Thank you for coming to my Ted Talk.

Submission by Tyler Lindblom: These 20 unrelated images exemplify my desire to take subject matter, remove as much context as possible and then hopefully re-shape them into something different. Largely, the photos I take are based on feeling(s) and aesthetic, rather than an inner drive to turn a picture into a thousand words. That being said though, I also take photos that have a deeper personal meaning, but I have no interest in attaching my thoughts to them because to me, the most important thing about any type of art is what an individual takes away from it, not whether or not they see or agree with the artists interpretation. #noicemag #photography

Submission by Ishay Lindenberg: Bodies slip behind fabric and paper. Objects split, peel, and disappear into growth. Across the sequence, the photographs move between bodies and the surfaces around them, through moments of hiding, change, and partial visibility, before returning to a single eye looking out through a doorway.

Ishay Lindenberg

Ishay Lindenberg | Street Photographer & Visual Artist

Ishay Lindenberg is a Berlin-based street photographer and visual artist. Explore The Art of Coincidence, selected work, commissions, workshops and...

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Submission by Alejandro Acevedo: Espacios ( Spaces) is a very personal series related to two events that turned the quiet practice of photography into an alternative way of life: moving to a city like Havana and being diagnosed with otosclerosis, with no immediate solution. I began to observe the city with the detachment and expectation (or estrangement) of someone who does not belong to it. The gradual loss of my hearing led me into a certain degree of social isolation, and my perception became increasingly dependent on the visual. The photographs emerged from moments of introspection, from long walks through the city, with no other intention than to escape the anxiety that stillness caused me. Through that exercise, I began to identify certain spaces as possible stages. I sense that something subtle is happening in them, or is about to happen. Then I stop. With my eye fixed on the viewfinder of my camera, I wait. I am interested in allowing the scene to reveal itself on its own; that is why I return to these spaces by day and by night, at different moments, until I find the atmosphere, the right character, the cars, the reflections, the gaze that, without editing, reveal the scene. Once the work had accumulated, Espacios was born, a series of photographs I have been developing since 2019 in Havana, Cuba. Ultimately, it is a way of looking at the contours inhabited by waiting, where I perceive the anticipation and uncertainty latent in the images as a muffled sound. I am never entirely sure whether that sound comes from the surroundings, from a decaying city suspended in another time, or from within ourselves. #noicemag #photography

Submission by James Mazey: An exploration of the traps and consequences of modern living. Where we see the escalation of luxury and convenience over meaningful connection, discarded on the side of the street. Force fed over consumption, the masses join the queue to buy things they don’t need with money they don’t have. The powers that be want more more more and the numbers must increase year on year on year. There are no signs of slowing because we’re enslaved to the idea that if you’re not keeping up then you’re missing out. The earth groans, onwards to demise.

James Mazey

James Mazey

Fine art prints by photographer James Mazey.

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SATURDAY SHARE!!! Every Saturday we try to round up the photographers (or even non-photogs) of Nostr to share our work from the past week, or just all time favorites. Always good to find inspiration from others and to make new frens. A few from an assignment I had at a golf course for a non-profit. #photography #saturdayshare #asknostr

Submission by Mohammad Rakibul Hasan Global warming's effects are alarmingly disparate. While certain regions witness moderate alterations, others, like Bangladesh, bear the brunt of intensified natural calamities, including storm surges and floods. Bangladesh's vulnerability, epitomized by its coastal regions, is a heartrending consequence of climate change. Millions along its coasts are ironically tethered to the sea, which now jeopardizes their existence. The Sundarbans Forest stands as a vivid symbol of this vulnerability. Encompassing a vast expanse rich in biodiversity, including the Bengal tiger, it is at significant risk. Located at the convergence of the Ganges, Brahmaputra, and Meghna rivers, the forest's threats are twofold: escalating sea levels and extreme weather events. Alarmingly, the Intergovernmental Panel on Climate Change predicts a potential 1-meter sea level rise by 2100 in the Bay of Bengal. This spells disaster for the Sundarbans, imperiling its unique ecosystem and affecting the livelihoods of countless locals. The repercussions, ranging from food and water scarcity to widespread displacement, ripple through neighboring communities. The ramifications of global warming near the Sundarbans are not abstract but acutely tangible. Countless residents face the threat of submergence and displacement. Extreme weather occurrences jeopardize crucial sectors like fishing and agriculture. Additionally, health is at stake, with rising salinity linked to alarming conditions, including uterus cancers and fertility complications. These multifaceted challenges lead to heightened food insecurities and societal disparities...

