Off I went with a bunch of kids and a pile of photography gear. We were heading into the woods because I wanted to discover how these children would experience this landscape.

A Spring Adventure

For several days, I worked with a group of 9-to-12-year-old children from a local primary school. It was early spring, sunny but still quite cold, so we kept our winter coats on.

Together, we made our way through the woods in a cheerful little parade. After walking for about 20 minutes, we reached a clearing with picnic tables and benches. This would be our workspace for the days ahead.

Capturing the Invisible

I gave the children lightproof boxes with tiny pinholes, sheets of photo paper, and a challenge:

In lightproof tents, the children enthusiastically developed their photos by inserting their arms inside. The picnic tables became our darkroom, and the magic happened by touch. Underneath the setup, jerry cans and buckets of water were ready to rinse the prints.

A Mythical Forest

These children were not just participating in a workshop. In fact, they were helping me with an assignment to create an art installation for an exhibition in the forest. My work would be displayed in a wooden watchtower surrounded by trees.

With this image-based art installation, I wanted to present the forest as a mythical place and inspire people to look at the landscape with a sense of wonder.

Children have a natural gift for imagination, something many adults lose in the rush of daily life. That’s exactly why I asked them for help. They took their job very seriously, and as a result, their work was breathtaking.

A Dreamlike Vision

The children also wrote some texts, and together with the photos, they had an almost fairytale-like, dreamlike quality. Inspired by the work of the children, I enjoyed taking my own pictures in the forest. Their examples helped me very much because I usually don’t take many photos in wooded areas.

Finding a New Perspective

I often struggle with composition, as my images tend to look cluttered. However, this time, it was different. The photos of the woods seemed to take on a magical quality, thanks to the children’s examples, the soft spring light and my pinhole camera.

Once the images were ready, I printed them on canvas and installed them in the watchtower. Each one was placed to correspond with the view in that direction, taken at the very same spot people were looking at.

Nature Through the Eyes of Children

On the back of each photo, I placed texts based on the children’s descriptions of their forest experience. As visitors climbed the tower, they read these texts and were invited to look at the landscape differently, through the eyes of children, and to rediscover their own imagination.

For the first time, I made high-quality prints of these images. They are now available in my webshop. I hope they still evoke the same sense of wonder when they hang on someone’s wall.

Learn more about this project here.

You can sign up for regular updates if you don’t want to miss any blog posts!

Many people ask me how to best frame their newly purchased art prints. There are many different ways to do it, depending on the size, paper type and budget. Here are some tips based on my experience to help guide your decision-making process.

Dibond Mounting Your Art Print

One archival framing solution I highly recommend is mounting your print on Dibond and providing a protective layer at the front. This method beautifully presents a photographic image. However, it can be pricey and is irreversible.

What is Dibond?

Dibond mounting is widely used among photographers to exhibit their work in a way that is both rigid and lightweight. It consists of a compressed composite panel between two aluminium plates. Fine Art paper can be mounted onto Dibond while retaining all its properties, such as texture, tonality, and colours.

Dibond has a luxurious appearance, stays flat and straight over time, and is highly durable.

Detail of Dibond

Diasec

To protect the front of your print, you can use laminate or Diasec. Diasec is typically the most visually striking but also the most expensive. It is an acrylic resin layer glued to your print by a specialized company, enhancing depth, shine, and colour intensity while offering UV protection and dust resistance.

Dibond and Diasec mounted

Dibond and Diasec Mounted Prints

Diasec is available in different finishes, such as gloss, matte, and museum quality:

• Gloss: The most affordable option but also the most reflective.
• Matte: Reduces glare while maintaining vibrancy.
• Museum Quality: The most expensive, offering the highest protection and clarity.

Lacklustre Diasec: I personally prefer Lacklustre Diasec, which gives the impression of looking directly at the paper while maintaining depth and intense colours. It eliminates reflections and enhances the viewing experience.

Laminate

For budget-friendly protection, a laminate layer works well, especially when combined with a quality frame. Laminates come in matte, gloss, and semi-gloss finishes.

Framing a Dibond and Diasec Mounted Print

Dibond and Diasec-mounted prints can also be framed, depending on your taste and budget. There are beautiful handmade frames for sale that are made of very high-quality wood.

However, not all framers offer Dibond and Diasec services. You will need to find a specialized company for this. Fortunately, I have access to a patented Diasec company near me and can arrange framing for collectors upon request.

Classic Framing for Art Prints

For smaller budgets and practical reasons like easy shipping, classic framing is a great alternative. Many collectors prefer traditional frames for their art prints.

Matting and Framing Art Prints

A passe-partout (mat) enhances the artwork and provides protection. A professional framer can help you choose the right frame and mat colour. I generally prefer an off-white mat, as it complements the artwork without distraction.

