PhotoLexicon, Volume 27, nr. 42 ( July 2010) (en)

Bart Sorgedrager

Flip Bool


Bart Sorgedrager is a photographer who has focused on book productions since the late 1980s. As an expert and collector, he consciously aligns himself with the rich historical tradition of photobooks in the Netherlands. This applies particularly to the genre of the corporate book, which experienced its heyday during the period 1945 to 1965 in the form of jubilee publications, approximately 100 years after the Industrial Revolution. With the shifting of industrial production to low-wage countries, however, company closures have become the main topic of Sorgedrager’s corporate books and special editions. In addition to his fascination with sports, and especially football (soccer), another important topic of interest is social housing in the Netherlands, which has formed a regular component of his oeuvre since 1994. In this area as well, Sorgedrager has a sharp eye for historical visual material shot by important predecessors in the field of photography. Over the years, Sorgedrager has produced twenty-six photobooks. Despite the fact that these works have by now drawn international attention from abroad, they are less well known in the Netherlands and have not received the attention they deserve due to the limited size of the editions and only partial distribution outside the bookstore circuit.




Bart Sorgedrager is born on 12 May in Terborg as the youngest of four children born to the family doctor Karel Cornelis Sorgedrager and Elsabéh Wolters.


Sorgedrager attends the HAVO (Hoger Algemeen Voortgezet Onderwijs, ‘Higher General Secondary Education’) in Doetinchem, drops out of school during his fourth year and works at the Svedex door manufacturing company in Varsseveld.


Sorgedrager completes his final exams at the Isala College (a secondary school) in Silvolde.


Sorgedrager works for six months as an assistant to the advertising photographer Joop der Weduwen in Amsterdam. For a period of one year, he attends evening classes at the MTS (Middelbare Technische School, ‘Intermediate Technical School’) for Photography and Photographic Technique in The Hague.


Sorgedrager completes his propaedeutic exam at the St. Joost Academy in Breda.


Sorgedrager studies photography at the Gerrit Rietveld Academey in Amsterdam. He initially lives in squatters’ quarters at Dusartstraat 4, but when this building is demolished he moves to Hercules Seghersstraat 25 in 1989.


Sorgedrager attends the Parsons School of Design in New York for more than a half-year and does a three-month internship at the Visions press agency.


For a period of approximately nine months, Sorgedrager works for Picture Report, an Amsterdam photo agency primarily specialised in commercial corporate photography under the direction of Stef Nielen and Bart Marijnen. In this working capacity, Sorgedrager takes two trips to Ethiopia on assignment for Ethiopian Airlines.


Bart Sorgedrager establishes himself as a freelance photographer in Amsterdam. He receives an assignment from the AFK (Stichting Amsterdams Fonds voor de Kunst, ‘Amsterdam Fund for the Arts’).


Sorgedrager publishes his first photobook, entitled Temidden der Ajacieden (‘Amidst the Ajacieden’), based on his assignment for the AFK. The Starink Institute in Doetinchem commissions Sorgedrager to photograph the culture of the iron foundries along the Old IJssel River. This results in the book IJzer aan de Oude IJssel (‘Iron on the Old IJssel’), published in 1988.


Sorgedrager is one of seventy Dutch photographers invited to photograph the activities of KLM Airlines around the world on 21 June, to commemorate the 150th anniversary of photography as well as the seventieth anniversary of the airline’s founding.


Sorgedrager receives a commission from the (Land)Kreis (‘Rural District’) Borken, together with three German photographers. The book in which the photos are to be published, entitled Grenzgebiet (‘Border Region’), never comes to fruition.

In the spring, Sorgedrager spends three months in Brazil on behalf of four organisations involved in emigration to Dutch agricultural colonies. This results in the book Holandeses. Nederlandse landbouwkolonies in Brazilië (‘Holandeses. Dutch Agricultural Colonies in Brazil’), published in 1991. Sorgedrager meets his future partner, Froukje Boer, during the filming of a television programme produced by the AVRO broadcasting company, entitled Land in Zicht (‘Land in View’), which concerns the exhibition IJzer langs de Oude IJssel held at the Marialust Historical Museum in Apeldoorn.


Sorgedrager is commissioned by the AFK to make the series Ontmoetingsplekken (‘Meeting Places’).


Sorgedrager contributes photos to the monthly magazine Quote on a regular basis.


The province of North Holland commissions Sorgedrager to produce a series about the ‘Holland’ sugar factory in Halfweg.


The ‘Stichting Cultuurfonds van de Bank van Nederlandse Gemeenten’ (‘Cultural Foundation of the Dutch Municipal Bank’) commissions Sorgedrager to produce a series of photos for the publication Landschappen van de dood (‘Landscapes of Death’). In the same year, the book 322 Squadron. Sporen van zijn verleden, lijnen in zijn geschiedenis (‘322 Squadron. Traces of its Past, Lines in its History’) is published. The compilation of this book is based on Sorgedrager’s uncle, a Spitfire pilot in this squadron who was killed on 16 September 1944. His uncle’s past is also the subject of the film Spitfires onder Nederlandse vlag (‘Spitfires Under the Dutch Flag’), which Sorgedrager produced for the KRO broadcasting company in collaboration with Hans Wijnands. The programme was broadcast on 29 April 1994.


Sorgedrager is a board member of the Stichting Nederlands Foto Instituut (‘Netherlands Photo Institute Foundation’) in Rotterdam.


Sorgedrager is a photography instructor at the Gerrit Rietveld Academy in Amsterdam.


Sorgedrager teaches documentary photography at the HKU (Hoge School voor de Kunsten Utrecht, ‘Utrecht School of the Arts’) in Utrecht.


Sorgedrager investigates the ‘architecture of the Cold War’ on assignment for the Legermuseum (‘Army Museum’) in Delft, resulting in the publication Cold War. Civiele verdediging in Nederland 1949-1989 (‘Cold War. Civil Defence in the Netherlands 1949-1989’).

For the yearbook Nederlandse architecten 3. Documentatie van recent uitgevoerde projecten van 120 Nederlandse architecten en interieurarchitecten (‘Dutch Architects 3. Documentation of Recently Executed Projects by 120 Dutch Architects and Interior Architects’, BIS Publishers, Amsterdam), Sorgedrager does the photo editing for an introductory quire with picture postcards from his own collection.

The Province of Gelderland commissions Sorgedrager to do a series on football (soccer) facilities.


Sorgedrager moves to Ertskade 129 in Amsterdam.


Sorgedrager devises and executes an exhibition project in association with the European football championship EURO 2000 Belgium-Holland, Holland-Belgium.


Within the framework of the annual photography assignment Document Nederland, commissioned by the Rijksmuseum and the newspaper NRC Handelsblad, Sorgedrager photographically documents the so-called ‘Vinex neighbourhoods’.


In connection with the event Het Trappenhuis (‘The Stairwell’), organised by the Stichting De Driehoek, Sorgedrager produces a series of six picture postcards featuring houses on the Willem Nuijenstraat in Amsterdam that have been furnished with furniture in the spirit of the years 1953, 1956, 1965, 1977, 1984, and 2001. Sorgedrager does the photography for a series of six summer postage stamps designed by Piet Gerards to benefit the Nationaal Fonds Ouderenhulp (‘National Foundation of Senior Citizen Assistance’).


Sorgedrager furnishes photos for a series of ten postage stamps concerning the Dutch industrial heritage, as well designed by Piet Gerards.


Sorgedrager is a guest curator for the exhibition Document van het moment, Gelderland gefotografeerd (‘Document of the Moment, Gelderland Photographed’) at the Valkhof Museum in Nijmegen.


Sorgedrager shares an instructorship at the HKU (Hoge School voor de Kunsten Utrecht, ‘Utrecht School of the Arts’) with the urban sociologist Ineke Teijmant. For the same school, Sorgedrager compiles a textbook on documentary photography, together with Teijmant and the photographer Corinne Noordenbos.


Bart Sorgedrager becomes a board member of the Stichting Fonds Anna Cornelis (‘Anna Cornelis Foundation’).


Sorgedrager is an instructor of ‘redactionele fotografie’ (‘editorial photography’) at the KABK (Koninklijke Academie van Beeldende Kunsten, ‘Royal Academy of Art’) in The Hague.


Sorgedrager supplies four of his photos from the series Holandeses to be used in a block of postage stamps on the topic ‘Grenzeloos Nederland – Brazilië’ (‘Boundless Netherlands – Brazil’), designed by Ariënne Boelens.


Sorgedrager is employed as a researcher with the study group of the photography lectorate at the AKV|St. Joost, Avans Hogeschool (School of Fine Art and Design|St. Joost, Avans University of Applied Sciences) in Breda.