Mohammad Rakibul Hasan

Mohammad Rakibul Hasan

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Submission by Aaron Dougherty: According to Merriam-Webster.com, Incidental means: “occurring merely by chance or without intention or calculation”. At its most basic level, this is isolation of found compositions by selective framing.

Aaron Dougherty Photography

Fine arts photographer and

An Architect in Remission | Aaron Dougherty | Substack

'An Architect in Remission' used to be called 'A Self-Righteous Rant': same publication, renamed. It started out as a pressure release valve for a...

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Submission by Roberto Zeppilli: Objects, faces, animals, fragments of a familiar landscape that routine had rendered invisible. My approach is completely instinctive, like a child reacting to the world before learning what things are named. There is no predetermined agenda, only an unscripted curiosity. It often feels as if these scenes pass through me first (felt in the gut before my eyes even register what is there) letting the environment choose when to stop and look. As if something had altered the rules of reality while I wasn’t looking. And I thought that maybe photography could help me document this crack, also as a way to express my unease in the world. Not to understand, but to remain in listening. Under the title "Home or anything that can be called so", this selection of twenty images offers a condensed cross-section of that daily practice. A quiet discipline of pacing the same streets, training the eye to catch the anomaly: a passing gesture, a collision of light, a burst of color that refuses to remain ordinary.

Fotosottocasa

Fotosottocasa

Urban landscapes, everyday moments, and color-driven photography from Italy. Featuring the project Fotosottocasa.

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SATURDAY SHARE!!! Every Saturday we try to round up the photo community to share our work from the past week, or just all time favorites. Always good to keep a good routine and have fun along the way. Lets see what you got! #noicemag #photography #saturdayshare

man of the people View quoted note →

Submission by Sean McLaughlin: Erruin is an ongoing photographic exploration of decay, destruction, absurdism, and the unexpected beauty that can emerge from them. The work is an abstract reflection on the consequences of modern life—the longing, impulsivity, and disorder we leave in our wake. I’m interested in the tension between struggle and acceptance, and in finding moments of beauty within deterioration and disorder. The photographs ask the viewer to look more closely at what we discard, what remains, what is possible, and what we consider beautiful.

Sean Mc Laughlin

Gallery - Sean Mc Laughlin

Home on Sean Mc Laughlin

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Submission by MORGAN ENYERIBE OTAGBURUAGU This new body of work extends the visual language established in In Bloom (Doyle Wham, 2023) into more explicitly political terrain. Where In Bloom used floral motifs to speak to life, death and renewal at the level of personal and ancestral memory, this series turns that same vocabulary toward a public health crisis: the World Health Organization’s finding that roughly 77 percent of Nigerian women use skin-lightening products, the highest rate recorded anywhere in the world. The series does not illustrate that statistic. It answers it. Water as rebirth, not concealment. The condensation sheeting the glass in every frame is doing two jobs at once. Formally, it fractures and refracts the subjects, pulling the images toward abstraction and away from straightforward documentary portraiture, in keeping with the tonal, sculptural treatment of dark skin that runs through my practice. Flowers plucked from the Lagos street, not the studio. The heliconia, hibiscus and roses recurring across the frames are not florist stock, they are gathered from the immediate environment the work is made in, and that sourcing is itself an argument. It insists that the material of renewal, of beauty, of what blooms, is already local, already at hand, already indigenous to Lagos, rather than imported. This runs directly against the logic of the bleaching industry, which is built on imported chemical whitening as an aspirational, foreign standard of beauty. A flower cut from a Lagos roadside held against unaltered dark skin is a compact rebuttal to that entire supply chain.

Morgan Otagburuagu

Morgan Otagburuagu

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SATURDAY SHARE!!! Every Saturday we round up the photographers of #nostr to share our work from the past week, or just all time favorites. Keeping community requires good routine and a bit of fun. Lets see what you got! Q: What has been your newest piece of camera equipment? I picked up a new Godex iM30 flash for my Leica Q the other day. Here's some test shots. #noicemag #photography #asknostr