Choosing the Right Size for Your Passe-Partout

There are no strict rules for mat sizing, but a minimum width of 5–6 cm (about 2 inches) is common. The frame should always be narrower than the mat to maintain balance.

A mat also allows you to use standard-sized frames, making it a more affordable option.

Classic frame

DIY Framing

If you’re skilled, you can cut your own passe-partout using a mat cutter. However, it requires precision. I attempted this myself but found it frustrating due to frequent mistakes, such as cutting too far or uneven edges. If you’re confident in your skills, DIY framing can be a rewarding option.

Choosing the Right Frame

Frames come with either glass or plexiglass:

• Glass: Scratch-resistant and less prone to static but heavier and fragile.
• Plexiglass: Lightweight and shatterproof but more susceptible to scratches.

For large prints, plexiglass is my preference due to its lighter weight.

Archival Materials

Always use acid-free materials to prevent damage over time. This includes:

• Acid-free mats
• Acid-free tape for mounting

The Framed Print Should Not Touch the Glass

A print should never be pressed against the glass, as humidity changes can cause condensation, leading to adhesion and damage. This also increases the risk of warping.

Framing Art Prints Without a Mat

If you prefer to frame without a passe-partout, ensure a spacer is placed between the glass and the print to allow air circulation. A framer can mount the print on acid-free cardboard, though the texture may be visible from the front.

Final Thoughts

These are the basics of framing art prints, but a professional framer can provide additional insights tailored to your artwork and budget.

If you’re interested in purchasing a print from me, I’m happy to provide advice. Feel free to contact me if you have any questions!

Sign up for regular updates so you never miss a blog post!

Recently, I came across a story I wrote about this one photo taken in a Dark Sky Park and suddenly felt sorry for not sharing it. Besides, it had been such a long time since I published a blog post, so here it is.

From Sea to Nature Reserve

In 2019, it was 50 years since the Lauwerszee, an inland sea in the north of the Netherlands, was closed off and turned into a lake. After the 1953 flood, the Dutch government decided to restructure the coastline, and closing the estuary seemed like the best solution at the time.

Local shrimp fishermen protested as they depended on the sea for their livelihoods. Yet, no one could have predicted that this area would become one of the most beautiful nature reserves in the Netherlands.

Celebrating 50 Years of Lauwersmeer Through Photography

Because of the 50th anniversary of the lake, northern Dutch photographers showcased their perspectives on this beautiful nature reserve. I took on the challenge because the area connects with the Wadden Sea, where I often take pictures.

The submissions of 15 photographers resulted in:

• A special feature in the magazine Noorderbreedte
• An outdoor exhibition on location, produced by Noorderlicht
• An exhibition of the images at University Medical Center Groningen

A Designated Dark Sky Park

I was interested in the fact that the area was designated an official Dark Sky Park in 2016. A Dark Sky Park is an area where it is dark and where the goal is to preserve that darkness. These parks are amongst the darkest places in the world. Here, you can experience nature in the dark, and people are welcome at night to enjoy that darkness and the starry sky.

The Dark Sky Park designation comes from DarkSky International. This organization is American-based and draws attention to the worldwide increasing light pollution. DarkSky International does not require that it be pitch dark but that people remove the unnecessary light as much as possible.

At first, light pollution in the area was too high, but they resolved it by installing new luminaires that emit less light. Now, darkness is preserved, benefiting local wildlife like birds, plants, and moths, as artificial light disrupts their natural cycles.

Did you know? The Netherlands is one of the most light-polluted countries in the world, making the Dark Sky Park designation even more remarkable!

Capturing the Moon’s Orbit

The Surprise

It’s springtime! Nature is showing in its full glory! Time to open the windows, step outside, and start blogging again. But where have I been all this time? It’s a long story, but I will keep it short. My side activities kept me busy, such as being an educator at Noorderlicht, an international platform for photography and teaching pinhole photography in various workshops. The last one gave me the idea for this blog post.

A Different Way of Seeing

One of the core principles I teach my students is to see the world differently. A pinhole camera is the perfect tool for that because the camera’s small hole is already looking at the world in another way than our eyes or a camera lens.

Experimenting with perspective:

• Using a wide-angle pinhole camera helps students explore how perspective changes an image.
• Shooting everyday objects from unusual angles makes them interesting again.
• Placing the camera very close to the subject creates a surreal effect.

This was exactly what I had in mind on the 29th of April, Worldwide Pinhole Photography Day. This day is held each year on the last Sunday in April. It’s an international event created to promote and celebrate the art of pinhole photography. On this special day, people worldwide are encouraged to take some time to participate in the simple act of making a pinhole photograph. People share their visions and help spread the unusual beauty of this photographic process.

