![]() The City of San Francisco has adopted safety rules during the pandemic that will be in place at our public events. October 3 - A pop-up event at American Industrial Center, 960 Illinois Street.September 23-26- Open Studio at Live Worms Gallery in North Beach at 1345 Grant Avenue.We have scheduled two San Francisco events. We are participants in the Artspan 2021 Open Studios this fall - our nineteenth year as exhibitors. It took a little while, but my skepticism about using rangefinders as my primary system fell away, and the digital M cameras followed.Studio Nocturne photographers specialize in night photography… and a few other things. I was at the used counter at a camera store in New York when an employee friend spotted me and held up a perfect 1959 body that had just been traded. Perhaps more than anything else, the fact that such an old, mechanical film camera could still go toe-to-toe with one made almost a century later really struck me. A 1936 Leica III, or my “Little Black Leica”. It was, and still is, black and brassy and perfect. I’ve always known of Leica, but what first drew me in was buying my first one at a flea market. How did you first become interested in Leica? I’ve always been intrigued by what makes an image powerful.ĥ. He was a foreign correspondent for TIME, and I admired the moment-defining photographs that I saw alongside his work. I am self-taught, but the need to bear witness and capture events around me was certainly related to growing up with a journalist father. Did you have any formal education in photography, with a mentor, or were you self-taught? It serves as an outlet and a refresh, and since I’m an incurable night owl, tends to streets after dark and the people and places lining them.Ĥ. I have been holding a camera for my entire life, but I’ve become much more serious about getting my work out there - to be seen - in the last ten years or so. When did you first become interested in photography as a mode of expression, and an art form? I live in Washington DC and spend a lot of time in NYC, so there’s virtually always something to capture my eye, whether it be a political rally, a concert, or just a poignant street scene.ģ. My work is documentary, nightlife, and street photography. I have a lot of vintage lenses that get turns on my Ms, two favorites being a 1953 collapsible Summicron 50mm, and a 1951 Summarex 85mm.Ģ. These days the Monochrom is with me almost all of the time - and I chose the Leitz Wetzlar special edition as I really appreciate the nod to history there.įor glass, I usually walk around with my 50 f1 Noctilux or my 35 Summilux FLE. I have my M10 or my M10M in my hands when shooting digital (90% of the time) a 1959 M3 when I feel like film and I still occasionally run a roll through my 1936 Barnack Leica III. Like survivors in a lifeboat before any rescue is sighted, would each familiar venue have a different reaction to the possibility of doom? “ I wondered: If this place was frozen in an unexpected look, what would I see in some of the other, still shuttered music spaces in the city? I’d spent many nights in these spots, both as a fan and a photographer, shooting nightlife and street scenes for music blogs or the venues themselves. The images here are taken from his recent cover story from The Washington Post, titled ” Frozen in Silence”, an article about Washington D.C.’s shuttered concert venues. Discover what photography means to Ben and what catches his eye after dark. Known worldwide for designing live-fire sculptures for Michelin-starred restaurants and the best backyard chefs across the globe, Grillworks’ CEO & Owner Ben Eisendrath shared a glimpse into his photographic journey starting from roots in journalism and leading to Leica and documenting his world. ![]()
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