem Duitse, Finse, Franse, Japanse, Spaanse en Zweedse ed.) (serie: Wonderboeken).

GJ. de Voogd (samenstelling), Facetten van vijftig jaar Nederlands toneel 1920-1970, Amsterdam (Moussault’s Uitgeverij) 1970, p. 22.

Bericht van de Tweede Wereldoorlog (21 februari 1970) 3, Band 1, p. 83.

Accent 3 (14 t/m 20 november 1970) 46, omslag.

Joep Büttinghausen (red.), Mens en mysterie 2. 10 Onopgeloste raadsels en geheimen uit de wereldgeschiedenis, Amsterdam/Haarlem (De Geïllustreerde Pers/Spaarnestad) 1971, p. 39, 119, 139.

Jac.G. Constant, Taal en teken in de dierenwereld, Haarlem (Spaarnestad) 1971, p. 48, 58, 92 (serie: Biologische speurtochten).

[Reisgids] Gouden FIT Reizen zomer 1971 no. 2, Eindhoven (FIT Vliegreizen) z.j. [1971].

Frank de Graaf, Wonderen van rivieren en meren, Amsterdam (De Geïllustreerde Pers) 1971, p. 46, 57, 61, schutblad (voor- en achterzijde) (idem Duitse, Japanse, Spaanse en Zweedse ed.) (serie: Wonderboeken).

Bericht van de Tweede Wereldoorlog (31 juli 1971) 78, Band 5, p. 2172, 2174.

[Reisgids] AH Zomerreizen 73, Zaandam (Albert Heijn Vakantiereizen) z.j. [1972], omslag, p. 32, 34.

Wina Born, Het volkomen wijnboek, Amsterdam (Meijer Pers) 1972, p. 40, 76 (idem Deense ed.: Den ny vinbog, z.p. 1976 en Noorse ed.: God vin, Oslo 1976).

Ilse Marie Dorff, Surinaams koken, Bussum (Van Dishoeck) 1972, afb 1.

Roelie Meijer (tekst), Floriade Amsterdam 1972. Internationale tuinbouwtentoonstelling, Amsterdam (Stichting Internationale Tuinbouwtentoonstelling 1972) z.j. [ca. 1972].

Tine en Kees Pollmann, Groot gezondheidsboek, Amsterdam (Amsterdam Boek) 1972, t.o. pagina’s 48, 144, 168, 217 (serie: Grote Advies Boeken).

E. Straat (red. Ned. bewerking), Grote Geïllustreerde Wereldgeschiedenis. Deel 1,7, 11 t/m 15, 17, Amsterdam (Amsterdam Boek) z.j. [1972/1974] (idem Duitse ed.; oorspr. Zweedse uitg.).

W. van Stuijvenberg, Voortplanting in de dierenwereld, Haarlem (Spaarnestad) 1972, p. 55, 94-95 (serie: Biologische speurtochten).

Gerton van Wageningen, Wonderen van het natuurgeweld, Amsterdam (De Geïllustreerde Pers) 1972, p. 25, 53, 66, 69,85, 100-101, 107, 109, 112-115, 124-125, 133, 154, 171 (idem Duitse, Japanse en Spaanse ed.) (serie: Wonderboeken).

W. Woltz en Joost van de Woestijne (red.), Ons lieve leven. 100 Jaar Nederlandse krantefoto’s, Wageningen (LJ. Veen/Foton) 1972, p. 39, 65, 92, 94-95, 104, 138, 185, 198, 210.

Onze jaren 45-70 (12 februari 1972) 3, (11 maart 1972) 7, (25 maart 1972) 9, (29 april 1972) 15, (15 juli 1972) 24, (16 september 1972) 33.

Boerderij. Magazine voor het platteland 56 (10 juli 1972) 41, 57 (18 december 1972) 12/13.

Anoniem, Kijk, S. Carmiggelt. De schrijver in beeld, [jaarboekje van] Singel 262, Amsterdam (De Arbeiderspers/Querido) 1973, afb. 185.

Susan Bensusan, Latin American Cooking. A treasury of recipes from the South American countries, Mexico and Caribbean, New York/Toronto (‘Round the World Books inc.) 1973, p. 4, 9 (serie: ‘Round the world cooking library).

Mies Bouhuys e.a. (samenstelling), Ed. Hoornik, Den Haag/Amsterdam (Nederlands Letterkundig Museum en Documentatiecentrum/De Bezige Bij) 1973, afb. 80 (serie: Schrijvers Prentenboek, deel 17).

J. Buisman (red.), Spectrum Wereldatlas, informatie cartografie documentatie, Utrecht/Antwerpen (Het Spectrum) 1973, p. 198, 208, 265, 291.

Lee To Chun, Chinese Cooking. The secret of a great cuisine unveiled, New York/Toronto (‘Round the World Books Inc.) 1973, p. 4-5, 8, 13 (serie: ‘Round the world cooking library).

Han Rensenbrink, Wonderen van het jonge leven, Amsterdam (Amsterdam Boek) 1973, p. 19, 70, 73, 83, 89, 98, 102, 142-143, schutblad (achterzijde) (idem Duitse, Franse en Japanse ed.) (serie: Wonderboeken).

Wouter Slob, Groot paarden boek, Amsterdam (Amsterdam Boek) 1973, p. 82, 102-103, 118, 127.

Mirjam Spiering (samenstelling), Koningin Juliana. Een feestelijk fotomagazine van het zilveren regeringsjubileum van onze vorstin, uitgegeven in haar vijfenzestigste levensjaar, Zwolle (Tijl) 1973, p. 4.

Gerton van Wageningen, Wonderen van de aarde, Amsterdam (Amsterdam Boek) 1973 (idem Duitse, Japanse en Spaanse ed.) (serie: Wonderboeken).

Hans Wierenga (tekst), Majoor Bosshardt. Levenslang, Utrecht (Bruna & Zoon) 1973, p. 101.

A.F. Wyers (hoofdred.), Geïllustreerde encyclopedie [in kleur]. Deel 1 t/m 15, Amsterdam (Amsterdam Boek) 1973/1974, 2de herz. dr. (1ste dr. 1968, 2de dr. 1970).

Vorsten vandaag (1973) 4, speciale jubileumuitgave, p. 8.

Bonne Soirée 25 februari 1973, 11 maart 1973.

Eltern mei 1973, p. 181.

Joep Büttinghausen (red.), Volken en Stammen. [1 t/m 8], Amsterdam (Amsterdam Boek) 1974/1976 (idem Amerikaanse, Canadese, Franse en Japanse cd.).

