Studio Nocturne 2018 Open Studio

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The photographers of Studio Nocturne specialize in night photography… and a few other subjects.

Studio Nocturne is exhibiting at the Artspan 2018 Open Studios this fall — 2018 marks  our our sixteenth year at this annual San Francisco event. See you there!

Opening Preview and Artist Reception
Friday, October 26
6:30 PM – 9:00 PM

Studio Nocturne Exhibit and Sale
Saturday, October 27 &  Sunday, October 28
11:00 AM – 6:00 PM

ARCH Supplies
10 Carolina Street and 15th Street
San Francisco
Potrero Hill
Find on Google Maps

– – – –

And a “mini-exhibit” SF Open Studios Hub Show


Studio Nocturne artists’ work will be on be
on display throughout October at
Farley’s Café
1315 18th Street in Potrero Hill
San Francisco

Please visit, and join us at the reception on
Friday, October 19, 6:30PM-8:30PM

– – – –

Follow StudioNocturneSF on Facebook

Mike Browne

Browne_OS18_GuideImage“Although I have spent my career designing night vision systems for the military, and have been shooting photos since I was in 2nd grade, it has only been the past six years that I have combined the two and started shooting at night.   Before, photography was always about capturing a moment in time, as we see it, to be frozen by the short click of the shutter and documented. Night photography captures images as we can’t see them, like saturated colors we don’t see at night, the movement of the earth–a motion too slow for us to notice, and the reflective nature of water, whose waves and ripples are averaged out to make a mirror-like appearance over time.”


Linda Fitch

FITCH-PagadoTemple“My interest in night photography happened early on and remains my primary focus where I often travel abroad to remote places.  Working alone and uninterrupted is an integral part of my creative process.  Here I am not interested in the literal interpretation, but seek to reveal the deeper mysteries found within.”

“Being a traditional black and white film photographer, I find inspiration and satisfaction creating images in my own darkroom.  It is a slow and deliberate
process that fulfills my need for the “hands-on” experience.”


Daniel Leu


“Grown up in Switzerland, I have called beautiful San Francisco home since the late nineties. This is where I discovered my passion for photography. I enjoy pointing my camera up and down, and left and right to find new scenes or a new angle that reveals a well-known subject like the Golden Gate Bridge from a different point of view. As can been seen in my portfolio, I love the outdoors and take advantage of the close proximity to the great parks we have here in northern California, from the rugged Pacific coast to the granite domes of the Sierra Nevada. In my personal projects, I currently focus on exploring the effect of long-time exposure on clouds, bodies of water or stars. The captured image unmasks a scene very different to what the human eye can see.”

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Eugene Loch


“I have been obsessed with photography since I was 12.  My challenge back then was, as it still is now, to present a perspective of our world that is just different enough for the viewer to take notice.  In our everyday lives we often gain insight into a problem that had been confounding us simply by taking a different approach, or if we are lucky enough, see the answer through another person’s eyes.  In reality that answer had been there all along, waiting for us to discover.  Similarly, a scene that is considered mundane may become interesting under different conditions.  Those conditions could be anything – time of day, angle of view, the mindset of the viewer, the mood of the photographer.”

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G Dan Mitchell

Ship Yard Buildings, Crane“I have photographed since childhood when my father introduced me to cameras and the darkroom, and I became fascinated  by the work of the west coast landscape photographers such as Weston and Adams. Although my academic and professional life has been in music, I continued to make photographs, primarily focusing on the natural landscape, but also exploring a wide range of other subjects. More than a decade ago I began to photograph in the night and near-night hours, entranced by the quiet and meditative nature of the work and the ability to create photographs of things that cannot be seen with my own eyes – faint light in near darkness, transient subjects that move during long exposures, and the magical nocturnal transformation of ordinary things into things of mystery and beauty. More recently I have focused on night street photography, using handheld cameras to photograph the nocturnal urban landscape and its denizens on multiple continents.”

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Greta & Manu Schnetzler

Schnetzler_OS18_GuideImage“We have had a longstanding interest in night photography as reflected in the variety of subject matter and places depicted in our work. We see our night work as a good example of the continuing desire to explore our environment, to see common sights in a different way and to capture images that reveal the mystery of the everyday. We are struck by the transformative power of night lighting (whether moonlight or artificial) to create beauty and feeling in abandoned urban settings. We have an attraction to what has been left behind to be destroyed, to decay, or just to wait to be reanimated by human presence. Although our work is not documentary, we see our urban landscape transforming so quickly that we often feel a sense of urgency to photograph the scenes that we are drawn to before they fall to the steady march of progress. We work collaboratively on our photography and show our work together online.”

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Susan West

SWest_OS18_GuideImagePhotographically, I’m interested in ‘evidence’ of people–what they leave on view, accidentally or on purpose–and in time and chance, and in the disconnect between thought/imagination and reality. Recently, the latter has led to night photography. Everything changes at night. With long exposures, colors shift, water mists, car lights streak, and feeble street light multiplies into glory. Set to record long exposures, the camera reveals a world beyond human senses, beneath reality. So I hunt for places where the night brings mystery and surreality. Sometimes I selectively add colored light to enhance the message that the scene seems to be trying to send. The result is a wary and strange world that lives only at night, and only in the accumulated light of a long exposure

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