Submission by Francisco Gonzalez Camacho: You can't enter the same river twice explores the concept of impermanence, the futility of becoming and the landscape as an agent of transformation. An unknowable rhythm unfolds, forms bend, break, emerge, dissolve, neither whole nor undone. Traces persist within the drift: shifting patterns, unfixed entities, hidden layers of impermanence lie beneath. Nothing holds. Nothing stays. Growth and ruin intertwine, a pulse of becoming and unraveling, between absence and presence, the landscape is in flux. The surface fractures, shifts, unseen forces, all caught in the current, fleeting, surrendering to the flow—panta rhei. These ideas, rooted in the work of the Greek philosopher Heraclitus, are conveyed through photographic metaphors that explore the moment just before a transformation—the point at which a form is clearly in transition, not yet settled into its new state. The landscapes bear the marks of geological time, which operates on a scale that makes human experience seem fleeting. Erosion, sedimentation, the collapse of a shoreline into the water, the emergence of a sandbar: processes that occur without witnesses, that have been occurring long before photography existed as a medium to capture them.

Francisco Gonzalez Camacho

Francisco Gonzalez Camacho (b. 1990) is a Spanish visual artist based in Finland. Gonzalez Camacho's work presents a process-based approach in...

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It’s happening. Orange pilling one chapter at a time. Read “Proof of Work” and opt into unlock each chapter with sats:

Proof of Work — A Book About Photography, Attention, and Bitcoin

30 chapters on learning to see, editing honestly, and understanding value. A philosophical book for photographers and independent creatives.

Submission by Tianxi Wang: Along the Tropic of Cancer, the camera tracks a westward route where contemporary life appears as fermentation: overheated, accelerated, and sustained by slow decay. Crab Claw is a series of photographs made during several road trips along the Tropic of Cancer in China. I traveled westward following this marked yet invisible route, photographing as I moved and letting the road hold my attention long enough for certain thoughts to surface—above all, a persistent weariness toward contemporary life. From the beginning, I did not intend the project to be documentary or research-based. The Tropic is not treated here as a geographical claim, but as a constraint: a line that is unmistakable on maps and strangely absent in lived reality. It offered a stable structure for a personal inquiry, a way to project my recent experience and the changes around me onto specific places and encounters along the route. In recent years I have increasingly questioned how contemporary life is organized. It does not always arrive as “crisis.” More often it appears as a low-intensity, long-term condition: everything keeps functioning, order remains intact, yet feelings, relationships, and the sense of the future quietly harden and grow brittle. At the same time, many turns carry an inexplicable randomness—like a throw of dice whose outcome we only begin to justify after it has already landed. The title Crab Claw grows out of this experience. It names a sustained act of gripping: slowly closing, pausing, and making you aware that you are being held in place. The photographs trace that pressure where it becomes visible—in plantations, smoke and fire, fences and cables, stumps and soil, and in the small, ordinary moments in which people learn to keep going.

tianxi

Tianxi Wang personal website and selected works.

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What makes a good photograph? We asked 83 photographers. If you distill all 83 answers into a single idea, it’s this: A good photograph makes you feel something you can’t quite explain by showing you something real that you might have missed. Read more (and submit your work):

What Makes a Good Photograph? — NOICE Magazine

We asked 83 photographers the same question. Here's what they actually said — and what their answers reveal about photography that no gear review...

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SUNDAY SHARE!!! Usually Saturdays are the day for this, but I got busy so lets see your photographs from this past week, or just something that's an all time favorite. Q: What has been your go to camera lately? Reply + Share = #Zap #noicemag #saturdayshare #photography #asknostr

Submission by Tamara Quadrelli: There is a moment in the summer afternoon when Italian suburbs cease to be inhabited and turn into paintings. People disappear behind the shutters, the noise gives way to the cicadas, and color, that specific palette of 1970s residential architecture: pink, yellow, light blue takes control of the space. L'heure de la sieste explores this suspension through architectural photography: not the people who sleep, but the world waiting for them awake. I walked through Aprilia Marittima at the exact moment when no one walks through anything. Two, three o'clock on a July afternoon: the neighborhood was deserted but not abandoned, silent but not dead. The colors of the facades, so vivid, so deliberately cheerful, felt more alive than ever precisely because no one was looking at them. It is an absence that does not empty, but reveals: in the hour when bodies withdraw, the traces of their passage remain,a half-closed shutter, a shadow on the sidewalk, color that continues to exist without witnesses. This project is an attempt to capture that suspended hour: l'heure de la sieste as a state of the world, not just of the people.

T A M A R A Q U A D R E L L I

Tamara Quadrelli | Minimalist Architecture Photography Italy

Contemporary minimalist photography exploring color perception and spatial silence in Italian architecture.

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