I mounted a pinhole camera in my backyard’s magnolia tree to capture the last blooming flowers up close. I left it there for exactly one week. I imagined the result to resemble some flower images I made years ago. Images from series like Sowing Seeds and Floral Focus. Especially the Sowing Seeds series, which I created when I was pre-eminently interested in small matters in nature. Small details in a larger whole.

Whenever I took a closer look at the beauty of such flowers, small nature in its full glory, I just wondered:

This curiosity has always driven me, mainly when I worked on these earlier projects. By placing the camera just centimetres away from the flowers, I explored how small nature can appear monumental, just like the wonder flowers I used to draw as a child.

 

Rediscovering Old Work

Looking back at my Sowing Seeds series, I found only five final photos. But today, inspired by my magnolia experiment, I went digging for my old contact prints. To my surprise, I rediscovered images I hadn’t seen in years, some of which I now appreciate in a whole new way.

During the week of my last exposure, there were thunderstorms, heavy rain showers, cold weather, wind, and, at last, a few sunny days. All of this made the result quite unpredictable. The photo is shown at the top of this blog post.

What’s Next?

I’m currently scanning these old negatives, and I’m ready to dive into them again. Who knows what I’ll uncover?

Stay tuned! Follow my socials for updates to see the results!

Sign up for regular updates so you never miss a blog post!

Last weekend, I wrote a little story for my newsletter subscribers. When I finished writing and read through the story again, I suddenly realized that this was a blog post. I usually keep my blog and newsletter content separate, but I’m making an exception this time. It’s Valentine’s Day tomorrow, and I couldn’t miss the opportunity to share this image and the story behind it with you.

A Hidden Image Rediscovered

The image was made a few years ago for the series Timeline. Although I was happy with this image, I felt that it didn’t fit the series at the time. So, I stored it on a hard disk and moved on. Until I suddenly thought about it last week and decided to share its story.

Finding the Perfect Spot

I made the image in a natural area near my home a few years ago. It’s called Friescheveen, which is a fairylike fen area with a lake, swamp forest and many reeds. I often bring students here for a landscape photography workshop.

It took me hours to find the right spot to set up my camera for a 48 hour-exposure. When I saw this scene, I knew it was the one.

I focused on two trees. The white line in the image describes the sun’s path across the sky during the day. According to the Sun Surveyor app I was using, the sun would set precisely where the trees intersect. However, as often happens when I take pictures, this was not the case when I first saw the result. Something obviously went wrong when measuring the path of the sun. It’s not that I wasn’t happy with the result because I was, but it was just different than I thought it would be.

An Unexpected Encounter

Let me take you back to the day I picked up the camera after 48 hours. It was a sunny Sunday afternoon in late spring. My 4-year-old son came along with me.

We parked the car and walked 20 minutes to the camera’s location. I had taped the camera to a tree and left a little note asking people not to touch it. When we arrived at the place, a family was inspecting it with curiosity.

They were kind people, and we had a pleasant conversation there for about 10 minutes. Only to find out the next day that our children went to the same school, which led to many more pleasant conversations in the following years.

Then, my son and I took the walk back to our car and ran into a couple with a bigger boy with Down syndrome. The boy saw my son, who was still very little and instantly fell in love with him.

My son simply accepted it, standing still and letting it happen. This pure and spontaneous connection deeply moved the parents and me. Years later, I still remember it vividly.

A Landscape with a Message

The next day, I developed the negative and was stunned by what I saw.

• A heart-shaped gap in the foliage.
  
• The two trees in the centre seemed to embrace.

It was just a picture of a landscape, yet it perfectly mirrored the previous day’s events.

That’s why this image is so precious to me.

Happy Valentine’s Day!

Sign up for regular updates so you never miss a blog post!

I run regularly, and last year, I kept seeing a small entrance to a nature area next to my track. At first, I didn’t think much of it, but over time, I realized this area had been closed to the public… until now. The owners had decided to open it up for everyone to explore, from sunrise to sunset.

A New Discovery

So, one day, I decided to check it out. The place is tucked away in the polder, just around the corner from where I live. At the entrance, there’s a wooden fence and a yellow sign that says Swamp and Forest. Beyond it lies a quiet, almost secret swampy landscape. It is a beautiful, small area, although I did not feel the need to take any pictures the first time I was there.

A Surprise Invitation

Then, earlier this year, I found a parcel in my mailbox. There was a small board and a picture of a painting by Jan Mankes (1889-1920) inside. It was from Museum Belvédère, where I had participated in an exhibition the previous year. The museum invited over 130 fellow artists and me to create an ode to this painting (A Ditch with Overhanging Heather, 1914).