J. Buisman (red.), Spectrum gezinsatlas. kaart. woord . beeld, Utrecht/Antwerpen (Het Spectrum) 1974, p. 70, 80, 137, 163 (serie: Spectrum Encyclopedie van de wereld, 11).

Jac. G. Constant, Wonderen van de dierentaal, Amsterdam (Amsterdam Boek) 1974, p. 52 (idem Franse ed.) (serie: Wonderboeken).

Emile Fallaux en Ton de Joode, Natuurgeweld in de Nederlanden, Amsterdam (Reader’s Digest) 1974, omslag.

Grote Spectrum Encyclopedie. Deel 1 t/m 8, 10 t/m 18, Utrecht/Antwerpen (Het Spectrum) 1974/1978.

André van der Louw, Rood als je hart. ‘n Geschiedenis van de AJC, Amsterdam (De Arbeiderspers) 1974, na. p. 144.

Noortje de Roy van Zuydewijn, Met het oog op onderweg. Een tocht in woord en beeld langs monumenten in Nederland, Amsterdam (Kampen & Zoon) 1974, p. 66, 73, 84, 132.

W. van Stuijvenberg, Wonderen van de voortplanting in de dierenwereld, Amsterdam (Amsterdam Boek) 1974, p. 90-91 (idem Franse ed.) (serie: Wónderboeken).

Natuur en techniek. Natuurwetenschappelijk en technisch maandblad 42 (november 1974) 11 t/m 44 (augustus 1976) 8.

GR. van den Berg e.a. (tekst), Ik, jij, wij allemaal, Amsterdam (Kosmos) 1975, p. 173.

Jan Bouman (red.), Oranje 1940-’45. Herinneringsalbum vol fotoflitsen van onze koninklijke familie tijdens de tweede wereldoorlog [met foto’s uit het archief van Sem Presser], Bussum (Van Holkema &Warendorf) 1975.

U.H. Brolsma, Wageningen 1940-1945 [uitgave t.g.v. 30 jaar capitulatie], Wageningen (Comité 4 en 5 mei) 1975, p. 34.

[Reisgids] ER-Groepsreizen, Heemstede (ER-Groepsreizen) z.j. [1975].

Frederic V. Grunfeld e.a. (tekst), Spelletjes uit de hele wereld. Fijn om te maken en te spelen, Amsterdam (Kosmos) 1975, p. 26, 177, 198, 230, 233, 242-243.

Rigo Kalkhoven e.a. (tekst), De wereld van Wim Sonneveld, Amsterdam (Amsterdam Boek) 1975.

Simon Mari Pruys, Terug naar het natuurlijke, Grafisch Nederland 1975.

W. van Stuijvenberg, Wonderen van het woud, Amsterdam (Amsterdam Boek) 1975, p. 12, 31, 48, 60, 75, 97-100, 119 (idem Franse ed.) (serie: Wonderboeken).

Mens en dier maart 1975, p. 34-36.

Elseviers Magazine 31 (3 mei 1975) 18, p. 27.

Holland Herald 10 (september 1975) 9, omslag.

Agenda 1975-1976, 28 jg., z.p. (Vroom & Dreesmann) 1975, ongepag.

AMEV. Jaarverslag 1976, p. 2, 4-5, 10-11, 16-17, 22-23, 32-33.

Anoniem, Geschiedenis van een huwelijk, Haarlem (Spaarnestad) 1976, p. 4-5.

Nancy Eekhof-Stork, Spectrum kaasatlas, Utrecht/Antwerpen (Het Spectrum) 1976, p. 10, 16-17, 41, 66, 70, 111, 116, 118, 121, 123, 125, 127, 161, 170-171, 178, 185 (idem Engelse en Franse ed.).

J.H. Meesters en J. Bouman, Rondom thora en koran, Groningen (Wolters-Noordhoff) 1976, p. 32-33 (serie: Woorden en wegen. Capita selecta ten dienste van het godsdienstonderwijs voor vwo, havo en hbo, 3).

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Theo Ramaker, Sem Presser. Een nieuwe Marco Polo bij het vreemdelingenlegioen, in Focus 45 (9 juli 1960) 14, p. 458-462 (met foto’s).

Anoniem, Les Lions de Roquebrune-Beausoleil ont intronisé deux nouveaux membres, in Nice-Matin 25 oktober 1960.

J.D. de Jong, Foto-expositie Stedelijk Museum Amsterdam. Eerste verzameling in Europa foto’s “an sich”, in Friese Koerier 19 november 1960.

Anoniem, Een bruingebrande Sem Presser kwam uit Nieuw Guinea terug met een heel bijzondere reportage, in Margriet 25 februari 1961.

Simon van Collem, Simon van Collem haalt herinneringen op aan film, in Televizier 6 mei 1961, ongepag.

Anoniem, Dutchman knows country well now, in The Herald 23 februari 1962, p. 3.

D.B. [= Dick Boer], Veertigjarig bestaan van de Bond van Nederlandse Amateur Fotografen-Verenigingen. Nationale en internationale tentoonstellingen, in Focus 47 (11 mei 1962) 10, p. 14-23.

M.A. de Jong, Van Egeraat, kritisch bekeken. Pronken met andermans veren, in Vrij Nederland 11 augustus 1962, p. 4.

Catalogus tent. Quatre photographes néerlandais de France, Parijs (Institut Néerlandais) 1963, ongepag. (met foto’s).

Willem Frederik Hermans, Dinky Toys, in Podium mei 1963, p. 372.

Anoniem, L’Art de la photo, in La Provence Liberée 18 mei 1963.

Anoniem, Exposition a 1’Institut Néerlandais de Paris: Quatre photographes néerlandais de France, in Nouvelles de Hollande. Bulletin Hebdomadaire d’Information de l’Ambassade Royale des Pays-Bas 19 (19 mei 1963) 791, p. 2-3.

Sadi de Gorter, Quatre photographes néerlandais de France. A l’Institut néerlandais de Paris, in Le Nouvelle Gazette de Biarritz 20 mei 1963.

Anoniem, L’histoire de tous les jours en deux cents images, in Le Figaro 24 mei 1963.

B.G.A., La Photographie. Quatre Hollandais, in Le Monde 31 mei 1963.

Anoniem, A 1’Institut néerlandais de Paris, quatre phtographes néerlandais de France, in La Vie des Métiers Photographiques (juni 1963) 207, ongepag.

Anoniem, A 1’Institut Néerlandais, in Le Belge de France 1 juni 1963.

Cor de Groot, Vier Nederlandse fotografen in Parijs. Brommet: charmant mode-fotograaf. Van der Veen: koelbloedig ooggetuige. Berretty: waarnemer van mensen. Presser: volmaakt componist, in de Volkskrant 11 juni 1963, p. 5.