Bart Sorgedrager was born in the town of Terborg, which these days falls under the municipality of Oude IJsselstreek in the Achterhoek region of the Netherlands. Because his father was a family doctor with his own pharmacy, Sorgedrager’s family held a position of prominence at the local level. Studying in school was not the strongest trait of the family’s youngest son, Bart. His heart lay more on the football (soccer) field, a predilection that would later play an important role in his later career as a photographer. In his fourth year, Bart Sorgedrager turned his back on his HAVO (Hoger Algemeen Voortgezet Onderwijs, ‘Higher General Secondary Education’) schooling, which he resumed only after having first worked for six months at Svedex, a door manufacturing company in Varsseveld. Bart’s father was an enthusiastic photographer in his leisure time. In part due to the accessibility of a Zeiss Ikon 6×6 camera, which had once belonged to Bart’s grandfather on his mother’s side, Bart himself became familiar with the photographic medium from a young age. His interest received an even greater boost when his travel-inclined uncle returned home from a trip to Singapore in 1978 with a Nikkormat camera intended for his nephew. After having completed his HAVO-level exams, he soon came to the decision to further his education in the area of photography. This entailed taking evening courses at the MTS (Middelbare Technische School, ‘Intermediate Technical School’) for Photography and Photographic Technique in The Hague, but also gaining practical experience by working for the advertising photographer Joop der Weduwen in Amsterdam. After failing at his first attempt to get accepted at the Gerrit Rietveld Academy, in 1980 Sorgedrager decided to attend the propaedeutic programme at the St. Joost Academy in Breda, with the idea of subsequently gaining admission into the Rietveld Academy. Among his teachers at the Rietveld Academy were André-Pierre Lamoth and Jan Versnel. In the penultimate year of his study, Sorgedrager decided to take advantage of an exchange programme with the Parsons School of Design in New York, even though this institution was completely unaware of his arrival at the time he presented himself. In addition to his position as an assistant in the darkroom at Parsons, Sorgedrager also did an internship at the Visions press agency, run by the press photographer John Ross Baughman, a fanatic photobooks collector.

Upon returning to the Netherlands, Sorgedrager graduated from the Rietveld Academy in 1985 based on a self-published photo novel bearing the title Iberische idylle (‘Iberian Idyll’). His choice of subject matter was inspired by a research topic in the field of urban anthropology as proposed by Ruud van Wezel, a student of sociology at the University of Amsterdam. Van Wezel was the son of the director of the Vulcanus iron foundry in Doetinchem and as such an acquaintance of Sorgedrager’s. The fictitious love story of Rui and Dunia takes place in the illegal neighbourhood ‘Fraternidade’ in Lisbon, Portugal, with Ruud van Wezel and his girlfriend Sarah van Walsum as investigative journalists taking photographs. The chosen form of a photographic novel was in line with a tradition that was still very popular at this time in Portugal. Around mid-1986, Iberische idylle was also published under the title of ‘Futuro Na Fraternidade’ (‘Future in Fraternity’) as a feuilleton in the weekly Crónica Femina.

In the meantime, Sorgedrager continued to educate himself further in the practical aspects of photography. He worked for nine months at Picture Report, an Amsterdam photo agency run by Stef Nielen and Bart Marijnen, specialised in corporate photography. His work there included projects such as a reportage produced for the NAM (Nederlandse Aardolie Maatschappij, Netherlands Petroleum Company’), a calendar for Philips—for which Sorgedrager traveled to Paris and Madrid, together with the photographer Thijs Wolzak—and an assignment for Ethiopian Airlines, for which he made two trips to Ethiopia.

An assignment in 1986 for the AFK (Stichting Amsterdams Fonds voor de Kunst, ‘Amsterdam Fund for the Arts’), which entailed portraying the football (soccer) club Ajax, was an important reason for Sorgedrager to establish himself as an independent photographer. His approach to this assignment, as well as the book that accompanied it, was remarkable because of his conscious decision—in contrast to newspapers and weekly magazines—not to show the game of football itself, but rather to take on the role of a member of Ajax (‘Ajacied’), as a member of a group versus an outsider, thereby following in the footsteps of John Ross Baughman. This explains the title Temidden der Ajacieden (‘Amidst the Ajacieden’). Having just started out as an independent photographer, Sorgedrager’s exhibition and book—which was soon after reprinted—led to a stream of publicity.

The book Temidden der Ajacieden marked both the beginning, but also an ending, as Sorgedrager’s work hereafter essentially shifted to colour photography. No less important is that, in doing so, he discovered that self-formulated assignments financed by third parties gave him the opportunity to define his professional photographic practice as he wished.

Immediately after his assignment for the AFK, Sorgedrager—together with Ruud van Wezel—managed to draw the interest of the Staring Institute in Doetinchem with respect to an enterprise concerning the iron foundry culture in the river basin of the Oude IJssel, the region from which he originated. With the help of financial contributions made by various governmental and private funds, his research project resulted in an exhibition and publication bearing the title IJzer aan de Oude IJssel. Wonen en werken van gieterijpersoneel langs de Oude IJssel 1880-1980 (‘Iron on the Old IJssel. The Life and Work of Foundry Personnel Along the Old IJssel [River] 1880-1980’). In addition to an extensive historical introduction by Van Wezel, the book comprises sixty-eight colour photos illustrating how the centuries-old iron industry in this region—with but one exception—thrives to this day. Undoubtedly inspired in his endeavour by corporate publications made in the nineteenth and early-twentieth century, Sorgedrager shows the production process and the company premises in a branch of industry known for its heavy physical labour, yet void of any personnel. The indispensable role that people play is portrayed in group photos of virtually the entire working force at four iron-processing companies.

While Sorgedrager himself was educated in neither sociology nor anthropology, his working approach continues to be influenced by these professional disciplines. One project attesting to this aspect of his work is the book and exhibition Holandeses of 1991, concerning the topic of Dutch agricultural colonies in Brazil. Sorgedrager’s interest in this subject is partially motivated by the fact that, prior to the birth of their first child, his parents were in the advance stages of emigrating to Canada in the 1950s. The photos in this book are different from those in IJzer langs de Oude IJssel in the sense that the accent lies on the experiences of the generally devout Dutch people who had quite recently emigrated to Brazil. Sorgedrager’s collaboration with the Vormgeverassociatie (‘Designers Association’) in Laag Keppel would lead to a variety of other publications as well as advertising commissions in the years following the publication of Holandeses.

The medium of the photobook would always continue to fascinate Sorgedrager the most, in spite of his regular contributions to the monthly magazine Quote in the years 1991 to 1996 or his photo series on topics such as corporate bankruptcies, featured in the newspaper Trouw (1995), and the weekly series Heilige grond (‘Sacred Ground’) in the NRC Handelsblad (1996). Collecting photobooks eventually became more than just a hobby. Were it his own decision, Sorgedrager would preferred to have all of his assignments result in photobooks. In practice, however, this sometimes proved to be infeasible. In their printed form, assignments for series such as the Ontmoetingsplekken (‘Meeting Places’, 1991), commissioned by the AFK, and the series on the ‘Holland’ sugar factory in Halfweg (1992), commissioned by the province of North Holland, were circulated only on a limited basis. An undated latter concerning this latter project provides a clear idea of Sorgedrager’s thinking and approach to working: ‘When I get the assignment to photograph the ‘Holland’, my working method will coincide with the manner in which I documented the iron foundries on the Oude IJssel. I photographed these factories with a technical camera (4×5″), without people in the image. Nevertheless, the employees are present everywhere in the photos through the many signs that refer to them: the Quick football bag, the worn-out stool behind the lathe, or the poster of the Dutch football team. The “Holland” has to be documented now, because in no time the only thing we’ll have left is the facade with the two swans that has been declared a monument. The facade of “House Swanenburg” from 1648. In the future, no one will know that the “Holland’s” deed of incorporation was signed in this former [“gemeenlandshuis” = house of the Dutch water boards] in Halfweg in 1863, as there will be nothing more in Halfweg that refers to the sugar industry.’ A biography included with this letter also makes mention of a book entitled Relaxrooms, listed under the heading ‘publications in preparation’. Featuring interiors of the Amsterdam sex industry, the project was ultimately never realised.

In the 1990s, Sorgedrager produced a number of book projects that can be described as key works in his oeuvre. They confirm his substantial general interest in history as well as in photobooks specifically. Sorgedrager’s first subject was centred around his uncle Bert Wolters, as well inspired by words of the artist Armando concerning what he called ‘guilty landscapes’: ‘This landscape has done bad things, I can suspect the armies. It is peaceful here, but beware, silence sometimes comes after clamour. Here was pain, here one’s fellow man bludgeoned. Time is to blame. Everything is growing again, but thinking becomes forgetting.’ (From Berlin, Amsterdam 1982) Sorgedrager’s uncle was for him the personification of ‘Biggles’, the main character of William Earl Johns’ youth-oriented series of books bearing the same name. As a student of mechanical engineering at the TH Delft (Technische Hogeschool, ‘University of Technology’), Wolters fled to the United Kingdom along with two fellow students in 1941. There he trained to become a pilot with the Royal Air Force Volunteer Reserve. In 1943, Wolters was assigned to the Dutch 322 Squadron, established just shortly before. During a practice flight flying over the UK on 16 September 1944, Wolters was killed when his plane crashed. Sorgedrager, who was aware in 1993 that fifty years earlier the 322 was founded as the oldest squadron in the Royal Netherlands Air Force, managed to garner the interest of the same organisation in putting together an exhibition and a book about the history of his uncle and the squadron. The book includes an illustrated biography on the life of Bert Wolters as well as a piece covering the post-war history of the 322 Squadron, both written by W.H. Lutgert, an academic working for the ‘Section Airforce History’. The heart of the publication, however, consists of twenty-eight colour photos of the bases where the squadron had been stationed, from the time of its founding to the German capitulation in May 1945, as well combined with historical photos and aerial shots. Sometimes Sorgedrager’s photos depict merely remnants of what were once the take-off and landing runways; in other images, the test of time has been less harsh, with buildings still standing from World War II. Sorgedrager himself ends his own personal written contribution to the book with the following words: ‘In 1995, we will commemorate the end of the Second World War for the fiftieth time. It is inevitable that with the passing of years, the personally tinted first-hand experiences will be lost. The landscape will nevertheless continue to hold these memories much longer, yet with the passing of time, the eye will have to know more and more to still be able to detect the traces.’ Sorgedrager’s words reflect that, by this time, he had already begun working on a book about cemeteries in the Netherlands, undertaken on his own initiative on behalf of the ‘Stichting Cultuurfonds van de Bank van Nederlandse Gemeenten’ (‘Cultural Foundation of the Dutch Municipal Bank’). Entitled Landschappen van de dood (‘Landscapes of Death’), this book was as well published in 1993 and includes a written piece by Sorgedrager that described his working method: ‘Most of the previously existing photos of cemeteries have details as their subject: the art historical value of the gravestone, the material from which the grave was built, the grave inscription, the symbolism, etc. What I did was take a step back in order to either present an overview of the cemetery or to show the location of this place in its surroundings.’ With such a vantage point chosen in advance, the thirty-two photos provide an unusual perspective of cemeteries. Only one of the photos actually includes people, specifically a shot of a Roman Catholic cemetery in Monnickendam. Squeezed in between a rural highway and an exit, a word of farewell is virtually impossible through the noise of the traffic. In this regard, Sorgedrager’s shot says enough.

