I live in the city of Haren in the province of Groningen, the Netherlands. In daily life, I am a radiation oncologist but when possible in leisure a genuine photographer. Photography fascinated me since childhood and bought my first camera, a Nikon FM and a 50 mm lens, with money I earned during the holidays. Portraiture and architecture are my primary subjects and expressed mainly in black and white. Photography is a way of showing myself in an emotional and above all creative way that is different from that in daily life as a medical doctor.
The Dutch Old Masters, especially Rembrandt, Vermeer and Hals, are the inspirators for portraiture in the early adulthood. Since 2014, I am mesmerised and fascinated by Richard Avedon and Irving Penn for their masterpieces in black and white portraits.
The beautiful artwork of Joel Tjintjelaar triggered my interest in photography of architectural objects. Therefore, I attended several workshops addressing architectural photography in, i.e. New York (Vision Explorers), Athens & London (Julia Anna Gospodarou) and Amsterdam, Rotterdam, Antwerp & London (Joel Tjintjelaar).
Joel Tjintjelaar and I have a student-mentor relationship since 2014. Inspirational impulses and coaching by Joel are fundamental elements for me to evolve into a fine art photographer. Just learning technical stuff is not enough to create ART, it takes time, has to mature, and is going hand in hand with many discussions, frustrations but gives mainly personal satisfaction, great pleasure and beautiful work.
In 2017, I entered an era of analogue photography with the Linhof Master Technika Classic. The main reasons to start with large format photography are the extensive camera movements for the capturing of architectural objects, the superb quality of expressing objects like the portraits. Analogue photography does not entirely replace my digital tools, but it will be the primary workflow to express my creativity.
Photography is an intermediary to express the frail human existence in relationship with time and environment.
The “absence of presence” in portraiture and architecture, is to isolate objects (persons or buildings) from time and human-related objects, conveying timelessness, the frailty and relativity of our existence.