The museum had recently acquired the piece, which was the reason for this project. The ode had to be the same size as the board in the parcel, which was also the original size of the painting, 29.5 x 23 cm. The new works would be displayed alongside the original painting, and afterward, they would be auctioned, with the proceeds going to the museum.

Finding Inspiration in Nature

When I saw the image of the painting for the first time, I felt a sense of connection to the way Jan Mankes approached a subject like this. There is so much to see and experience in simple things like this ditch, which shows the beauty of everyday nature. It is a ditch around the corner from where the painter lived at the time.

That’s when I decided to make my ode in the almost hidden ‘Swamp and Forest’ landscape around the corner from where I live. At sunrise, I put down a pinhole camera (my usual homemade black box with only a tiny little hole in it) at the edge of a small pond. I placed it in the middle of the waterfront vegetation to hide it a little bit. It almost felt like trespassing since it was a private area, and I didn’t put a note on the camera as usual.

Developing the Image

When I returned to pick up the camera at sunset, I found it had sunk deeper into the vegetation. I considered the image lost, but I went ahead and developed and scanned it anyway. It turned out differently than expected, but to my surprise, I wasn’t unhappy with the result.

However, I put the image aside for a while and looked at it again every now and then. Slowly, I began to truly appreciate it. The path of the sun appears almost horizontal, the broken line hints at the passing clouds, and you can see the chaotic vegetation in the foreground. This photo was the perfect ode.

The painting of Jan Mankes, Museum Belvédère

Sign up for regular updates so you never miss a blog post!

When I graduated from art school and had just started making pinhole photographs, a teacher introduced me to the work of Tarja Trygg. She is from Finland and used pinhole cameras to show the invisible, documenting the differences in the sun’s path worldwide.

A Global Project

Tarja’s solargraphy project allowed anyone around the world to participate. The process was simple, and participants only had to:

• Position a pinhole camera facing the sun.
• Open the pinhole, then close the camera after exposure by covering it with black tape.
• Return the camera to Tarja, who would take care of the rest.

This collaborative project captured the movement of the sun, allowing people from around the world to see their part of the sky in this fascinating format.

What is Solargraphy

The technique she used is called solargraphy. It is an image made with a pinhole camera (a can with a tiny hole) and a long exposure time. Inside the pinhole camera, you use a piece of photographic paper sensitive to light. The exposure times can range from one day to six months. After exposure, no chemicals are needed as the image is already visible on the paper’s emulsion. You can scan the overexposed negative in a dim room, and the image will appear. The image will be in colour even when black and white paper is used.

The process is simple but magical:

• Long exposure with a pinhole camera.
• Light-sensitive paper captures the image.
• No development chemicals are needed; just scanning the overexposed negative.

The first solargraphs were published online in 2000 by the pioneers of this technique, who called themselves Solaris. Three photographers were involved: Slawomir Decyk, Pawel Kula and Diego Lopez Calvin. Tarja was inspired by a workshop she did with them in Poland and continued their project.

A Fascinating Technique

Today, this technique is widely recognized and practiced. You’ll find it everywhere online and even in newspapers, which is no surprise given its fascinating nature. It reveals something invisible, something that usually remains hidden from the naked eye.

A Personal Experiment

I tried it myself back then. I positioned a pinhole camera loaded with a piece of photographic paper towards the sun for a few weeks, and the magic of this process blew me away. However, at that time, I was too focused on refining my technique and deepening my knowledge of pinhole photography. So, I forgot about solargraphy for a very long time.

Until accidentally, I made that one picture.

The Rising Moon

I worked on an assignment to capture my perspective on a local lake. For this project, I created a photographic triptych in which I tried to draw a line between past and present. I did this by photographing the rising moon, sunset and sunrise, quiet moments in which you can feel a connection with the past.

I took the image of the rising moon at twilight, so the exposure time was much longer than usual, about ten minutes, to be exact. Only after developing the film did I realize that the moon would appear as a white line. I liked it, and that’s when I remembered the solargraphs from many years ago.

Experimenting with Film and Long Exposure Times

I started looking for ways to photograph landscapes with a one-day exposure using film instead of photographic paper. I preferred film because it would capture more detail. After some research, I began experimenting with 12-hour exposures using film negatives. To prevent overexposure, I used several layers of neutral density filters to partially block the light.

After many weeks of testing with different exposure times, film types and neutral density filter combinations, the first exposures were successful. I was able to show the invisible path of the sun in my landscape images.

A Shift in Approach

I am still thrilled to show these lines in my pictures and have refined the technique over time. However, since patience is not always on my side, and the method is very slow and not unique, I developed a new approach to incorporate the lines into my images. I now also move the camera toward the sun after a two-minute exposure. This creates a different type of line, adding a new dimension to the images.

Time and Nature

Although I still love the cyclical movement of time, water, and the contemplative nature of the long exposures.