In 1997, Sorgedrager came out with two publications that brought him both national and international renown as a producer of photobooks. The first, entitled Cold War. Civiele verdediging in Nederland 1949-1989 (‘Cold War. Civil Defence in the Netherlands 1949-1989’), was published in an edition of 500 copies and overseen by Sorgedrager himself. The booklet was published in the form of a leporello by the Vormgeversassociatie (‘Designers Association’). It sheds light on the organisation BB (Bescherming Bevolking, ‘Population Protection’) and the phenomenon of atomic bomb shelters that were dismantled following the fall of the Berlin Wall in 1989. The book’s realisation was made possible in part through the Legermuseum (‘Army Museum’) in Delft and a subsidy of the Mondriaan Foundation. Sorgedrager’s colour shots of atomic bomb shelters, which by this time had fallen into disuse, are combined in a fascinating way with historical black-and-white images retrieved from various sources. This approach to working is reminiscent of the famous book and exhibition project realised seven years earlier Steelworks. Consett, from Steel to Tortilla Chips, by the British photographer Julian Germain (London 1990). In its format and form, Cold War also directly refers to an exceptional publication in the rich history of Dutch corporate photobooks: the leporello Willem Ruys. To See the World, published by Meijer’s Industriële Uitgeverij (‘Meijer’s Industrial Publishing’) in Wormerveer based on a design by Jurriaan Schrofer, with photos by Carel Blazer and a text by Max Dendermonde. With Cold War, Sorgedrager was intentionally alluding to this appealing historical publication in his capacity as a collector of photobooks.

During the 1950s and ’60s, Meijer’s Industriële Uitgeverij played a notable role when it came to the publication of photobooks for the many companies that celebrated their founding approximately 100 years after the Industrial Revolution, or as a special gift for business relations to mark the departure of a company director. At the time, renowned photographers from the GKf (Gebonden Kunsten Federatie, vakgroep fotografie, ‘United Arts Federation, Department of Photography’)—to which Sorgedrager also belonged, becoming a member in 2004 at the recommendation of Corinne Noordenbos—worked in teams with top contemporary designers and authors to come up with these corporate photobooks. Internationally, these works form a pinnacle in the history of the Dutch photobook. As one of the authors involved, Max Dendermonde once wrote a roman à clef on this topic, with the following passage being relevant to Bart Sorgedrager’s working method: ‘”Damn,” said Axel Rodermond [a contraction of Paul Rodenko and Max Dendermonde] suddenly, “look what it says. The Zaanstroom. Everything in wood, since 1867.” They were standing behind a large, closed truck. “That’s that international door factory,” said Axel. “One hundred years and major interests in Suriname. (…) They’re doing extremely well. With all that construction. They could very well use a large commemorative book…”‘ (De laatste beeldschone zwendel, ‘The Last Stunning Swindle’, Utrecht 1988).

Inspired by these historical corporate photobooks, Sorgedrager began searching for companies that were about to approach some kind of milestone. Instead of anniversaries, however, the main topic was now primarily company closures. After his GSM ‘Holland’ sugar factory project in Halfweg and the series on bankrupt companies, the closure of the nuclear energy plant in Dodewaard followed next as an ideal subject for a photobook. The idea was subsequently approved by the company’s board of directors. During the first three months of 1997, Sorgedrager made thirty visits to the nuclear plant in Dodeward, a number documented precisely for reasons of security. The shots for mensenstroom, herinnering aan de kernenergiecentrale Dodewaard 1969-1997 (‘Human Current, Recollections of the Nuclear Energy Plant Dodewaard 1969-1997’) were taken with a 4×5 camera. From the start, Sorgedrager had planned on a collaboration with the Vormgeversassociatie in creating what was to become a kind of family album for departing personnel. To serve as a model for this publication, he turned to Nico Jesse’s 1953 photobook Oranje Nassau Mijnen (‘Orange Nassau Mines’). The numbers appearing on the book’s covers count down from 58 to 00 megawatt, i.e. the normal production level to shut-down. The book itself opens with the number 58, followed by a panoramic shot of the plant in its rural surroundings, a poetic text on the plant’s closure written by the company director, and an introduction by Wim Wennekes. Marked by Sorgedrager’s own entry pass, the photographic quest in search of the heavily fortified company and its employees begins. The photos alternate with pages of abbreviations taken from safety manuals, floor plans, operational schemes, organograms, etc. The book closes with a list of all 156 employees and a full registration of the near 200 hours involved in shooting the photos. The 1,000-copy edition was not sold in bookstores and was distributed only in limited circles. These days, mensenstroom has become an international collector’s item as a result of its publication in The Photobook: A History (Volume II) written by Martin Parr and Gerry Badger (London 2006). One year later, Sorgedrager published an article on mensenstroom at Parr’s request in Witness Number Three (New York 2007), in addition to two articles by the photographers Rob Hornstra and Mark Neville with respect to their own photobooks.

Following the projects on the sugar factory ‘Holland’ in Halfweg (1992) and mensenstroom (1997), company closures have become a constant in Sorgedrager’s work. One of his first works in this genre is the publication Vlissingen-Breskens. Kruiningen-Perkpolder. Het laatste jaar van de veren over de Westerschelde (‘Vlissingen-Brskens. Kruiningen-Perk Polder. The Last Year of the Ferries on the Westerschelde’, 2003). As was often the case in his work, Sorgedrager’s own personal recollections served as an important motivation for this project: ‘Both of my grandmothers lived in Vlissingen. My parents grew up there. When we were little, my brother and I, as opposed to the eldest two [children], were not allowed to travel with our parents on holidays abroad. We had to go to our grandmothers in Vlissingen. Besides Miniature Walcheren in Middelburg, the outing with grandma Sorgedrager was then the crossing to Breskens. As we approached Breskens, we had to hide in the toilets and were only able to come back on deck once the boat had left the harbour. She did buy a round trip for herself. But we had to promise not to tell grandma Wolters that we traveled back and forth on a one-way ticket. Child’s play, the boat to Breskens. There were still no double-deckers sailing back then and we dug tunnels in the beach. My two grandmothers have died by now and my youth lies far behind me. Nevertheless, that the ferries are shutting down still touches me.’

The publication on the Westerschelde ferries was designed by Piet Gerards, as were a series of other books focusing on company closures that followed, which Sorgedrager realised himself: De Kruitfabriek in Muiden (1702-2004) (‘The [Gun-] Powder Factory in Muiden’), De Ritmeester 1887-2005 (‘The Troop Captain’), and the three-part series on the closing of the Unilever factories in Delft, Loosdrecht, and Vlaardingen (2008). In each of these publications, attention is inevitably devoted to company personnel, who were obliged to seek work elsewhere as a result of these closures.

Sorgedrager had been fascinated by sports, and especially football (soccer), from an early age. In the area of photography, the photobook Temidden der Ajacieden was the first sign of this interest. Apart from his own activity on the football field, Sorgedrager’s love for the sport manifested itself in the year 2000 in the form of three publications and exhibitions: Het Olympisch Stadion (‘The Olympic Stadium’); the projects that Sorgedrager initiated himself België-Holland, Holland-België. Voetbal in de Lage Landen (‘Belgium-Holland, Holland-Belgium. Football in the Low Countries’, exhibition and publication) stemming from the European football championship; and Voetbalmekka’s in Gelderland (‘Football Meccas in Gelderland’), an exhibition and an accompanying brochure at the Valkhof Museum in Nijmegen. The famous Amsterdam stadium for the Olympic Games of 1928, designed by the architect Jan Wils, was saved from demolition just in the nick of time. The completion of its restoration in 2000 served as the stimulus for the publication of Sorgedrager’s book Het Olympisch Stadion. More or less based on the example of his previous books 322 Squadron and Cold War, Het Olympisch Stadion consists of Sorgedrager’s own contemporary colour photos as well as historical visual material shot by other photographers, which he had tracked down himself. A separate quire consists of programme sheets from the years 1928 to 1996, followed by an overview of the key athletic achievements attained at the stadium and a virtually complete list of the events that took place there. In 2001, Het Olympisch Stadion received a second edition under the title of Het drieluik van Wils. Het Olympisch Stadion en de Citroëngarages (‘The Triptych of Wils. The Olympic Stadium and the Citroën Garages’), which included an extra introductory quire about these automobile garages, which as well just barely escaped demolition.

For the project België-Holland, Holland-België, eleven Dutch and Belgian photographers were invited to give their vision of this ‘sport of all sports’. All were asked to do so based on the motto of the Dutch football legend Johan Cruyff: ‘football is a game of errors’. In addition to articles written by various authors, the books’ pages are interwoven with historical images. Sorgedrager’s own contribution deals with so-called ‘wild football’: those with no ties to the football federation who played behind a local café on Sunday mornings on a field maintained themselves, with sanitary facilities housed in a converted chicken coop, and obligatory post-game get-togethers in a nearby pub. For his location, Sorgedrager chose the area where he was born: the Achterhoek.