Anoniem, Dichterlijk en schokken, in Het Vrije Volk 15 juni 1963.

Anoniem, Nederlandse fotografen in Franrijk [sic]. Expositie in Institut Néerlandais in Parijs, in Eindhovens Dagblad 20 juni 1963, p. 13.

Sadi de Gorter, Quatre photographes néerlandais de France, in Le Photographe. Revue technique des professionnels et du commerce photo-cinéma 53 (20 juni 1963) 1034, p. 310-312.

Marcel Defosse, Quatre photographes qui sont des journalistes. Une exposition a Paris, in Le Soir 25 juni 1963.

Gérard Seckler, Quatre photographes néerlandais de France, in Photo-Revue oktober 1963, p. 303-309 (met foto’s).

Catalogus tent. 4 even hier. Dominique Berretty, Fred Brommet, Sem Presser, Eddy van der Veen, Amsterdam (Rijksakademie van Beeldende Kunsten) 1964, ongepag. (met foto’s).

Anoniem, Fotojournalisten exposeren in de hoofdstad, in Nieuwe Rotterdamse Courant 15 februari 1964, p. 11.

Anoniem, Wat een plaat. Wat een Presser!, in Revue. Het Nederlands familieblad (15 februari 1964) 7, p. 15.

Anoniem, Fototentoonstelling van internationaal viertal. 4 even hier, in Algemeen Dagblad 17 februari 1964, p. 5.

R.N.S., Beroemde foto’s van vier Parijse Nederlanders. Observeren en vastleggen, in Trouw 17 februari 1964, p. 2.

Anoniem, 4 even hier. Nederlanders in Frankrijk exposeren foto’s. Rijksakademie van Beeldende Kunsten geeft “openbare les in leren zien”, in Algemeen Handelsblad 18 februari 1964, p. 2.

Anoniem, “Vier even hier” blik op wereldwijde activiteiten, in Brabants Dagblad 19 februari 1964, p. 7.

P.v.B., Vier die Frankrijk kozen…, in Haagsche Courant 19 februari 1964, p. 17.

R. Nieman, Kunstkritiek in het kort. Fotografie. Vier even hier, in Elseviers Weekblad 22 februari 1964, p. 23.

Janus, Fototentoonstelling, in Vrij Nederland 24 (29 februari 1964) 27, p. 1, 15.

Joost Andriessen, 4 even hier. Dominique Berretty, Fred Brommet, Sem Presser, Eddy van der Veen, in Foto 19 (maart 1964) 3, p. 120-128 (met foto’s).

Theo Ramaker, “4 even hier”, in De Fotojournalist 4 maart 1964, p. 15.

Wilko A.G.M. Bergmans, Een zwerver kwam weer thuis. Sem Presser: ‘Mijn huwelijk met Marianne is mislukt’, in De Fotojournalist juli 1965, p. 23.

F. Stoppelman, Sem Presser. De meest gelezen fotograaf van Nederland, in Focus 50 (15 oktober 1965) 21, p. 2-10 (met foto’s).

K.V.M., Snap shot van Sem Presser, in De Spectator [bijvoegsel van “De Nieuwe Gids”, “De Antwerpse Gids”] 1-2 april 1967, p. 11.

Peter Karstkarel, Foto’s, in Friesch Dagblad 27 februari 1971.

Anneke Kersting, 2 Zolders, in Wonen.Maandblad van de Stichting Wonen 3 (juni 1972) 2, omslag, p. 9-11.

Geïllustreerde ledenlijst grafisch vormgevers nederland gvn/Geïllustreerde ledenlijst beroepsvereniging van fotografen gkf 1973, Amsterdam (GKf/GVN) 1973, ongepag.

Anoniem, Slag om Arnhem herleeft in foto- en filmexpositie, in Dagblad van het Oosten 11 september 1974.

R.G., Herinnering. Oranje 1940-’45, in De Stem. Dagblad voor Zuidwest-Nederland 26 juni 1975.

Anoniem, Zo kwam Eli Asser aan zijn hoogtevrees, in Story 21 oktober 1977, p. 43-44.

Els Barents (red), Fotografie in Nederland 1940-1975, Den Haag (Staatsuitgeverij) 1978, p. 11, 24-26, 56-57 (met foto’s en losse biografie).

Who’s Who in the World, Chicago (Marquis Who’s Who) 1978, 4de dr., p. 752.

Flip Bool en Kees Broos (red.), Fotografie in Nederland 1920-1940, Den Haag (Staatsuitgeverij) 1979, p. 90-91, 140, 156.

Willem Schrama, Een reporter zoekt rust, in Trouw 28 april 1979, p. 17.

Anoniem, Voor u geknipt…., in Auteursrecht 3 (oktober 1979) 4, p. 91.

Anoniem, Gratis voor niks, in Maandblad Beroepsfotografen Nederland BFN (10 oktober 1979) 10, ongepag.

Anoniem, Sem Presser opent World Press Photo. Expo in Uden van 7 tot 13 december, in Brabants Dagblad 4 december 1979.

Anoniem, Sem Presser opent World Press Photo in Udense Pronkkamer, in Udens Weekblad 5 december 1979.

Anoniem. World Press Photo ’79 in Uden. Vanaf 8 december in Pronkkamer, in Weekblad Oost-Brabant 6 december 1979.

Ledenboek Beroepsfotografen Nederland. BFN, Amsterdam (BFN) z.j. [1980], p. 146-148 (met foto’s).

Nederlandse Vereniging van Fotojournalisten. Jaarverslag 1980, schutblad (voorzijde), p. 1, 11-13.

[Brochure] NVF Nederlandse Vereniging van Fotojournalisten 50. 1931-1981, Amsterdam (NVF) 1981, p. 1-2, 5, 9, 11, 13.

Marleen Kox, Verslag onderzoek fotoarchieven. (Samengesteld in opdracht van de Stichting Nederlands Foto-Archief), Amsterdam, juli 1981.

Fred Jansz, Bij het afscheid van Sem Presser. NFV onder nieuwe leiding, in Foto 36 (juli 1981) 7, p. 53.

Anoniem, [zonder titel; korte tekst m.b.t. expositie in Nieuwe kerk], in Adformatie 10 juli 1981, p. 35.

Willem Schrama, De toegepaste kunst van Sem Presser. Reizende reporter paarde koopmanschap aan journalistiek inzicht, in Leidsch Dagblad 8 augustus 1981, p. 23.

