We Meet at Night: Interviews

Cleo Campert

Cleo Campert is a photographer whose work dives deep into the energy and mystery of nightlife. Reworking images from the legendary RoXY Archive, her series Hold on I am rising reflects on letting go of conventions, forging connections, and celebrating collective desire on the dance floor. Through a play of darkness, light, and layered movement, Campert captures the magic of nights where music, people, and space merge into something transformative.

WHAT DEFINES YOUR WORK?

My series Hold on I am rising is built from reworked images from my extensive RoXY Archive. By revisiting these photographs in 2023, they became unique works that explore letting go of conventions, forming new connections, and sharing them with friends on the dance floor.

WHAT’S YOUR VISION ON NIGHTLIFE AND ELECTRONIC MUSIC? AND WHY IS IT SO IMPORTANT?

All it takes is a dance floor, a bar, and good light and sound. With the DJ and the crowd together, it can become a magical space. The night allures with its mystery, a sense of togetherness and excess. A place where it’s easier to form connections and meet others.

AS A PHOTOGRAPHER, HOW DO YOU RELATE TO YOUR SUBJECT IN NIGHTLIFE?

Like a quiet, turning sponge, absorbing everything around me.

ARE THERE ANY SPECIAL TECHNIQUES YOU’D LIKE TO TELL US ABOUT?

I add an extra layer to my images, giving them a sense of movement.

CAN YOU GIVE US A RECOLLECTION OF THE BEST NIGHT YOU EVER SHOT?

The Love Balls at Club RoXY in the early ’90s – benefit nights for the AIDS Fund where a dazzlingly dressed crowd, international artists, DJs, and local acts turned the club upside down.

WHAT’S YOUR FAVOURITE TRACK?

‘Make it wit Chu’; van Josh Homme, Queens of the Stone Age.

Photo credit: Krijn van Noordwijk

36framez

36framez (Robin Keur, 2000) is a photographer, DJ, and artist whose work centers on documenting nightlife and its communities. Their photography captures club culture, festivals, and intimate artist portraits, with a focus on the energy and vulnerability of the night. With a strong sense of respect for the community, their work captures the energy of music, dance, and togetherness while remaining mindful of the intimacy and vulnerability of the night.

WHAT CHARACTERISES YOUR WORK BEST?

Atmospheric imagery, dreamy photos with bright colors. Through color grading in the edit, I always try to create a bit of my own dream world. I also often bring back my favorite colors, which are orange, purple, and green.

WHAT IS YOUR VISION ON NIGHT CULTURE?

Night culture is incredibly important for so many reasons. It brings people together who otherwise might never cross paths. I think this is very valuable for our society as well, because it helps us better understand one another. It also connects people with art and music. It’s about escaping normal life for a while and immersing yourself in a dream world where nothing is required and everything is possible.

WHY IS IT IMPORTANT THAT THE NIGHT EXISTS?

Thanks to club culture, I’ve learned how to make friends and found my community. At night I can be who I want to be without being judged for it. It also works really well for personal development or as an outlet. Some people prefer sports, but I’d rather sweat it out on the dance floor, haha. The night and the people I met there also helped me realize that I am non-binary, and I’ve since become very comfortable with that.

HOW DOES A PHOTOGRAPHER RELATE TO THEIR SUBJECT AT NIGHT?

How I relate to my subject is quite an important theme in my work, and I think about it often. The night is also a place where people come to let go of everything or to remain completely anonymous. Of course, documenting a night is very important, but for me it’s even more important that the audience feels comfortable. I think respect for the crowd is key here. Aside from usually anonymising people in my photos, I also make sure to check in that people feel at ease with my presence as a photographer. Especially at the queer parties where I work, this is extra important.

ARE THERE SPECIAL CAMERA TECHNIQUES YOU USE WHILE SHOOTING?

I usually only work with a small mirrorless camera and a 50mm lens, so as not to stand out too much and to influence the atmosphere as little as possible. I like to work as a fly on the wall—though a fly that dances really hard, haha. For FLUID, the queer party at WAS., I shoot artist portraits at every edition. For these portraits, I try to experiment with a new technique each time. Think color filters, colored spotlights, prism filters, and different flashes or lenses. Occasionally, I also shoot analog.

DESCRIBE THE BEST NIGHT OR EVENT YOU’VE EVER SHOT?

It’s hard to choose from so many amazing and unforgettable events. On some nights everything comes together perfectly—great programming, a fun crowd, and a tangible good vibe. On those nights I dance my heart out between taking photos, and I feel like my pictures turn out much better because of it. An absolute highlight was undoubtedly Le Guess Who? x Touching Bass in Kabul à GoGo last year, with an incredible lineup (including Abba Shanti-i, Richard Akingbehin, Livwutang, and Mia Koden) and sound by Krackfree Soundsystem. A beautiful and massive sound system that also looked amazing in photos (and made quite a few pant legs flap, not unimportant). Another favorite event to shoot are the IsBurning weekenders. Every time feels like coming home, and the whole crew now feels like my family.