Sorgedrager’s contribution to België-Holland, Holland-België corresponds with his 1997 assignment from the province of Gelderland, i.e. to photograph the various aspects of football. His photo presentation at the exhibition in Nijmegen, entitled Voetbalmekka’s in Gelderland (2000), and the brochure that accompanied it—combined with recollections of the legendary football shoe manufacturer Quick in Hengelo, a company that was ultimately forced to close its doors in 1991—is typical of Sorgedrager’s working style.

Besides industrial buildings, stadiums, and sport complexes, (social) housing as well began to play a significant role in Sorgedrager’s work starting in 1994. A first taste of this was the series of photos published in Nieuw-West. Een buurt van goede bedoelingen (‘New West. A Neighbourhood of Good Intentions’). The volume, which included both pre-existing as well as newly written recollections of the ‘Westelijke Tuinsteden’ (‘Western Garden Cities’) neighbourhood of Amsterdam, was published on the initiative of De Driehoek foundation, in order to promote a discussion regarding the quality of life in this part of the city. The seventeen photos that Sorgedrager shot for this publication are intriguing because he intentionally chose to examine the ‘New West’ neighbourhood through the eyes of photographers working at the time when these neighbourhoods were being built in the 1950s. He managed to achieve this effect by reverting to black-and-white photography and using a 6×6 camera with a yellow filter. The booklet was reprinted in 2001, and in the same year, it received a follow-up in the form of the publication Goed Wonen in Nieuw- West (‘Good Living in New West’). For this project, Sorgedrager turned to black-and-white images of the original model homes, which had been photographed at the time for the magazine Goed Wonen by his former teacher Jan Versnel. Sorgedrager then placed these in contrast with his own colour photos of the current situation. This publication appeared simultaneously with an exhibition bearing the same name, as part of the event Het Trappenhuis (‘The Stairwell’), held from May to September 2001 in connection with 50 jaar Westelijke Tuinsteden (’50 Years Westelijke Tuinsteden’) and Wij wonen, 100 jaar woningwet (‘We Reside. 100 Years of the Housing Act’). Undoubtedly in part because of his previous experience, Sorgedrager was commissioned by the Rijksmuseum and the NRC Handelsblad in the year 2000 to photograph the so-called Vinex neighbourhood ‘Leidsche Rijn’ within the framework of the annual photography assignment Document Nederland. For this project, Sorgedrager followed six couples and families during and after their move to Leidsche Rijn.

In 2005, a structural collaboration arose between Sorgedrager, the urban sociologist Ineke Teijmant, and the publisher Bas Lubberhuizen, beginning with the series Verdwijnende/Veranderende buurten in Amsterdam (‘Vanishing/Changing Neighbourhoods in Amsterdam’), which has up to this time resulted in the publication of six mini-volumes: Meer en Vaart (2005), Buskenblaser (2005), Wolbrantskerkweg (2007), De Kolenkitbuurt (2008), Geuzenveld (2009) and De Verfdoos (2010). Besides historical (architectural) photos in black and white, construction drawings, and floor plans, the accent in Sorgedrager’s colour photos lies on the current (multicultural) inhabitants of these neighbourhoods under threat.

For Sorgedrager, a photographer’s work implies an interest in the history and theory of the medium, accompanied by the need to draw the interest of younger or future colleagues in the field. This last aspect is evident in Sorgedrager’s various positions as an instructor at the Gerrit Rietveld Academy and the HKU (Hoge School voor de Kunsten Utrecht, ‘Utrecht School of the Arts’). An important aspect of his teaching is the balance between theory and practical experience. As Sorgedrager puts it: ‘Mastering knowledge and from that knowledge photographing.’ Documentary photography remains a key word in this process. Unlike the 1960s and ’70s, however, the thrust is not as oriented towards supporting or inspiring social change. For Sorgedrager, the main issue is much more about detecting complicated processes of social change in a timely manner, e.g. company closures or urban renewal projects, and showing them from various points of view. In other words, Henri Cartier-Bresson’s ‘decisive moment’ has been replaced by a greater knowledge of current processes of change. Meeting and collaborating with the urban sociologist Ineke Teijmant has deepened this theoretical development, as demonstrated in three articles that Sorgedrager published together with his friend and colleague, the photographer Corinne Noordenbos, starting in 2004. The application of the so-called ‘Grounded Theory Approach’, as formulated by the sociologists Barney Glaser and Amselm Strauss in 1967, was critical to this. This research method is not based on testing hypotheses in terms of their validity, but on a correlation between empirical data and the research objective. The collected data not only answers questions, but also helps in (re-) defining the research topic. Particularly in the article “Documentary Photography: Between Knowledge and Art. The Use of ‘The Grounded Theory Approach’ in Documentary Photography’, Teijmant, Sorgedrager, and Noordenbos argue that there exists a relationship between the working methods of documentary photographers and sociologists. They do so based on four historically intriguing (book) projects: Robert Frank, The Americans (1959), Martin Parr, The Last Resort (1986), Larry Sultan, Pictures from Home (1992), and Theo Baart, Territorium (‘Territory’, 2003). To implement their ideas as well in the teaching of photography and to publish a book about documentary photography for this very purpose, Teijman and Sorgedrager were both taken on as instructors at the HKU in 2003-’04, through the mediation of Noordenbos.

Sorgedrager has used various cameras during his career as a photographer. He started out in his youth using his grandfather’s Zeiss Ikon 6×6 camera. In 1978, he began working with his own Nikkormat, which he later substituted with a Nikon FE. During the second half of the 1980s, he took over an Arca Swiss brand technical camera from a local photographer in Terborg, which he used for the project IJzer aan de Oude IJssel. In part inspired by Cas Oorthuys’ book Landbouw (‘Agriculture’, Amsterdam 1946), Sorgedrager purchased a Mamiya 6 in 1990 for his project about Dutch agricultural colonies in Brazil. A Mamiya 7 followed later. In combination with his technical camera, he used this medium-format camera for virtually all of his (book) projects starting in 2000. Generally speaking, Sorgedrager’s subject matter determines his choice of which camera to use. His first experience with digital photography was therefore not until 2008, at which time he purchased a Nikon D700.

As a maker of photobooks, Sorgedrager holds a special place both in the Netherlands and abroad. This applies especially to his books concerning company closures, which are largely produced and published on his own initiative. Whereas the books described by Mirelle Thijsen in Het bedrijfsfotoboek 1945-1965. Professionalisering van fotografen in Nederland (‘The Corporate Photobook 1945-1965. Professionalisation of Photographers in the Netherlands’, 2002) were generally published on the occasion of corporate anniversaries and intended for external business relations, a number of Sorgedrager’s books were also ‘family albums’ for company employees at the time of a closure. Besides the actual work floor, the company employees are also featured extensively. In part because of this, these books provide a unique image of the substantial changes affecting corporate culture and the Netherlands as a producing country at the end of the twentieth century and the beginning of this century. One passage from the introductory text in the publications concerning the closure of three Unilever factories says enough: ‘In addition to being a place to work, the factory as become a place of historical value that deserves a lasting place in our memory. “Photos are the tent poles of the memory”, as the Dutch writer Gerrit Krol once said. In this photobook, we would like to present the “tent poles” in order to maintain your memories of this factory. They are photos of places, people, and machines, which later, when the factory is no longer standing and the images have faded away, will again bring colour and detail to that memory.’ Considering these (book) projects, Sorgedrager—in contrast to many of his fellow contemporary documentary photographers—placed less value on the presentation of individual photos in a gallery or museum than on the context of the published photo, which he in part determined himself. The added value of his work lies not just in the fact that he provides a lasting contribution to the ‘industrial archaeology’ of the Netherlands, but also to the visual formation of dramatic changes in social housing, with all of the possible consequences for the future liveability of cities in the Netherlands.


Primary bibliography (book publications)

Bart Sorgedrager, Sarah van Walsum en Ruud van Wezel, Iberische idylle, Amsterdam (Van Walsum) 1985.

Freek de Jonge (voorwoord) en Bart Sorgedrager (foto’s). Temidden der Ajacieden, Zwolle (Waanders) 1987.

Bart Sorgedrager (foto’s) en Ruud van Wezel (tekst). IJzer aan de Oude IJssel. Wonen en werken van gieterijpersoneel langs de Oude IJssel 1880-1980, Amsterdam/Doetinchem (Fragment/Staring Instituut) 1988.

Bart Sorgedrager (foto’s en bijschriften) en F. Buysse (tekst), Holandeses. Nederlandse landbouwkolonies in Brazilië = As colônias agrícolas Holandesas no Brasil, Amsterdam (Fragment) 1991.

W.H. Lutgert (tekst) en Bart Sorgedrager (foto’s 1987-1988), 322 Squadron. Sporen van zijn verleden, lijnen in zijn geschiedenis. Den Haag (Sectie Luchtmachthistorie van de Staf van de Bevelhebber der Luchtstrijdkrachten) 1993.

Bart Sorgedrager (foto’s) en Ruud Spruit (tekst). Landschappen van de dood, Den Haag (VNG) 1993.

Ineke Teijmant en Fred Martin (red.) en Bart Sorgedrager (foto’s), Nieuw-West. Een buurt van goede bedoelingen. Herinneringen aan de Westelijke Tuinsteden van Amsterdam, Amsterdam (Bas Lubberhuizen) 1994.