Anoniem, Sem Presser wilde maar één ding zijn: persfotograaf. ‘Zelfs in mijn ergste armoede heb ik mijn poot stijf gehouden’, in Utrechts Nieuwsblad/N.Z.C. 12 augustus 1981, p. 9.

Willem Schrama, De toegepaste kunst van Sem Presser. Vermaard fotograaf blijft reizen, in De Gooi- en Eemlander 20 augustus 1981, p. 2.

Catalogus tent. Zien en gezien worden. Fotografische zelfbespiegeling in Nederland van ca. 1840 tot heden, Nijmegen (Nijmeegs Museum ‘Commanderie van Sint-Jan’) 1983, p. 16, 92.

Rommert Boonstra, Slechts een enkel tijdsbeeld. GKF-fotografen in het Stedelijk, in Foto 38 (juni 1983) 6, p. 32-35.

Bas Roodnat, Het fotografisch zelfportret thema van royaal overzicht, in NRC Handelsblad 15 december 1983, p. 6.

Anoniem, Sem Presser vindt foto’s van Napp-Zinn ‘prachtig’, in Uithoornse Courant 16 mei 1984.

Peter Schumacher, Foto’s in dagbladen ‘stiefkinderen van media’. Onderzoek naar selectiebeleid bij acht kranten, in NRC Handelsblad 10 juni 1984.

Remco Campert (inl.), Amsterdam 1950-1959 20 fotografen, Amsterdam (Fragment) 1985, ongepag., afb. 38, 57, 62.

Ed van der Elsken, ‘Are you famous’, Amsterdam (Meulenhoff/Landshoff) 1985, P. 59.

Ellen Kok, Fotojournalistiek moet zo neutraal mogelijk zijn, in Foto 40 (april 1985) 4, p. 62-69 (met foto’s).

Eric van ‘t Groenewout, Sem Presser: “ik ben geen rotjongen meer”, in GKf-bulletin (april 1985) 2, p. 6-9.

Anoniem, Notulen jaarvergadering, in GKf-bulletin (april 1985) 2, p. 15-16, 18-19.

Herman Hoeneveld, Sem Presser krijgt Joop Alblas-prijs, in Professionale Fotografie (april/mei 1985) 2, p. 36-39.

Anoniem, Presser was erbij, in Algemeen Dagblad 13 april 1985, p. 49.

H.J. Oolbekkink, Persfotograaf Sem Presser: ‘Nooit druk maken om futiliteiten’, in Haagsche Courant 13 april 1985, p. 1, 25.

Matt Dings, Sem Presser. De fotograaf als loodgieter. ‘De mens lijdend afbeelden, daar wil ik instinctief van afblijven’, in De Tijd 11(19 april 1985) 32, p. 28-31.

Rolf Bos en Harry van Gelder, De meest gelezen fotograaf van Nederland, in de Volkskrant 20 april 1985.

Marian Spinhoven, Spijkers met koppen in de BTW-kwestie. NVF-jaarvergadering, in De Fotojournalist 13 mei 1985, p. 31.

Wim de Jong, De mens achter de fotojournalist. Sem Presser. ‘Ik heb een plaat van de moffen gemaakt toen ze verloren’, in Focus 70 (juli 1985) 7, p. 9-15 (met foto’s).

Anoniem, 29 augustus 1985 […], in Professionele Fotografie (oktober/november 1985) 5, p. 38-39.

Pauline Terreehorst, Boerenkaas-realisme en grootsteedse grandeur. Gemeente-archief Amsterdam boort met fotocollectie goudmijn aan, in de Volkskrant 12 oktober 1985.

Anoniem, Broekspijpen op de Galapagos, in Foto 40 (november 1985) 11, p. 72.

Luc Verkoren, In memoriam Sem Presser, in Photohistorisch Tijdschrift (1986) 4, p. 23.

Herman Hoeneveld, Journalist in hart en nieren, in Het Parool 29 oktober 1986.

Bas Roodnat, Sem Presser (1917-1986). Een onvermoeibaar perfectionist, in NRC Handelsblad 30 oktober 1986, p. 5.

Huib Goudriaan, Sem Presser fotografeerde de hele wereld, in Trouw 30 oktober 1986, p. 2.

Rolf Bos, Sem Presser was nestor van de fotojournalistiek. “Meest gelezen fotograaf van Nederland” op 69-jarige leeftijd overleden, in de Volkskrant 30 oktober 1986.

Leo Divendal, Een oog voor honderdduizenden, in De Waarheid 4 november 1986, p. 4.

Paul Boogers, Sem Presser is nu zelf historie geworden, in Nieuwe Revu (7-14 november 1986) 46, p. 76-77 (met foto’s).

Anoniem, Presser wint postuum geding auteursrecht, in NRC Handelsblad 10 november 1986.

Jaap Herschel, Sem Presser overleden. Onvermoeibaar ijveraar voor het aanzien van ons vak, in De Fotojournalist 17 november 1986.

Bea Polak-Biet en Wim Polak, Herinneringen aan Sem Presser, in Professionele Fotografie december 1986, p. 9-11 (met foto’s).

Jaap J. Herschei, [korte inleiding], in Jaar te kijk 1986. De Zilveren Camera, Amsterdam (Elsevier) 1987, p. 3.

Ronald Vecht, Sem Presser: posthume overwinning, in Foto 42 (januari/februari 1987) 1/2, p. 82.

Igor Cornelissen, Nu en toen. Annie was zuinig, in Vrij Nederland 49 (29 oktober 1988) 43, p. 7.

Mattie Boom, 150 jaar fotografie. Een keuze uit de collectie van de Rijksdienst Beeldende Kunst, Den Haag (SDU/Rijksdienst Beeldende Kunst) 1989, p. 52, 151 (serie: RBK-reeks nr. 2).

Mattie Boom, Frans van Burkom en Jenny Smets (red.), Foto in omslag. Het Nederlandse documentaire fotoboek na 1945/Photography between covers. The Dutch documentary photobook after 1945, Amsterdam (Fragment) 1989, p. 18-19, 50, 133, 135.

René Kok en Erik Somers (red. en samenstelling), Documentaire Nederland en de Tweede Wereldoorlog. 2. Duitsland valt aan, Zwolle (Waanders i.s.m. Rijksinstituut voor Oorlogsdocumentatie) z.j. [1989], p. 50-51.

Margalith Kleijwegt, Uit het archief. Fotografen kiezen fotografen, in Vrij Nederland. Bijvoegsel (11 maart 1989) 10, p. 18-28.

Eric van ‘t Groenewout, Simon van Collem, in Film en tv maker (september 1989) 297, p. 11.