They act as metaphors for visualizing the passage of time. As Diego Lopez Calvin states on his website:

More and more, the images are about a dialogue with nature and the landscape rather than just the theme of time.

But everything still originates from the inspiration I got from learning about solargraphy.

So thank you very much for this, Diego Lopez Calvin, Slawomir Decyk, Pawel Kula and Tarja Trygg.

Sign up for regular updates so you never miss a blog post!

The summer holidays are over, but one of my favorite things to do during those days is walking along the beach for hours, searching for treasures at the seashore. In Denmark, where I was, you can expect to find fossils and amber. Occasionally, you might discover sea glass, a fascinating blend of nature and human influence.

The Magic of Beachcombing

I am not entirely sure what attracts me to this activity. It must have something to do with nature revealing its secrets. There is a sense of wonder when you find things that have existed for many years. Items suddenly uncovered by the movements of the sea or washed ashore, like fossils teaching us about the past.

But what is true for many beachcombers applies to me as well: searching the beaches brings a sense of calm and peace. It reminds me of childhood when time didn’t seem to exist, and the beach was just one big adventure. I guess this is something many people can relate to.

Did you know? Beachcombing once began out of sheer poverty. Inhabitants of fishing communities looked for things that they could use or sell. Today, it is pure luxury. It is not so much about the things themselves but about the experience of finding them. Still, for many beachcombers, the treasures they collect hold personal meaning, forming ever-growing collections of seaside finds.

A Growing Collection of Seaside finds

I do love my growing collection at home, which includes things like:

• shells
• fossils
• bones
• sea glass
• amber
• unique stones

Even while working, I collect all sorts of things. For instance, when I am at the Wadden Sea taking pictures. I always seem to carry a lot of stuff home from these kinds of getaways. I often have no idea why I take these things with me, and then, moments later, they suddenly appear in one of my images. As you can see in the picture accompanying this article. The image comes from my ongoing series in which I visualize the Wadden Sea coast.

The Story of a Japanese Oyster Shell

The foreground shows a Japanese oyster shell. These were introduced in the Netherlands in 1963 after the native species were decimated. Today, you can find many of them. Some see them as a nuisance, while others consider them an essential contribution to the ecosystem, as oyster reefs provide a habitat for many other life forms, such as crabs, seaweed, and mussels.

Whenever I find them, I always take them home with me, slipping them into my bag for another day of shooting. One day, I came across a small puddle in one of the salt marshes along the Wadden Sea coast. I wanted to make a long exposure there and had been walking around with the idea for weeks. But something was missing, until I placed an oyster shell in the foreground of the picture.

Found Objects in Photography

It is not the first time that I have done something like this. Looking at my portfolio, you will find more related images. The found objects you will see here deal with impermanence and the passage of time. To me, those are the themes that I like to show in my pictures, always in connection with the landscape.

Just look at the picture and imagine if the oyster shell weren’t there. Wouldn’t it be less interesting? To me, it would.

And the landscape itself? I don’t know, but I left the oyster shell there when I returned to collect my pinhole camera after 48 hours. Right in the same spot. Once again, in a place where it doesn’t belong, waiting for someone else to find it and wonder about this seashore treasure.

Sign up for regular updates so you never miss a blog post!

I currently work a lot along the Wadden Sea coast, a vast system of tidal mudflats and a UNESCO World Heritage Site in the Netherlands. My journey in this area began with a group exhibition at Museum Belvédère, which brought together artists who found inspiration in and around the Wadden Sea Region.

A New Project Takes Shape

I created new images for this show, and I soon realized that the area was perfect for my long exposures. This led me to embark on a new project: capturing the entire Wadden Sea coastline across the Netherlands, Germany, and Denmark.

The Serenity of the Wadden Sea

What attracts me to this landscape is its peace and quiet, often feeling like the end of the world. It begins as you drive there over narrow country roads, which in some places are so small that cars can hardly pass each other. Yet, on weekdays, I am surprised when I encounter more traffic than just a lone tractor.

I began my project close to home for practical reasons before I continued to explore further. Even near familiar places, I keep discovering hidden gems. The quest for unique locations is what drives me.

Finding Inspiration in Nature

Being one with nature sparks my imagination. Out of the blue, I often receive amazing inspiration, and everything seems to fall into place. I’m sure I’m not the only one who feels this way when experiencing nature.

An Unforgettable Encounter

A few months ago, while photographing the Wadden Sea, I witnessed a touching scene. As I was walking back to the car and climbing over the dike, I noticed an elderly couple in the distance. The woman, using a walker, struggled with the asphalt slope while her partner gently supported her in her undoubtedly challenging climb.