Bart van der Boom (tekst) en Bart Sorgedrager (foto’s). Gold War. Civiele verdediging in Nederland 1949-1989 = Civil defence in The Netherlands, Amsterdam (uitgave in eigen beheer) 1997.

Bart Sorgedrager en Wouter Botman (idee en concept), Wim Wennekes (inl.) en Bart Sorgedrager (foto’s), mensenstroom. herinnering aan de kernenergiecentrale Dodewaard, Dodewaard (Gemeenschappelijke Kernenergiecentrale Nederland) 1997.

Tijs Tummers (tekst) en Bart Sorgedrager (foto’s), Het Olympisch Stadion, Amsterdam (Bas Lubberhuizen) 2000.

Tracy Metz en Irene Cieraad (tekst), Jutta Chorus, Annerieke Goudappel en Tracy Metz (interviews), Villa Vinex. Bart Sorgedrager fotografeert Leidsche Rijn, Amsterdam (De Verbeelding) 2001.

Ineke Teijmant (tekst). Jan Versnel en Bart Sorgedrager (foto’s), Goed Wonen in Nieuw-West, Amsterdam (Bas Lubberhuizen) 2001.

Tijs Tummers (tekst) en Bart Sorgedrager (foto’s), Het drieluik van Wils. Het Olympisch Stadion en de Citroëngarages, Amsterdam (Bas Lubberhuizen) 2002.

Bart Sorgedrager (foto’s) en Guido de Vries (tekst), Wissingen-Breskens. Kruiningen-Perkpolder. Het laatste jaar van de veren over de Westerschelde, Vlissingen (Zeeuws Maritiem Muzeeum) 2003.

Bart Sorgedrager, De Kruitfabriek in Muiden (1702-2004), Amsterdam (uitgave in eigen beheer) 2004.

Ineke Teijmant (tekst) en Bart Sorgedrager (foto’s), Buskenblaser 1952-2005, Amsterdam (Bas Lubberhuizen) 2005 (serie: Verdwijnende buurten in Amsterdam).

Bart Sorgedrager e.a. (samenstelling) en Bart Sorgedrager (foto’s). De Ritmeester 1887-2005, Veenendaal (Ritmeester Cigars) 2005.

Ineke Teijmant (tekst) en Bart Sorgedrager (foto’s). Meer en Vaart 1958-2005, Amsterdam (Bas Lubberhuizen) 2005 (serie: Verdwijnende buurten van Amsterdam).

Ineke Teijmant (tekst) en Bart Sorgedrager (foto’s), Wolbrantskerkweg 1961-2006, Amsterdam (Bas Lubberhuizen) 2007 (serie: Verdwijnende buurten in Amsterdam).

Bart Sorgedrager (foto’s). De Unileverfabriek in Delft 1884-2008, Amsterdam (uitgave in eigen beheer) 2008.

Bart Sorgedrager (foto’s), De Unileverfabriek in Loosdrecht 1958-2008, Amsterdam (uitgave in eigen beheer) 2008.

Bart Sorgedrager (foto’s), De Unileverfabriek in Vlaardingen 1917-2008, Amsterdam (uitgave in eigen beheer) 2008.

Ineke Teijmant (tekst) en Bart Sorgedrager (foto’s), De Kolenkitbuurt 1951-2008, Amsterdam (Bas Lubberhuizen) 2008 (serie; Verdwijnende buurten in Amsterdam).

Ineke Teijmant (tekst) en Bart Sorgedrager (foto’s), Geuzenveld 1953-2009, Amsterdam (Bas Lubberhuizen) 2009 (serie: Veranderende buurten in Amsterdam).

Luit Tabak (tekst) en Bart Sorgedrager (foto’s), De metamorfose van De Baarsjes, Amsterdam (Bas Lubberhuizen) 2010.

Ineke Teijmant (tekst) en Bart Sorgedrager (foto’s), De Verfdoos, Amsterdam (Bas Lubberhuizen) 2010 (serie: Veranderende buurten in Amsterdam).


(overige publicaties)

Bart Sorgedrager (foto’s), Futuro Na Fraternidade, in Crónica Femina 1552 (21 augustus 1986), p. 86-98.

Bart Sorgedrager (foto’s), Futuro Na Fraternidade, in Crónica Femina 1553 (28 augustus 1986) p. 88-99.

Bart Sorgedrager (foto’s), Futuro Na Fraternidade, in Crónica Femina 1554 (4 september 1986) p. 86-100.

Bart Sorgedrager (foto’s), Futuro Na Fraternidade, in Crónica Femina 1555 (11 september 1986) p. 91-102.

Bart Sorgedrager, Temidden der Ajacieden, in Trouw 17 oktober 1987, p. 27.

Ruud van Wezel (tekst) en Bart Sorgedrager (foto’s), Onwies hard werken. IJzer aan de Oude IJssel, in De Tijd 14 oktober 1988, p. 30-35 (met foto’s).

J.R.M. Magdelijns e.a. (red.) en Bart Sorgedrager (foto’s). Het staat op straat. Straatmeubilair in Nederland, Den Haag (VNG/Sdu) 1990.

Philippe Dufour en Bart Sorgedrager, Pinhole & het Franse land, in Madame de Vue 1 (1990) 1, p. 50-57.

Hubert Punsmann (red.). Ansichten, Streifzüge, Anstösse. Erfahrungen im Kreis Borken, Borken (Kreis Borken) 1991, p. 113-136.

Marijke Hilhorst (tekst) en Bart Sorgedrager (foto’s). Oost, West, Zuid best, in Elsevier 48 (19 september 1992) 38, p. 128-131.

Marijke Hilhorst (tekst) en Bas Sorgedrager (foto’s), Doorleren, in Elsevier 51 (23 december 1995), p. 118-131.

Chris Reinewald (tekst) en Bart Sorgedrager (beeldred.). Altijd 15.00 uur = Always three o’clock, in Nederlandse architecten = Dutch architects 3 (1997), ongepag.

Bart Sorgedrager (foto’s), Monumenten van de atoomangst, in Elsevier 53 (10 mei 1997), p. 27-33.

Marc Steculorum en Henze Boekhout (samenstelling), Bart Sorgedrager (concept en idee), Bart Sorgedrager e.a. (selectie fotografen), België-Holland in foto’s. Voetbal in de Lage Landen, Antwerpen/Amsterdam (DB-S Fotografie/Stichting Holland-België) 2000, ongepag.

Bart Sorgedrager (foto’s) en Piet Gerards (ontwerp), Blok zomerzegels [blok met zes postzegels ten behoeve van de ouderenhulp]. Den Haag (TNT Post) 2001, no. 1973.

Tracy Metz ( tekst) en Bart Sorgedrager (foto’s). Document Nederland.Villa Vinex. Bart Sorgedrager fotografeert Leidsche Rijn/Geen ruimte voor revolutie, in NRC Handelsblad 13 oktober 2001, Zaterdag Bijvoegsel, p. 35-41.

Bart Sorgedrager, Hollands Dagboek. Bart Sorgedrager, in NRC Handelsblad 13 oktober 2001, Zaterdag Bijvoegsel, p. 48.

Bart Sorgedrager (foto’s) en Ariënne Boelens (ontwerp). Industrieel erfgoed [serie van tien postzegels], Den Haag (TNT Post) 2002, no. 2104-2113.

Bart Sorgedrager, Ik hoor een vliegtuig en zie een vogel, in Anouk van Heesch (red.). Document van het moment. Gelderland gefotografeerd, Nijmegen (Museum Het Valkhof) 2003, p. 8-10.

Guido de Vries (tekst) en Bart Sorgedrager (foto’s), Uit de vaart, in M. Het maandblad van NRC Handelsblad 1 maart 2003, p. 58-66.

Bart Sorgedrager (foto’s), Voetbalaccomodaties, in Anouk van Heesch (red.). Document van het moment. Gelderland gefotografeerd, Nijmegen (Museum Het Valkhof) 2003, p. 48-51.

Corinne Noordenbos, Bart Sorgedrager en Ineke Teijmant, A trained eye sees more = Een geschoold oog ziet meer, in Anke Coumans en Helen Westgeest (red.), The Reflexive Zone. Research into theory in practice = De Reflexieve Zone. Onderzoek naar theorie in praktijk, Utrecht (Hogeschool voor de Kunsten Utrecht. Faculteit Beeldende Kunst en Vormgeving) 2004, p. 41-67, 233-234.

Ineke Teijmant, Bart Sorgedrager en Corinne Noordenbos, Documentary Photography: Between Knowledge and Art. The Use of “The Grounded Theory Approach” in Documentary Photography, in Yrjö Sotamaa (hoofdred.), Utrecht. Cumulus Working Papers, Helsinki (University of Art and Design) 2004, p. 70-74 (serie: Publicaton Series of the University of Art and Design G 13).

Antoniy Galabov en Vesselina Nikolaeva (tekst) en Vesselina Nikolaeva (foto’s). School number 7, Rotterdam (Veenman Publishers/Gijs Stork) 2007.

Bart Sorgedrager, Three ways to make a book. Way three: Bart Sorgedrager, in Martin Parr, Witness Number Three, New York (Joy of Giving Something) 2007, p. 16-19.

Corinne Noordenbos, Bart Sorgedrager, Ineke Teijmant en Roos Gerritsma, La sociologie comme véhicule: une nouvelle méthode d’apprentissage dans l’éducation de la photographie documentaire, in Sociétés. Revue des Sciences Humaines et Sociales (2007/1) 95, p. 41-52.

Bart Sorgedrager (foto’s) en Piet Gerards (ontwerp). Grenzeloos Nederland & Brazilië [blok met 1 foto op postzegel en 3 in de rand van het blok], Den Haag (TNT Post) 2009

Bart Sorgedrager, Brieven. Fotoboeken, in NRC Handelsblad 8 mei 2009, Cultureel Supplement, p. 18.