René Kok en Erik Somers (red. en samenstelling), Documentaire Nederland en de Tweede Wereldoorlog. 15. De SS in Nederland, Zwolle (Waanders i.s.m. Rijksinstituut voor Oorlogsdocumentatie) z.j. [1990], p. 362.

Joop Swart en Wilco Kalbfleisch, Sem Presser, in Catalogus tent. Capi-Lux Alblas Prijs 10 jaar, Amsterdam (Capi-Lux Alblas Stichting) 1990, p. 94-107 (met foto’s).

Nicole Bliek, Winnaars Capi-Lux-prijs bijeen, in Algemeen Dagblad 10 april 1990.

Nicole Bliek, Winnaars Capi-Lux prijs bijeen, in P/F. Special (mei 1990) 2, p. 63.

Willem Ellenbroek, U strelen uw tong? U eten bij Hongkong, in de Volkskrant 27 oktober 1990, p. 5.

Catalogus Internationale Fotoveiling Amsterdam. Zondag 24 februari 1991, Amsterdam (Stichting Canon Image Centre/Stichting F32/Hotel Pulitzer) 1991, lot 173-177.

René Kok en Erik Somers (red. en samenstelling), Documentaire Nederland en de Tweede Wereldoorlog. 47. De Ondergedoken Camera, Zwolle (Waanders i.s.m. Rijksinstituut voor Oorlogsdocumentatie) z.j. [1991],p. 1118.

Ingeborg Leijerzapf e.a. (tekst), Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw/The Decisive image. Dutch Photography f’rom the 20th Century, Amsterdam (BIS) 1991, p. 67, 206-207.

Janny Kok, Tweede afscheid van Sem Presser. Weduwe: Zijn archief is een herinnering en bestaat niet uit zo maar wat plaatjes, in Algemeen Dagblad 27 april 1991, p. 57.

Hub. Hubben, Sjaalman. IISG verwierf archief van “Carmiggelt van de camera”, in de Volkskrant 27 april 1991.

René Kok, Helaas fotografeerde Sem Presser op 5 mei 1945 geen historisch moment, in de Volkskrant 4 mei 1991.

Ko Luysterburg, Een greep uit het werk van Sem Presser, in Het Nieuwsblad 12 juni 1991, p. 15 (met foto’s).

Ko Luysterburg, Mensen uit de wereld van Sem Presser, in Brabants Dagblad 15 juni 1991, p. 35 (met foto’s).

Leo Divendal, Het glazen oog, Haarlem/Amsterdam (Spaarnestad-Fotoarchief/Luna Negra) oktober 1991, p. 24-25

(serie: uit Het archief in Het archief). René Kok, Herman Selier en Erik Somers, Fotografie in bezettingstijd. Geschiedenis en beeldvorming, Amsterdam/Zwolle (Rijksinstituut voor Oorlogsdocumentatie/Waanders) 1993, p. 11.

Veilingcatalogus. Dutch and Flemish Vintage Photographs 1860-1992. Glerum Auctioneers 23 mei 1993, Den Haag (Glerum) 1993, lot 126.

Bram Wisman, Argusogen. Een documentaire over de persfotografie in Nederland, Amsterdam (Voetnoot) 1994, p. 5-6, 31-33, 45, 65-66, 102, 104-106, 142, 144-145, 150-153, 157-158, 161, 163-166, 189-191, 194, 202-203, 205-207, 212-214, 221 (met foto’s).

Taco Anema e.a. (red.), GKf 50. Fotografie 1945-1995, Amsterdam (De Verbeelding) 1995, p. 55-57, 189-191, 195 (met foto’s).

Veronica Hekking en Flip Bool, De illegale camera 1940-1945. Nederlandse fotografie tijdens de Duitse bezetting, Naarden (V+K Publishing/Inmerc) 1995, p. 106-107, 209.

Louis Zweers, Het foto-essay. Sem Presser. Fotograaf bij ANEFO in de zomer van 1945, in Oorlogsdocumentatie ’40-’45. Jaarboek van het Rijksinstituut voor Oorlogsdocumentatie’] (1996), omslag, p. 152-171 (met foto’s).

Anoniem, Sem Presser fotografeerde ‘Foute Nederlanders’, in Leidsch Dagblad 20 maart 1996.

Anoniem, RIOD publiceert foto’s bestraffing ‘foute’ Nederlanders, in de Volkskrant 20 maart 1996, p. 8.

Hans Hermans, Auteursrecht. NRC knoeit met beroemde foto, in Focus 83 (november 1996) 11, p. 77.

Marjo van Soest en Simon Kool, Reis door de puinhopen van de verliezer. Aart Klein en de kick van de totale verwoesting, in Vrij Nederland 58 (18 januari 1997) 3, p. 54-57.

Henrik Barends en Adriaan Elligens (samenstelling) en H.J.A. Hofland (tekst), The times of Sem Presser/De tijden van Sem Presser, Amsterdam (Voetnoot) 2000.

Marie Louise Schipper, Daar staat Pim weer met z’n pannetje, in de Volkskrant 4 mei 2000, p. 13.

Arnon Grunberg, Sem Presser en de kunst van het wegkijken, in M. Maandblad van het NRC Handelsblad (december 2000) 15, p. 46-54.

Anoniem, Met het hart in de lens. De Amsterdamse foto’s van Sem Presser, in Ons Amsterdam 52 (december 2000) 12, p. 336-341 (met foto’s).

Willem Ellenbroek, Nog is het reizen niet gedaan. De vriendelijke foto’s van Sem Presser, in de Volkskrant 21 december 2000.

Francoise Ledeboer, Fotojournalist Presser: onverschrokken en inventief, in Rotterdams Dagblad 22 december 2000.

M.R. Ziegler, Sem Presser fotografeerde het leven, in De Telegraaf 22 december 2000.

Francoise Ledeboer, Fotograaf Presser: onverschrokken en inventief, in Leeuwarder Courant 29 december 2000.

Michaël Zeeman (inl.), Foto’s van Sem Presser GKf, Amsterdam (Voetnoot) 2001 (serie: Holland zonder haast, 3).

Willem Ellenbroek, Opwinding die in kleine dingen school, in de Volkskrant 6 juli 2001.

Anoniem, Kunsthal twee maanden lang ‘Kunst & kitschhal’, in Rotterdams Dagblad 8 augustus 2001.

Suk-Jae Hummelen, Helden in beeld gevangen. Fotografie. Jan Blokker stelt expositie samen in de Nieuwe Kerk, in Trouw 26 september 2001.

Hans den Hartog Jager, Drie keer nul, in NRC Handelsblad 23 oktober 2001.