I wondered:

• What brought them to this place, which was so difficult for them to access?
• Were they as awed by the landscape as I was, or did this place hold a deeper emotional connection for them?
• Did they experience the healing effects of nature, which have been shown to benefit both mental and physical well-being?

I continued on while they were still standing there.

Reflection and Regret

Driving home, I realized I would have loved to hear their story or photograph them as they stood there with the sea in the background. But some moments are best left untouched.

I have returned to this place many times but never saw them again. The images I made in this place so far remain devoid of people, and maybe that’s how it was meant to be.

Want to See More?

I am showing some recent work created along the Wadden Sea here.

Sign up for regular updates so you never miss a blog post!

I’m not someone who leaves rubbish behind, not in the city and certainly not in nature. But I have to confess something: last February, I made this image for the exhibition “Improvisaties op wind, water, wad” at Museum Belvédère. We were on a spring break, but it was still freezing cold.

Setting up the Camera

Fixing the camera with gaffer tape was a challenge. I tried to secure it between some barbed wire, which was very thin; the wind was howling, and my hands were freezing. Above all, I feared that my subject, the poor dead goose stuck between the barbed wire, would fall off. So it took me a while, and in the meantime, I had to use a lot of tape to get the job done.

Two days later, I returned to pick up the pinhole camera.

The Cold Return Trip

This time, I brought my five-year-old son along. We had to collect four cameras that I had set up in different places.

• First stop: Wierum, where we picked up two pinhole cameras and searched for pretty shells.
• Next: Paessens-Moddergat, where it was even colder and windier than before, and it started raining.
• Finally: we reached the camera attached to the barbed wire.

I told my son to wait on a dike while I tried to make my way through the mud and water, careful not to sink. In the meantime, my son stood there yelling at me to hurry up because he was cold. There was only one slight problem: my fingers were just as cold, so I could not loosen the gaffer tape. The tape was wet from the rain and had become slippery as a result.

The Struggle with Gaffer Tape

After ten minutes of trying, I managed to get the camera free, but there was still quite a bit of gaffer tape stuck to the wire. It did not come off, so I left it. This is something I have felt guilty about ever since.

Plastic Soup

My son had learned about the plastic soup in the sea at school, which only deepened my concern, especially as I kept seeing videos of plastic-eating plankton on social media.

A few months later, I went back to the spot to check if the tape was still there. The bird was long gone, but the tape remained. This time, I was prepared with a pair of scissors, and finally, I managed to remove all the tape. People nearby looked at me like I was crazy, but I was just happy it was gone.

A New Tool in My Kit: Scissors

From now on, a good pair of scissors will be a regular part of my photography equipment.

In Urban Exploration Photography, they say:

And so it is. But apart from the tape, even my footprints are completely gone now because grass has grown over them. That is what time does. All that remains is the one image I made.

Sign up for regular updates so you never miss a blog post!

The pinhole technique offers one of the most authentic ways to capture photographic images. This method follows the camera obscura principle, which has been known for centuries. At its core, it’s a simple process: instead of a traditional lens, a lightproof box with a tiny hole in one side allows light to enter and form an image. By placing light-sensitive material on that side and developing it, the image can be preserved.

Ancient Origins of the Pinhole

The principle of this technique has existed for thousands of years, long before the invention of photography in 1839.

• 4th Century BC: Aristotle first observed how light passing through a small gap between tree leaves created a perfect image of the sun on the ground. However, he couldn’t explain why.

• 13th and 14th Century: Scientists experimented with this principle to study solar eclipses and the nature of light.

• 15th Century: As a result, artists used the technique as an aid for creating accurate drawings.

Leonardo da Vinci’s Contribution

Leonardo da Vinci was among the first to explore the idea of using a box to project an image. He described how an image could appear on a transparent screen, allowing an artist to trace it from the outside. However, the camera obscura concept only truly began to develop in the 16th century.

An image could appear on a transparent screen, allowing an artist to trace it from the outside.

Early Astronomers and the Camera Obscura

Although lenses existed at the time, scientists continued to use the pinhole principle to study the sun. Early astronomers sometimes observed sunlight directly through simple pinhole setups, which could lead to eye damage or even blindness due to prolonged exposure. To prevent this, they started using the camera obscura, a darkened room where an inverted image of the sun was projected onto a surface, allowing them to examine it safely.

From Science to Art

By the 18th century, the camera obscura had gained widespread popularity. In particular, travellers carried portable versions to trace landscapes and scenes during their journeys. These early ‘snapshots’ became keepsakes in travel books as souvenirs. For those who didn’t own a camera obscura, permanent camera rooms provided an alternative. In these spaces, rotating mirrors projected images onto a white table, creating a fascinating visual experience.

One of the best-preserved examples can still be visited today in Edinburgh, where a permanent camera room offers a truly magical experience. The camera obscura remained popular until the official invention of photography in 1839. From that point on, however, the pinhole principle was largely abandoned because artists no longer needed to trace images manually.