Noël van Bemmel (tekst) en Bas Sorgedrager (foto’s). Berm Boem. In beeld sluipmoordenaars, in Volkskrant Magazine 23 mei 2009, p. 24-33.


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

André-Pierre Lamoth (red.) en Bart Sorgedrager (foto’s), 6 GRA op de GR 6. 6 studenten van de Gerrit Rietveld Academie lopen fotograferend de sentier de Grande Randonnée. Gerrit Rietveld Projekt nummer 14, Amsterdam (Gerrit Rietveld Academie) 1983.

Adriaan Monshouwer en Joop Swart (hoofdred.). De Wereld van KLM in 24 uur, Amsterdam (Koninklijke Luchtvaartmaatschappij) 1989, p. 82-83, 149, 156-157, 228-229, 259.

Bart Sorgedrager (foto), Contactlens, in de Volkskrant 7 april 1990, rubriek Vervolgens, p. 55.

Bart Sorgedrager (foto), Contactlens, in de Volkskrant 28 april 1990, rubriek Vervolgens, p. 53.

Bart Sorgedrager (foto). Contactlens, in de Volkskrant 19 mei 1990, rubriek Vervolgens, p. 57.

Bart Sorgedrager (foto). Contactlens, in de Volkskrant 16 juni 1990, rubriek Vervolgens, p. 55.

Gerard Anderiesen en Arnold Reijndorp, Wonen tussen stad en polder. Een visie op Stadshagen als woonmilieu, Zwolle (Gemeente Zwolle) 1992.

Roelof Haveman en Marjan Wijers, Prostitutiewet brengt alleen maar gewassen lakens, in NRC Handelsblad 11 oktober 1993, p. 9.

Anoniem, Het andere Oranje, in NRC Handelsblad 11 juni 1994, Bijlage WK Voetbal MCMXCIV, p. 13.

Bart Sorgedrager (foto’s), Relaxrooms. Voor elk wat wils, in Ons Amsterdam 46 (oktober 1994) 10, themanummer Lust en liefde, p. 249-251 (met foto’s).

Arie van den Berg e.a.. Een buurt van goede bedoelingen. Vandaag in een voorpublicatie een bloemlezing uit Nieuw-West. Een buurt van goede bedoelingen, in Het Parool 5 november 1994, p. 24-25.

[Brochure] Kembo en de Penitentiaire Inrichting Lelystad, Veenendaal (Kembo) 1995.

[Brochure] Rollepaal. Customer Support, Dedemsvaart (Rollepaal) 1995.

[Brochure] Rollepaal. Moulds, Dedemsvaart (Rollepaal) 1995.

Ton Hendriks, Beeldspraak. Fotografie als visuele communicatie, Amsterdam (Focus) 1995, p. 11.

Menno Tamminga, Orco Bank – een grote zak geld die maar geen bank werd, in NRC Handelsblad 11 februari 1995, p. 17.

George Marlet of Harriet Salm (tekst) en Bart Sorgedrager (foto), [wekelijkse serie over faillissementen in Nederland], in Trouw 6 mei 1995 t/m 24 juni 1995.

Jaarverslag Secon Group 1995-1996.

[Brochure en folder] MBA Food Industry and Agribusiness, Wageningen (Landbouw Universteit) 1996.

Bart Sorgedrager (foto), Heilige grond [wekelijkse fotoserie over markante sportplekken], in NRC Handelsblad 6 januari 1996 t/m 3 augustus 1996.

Frans Bosman, Huizen van plezier, in Het Parool 19 september 1996, p. 9.

[Brochure] Looking for a healthy future, Wageningen (Landbouw Universiteit) 1997.

Catalogus The Terra Plana collection. Footwear designed by Charles Bergmans, Veenendaal (Terra Plana) z.j. [1997].

[Brochure] Customer Support. Operational Unit Extrusion, Dedemsvaart (Rollepaal) z.j. [1998].

[Brochure] Die Heads. Operational Unit Extrusion, Dedemsvaart (Rollepaal) z.j. 1998].

[Brochure] Nedap Aeos Security Management Solutions, Groenlo (Nederlandse Apparatenfabriek ‘Nedap’) z.j. [1999].

[Brochure] Nedap Security Control, Groenlo (Nederlandse Apparatenfabriek ‘Nedap’) z.j. [1999].

Jaarverslag Centraal Laboratorium van de Bloedtransfusiedienst 1999.

Jaarverslag Kantongerechten en Rechtbank Arrondissement Arnhem 1999.

Jaarverslag Koninklijke Nederlandse Academie van Wetenschappen 1999.

[Brochure] Voetbalmekka’s in Gelderland, Nijmegen (Museum Het Valkhof) 2000.

NOS agenda 2001. Gezichten achter de schermen, Hilversum (NOS) 2000.

Roland van Tulder (samenstelling), Ikke, ikke, ikke en de rest kan stikke. Amsterdam in de jaren negentig, Amsterdam (Amsterdam Publishers) 2001, omslag, p. 20 (Decennium-serie, 10).

Guus van Holland, Onneembare vesting op de Veluwe, in NRC Handelsblad 5 juni 2001, p. 25.

Jochen van Barschot, Tot over je nek in de hypotheekschuld, in NRC Handelsblad 6 juli 2002, p. 16.

Mariëlle Hageman, Het A’dam boek 1275-2003, Bussum/Amsterdam (THOTH/Gemeentearchief Amsterdam) 2003, p. 183.

Kester Freriks (tekst) en Bart Sorgedrager (foto), De kleedkamer [wekelijkse serie: Hoe bereiden artiesten zich voor op een optreden? De Achterpagina neemt een kijkje in bijzondere kleedkamers], in NRC Handelsblad 8 maart t/m 10 mei 2003.

Rob van Zoest e.a. (samenstelling). De Amsterdamse haven, 1275-2005, Amsterdam (Kunsthistorisch Bureau D’ARTS) 2005, p. 310 (Engelse ed.: The Amsterdam harbour, 1275-2005).

Frank Westerman, Integratiebeleid moet les van ontwikkelingshulp zijn, in NRC Handelsblad 26 maart 2005, p. 13.

Dorine van Hoogstraten (tekst) en Bart Sorgedrager (foto’s), Twintig schoolvoorbeelden, in Dorine van Hoogstraten e.a.. De Haagse School. Architectuur om in te leren, Rotterdam (NAI Uitgevers) 2006, p. 55-95.

Rijksopdrachtgever/nemerschap. Verslag themabijeenkomst Actieprogramma Ruimte en Cultuur 2006.

Jos van der Lans, Het rode geluk. Een geschiedenis van de Algemene Woningbouw Vereniging, Amsterdam (Bas Lubberhuizen) 2008, p. 10-11, 36-37, 68-69, 96-97, 128-129, 164-165, 192-193, 226-227, 260-261.

Willem van Toorn, De stad en Het Oosten. Het verhaal van een woningbouwvereniging, Amsterdam (Bas Lubberhuizen) 2008, p. 10-11, 40-41, 60-61, 78-79, 102-103, 122-123, 140-141, 166-167, 178-179, 196-197.


in Quote:

Ariëtte Dekker en Maarten Westermann (tekst) en Bart Sorgedrager (foto’s), De België-route, 6 (maart 1991) 3, p. 2-3, 62-74.

Jort Kelder (tekst) en Bart Sorgedrager (foto’s), Miljoenen voor citroenen, 6 (april 1991) 4, p. 86-92.

Pieter Kort (tekst) en Bart Sorgedrager (foto’s), Het geheim van de smid, 6 (oktober 1991) 10, p. 76-81.

Joost Ramaer (tekst) en Bart Sorgedrager (foto’s), André Leysen. De eerste Europeaan. 6 (december 1991) 12, p. 80-87.

Theo van Vught (tekst) en Bart Sorgedrager (foto’s). De Franchise Formule, 7 (februari 1992) 2, p. 50-59.

Theo van Vught (tekst) en Bart Sorgedrager (foto’s). De schone oorlog, 7 (maart 1992) 3, p. 50-59.

Gert Hage (tekst) en Bart Sorgedrager (foto’s). Het gevecht om de leasebak, 7 (april 1992) 4, p. 76-84.

Gert Hage en Joost Ramaer (tekst) en Bart Sorgedrager (foto’s), Dossier VHS, 7 (mei 1992) 5, p. 62-70.

Jort Kelder en Joost Ramaer (tekst) en Bart Sorgedrager (foto’s), Logicon Valley, 7 (juni 1992) 6, p. 30-41.

Joost Ramaer (tekst) en Bart Sorgedrager (foto’s), Renault herrijst, 7 (juli/augustus 1992) 7/8, p. 76-83.

Bart Sorgedrager (foto’s), Groeten uit Volendam. Leven en laten leven, 7 (oktober 1992) extra nummer, p. 26-34.

Gert Hage (tekst) en Bart Sorgedrager (foto’s). Groeten uit Groenlo. Op een dag…, 7 (oktober 1992) extra nummer, p. 48-55.

Theo van Vught en Ben Min (tekst) en Bart Sorgedrager (foto’s), Absoluut Bols, 7 (oktober 1992) 10, p. 34-49.

Marcus Poman (tekst) en Bart Sorgedrager (foto’s), Greenpeace bv, 8 (februari 1993) 2, p. 58-63.

Luuk Sengers (tekst) en Bart Sorgedrager (foto’s), Klein grut in grote zaken, 8 (april 1993) 4, p. 68-74

Jort Kelder (tekst) en Bart Sorgedrager (foto’s), Brasschaet: rust tussen de rododendrons, 8 (september 1993) 9, p. 47.