Mariëtte Haveman (samenstelling), Zwarte Rook. Fotografie en steenkool in de twintigste eeuw/Black Smoke. Photography and coal in the twentieth century, Rotterdam (Nederlands Foto Instituut/NAi Uitgevers) 2002, p. 19, 45-47, 111, 138.

Wim van Sinderen (red.), Fotografen in Nederland. Een anthologie 1852-2002, Amsterdam/Gent/Den Haag (Ludion/Fotomuseum Den Haag) 2002, p. 314-315 (met foto’s).

Huib Stam (tekst), Hier is Cannes, Amsterdam (Voetnoot) 2002.

Roos Tiggelaar, Vlucht naar Cannes! Fotograaf Sem Presser vindt vrijheid in glamourwereld, in Algemeen Dagblad 17 januari 2002.

Marc Floor, Sem Presser groet u van het filmfestival in Cannes; Kunsthal toont historische foto’s van ‘s werelds beroemdste filmfestival, in Rotterdams Dagblad 25 januari 2002.

Marc Floor, Presser kreeg in Cannes iedereen voor de lens, in Dagblad van het Noorden 26 januari 2002.

Mark Duursma, Oorlogsleed op Nederlandse foto’s, in NRC Handelsblad 10 juli 2002.

Iris Ludeker, De dunne scheidslijn tussen engagement en propaganda. Fotografie, in Trouw 7 augustus 2002.

D.G. van Buggenum, B company arrived. The story of B Company of the 2nd Parachute Battalion at Arnhem, september 1944, Renkum (Sigmond Publishing) 2003, p. 81-83, 87-88, 139 (met foto’s).

Harry van der Ploeg, Een bloedige race naar de schipbrug over de Rijn. Slag om Arnhem, in De Gelderlander 30 mei 2003.

Peter Brusse, Paf van al die rare dieren. Tot ver na de oorlog waren er meer foto’s van zwakke, zieke en misselijke negers dan van een gezond exemplaar, in de Volkskrant 28 augustus 2003.

Simon Vinkenoog (tekst), Parijs was mieters. Nederlandse fotografen in Parijs, 1945-1965, Schiedam (Stedelijk Museum Schiedam i.s.m. Studio Koster) 2004, ongepag. (met foto’s).

Anoniem, Pleur die ouwe rotzooi maar in de Kloveniersburgwal, in Provinciale Zeeuwse Courant 14 februari 2004.

Dorine Steenbergen, Publiek: Maigret doolt door St. Marten, in De Gelderlander 11 maart 2004.

Maurits Brands (samenstelling), Avenue van A tot Zero, z.p. [Rotterdam] (Veenman) 2006, p. 14, 22.

Anoniem, Voetbal op de schaal van Richter, in NRC Handelsblad 13 mei 2006.

Hans Aarsman, Mei-nummer, Ons Amsterdam, baldadige jongeren, 1950, foto Sem Presser/MAI, in de Volkskrant 11 mei 2006.

Frank Renout, Expositie Sem Presser en Van der Keuken – Nostalgisch kleurenbeeld Parijs, in AD/Groene Hart 21 december 2007.


in De Telegraaf.

Anoniem, Mannen in het nieuws. Sem Presser (Persfotograaf). Hij ruilt Amsterdam voor de Rivièra, 10 maart 1951, p. 14.

Anoniem, Succes voor onze fotografen. “Zilveren camera” voor Sem Presser – Eerste prijs actuele foto’s voor Bert Buurman, 27 oktober 1952, p. 3.

Anoniem, Hoe breng ik mijn vacantie door?, 8 juli 1953.

Anoniem, Journaal. Toch naar Amsterdam, 18 augustus 1954, p. 7.

Anoniem, Oh, Sem-hoe kon je dat doen! Deugt er dan niets meer van jouw Rivièra? Open brief aan mijn onbekende vriend…, 18 juni 1955.

Anoniem, Charlotte’s feestjurk, 24 april 1957.

Stan Huygens, Iets over de kaarten die ik kreeg. Stan Huygens’ Journaal, 2 januari 1958, p. 2.

Anoniem, Wandelingen. I, 23 mei 1958.

Anoniem, Nederlandse fotografen exposeren in Parijs, 8 juni 1963.

Anoniem, Expositie van 4 Nederlandse fotografen, 18 februari 1964, p. 3.

Anoniem, Fotojournalist Sem Presser overleden, 30 oktober 1986.

MRZ, Tien jaar Capi-Lux Alblasprijs. Prijswinnaars exposeren in Posthoornkerk, 30 maart 1990, p. 17.

Pieter Klein Beernink, Cannes in Rotterdam, 29 januari 2002.


in Het Parool:

Anoniem, “Zilveren Camera” gaat naar Frankrijk. Fanny Blankers geeft trofee aan Sem Presser, 28 oktober 1952, p. 9.

Anoniem, Internationaal galaboek van de fotografie, 10 oktober 1957.

Kronkel, Zuidelijk, 29 mei 1958.

Anoniem, Maanblad reizen breekt met Dr. van Egeraat, 24 augustus 1962.

Anoniem, Na breuk met “”Reizen”. Dr. L. van Egeraat: geen belangstelling voor kritiek, 29 augustus 1962.

Anoniem, Vier Nederlandse fotografen in Parijs, 6 juni 1963, p. 7.

Anoniem, Nederlandse fotografen uit Parijs exposeren, 15 februari 1964, p. 5.

Anoniem, De laatste jaren van Albert Schweitzer, 7 september 1965, p. 7.

Anoniem, Buurt geteisterd door randfiguren. Krakers streden tevergeefs tegen ontsporing van actie, 3 maart 1980, p. 6.

Marjo van der Meulen, Lieve kinderboeken als dekmantel, 5 mei 1990, p. 32.

Igor Cornelissen, Sem Presser en de fotografie als ambacht, 20 april 1991, p. 21 (met foto’s).

Aart Klein, Sem Presser, 1 mei 1991.

Mary Ann Lindo, Misschien ben ik niet zo gedreven, 22 juni 1991, p. 25.

Hanneke de Wit, Foto’s die de censuur niet wilde doorlaten/Nieuw licht op de zomer van ’45, 19 maart 1996, p. 1, 11 (met foto’s).

Hanneloes Pen, De Carmiggelt van de camera; De grens over voor het Nederlandse volk, 14 december 2000.

Hanneke de Wit, Eenzaamheid troef in die armzalige pensionnetjes, 9 oktober 2001.

Paul Arnoldussen, De mimosa bloeit, 22 juni 2002.