WHAT IS YOUR FAVOURITE TRACK OR ARTIST?

Haha, another tough one—I honestly have so many favorite artists. I think Eris Drew & Octo Octa or Steffi & Virginia are at the very top for me. Or Mr. G? So much choice, so much talent. Favorite track is just as impossible to choose. If I had to pick one, I’d probably go for Tonight – King Britt Remix by H-Foundation. I played this one quite a lot last summer. I also have quite a few records from both H-Foundation and King Britt in my collection. These producers have all made such sick records.

Noah Schielen

Noah Schielen’s work explores the interplay between light and shadow, capturing moments that might otherwise go unnoticed. Through photography, she seeks to highlight the intimacy, vulnerability, and collective energy of nightlife. In her philosophy, the night is more than just a backdrop—it is a space of connection, freedom, and shared experiences, where music binds people together and time seems to dissolve.

WHAT CHARACTERISES YOUR WORK BEST?

In my work, I play with light-dark contrasts. My eye is drawn to soft light incidences and shadow play, which make unnoticed subjects stand out.

WHAT IS YOUR VISION ON NIGHT CULTURE AND WHY IS IT IMPORTANT THAT THE NIGHT EXISTS?

The night brings people closer together and gives the freedom to escape the pressure of daily life. It is warm and intimate, as it unites people through a collective desire to live and enjoy music. In times when society is increasingly drifting apart, it is so important to feel that it is still possible to connect with strangers through music.

WHAT IS THE ALLURE OF THE NIGHT?

The night is a timeless concept to which you surrender as long as the music is playing. There is something gracious in artists sharing their best record collections with an audience, allowing them to drift away on the sound. The most beautiful nights are the ones where everyone is moving and shouting when the drop of a track hits. These are the same nights that make you forget time, leaving you surprised when the last track starts, while it feels like you just walked in.

HOW DOES A PHOTOGRAPHER RELATE TO THEIR SUBJECT IN THESE ENVIRONMENTS?

Precisely because the night invites people to let go, it is also a vulnerable subject to capture. That’s why it is important to know your place and let people be undisturbed. As a photographer on the dance floor, I try to spot unnoticed, then capture my subject in a few clicks, and hopefully move on unseen again. I think this contributes to the purity of my photographic style.

ARE THERE SPECIAL TECHNIQUES YOU USE IN YOUR WORK?

What characterises my work is the way I use light-dark interplay. In the works that are exhibited, I worked with strong contrasts, inspired by the painting style Clair Obscur. The dramatically lit effect of these contrasts emphasizes the subjects in the image, thereby strengthening the story.

BEST NIGHT/EVENT YOU’VE EVER SHOT?

The night that still remains vivid in my memory was when Mall Grab played at WAS. in 2023. As an inexperienced clubber, I learned in this club what makes a memorable club night and it became my go-to spot. Later, it was also the first place where I started working as a house photographer. It has always been a safe haven and a pleasant place where you are surrounded by familiar faces. The night Mall Grab played, he had the crowd wrapped around his finger. The smoke was thick, the bass pounded through the room, and he was just as immersed in his music as the crowd was. Truly a night to remember.

WHAT’S YOUR ALL-TIME FAVOURITE TRACK?

Souvenirs – Voyage. Palms Trax played this track at the end of his set during Selectors in 2023, and it reminds me of that warm summer evening. A song full of optimism that – by coincidence – perfectly aligns with the feeling I have of what the night should be.

Rachel Ecclestone

A photographer with nearly a decade of experience in nightlife, Rachel Ecclestone captures the energy, intimacy, and hidden stories of the night. Rachel’s work moves between the vibrant chaos of the dance floor and the quiet moments of connection, revealing nightlife as a space of freedom, creativity, and collective emotion. Rachel Ecclestone is a citizen of the world and has a passion for electronic music and the culture.

WHAT CHARACTERISES YOUR WORK?

My work is defined by a focus on colour, intimate moments, and respect for the people and spaces I document. I try to capture not only the energy of the crowd but also the smaller, quieter interactions that give nightlife its unique character. Quality is very important to me, so I always aim to deliver high-quality, technically precise images.

WHAT IS YOUR VISION OF NIGHTLIFE CULTURE?

I see nightlife culture as a space of freedom, creativity, and connection. It brings together people from different backgrounds and allows them to express themselves in ways that aren’t always possible during the day. By giving space to the taboos and offering relief from daily strains, nightlife becomes a kind of church for many people.

IN YOUR OPINION, WHY IS IT IMPORTANT THAT THE NIGHT EXISTS?

The night offers a different rhythm, one where time feels looser and people can step outside of their daily roles. It creates space for freedom, vulnerability, and connection. I remember photographing so many moments where the whole crowd came alive — cheering for dancers, bonding with strangers, or sharing in the joy of a favorite artist. There was pure happiness, but also something deeper: a collective consciousness that everyone was part of. That togetherness is rare, and in many ways it’s healing. The night matters because it allows us to experience unity and presence that the day doesn’t always invite.