Luuk Sengers (tekst) en Bart Sorgedrager (foto’s). De ijzervreters, 8 (december 1993) 12, p. 68-72.

Arne van der Wal (tekst) en Bart Sorgedrager (foto’s), Coltofs honger, 9 (februari 1994) 2, p. 68-72.

Marcus Polman (tekst) en Bart Sorgedrager (foto’s). De nieuwe reclame tussen creatie en commercie, 9 (mei 1994) 5, p. 82-91.

Marcus Polman (tekst) en Bart Sorgedrager (foto’s), Heren van 06, 9 (oktober 1994) 10, p. 56-64.

Pieter Kort en Hans Kroon (tekst) en Bart Sorgedrager (foto’s), “Eigenlijk is het heel simpel, een bedrijf leiden”, 9 (december 1994) 12, p. 88-96.

Luuk Sengers (tekst) en Bart Sorgedrager (foto’s). Papier hier!, 10 (maart 1995) 3, p. 88-94.

Michel Aupers en Ben Min (tekst) en Bart Sorgedrager (foto’s). De huizenverschuiver. Waarom zyn mensen bang voor Jaap Kroonenberg?, 10 (juni 1995) 6, p. 84-92.

Ben Min (tekst) en Bart Sorgedrager (foto’s), Béla Stamenkovits: “Als je nummer één bent, mag je arrogant zijn”, 10 (juli 1995) 7, p. 30-31,

Luuk Sengers (tekst) en Bart Sorgedrager (foto’s). Schiphol voor beginners, 10 (augustus 1995) 8, p. 80-85.

Michel Aupers (tekst) en Bart Sorgedrager (foto’s), Libertel, de geboorte van een tijdbom, 10 (december 1995) 12, p. 64-70.

Pieter Kort (tekst) en Bart Sorgedrager (foto’s). Heren van de gracht, 11 (januari 1996) 1, p . 72-79.

Ben Min (tekst) en Bart Sorgedrager (foto’s). Alleen verder… Vier succesvolle ondernemingen met vrouwen aan de top. Vier weduwen met een verhaal, 11 (februari 1996) 2, p. 72-77.

Secondary bibliography

Anneke van Veen, Amsterdam voordat het voorbij is. De foto-opdrachten van het Amsterdams Fonds voor de Kunst ten behoeve van het Gemeente-Archief, in Perspektief (juni 1987) 28/29, p. 52-77.

Frits Barend en Henk van Dorp, 365 dagen Ajax, in Revu 15 oktober 1987, p. 58-63.

Freek de Jonge (tekst), Ajax bestaat niet, in Trouw 17 oktober 1987 (met foto’s).

Harry van Gelder, Anderhalf jaar Ajax in beeld maar geen bal te zien, in de Volkskrant 17 oktober 1987.

Ellen Kok, Een jongensdroom: met ‘t eerste van Ajax mee, in Utrechts Nieuwsblad 9 november 1987.

Yvonne Hoksbergen, Bart Sorgedrager fotografeerde een jaar lang Ajax, in Focus 74 (december 1987) 12, p. 44-49.

Eddie Marsman, Bart Sorgedrager: Temidden der Ajacieden, in Foto 42 (december 1987) 12, p. 28.

Anoniem, Ajax-foto’s van Bart Sorgedrager: de onbevangen blik van een artsenzoon, in Wisch Post 23 februari 1988.

Bas Vroege, Bart Sorgedrager: Temidden der Ajacieden, in Perspektief (april 1988) 31/32, p. 82.

Angela Jans, Presentatie van boek “IJzer aan de Oude IJssel”. Sporen van de mens en de geur van olie, in De Gelderlander 29 augustus 1988.

Anneke van Veen (red.). Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1986-1988, Amsterdam (Museum Fodor/Gemeentemarchief) 1989, ongepag.

Eddie Marsman, Subtiele tijd. IJzer aan de Oude IJssel, in foto 44 (januari/februari 1989) 1/2, p. 31.

Willem van der Ham, Roest rust in de Achterhoek, in NRC Handelsblad 23 maart 1989.

Elma Drayer, Drie jaar fotograferen voor de Amsterdamse archieven, in Vrij Nederland 29 april 1989, p. 18-27.

Willem Ellenbroek, Flarden gezichten van een naamloze en veranderende stad, in de Volkskrant 2 juni 1989.

Anoniem, Amsterdam centraal. Bart Sorgedrager, fotograaf, in Het Parool 3 juni 1989, p. 43.

A.H., IJzer aan de Oude IJssel. Foto’s van Bart Sorgedrager, in Museum het Princessehof. Tevens Mededelingenblad van de vereniging van vrienden van het Princessehof 16 (september 1989) 4, ongepag.

Rolf Bos, Nadagen van een trotse industrie, in de Volkskrant 27 oktober 1990, p. 51.

Anoniem, Foto’s. Nederlandse landbouwers in Brazilië, in ANWB Kampioen 106 (maart 1991) 3, p. 89.

Wim Broekman, Brazilië. Nederlandse landbouwkonies, in Foto 46 (maart 1991) 3, p. 60-65.

Chris Reinewald, Gazelleflets in Holambra, in De Journalist 15 maart 1991, p. 39-40.

Rolf Bos, Hollandse Gazelle op haciënda in Brazilië, in de Volkskrant 16 maart 1991.

Cees Strauss, Folkloristisch portret. Bart Sorgedrager zocht emigranten in Brazilië op, in Trouw 30 maart 1991.

Bart Sorgedrager (foto’s). Den Vaderland Getrouwe, in Maandblad ‘o’ 2 (januari 1991) 3, p. 14-21.

[Brochure] Documentaire fotografie. Opdrachten 1992, Provincie Noord-Holland, z.p., z j . [ca. 1992], p. 5.

Linda Roodenburg, Fotowerk. Fotografie in opdracht 1986-1992, Rotterdam (010) 1992, p. 28, 130-133.

Maartje van den Heuvel en Anneke van Veen (samenstelling), Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1972-1991/Leontine Coelewij, Haro Plantenga en Anneke van Veen (samenstelling). Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1989-1991, Amsterdam (Gemeentearchief Amsterdam) 1992, ongepag.

Arjen Ribbens, Amsterdams kale onderbuik in beeld, in NRC Handelsblad 18 januari 1992.

Linda Roodenburg, Bart Sorgedrager: Holandeses, in Perspektief (februari 1992) 43, p. 68-69.

Josephine van Bennekom, Met paintbox krijgt pin-up extra kleurtje, in Trouw 4 april 1992.

Menno Steketee, De sporen van “Dutch” Squadron 322, in NRC Handelsblad 24 augustus 1993.

Eric Vrijsen, Spitfires. Het geluid van de bevrijding, in Elsevier 25 september 1993, p. 110- 113.

Anoniem, Expositie “Documentaire fotografie”, in Fotografie-krant. Eenmalige uitgave van het Provinciaal Bestuur van Noord-Holland november 1993, ongepag.

Anoniem, [zonder titel: bespreking van boek Landschappen van de dood], in NRC Handelsblad 18 december 1993, bijlage Boeken, p. 2.

Wim de Jong, Polsslag metropool klopt in Huis van de Fotografie, in de Volkskrant 31 maart 1994.

Cees Straus, De stad als poel des verderfs. Eerste expositie Nederlands Foto Instituut is weinig verrassend, in Trouw 1 april 1994.

Mirjam Keunen, Verborgen leven in de grote stad, in Algemeen Dagblad 13 april 1994.

Machteld Leistra, De laatste minuten van piloot Wolters, in TV Studio 68 (29 april 1994), p. 54-55.

Catalogus tent. Zeventien visies op Noord-Holland. Fotodocumentaire opdrachten 1991-1995, z.p. [Haarlem] (Provincie Noord-Holland) 1996, p. 28-30, 59 (met foto’s).

Edith van Zalinge, De bijna vergeten schuilkelders van de koude oorlog. Alleen de regering kan nog schuilen, in Het Parool 14 mei 1997.

Anoniem, Legermuseum toont herinneringen aan Koude Oorlog, in NRC Handelsblad 29 mei 1997.

Arno Haijtema, Couleur locale. Legermuseum. De onversneden geur van schuilkelders, in de Volkskrant 11 juni 1997.

[Brochure] Kimberley Clark New UK Headquarters, Veenendaal (Kembo) 1998.

Agenda 1999. Sporen van de NOS, Hilversum (NOS) 1998.

Max Paumen, Er komt geen ijzer meer uit Tegelen, in NRC Handelsblad 29 januari 1999.

Paul Onkenhout, De twaalfde man. Dertien jaar geleden: Cruijff rookt en kaart met Van Basten, in de Volkskrant 4 september 1999.

Klaas Vos, Temidden der Ajacieden, in Ajax Magazine november 1999, p. 157.

Mirelle Thijsen, Humanistische fotografie en het geluk van de alledaagsheid. Het Nederlandse bedrijfsfotoboek 1945-1965, Utrecht (Universiteit Utrecht) 2000, p. 179, 187, 206 (Proefschrift Universiteit Utrecht).

Peter Sierksma, Bart Sorgedrager. Verdwenen sporen, in Hollands Licht 6 (2000) 2, p. 8-9.

Willem Ellenbroek, Opnieuw ‘strak van lijn, lenig en gespierd’, in de Volkskrant 12 mei 2000.

Mariël Croon, Olympisch Stadion herrezen. Fotoboek over Amsterdamse sporttempel voor en na renovatie, in NRC Handelsblad 13 mei 2000. Zaterdags Bijvoegsel, p. 35.