Paul Arnoldussen, Een Nederlandse hotelier in Menton, 6 augustus 2002, PS Reportage, p. 5.

Paul Arnoldussen, De kuikens bleven opdringen, 20 augustus 2002, PS Portret, p. 11.

Lambiek Berends, De zilveren camera van Ben, 30 november 2002.

Peter van Brummelen, Wachten op de lage zon, 15 januari 2004.

Hans Hoekstra, Zilverachtige camera, 1 september 2006.


in De Journalist

Theo Ramaker, World Press Photo op nieuw voetstuk, 15 juli 1971, p. 29-30.

Anoniem, Voor NVF weer nieuwe toekomstmogelijkheden, 1 april 1973, p. 16-17.

Anoniem, Negen tijdschriften negatief beoordeeld. Een rapport van Sem Presser, 15 juni 1975, p. 26-27.

B. Roodnat, Fotojournalisten op zoek naar bondgenoten, 27 (10 april 1976) 8, p. 37.

Anoniem, Archiefwerk, 12 mei 1977.

Anoniem, Kritiek op autoriteiten en stad Rotterdam. Zilveren Camera open op gastvrij Schiphol, 12 januari 1978, p. 38-39.

Anoniem, 50 jaar ‘vreemde kameradenband’. Bijna halve eeuw samen in NVF, 26 april 1979, p. 24.

Ton van Brussel (red.), Presser versus v. Velzen (2) en… Kors van Bennekom contra Bert Bakker, 18 oktober 1979.

Ton van Brussel (red.), Auteursrechtdiscussie komt van de grond. Sem Presser, Kors van Bennekom, Rien Poortvliet, 29 november 1979, p. 20-21.

Arie Nijhof, Het gat van Sem Presser was inderdaad weg… De verdeling van de plaatsen in de Nieuwe Kerk, 12 juni 1980, p. 35.

Anoniem, Afscheid van Presser, nieuw bestuur, bezwaren kascommissie, prijzen. NVF-secretaris Arie Nijhof: vruchtbare bijeenkomst, 21 mei 1981, p. 28-29.

Anoniem, In Amsterdamse Nieuwe Kerk: stijlvol afscheid van Sem Presser, 32 (30 juli 1981) 15, p. 22.

Sibrand Nobbe (red.), Tien ZC-jaren te kijk, 34 (11 februari 1983) 3, p. 14-15.

Marian Spinhoven, Sem Presser: ‘Vroeger moest je gewoon je brood verdienen’, 36 (22 april 1985) 8, p. 26-27.

Anoniem, WPP-historie [artikel gebaseerd op ongepubliceerde gegevens van Sem Presser], 38 (30 maart 1987) 6, p. 19.

Henri Beunders, Accent op conflict en emotie. Historisch beeld van vijftig jaar Zilveren Camera, 104 (26 maart 1999) 6, bijlage Zilveren Camera 1998, p. 3-8.


GKf, vanaf 1945-1986.

Nederlandse Vereniging van Fotojournalisten (NVF), 1946-1986 (voorzitter van 1948-1951, 1968-1981).

Redactieraad tijdschrift Fotografie. Vakblad voor het fotografisch ambacht, 1950.

Redactie van Mededelingen van de Nederlandse Vereniging van Fotojournalisten, 1950.

Bestuur Stichting World Press Photo Holland (WPPH) 14 oktober 1971-1986.

De Zilveren Camera Commissie 1976-1981.

Bestuur Burafo.

Jury De Zilveren Camera 1981-1983, 1985.

Bestuur Stichting Foto Anoniem.


1950 ‘Year’s best picture price’ van tijdschrift U.S. Camera.

1952 Zilveren Camera 1952 [uitgereikt op 25 oktober 1952].

1956 Gouden medaille, 1a Mostra Internazionale di Fotografia Artistica per Invito, Pescara.

1980 Officier in de Orde van Oranje-Nassau.

1984 Capi-Lux Alblas Prijs [uitgereikt op 18 april 1985].

1985 Gouden plaquette van de NVJ t.g.v. gouden jubileum als fotojournalist.

1985 World Press Award ‘De Fotograaf.


1948 (g) Amsterdam, Stedelijk Museum, Foto ’48.

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

1951 (g) Milaan, Palazzo di Brera, Mostra della Fotografia Europea 1951.

1951/1952 (g) Van Juliana tot Juliana [reizende tentoonstelling van voorwerpen uit het Koninklijk Huisarchief, daartoe afgestaan door H.M. de Koningin].

1952-1964 (e) in o.a. Cannes, Cagnes, Nice, Vence, Monte Carlo, Roquebrune Village, Menton, San Remo.

1952 (g) Venetië, 26e Biennale.

1953 (g) Amsterdam, ’t Gildehuis [Voetboogstraat], [vierde tentoonstelling Zilveren Camera].

1953 (g) Maastricht, Kunstzalen De Jong-Bergers, Nederlandse Fotografie 1953.

1956 (g) Pescara, Palazzo Pomponi, 1a Mostra Internazionale di Fotografia Artistica per Invito.

1957 (g) Tokio, Photography of the World.

1957 (g) Venetië, Sala Napoleonica, 1a Mostra Internazionale Biennale di Fotografia.

1958 (g) Leiden, Prentenkabinet van de Rijksuniversiteit Leiden, Foto’s GKf.

1960 (g) Amsterdam, Stedelijk Museum, Foto’s uit eigen collectie.

1961 (g) Amsterdam, Stedelijk Museum, Dag Amsterdam.

1962 (g) Amersfoort, De Zonnehof, Nationale en Internationale Fototentoonstelling ter gelegenheid van het 40-jarig bestaan van de Bond van Nederlandsche Amateurfotografen Vereenigingen 1922-1962 [reizende tentoonstelling: Dordrecht, Kunstmin; Heerlen, Raadhuis; Meppel, Rijkskweekschool; Eindhoven, De Krabbendans].

1962 (g) New York, New York Camera Club.

1963 (g) Parijs, Institut Néerlandais, Quatre photographes néerlandais de France.

1964 (g) Amsterdam, Rijksakademie van Beeldende Kunsten, 4 even hier [foto’s van Dominique Berretty, Fred Brommet, Sem Presser en Eddy van der Veen].

1964 (g) Hamburg, Kunstverein, Weltausstellung der Photography. 550 Photos von 264 Photographen aus 30 Ländern zu dem Thema Was ist der Mensch? [reizende tentoonstelling: o.a. Amsterdam, Stedelijk Museum; Eindhoven, Stedelijk Van Abbe Museum, Wereldtentoonstelling van de Fotografie. Mensen op weg].