The Oninion Field: A Turning Point

For decades, the technique faded into obscurity until one photograph changed everything. In 1890 George Davison’s photograph The Onion Field reignited interest in pinhole photography. The image won the highest prize at the annual exhibition of the Photographic Society in London, demonstrating that this technique could also produce artistic and compelling images.

A New Wave of Interest

This particular picture was the beginning of the popularity of the pinhole camera, which lasted for several years. Consequently, some American companies also put pinhole cameras on the market, as well as a special pinhole disc that could replace the lens of a regular camera.

Decline and Revival

For several years, photographers experimented with pinhole cameras. However, by the 20th century, faster, mass-produced photographic equipment pushed the technique aside. Many saw pinhole photography as outdated and impractical. Eventually, educators primarily used the method to teach the basics of photography.

Between 1940 and 1960, interest in pinhole photography nearly disappeared.

A Timeless Art Form

However, the 1960s marked a turning point. Artists rediscovered the pinhole camera, experimenting with its unique visual effects. Today, photographers and artists continue to explore this historical technique, keeping it alive in the creative world.

You can sign up for regular updates if you don’t want to miss any blog posts!

My latest work is included in the exhibition ‘Improvisaties op wind, water, Wad’ at Museum Belvédère in Heerenveen. For this exhibition, I created new work, which can be seen as a continuation of the series Test of Time.

The movement of Sun and Water

My photographs capture the path that the sun draws in the sky and its reflection on the water. Sometimes, the line is interrupted, meaning that it was cloudy at that moment. During this process, I discovered my fascination with the cyclic movement of time and water. It’s an essential aspect of human existence and, at the same time, one of the greatest mysteries.

Long Exposure Times

The images were made with a pinhole camera and an exposure time of 8 to 48 hours. The landscape of the Wadden Sea is one that is constantly changing before your eyes, maybe by a certain incidence of light or the blowing of the wind.

Future Projects

This exhibition has inspired me to think about a larger project around this theme. Plans are slowly beginning to take shape, and I look forward to developing these ideas further.

Meanwhile, I am happy that my work is part of this great exhibition and:

• My work is featured in the catalogue published alongside it.

I’m thrilled to share that one of my images was chosen to be part of A Process, an exhibition by Der Greif, a renowned print and online magazine focusing on contemporary photography and literature. A Process features innovative combinations of photography, poetry and essays.

The Exhibition

The curators selected 279 photographs, which were printed and covered an entire wall at the Neue Galerie im Höhmannhaus in Augsburg, Germany.

What makes A Process unique is its continuous evolution:

• After the exhibition’s opening, a further selection process took place.

• Possible combinations of photography and literary pieces were found and integrated.

• These combinations were visible both in the gallery and on the exhibition’s online timeline.

After testing these combinations, the photographs were printed on paper and hung without frames. Throughout the entire process, the gallery remained open to visitors. It was really exciting to follow this journey online. I am happy that my image was chosen to be shown in the exhibition and the accompanying book.

Der Greif Edition

After the selection process, my image was again among a few others selected to be part of one of the first Der Greif editions. I am honored and truly pleased with this. My photo was included in a final combination alongside works by Tiago Casanova and Jade Cantwell, paired with a piece of poetry by Robert Stripling. It is now available as a limited edition print.

Edition No. 002

Details of the edition

The print has an edition of 15 + 4 AP, is numbered and signed by Der Greif, and comes with a certificate of authenticity. The size is 67.5 x 45 cm. It is printed on Schöller 260g semi-gloss paper and comes with a passe-partout or an optional aluminium frame.

The print can be purchased here.

You can sign up for regular updates if you don’t want to miss any blog posts!

This photo titled ‘The Elftheater’ was part of the exhibition ‘Droomkunst’ in the Singer Museum Laren. Showing works from the collection of Gerard van Wezel.

From the press release:

“The exhibition displays a fairy tale world of painting, photography and drawings from 1900 and 2000. The work in this exhibition comes from the private collection of Gerard van Wezel, a great lover of Symbolist art. While bringing together the collection, Van Wezel discovered many similarities between the art of the 1900s and those of around 2000.
Both periods produced art in which everything seemed possible. Art full of fantasy, balancing on the edge of decadence. Artists were, and still are, inspired by subjects from the world of fairy tales, legends, myths, religions or science fiction. The collection of Gerard van Wezel is a completely unique creation, built up over long years, from a strictly personal love for a certain type of art”.

The Elftheater

I am thrilled that my work ‘The Elftheater” was featured at this exhibition alongside the incredible works of all the other artists.