Peter Sierksma, Schuldig landschap, in Trouw 13 mei 2000.

Andrea Bosman, Goed en fout, in Trouw 9 juni 2000.

Hans Jacobs, De lekkerste voetbalmekka’s van Gelderland, in De Gelderlander 23 juni 2000.

Anoniem, Verantwoord wonen in tuinstad, in NRC Handelsblad 10 mei 2001, p. 7.

Anoniem, Modelwoningen in Nieuw-West gesloopt, in Trouw 11 mei 2001, p. 4.

Anoniem, Het Vinex-optimum, in de Volkskrant 18 oktober 2001, p. 20k-21k.

Françoise Ledeboer, Foto-expositie Villa Vinex, in De Gooi- en Eemlander 26 oktober 2001.

Tijs Tummers, Op het nippertje gered, Johan 2 (december 2001) 11, p. 54-61.

Wim van Sinderen, Fotografen in Nederland. Een anthologie 1852-2002, Amsterdam/Gent/Den Haag (Ludion/Fotomuseum Den Haag) 2002, p. 358-359.

Mirelle Thijsen, Het bedrijfsfotoboek 1945-1965. Professionalisering van fotografen in Nederland, Rotterdam (Uitgeverij 010) 2002, p. 212, 214-217 (met foto’s).

Arend Evenhuis, Steigerschuitschippers meerden af aan Zeeuwse bietenhaventjes, in Trouw 8 april 2003.

Werner Bossmann, De stand van Gelderland, in De Gelderlander, 4 juli 2003.

Kester Freriks, Verwoestende veranderingen in Gelderland, in NRC Handelsblad 20 juli 2003.

Hanneke de Klerck, De bergen zijn te laag. Elf fotografen portretteren Gelderland, in de Volkskrant 7 augustus 2003.

Anoniem, Einde voor een kruitfabriek, in de Volkskrant 28 mei 2004.

Anoniem, Stillevens in een kruitfabriek, in Trouw 3 juni 2004.

Corinne Noordenbos, Bart Sorgedrager, in GKf kwartaalberichten zomer 2004, p. 11.

Jet Baruch e.a.. Document Nederland. Nederland gefotografeerd 1975-2005. Een keuze uit 30 jaar documentaire foto-opdrachten van het Rijksmuseum, Zwolle/Amsterdam (Waanders/Rijksmuseum) 2005, p. 413-426.

Catalogus tent. [Made in Holland. Epson Fotofestival Naarden], Naarden 2005, p. l0, 60-63,104 (met foto’s).

Martin Parr en Gerry Badger, The Photobook: A History volume II, Londen (Phaidon Press) 2006, p. 179, 202.

Flip Bool e.a. (red.). Nieuwe geschiedenis van de fotografie in Nederland, Dutch Eyes, Zwolle (Waanders) 2007, p. 366, 446-448, 453.

Arjen Ribbens, De verzamelaars zijn in de war. Fotoboeken. Handelaren en liefhebbers betalen steeds grotere bedragen, in NRC Handelsblad 9 november 2007, Cultureel Supplement, p. 19.

Hans van Blommestein, M-Photo. De fotografie van het maandblad van NRC Handelsblad, z.p. [Rotterdam] (NRC Handelsblad) z.j. [2008], p. 43.

Abdelkader Benali, Met 25 kilo pindakaas naar Marokko, in M. Het maandblad van NRC Handelsblad juli 2008, p. 24-29.

Corrie Verkerk, Tevreden in onze eigen rotbuurt. De kolenkitbuurt scoort niet hoog met leefbaarheid, in Het Parool 11 juli 2008.

Bernard Hulsman, Gelukkig in Geuzenveld, in NRC Handelsblad 13 januari 2010.


Bestuur Nederlands Foto Instituut, 1994-2003.

Jury, fotowedstrijd Rijksmuseum en NRC Handelsblad met als thema ‘Maak een foto van een vegaardagsfeestje’, 2003.

GKf, vanaf 2004.

Bestuur Stichting Fonds Anna Cornelis, vanaf 2006.


1983 (g) Amsterdam, Maison Descartes, 6 GRA op de GR 6.

1986 (g) Amsterdam, De Moor, Jong talent.

1986 (g) Amsterdam, Scheepvaarthuis, Mensen in het openbaar vervoer [Anneleen Louwes, Mariëtte Carstens en Bart Sorgedrager].

1987 (e) Amsterdam, Gemeentearchief Amsterdam, De wereld van Ajax. Foto’s van Bart Sorgedrager.

1987 (g) Rotterdam, Oude Gemeente Bibliotheek, Fotografie in opdracht

1988 (e) Terborg, Ontmoetingscentrum ‘de Kameleon’, De wereld van Ajax. Foto’s van Bart Sorgedrager.

1989 (e) Amsterdam, Canon Image Center, IJzer aan de Oude IJssel

1989 (g) Amsterdam, Museum Fodor, Foto’s voor de stad.

1989 (g) Athene, Dutch Photography – 1980 Up Today (International Month of Photography).

1989 (g) Berlijn, Neue Gesellschaft für Bildende Kunst, Stadtfotografie Berlin und Amsterdam.

1989 (e) Den Haag, Kijkhuis, IJzer aan de Oude IJssel

1989 (e) Leeuwarden, Museum Het Princessehof, IJzer aan de Oude IJssel

1990 (e) Apeldoorn, Historisch Museum Marialust, IJzer aan de Oude IJssel

1991 (e) Amsterdam, Canon Image Center, Holandeses.

1992 (g) Amsterdam, Beurs van Berlage, Fotowerk. Fotografie in opdracht 1986-1992.

1992 (g) Amsterdam, Museum Fodor, Foto’s voor de stad. Amsterdamse documentaire foto-opdrachten 1972-1991.

1992 (e) Groningen, USVA Fotogalerie, Holandeses.

1993 (g) Haarlem, Gebouw Noord-Holland, Documentaire fotografie.

1993 (e) Soesterberg, Militair Luchtvaart Museum, Nederlandse Spitfires onder Engelse vlag.

1994 (g) Antwerpen, Galerie DB-S, Let’s Face Reality.

1994 (g) Hoorn, De Boterbal, [expositie met als thema ‘verdwijnende industrieën’].

1994 (g) Rotterdam, Nederlands Foto Instituut, Down Town – het leven in de moderne stad.

1996 (g) Naarden, Grote Kerk, Zeventien visies op Noord-Holland.

1997 (e) Delft, Legermuseum, Cold War. Civiele verdediging in Nederland.

1998 (e) Antwerpen, Galerie DB-S, Cold War. Civiele bescherming in Nederland 1949-1989.

2000 (g) Almere, Museum De Paviljoens, Viva Vinex.

2000 (g) Brugge, Kunstcentrum Oud Sint-Jan, België-Holland, Holland-België. Voetbal in de Lage Landen.

2000 (e) Nijmegen, Museum Het Valkhof, Voetbalmekka’s in Gelderland. Foto’s van Bart Sorgedrager.

2000 (e) Rio de Janeiro, Museu da República, As colónias agrícolas Holandesas no Brasil.

2000 (g) Rotterdam, Nederlands Foto Instituut, België-Holland, Holland-België. Voetbal in de Lage Landen.

2001 (g) Amsterdam, Gemeentearchief Amsterdam, Het gezicht van Amsterdam, nieuwe Amsterdammers gefotografeerd 1900-2000.

2001 (g) Amsterdam, Het Trappenhuis (Willem Nuijenstraat 25-30), Goed Wonen in Nieuw-West [Bart Sorgedrager en Jan Versnel].

2001/2002 (e) Amsterdam, Rijksmuseum, Document Nederland: Villa Vinex. Bart Sorgedrager fotografeer’t ‘de Leidsche Rijn’.

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

2003 (g) Nijmegen, Museum Het Valkhof, Document van het moment. Gelderland gefotografeerd.

2003 (e) Rio de Janeiro, Museu Nacional de Belas Artes, A Presença Holandesa no Brasil.

2003 (e) Vlissingen, Zeeuws Maritiem Muzeeum, Vlissingen-Breskens, Kruiningen-Perkpolder. Het laatste jaar van de veren over de Westerschelde.

2005 (g) Naarden, Grote Kerk, (Made in Holland. Epson Fotofestival Naarden).

2009 (g) Vught, Nationaal Monument Kamp Vught, Er is een weg naar de vrijheid.

2010 (g) Veenhuizen, Gevangenismuseum, Weg naar de vrijheid.

Television Programs

1990 Land in zicht, met aandacht voor de tentoonstelling IJzer langs de Oude IJssel (AVRO).

29 april 1994 Spitfires onder Nederlandse vlag, gemaakt door Bart Sorgedrager in samenwerking met Hans Wijnants (KRO).


Amsterdam, Bart Sorgedrager.

Breda, AKV|St. Joost (ongepubliceerde eindexamenscriptie Suzanne Klijndijk, Groeten uit Holland. De Nederlandse steden- en landschapsfotografie van nu, vergeleken met die van de jaren vijftig, 2002, p. 53-59).

Den Haag, Koninklijke Bibliotheek.

Leiden, Prentenkabinet Universiteitsbibliotheek Leiden, bibliotheek en documentatiebestand.

Leusden, Jan Wingender (collectie nederlands fotoboek).

Rotterdam, Nederlands Fotomuseum, bibliotheek en documentatiebestand.


Amsterdam, Rijksmuseum.

Amsterdam, Stadsarchief.

Delft, Legermuseum.

Haarlem, Provinciale Atlas Noord-Holland.

Leeuwarden, Museum het Princessehof.

Nijmegen, Museum Het Valkhof.