1968 (g) Hamburg, 2. Weltausstellung der Photographie. Die Frau [reizende tentoonstelling: o.a. Amsterdam, Stedelijk Museum, Breda, De Beijerd Cultureel Centrum; Delft, Stedelijk Museum Het Prinsenhof; Eindhoven, Stedelijk Van Abbemuseum; Hilversum, Goois Museum; Schiedam, Stedelijk Museum; Zwolle, Bethlehem Kerk, De Vrouw. 2de Wereldtentoonstelling van de Fotografie, Londen, The Institute of Contemporary Arts, Woman. 2nd World Exhibition of Photography].

1971 (g) Leeuwarden, Fries Museum, De Vrouw.

1972 (g) Amsterdam, Stedelijk Museum, Ons lieve leven. 100 Jaar Nederlandse krantefoto’s.

1973 (g) Amsterdam, Stedelijk Museum, Groepsfoto. Fotografen GKf.

1978/1979 (g) Amsterdam, Stedelijk Museum, Fotografie in Nederland 1940-1975.

1979/1980 (g) Den Haag, Haags Gemeentemuseum, Foto 20-40.

1981 (e) Amsterdam, Nieuwe Kerk, [kleine expositie n.a.v. afscheid als voorzitter van de NVF, gelijktijdig met Zilveren Camera-expositie].

1982 (g) Hoevelaken, Bouwfonds Nederlandse Gemeenten (Westerdorpsstraat 66), Fotografie GKf. Beroepsvereniging van fotografen.

1983 (g) Amsterdam, Stedelijk Museum, Kijken in de tijd. 50 Fotografen in het Stedelijk (GKf).

1985 (g) De wereld van Anne Frank [een gedurende vele jaren reizende tentoonstelling van de Anne Frank Stichting].

1985 (g) Amsterdam, Gemeentearchief, Amsterdam 1950-1959 20 fotografen.

1985 (e) Amsterdam, Nieuwe Kerk, Sem Presser [expositie n.a.v. uitreiking Joop Alblas Prijs aan Sem Presser].

1986 (g) Amstelveen, Cultureel Centrum, Dutch Photography [reizende tentoonstelling] .

1986 (g) Amsterdam, Nieuwe Kerk, Dans te Kijk, 40 jaar theaterdans.

1986 (g) Haarlem, Vishal, Het Spaarnestad Fotoarchief. Twee miljoen foto’s.

1986 (g) Leiden, Openbare Bibliotheek, Van hof tot Stevenshof.

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

1989 (g) Amsterdam, Stedelijk Museum, Fotokunst 20ste eeuw [keuze uit de collectie in het kader van 150 jaar fotografie].

1990 (g) Amsterdam, Posthoornkerk, 10 jaar Capi-Lux Alblas Prijs.

1990/1991 (g) Amsterdam, Amsterdams Historisch Museum, Dongfeng-Oostenwind. Chinezen in Nederland.

1991 (g) Amsterdam, Nieuwe Kerk, Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw.

1991/1992 (g) Haarlem, Spaarnestad Fotoarchief, Het glazen oog.

1994 (g) Oosterbeek, Gemeentehuis, Beelden van Burgers – Foto ‘s en films van de Slag om Arnhem.

1995 (g) Amsterdam, Amsterdams Centrum voor Fotografie, De GKf fotografeert de jaren ’50.

1995 (g) Hoorn, Fotogalerij Oog van Hoorn, De Versierde Mens. GKf Jubileumtentoonstelling.

1995 (g) Rotterdam, Nederlands Foto Instituut, Lichtjaren. 50 jaar GKF-fotografie.

1999 (g) Rotterdam, Kunsthal, Picasso: kunstenaar van de eeuw.

2000 (g) Amsterdam, Open Haven Museum, Weg van de Wallen, van havenkwartier tot rosse buurt.

2000/2001 (e) Amsterdam, Joods Historisch Museum, Met het hart in de lens. Foto’s van Sem Presser 1935-1986.

2001 (g) Amsterdam, Gemeentearchief Amsterdam, Het Gezicht van Amsterdam. Nieuwe Amsterdammers gefotografeerd 1900-2000.

2001 (g) Amsterdam, Nieuwe Kerk, Jongens van Jan de Witt.

2002 (e) Rotterdam, Kunsthal, Hier is Cannes.

2002 (g) Rotterdam, Nederlands Foto Instituut, Brandhaarden.

2002 (g) Tilburg, FAXX, [foto’s die Sem Presser in de jaren vijftig maakte tijdens de filmfestivals in Cannes en werk van hedendaagse kunstenaars die zich door Elvis hebben laten inspireren].

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

2002/2003 (g) Rotterdam, Nederlands Foto Instituut, Zwarte Rook. Fotografie en steenkool in de twintigste eeuw.

2003 (g) Amsterdam, Amsterdams Historisch Museum, Zwart-wit kleur, 1000 foto’s van Amsterdam 1945-nu.

2003 (g) Amsterdam, Nieuwe Kerk, Rare snuiters. Midas Dekkers kiest uit de Fotocollectie Nederland.

2004 (g) Schiedam, Stedelijk Museum Schiedam (tijdelijk in de Korenbeurs), Parijs was mieters! Nederlandse fotografen in Parijs 1945-1965.

2007 (g) Parijs, Stadhuis. Salie Saint-Jean, Paris en Couleurs [Sem Presser en Johan van der Keuken].

2008 (g) Rotterdam, Nederlands Fotomuseum, Baby. De ideale mens verbeeld 1840-heden.


Amsterdam, Internationaal Instituut voor Sociale Geschiedenis (IISG).

Amsterdam, Maria Austria Instituut.

Leiden, Prentenkabinet Universiteitsbibliotheek Leiden, bibliotheek en documentatiebestand.

Leusden, Jan Wingender (collectie nederlands fotoboek).

Rotterdam, Nederlands Fotomuseum.

Internet (Archief Sem Presser)


Amsterdam, Capi-Lux Alblas Stichting.

Amsterdam, Internationaal Instituut voor Sociale Geschiedenis (IISG).

Amsterdam, Maria Austria Instituut.

Amsterdam, Rijksmuseum.

Amsterdam, Stadsarchief Amsterdam.

Amsterdam, Stedelijk Museum.

Amsterdam, Stichting Dunhill Dutch Photography.

Arnhem, Gemeentearchief Arnhem.

Den Haag, Koninklijk Huisarchief.

Den Haag, Rijksvoorlichtingsdienst.

Haarlem, Spaarnestad Photo.

Leiden, Prentenkabinet Universiteitsbibliotheek Leiden.