In 2000, I created “The Elftheater”, a photograph that belongs to my ‘Secret Dimensions’ series, where I aimed to capture the mystique of the Scottish landscape. It is a hand-made silver gelatin print since I worked entirely analog at the time.

Hand Retouching

Everything was done without a computer, from developing the film to printing and retouching. Retouching was the most challenging part of this process. I would spend days removing dust and scratches from large prints (90 x 70 cm or larger) with a small brush and retouching ink.

 

Pinhole Photography Process

I take my pictures on 4 x 5-inch sheet film using a self-made cardboard box as a pinhole camera. With a piece of rolled-up adhesive tape, I secure the film in the box. After each shot, I replace the negative in a changing bag. This usually happens in all kinds of weather conditions, which is why the negatives often end up covered with dust, stains and scratches.

While some argue that these imperfections are part of the process, I believe they act as a filter between the image and the viewer.

Rather, I want people to feel as if they are part of the scene.

 

From Analog to Digital: A Meditative Practice

Though I now use Photoshop for retouching, I still spend hours perfecting my images. The process is less stressful than before and has become a meditative practice that clears my mind and fuels my creativity. It helps me continue working on new projects while still preserving the patience I developed in the analog days.

 

The value of Silver Prints

Seeing ‘The Elftheater’ again in the exhibition made me truly appreciate the special quality of silver prints. Many photographers share this sentiment.

I recently read an article about the photo lab Whitewall. They claim the perfect combination: classic baryta photo paper and digital exposure. I guess it’s worth a try. When I do, I’ll promise to keep you posted.

My image in the exhibition, together with work from Henricus, Langs de Kust, 1900 and Alice Stepanek & Steven Maslin, Untitled-1/06, 2006

A catalog has been published to accompany the exhibition.

Like to know more about the exhibition? Listen to a fragment of the radio program ‘Nooit Meer Slapen’ (Dutch).

You can sign up for regular updates if you don’t want to miss any blog posts!

I hosted a pinhole photography workshop in my studio during a special week for Rabobank members. It was an inspiring experience in which participants were challenged to look at their surroundings in a different way.

Exhibition at Rabobank

My pinhole photos were exhibited at Rabobank Haren in collaboration with Kunstbureau ARTeria. In this context, I gave the pinhole photography workshop.

Exploring the Unknown

Participants received a pinhole camera and searched for interesting subjects near my studio, located on the site of an outdoor swimming pool. The small aperture of the pinhole camera creates unique, almost dreamlike images, encouraging experimentation and careful observation.

The pictures (which were actually negatives on paper) were developed in my own darkroom.
It was wonderful to see how much fun adults had with this magical way of working. The participants worked hard and achieved great results.
I enjoyed welcoming all the members into my studio and working with them.

My images, as shown at the Rabobank office

Some results of the pinhole photography workshop

You can find more information about these workshops on the page workshops for companies.

You can sign up for regular updates if you don’t want to miss any blog posts!

I was nominated for the Contemporary Talents Award by the François Schneider Foundation, located in Wattwiller, France. This competition focused on the theme of water, which is essential to all life. I worked hard to complete my submission on time.

The Submission Process

One of the requirements was to create presentations in PDF format. It was a time-consuming process, as I had to design the pages in a way that would truly showcase my work at its best.

The deadline was New Year’s Eve, so I was still working on this piece that night.

A Surprise Call

A few months later, I had completely forgotten about the submission, but then I received a phone call from a lovely woman working at the François Schneider Foundation. She told me I had been nominated for the award. I was thrilled, as it felt like a significant recognition for my work, something I could really use at the time.

 

Visiting the François Schneider Foundation

I decided to attend the awards ceremony in Wattwiller, located in the French region of Alsace. It was a nostalgic experience, as I had spent many family vacations in the area when I was a child.

I was truly surprised to find such a wonderful art centre in such a small village. I was very impressed by the art shown at the centre, which is dedicated to the theme of water, a concept that also resonates with the village of Wattwiller (the village of water). This connection to water is something I also explore in my work, as I’m always looking for water and waterfronts for my photography.

 

The Finalists

The finalists were chosen by four expert committees for photography, drawing/painting, video, and sculpture/installation. The photography committee included François Hébel, former director of Rencontres d’Arles, and Agnès Sire, director of the Henri Cartier-Bresson Foundation.

Unfortunately, I didn’t win the award, but I had the chance to meet some wonderful people at the ceremony and had a really special time that day.

You can sign up for regular updates if you don’t want to miss any blog posts!

I worked on a community art project where young people explored pinhole photography. The project was inspired by the principles of Urban Explorers:

 

The Story Behind the Project

An old cattle feed factory in Groningen was bought by the housing corporation Lefier. The plan was to develop it into a creative living and working space.

A Place with History

• The site is known as the former ACM site.

Watch the Project Video