WHAT IS THE APPEAL OF THE NIGHT?

I love a challenge — and the night is one of the biggest. It’s one of the most demanding environments to work in long-term as a photographer (or videographer). I have deep respect for my colleagues who endure long, late hours, unpredictable situations, and hazardous lighting — while also navigating personal challenges to stay true to their morals. The mystery and freedom of the night, combined with the looseness that comes after a few drinks, creates a dreamlike realm where people open up, talk, laugh, and forget about the online world that so often pulls us back in.

HOW DOES A PHOTOGRAPHER RELATE TO THEIR SUBJECT AT NIGHT?

With respect and sensitivity. A nightlife photographer has to dance between being present and invisible. Who wants to interact? Who wants to disappear? Who enjoys the attention, and who doesn’t? You have to get close enough to capture real emotion, but never disturb the flow — unless you can add to it. It’s about becoming part of the atmosphere without changing it.

ARE THERE ANY SPECIAL TECHNIQUES YOU USE IN YOUR WORK?

I often shoot in a black-and-white picture profile, which helps me focus on composition, shapes, and human interaction without being distracted by color in the moment. Beyond shooting, I rely heavily on both technical skill and editing to bring out the atmosphere of the night in a way that feels authentic to the experience.

WHAT HAS BEEN THE BEST NIGHT OR EVENT YOU’VE SHOT?

Honestly, in nine years I’ve attended and worked at more than 2,000 events, and there are so many special moments, people, backstage talks, and euphoric drops that I will treasure for life. It’s hard to choose. From the closing of De Marktkantine to the farewell of De School, I’ve shed tears of joy for the warmth and love I’ve felt at these places. It would feel wrong to my heart to pick just one.

WHO IS YOUR FAVOURITE TRACK OR ARTIST?

Currently, my favourite track is ‘Brown in the Margins’ by ABUZU.

Raymond van Mil

Blending spontaneous energy with intimate detail, Raymond van Mil is a photographer who captures the unique spirit of nightlife. From fleeting moments on the dance floor to the quiet connections between people, his work reveals the magic, freedom, and collective emotion that make the night essential.

WHAT CHARACTERISES YOUR WORK?

Even though a photo freezes time, I hope to capture a sense of movement or spark within it. Something spontaneous, something that couldn’t have been any other moment.

WHAT IS YOUR VISION OF NIGHTLIFE CULTURE, AND WHY IS IT IMPORTANT TO HAVE A VIBRANT NIGHTLIFE?

I sometimes say that hobbies are more important than work — because I believe the carefree things in life give more meaning than the things you do simply to get by. Nightlife is a perfect example of something with no practical purpose, and yet, that’s exactly why it brings everything to life. After Covid, when the first parties returned, it became especially clear: being together in a room with music is a necessity, not an escape or distraction. The contact between people, the music that absorbs all restlessness — it may look like a simple setting, but it’s not. And sometimes, with a specific DJ in a specific club, with timing you can’t control, something truly magical and irreplaceable happens. That’s what makes it important: it resonates and creates something unique.

WHAT IS THE APPEAL OF THE NIGHT?

I naturally live in a shifted rhythm. Even when I’m not working, for me the night feels like evening, and evening like afternoon — just don’t call me in the morning, my phone is off. I don’t know exactly what it is, but when the sun goes down, something in me settles. Of course, that doesn’t apply in the club at all, but still, the night feels calmer.

HOW DOES A PHOTOGRAPHER RELATE TO THEIR SUBJECT IN THESE SPACES?

It’s about finding the right balance between being present and stepping away again. You can’t be passive, but you also have to keep moving — preferably not standing still too long, better to take short breaks between walking rounds. I always loved nightlife myself, so placing my photography there felt natural. But over time, that’s become less so — it feels like it’s time for other things.

ARE THERE ANY SPECIAL TECHNIQUES YOU USE IN YOUR WORK?

Yes, I think so. Having the right angle is extremely important. Just a slight tilt can change the entire image, so I’ve practiced that a lot — even though from the outside it might look quite casual. Also, I can shoot with two cameras at once, left and right hand. I learned that when my arm got tired, and by using my left hand with an odd grip, I could keep going.

COULD YOU TELL US ABOUT THE BEST NIGHT OR EVENT YOU’VE EVER SHOT?

I’d have to say D’Angelo live. I couldn’t get enough photos — we were only allowed to shoot during the first ten minutes. But the music was pure magic. And in terms of club nights: Joost van Bellen’s RAUW parties. I can’t recall a single specific night — they’ve all kind of blended together in my memory into one — but each of them was special. It was always extra fun because of the whole crew and entourage that came along, and he always had the sickest guest artists: Green Velvet, Mr. Oizo, Gesaffelstein.

WHAT IS YOUR FAVOURITE TRACK OR ARTIST?

When I want to test a sound system or headphones, or simply enjoy a track that has everything in it, I play Daffodill by Jamie XX. It has soul samples, heavy synths, crispy little details — so layered and so good.

Photo credit: Lotte Dale