There were few clients in the Netherlands for photographers who focused on the dark side of the reconstruction. Practically only De Waarheid welcomed such subject matters. The party informed the photographers of situations of abuse, for example, evictions, which they then photographed. Reportages of a social nature, for example, on homeless families, the duties of a housewife and the effects of the floods in 1953, all characterized this period. In addition, much attention was given to party gatherings, the feminist movement, the peace movement, the EVC (Dutch Communist Trade Union), strikes and protests, May Day celebrations and the commemoration of the February Strike of 1941. The photographers were also occasionally allowed to take ‘just a pretty snapshot' to brighten up the paper. In 1956, Dolf Kruger was given a weekly photo page in the Saturday edition on which he documented everyday life.
The photographers divided the work among themselves: Freek Aal focused on smaller news items and sports, combining his job as chauffeur with photography. Dolf Kruger was engaged with the more weighty subjects and he had a personal preference for ice-skating. Hans Wolf's main assignments were for Uilenspiegel.