0148 frames
Sodium
Osaka · 2026The last streets in the ward still lit by sodium lamps, photographed the winter before they were swapped for LED.
CityscapeFilm
Decorative night field
Photographer, working after dark
Pictures of thequiet hours
I photograph architecture, coastlines and cities in the hour they empty out: on film, printed by hand, in long series rather than singles.
- 8
- Series
- 14yr
- Behind the lens
- 313
- Nights out
Selected series
Eight places Ikept returning to
0231 frames
Low Water
Hebrides · 2025Twelve tides on the same beach, each a single thirty-minute exposure, so the sea becomes fog and the rocks stay sharp.
CoastLong exposure
0354 frames
Concrete Hours
Marseille · 2025Le Corbusier’s Unité at the four hours nobody photographs it, because that is when it stops looking like an idea and starts looking lived in.
Architecture
0440 frames
Terminus
Trieste · 2024A port at the end of its shift: cranes, empty offices, the specific blue that only exists for eight minutes after sunset.
ArchitectureNight
0527 frames
Understory
Aokigahara · 2024A forest that eats sound, shot in the two weeks a year the fog sits below the canopy rather than above it.
LandscapeFog
0636 frames
Salt
Camargue · 2023Salt pans from forty metres up, where the water runs from white to rust and the geometry is entirely accidental.
LandscapeAerial
0744 frames
Third Shift
Rotterdam · 2023The people who keep a port running while the city sleeps, photographed over eleven nights with their permission and their coffee.
Documentary
0833 frames
Blue Hour
Faroe · 2022A month waiting for weather on islands where the weather is the subject. Most days it won.
CoastWeather
Studio
One person, a tripod, and patience
I work alone, mostly at night, and mostly waiting. A series takes as long as the light takes to happen: twelve tides, or a fortnight of the wrong weather, or one clear evening a year.
Everything is shot on film and printed by hand, not out of nostalgia but because the process forces the discipline: you cannot fix a bad frame in the darkroom, so you learn not to take it.
Shot on film, scanned and printed by hand
Series, not singles. I return until it gives something up
The hour most people are indoors
Editions kept small and signed
8
Series
14yr
Behind the lens
313
Nights on location
6
Awards
How a shoot goes
Scout, wait, expose, print
The order rarely changes. The waiting is where the picture is decided; the shutter is almost an afterthought.
01
Scout
Days walking the place at every hour, so I know exactly where to stand before the light arrives.
02
Wait
The unglamorous part. Weather, tide and the eight minutes of blue that make the whole trip worth it.
03
Expose
Large format, one frame at a time, because film costs enough to make you think first.
04
Develop
Hand processing and scanning, where the grade is decided rather than discovered on a screen later.
05
Silver or pigment, on archival paper, until the print matches what the place actually felt like.
06
Edition
Signed, numbered, kept to twelve. Scarcity is a promise to the people who bought the first one.
Practical
Before you commission
Editorial day rates start around €2,400 plus film, processing and travel. A full architectural series is quoted as a project because the variable is the waiting, not the shooting. A building that needs a specific season costs more than one that does not. Tell me the budget and I will tell you honestly whether it is enough.
Contact
Tell me the place
The location, the deadline, and roughly the budget. All three, ideally: the third one saves us both a week of politeness.
Commissions
studio@noctis.photo
Prints
prints@noctis.photo
Based
Rotterdam, travelling
Elsewhere
Instagram · Are.na