NFT IRANIAN ARTISTS

You know, like pressing the mute button on a conversation to hear if something deeper is happening under the noise of their mouth moving.

Ok sorry, but some people just talk too much.

Where was I… ah yes, back to this decision.

The decision isn’t always immediate. It’s more of a whisper. An idea that sneaks in sideways while you’re driving down the road in a fuzzy day dream.

That’s how most of these black and white photography ideas started. Not from tutorials or books, but from little scraps of paper in my pocket. Let’s call them notes.

This post is from those.

No examples. No final shots. Just the idea soup. Some of these might be shit. They’re not polished. They’re just mine… for now.

And maybe yours too, if you want to try.

Why I’m Sharing Black and White Photo Ideas I Haven’t Tried Yet

If you’re looking for perfect examples or proven techniques, this probably isn’t your post.

What you will find here: Idea sparks. Notes from the corner of my mind… or pocket that haven’t turned into photographs yet.

You might make something beautiful with them. You might stare blankly and go “nope.”

That’s kind of the point.

Either way, these aren’t technical tips. You won’t find “use a red filter to darken skies” or “boost clarity in Lightroom.”

Instead, you will find themed black and white photo ideas you can run with.

Most of them come from mood, memory, or some weird internal monologue I had while refilling my coffee.

Most important: No photo references. No boxes to fit into. Just ideas… shared so you can take them, twist them, ignore them, or make them your own.

And if you do? Share them with me under this Twitter thread. I want to see what you make. If you do that, I might use your photo in this post, with credit of course.

Collector Note: Make sure you tell me which idea you are going for so I can use your photo for the right idea. Bonus, if you mint the photo, I might collect it.

Let’s get to the black and white photography ideas.

1.) Shoot for Silence: Photos That Feel Like Nobody’s There

Not emptiness. Not isolation. Silence.

What does that look like to you?

For me, it might be an empty tire swing swaying slightly in the breeze. Or the slow swing of a door at a laundromat that’s just been exited.

It can be hard to imagine what silence looks like, but the idea is to make a photo that sounds like a room after the phone stops ringing.

What does silence look like to you?

The fog seems to carry the silence in Memory Yet to Be by Marigold – They say, if you stand still in this silence, you might hear your own voice from the future.

2.) Photograph the Edges of Things

Not the thing itself. The edge.

The worn fabric of a sleeve. The corner of a closed book. Where brick meets brick and mortar forgot its job. Focus on thresholds between light and dark, touch and distance, object and shadow.

Black and white makes these lines louder.

In _rest by Emma Samuel and _growth revolution, the broken edge of a vase holding a candle becomes the subject. A sharp threshold between light and dark, fragile and strong, broken and whole. Black and white makes these differences louder.

3.) Document a Place You Know Too Well

Your backyard. Your street. The break room at work. Your bedroom.

The inside of your fridge. I see you.

Shoot it like you’re documenting it for aliens who’ve never been to Earth. It doesn’t have to be all drama all the time. Just the textures. The moments. The light at 5:57 PM when it hits the grandfather clock weird and turns the floor into a dimensional portal.

A portal that leads to the house of our friend Cassi Moghan, where she explores the confines of the mundane in My Boring Life.

So yeah, make it boring. Then make it matter.

In Leavespan by Harpreet, a familiar park setting is blurred into the background while a book fills the foreground. An everyday scene, yet somehow newly strange. But, like the description says… If you read enough, even the space behind the book becomes familiar.

4.) Treat Shadows Like the Subject

Don’t photograph a person. Photograph their shadow before they arrive.

Don’t photograph a tree. Shoot the shape it casts when the sun’s about to leave.

Black and white images beg for this. Color wants to brag. But shadows? Shadows tell stories in quiet.

For more on shadows: How to Use Shadows in Photography to Create Mood, Drama, and Depth

STOP by Süleyman Tutuş is a creative example of how a shadow is the subject.

5.) Build a Story With Repetition

Find a repeating element. Anything, shoes at the gym, cracks in a sidewalk, windows that don’t match, and shoot only those.

Ten shots. Same subject. Different days or angles.

Then arrange them. Let the viewer notice the similarities first… then the odd one out.

Monochrome gives repetition more space to speak.

Many thanks to SAJI FALL for bringing this idea together so beautifully in “The Story“. Many folks got mixed up when I first shared this and thought I meant repetition inside a single photo. What I was really talking about is repetition across a collection, a series of images that echo each other in subject or form. It’s about building a rhythm from photo to photo, letting the whole set speak as one, with the variations adding the twist.

6.) Photograph the “Before” of Something You’ll Never See the After Of

A dinner table before people arrive.

A wedding dress hanging.

A bed just before someone sleeps in it.

An empty stage with instruments.

You don’t need to document the whole story. Just the part that makes people imagine the rest.

Black and white adds a layer of fiction. Let it.

Shout out to Sashelka.ᵉᵗʰ♡ for this image of a delicious-looking Ice Cream treat before the reckoning. I think we all know where this story leads. You can find more of her work here: Objkt Profile

7.) Chase the Weather You Usually Avoid

Go out on foggy mornings. Wet snow. Blistering sun at noon. Muggy humidity that makes every surface feel soft and gross and difficult to breathe.

OK, maybe if you can’t breathe, stay in.

But rain, definitely go out in the rain if you’ve been avoiding it, but I don’t know why you would do that.

Don’t look for the perfect shot. Look for what these moments feel like without color to help you name them.

Monochrome loves bad weather. It makes you work with texture, shape, contrast, instead of the crutch of a sky that “pops.”

Against the Storm – Photography by Mellodora. Rain or shine, the story doesn’t wait… sometimes you have to step into the storm to capture it.

8.) Photograph Something That’s Already Dead

But not morbidly. Sally Mann already did the dead decomposing bodies thing.

I mean just… naturally past its prime.

I’m thinking more of a broken toy. A crushed can. An old phone booth. An old antique clock. An old couch sitting near the edge of the road.

Black and white strips sentiment and asks you to notice detail.

It helps you ask: what’s left behind when something’s done?

OK fine, maybe I did mean dead, gone, kaput because these fish look done… and cold. Frozen Lake by Mustafa Erbaş depicts fishing on a frozen lake. In Çıldır Lake in eastern Türkiye, nets are placed before the lake freezes, and after the lake freezes, the ice is broken and the nets are collected and the fish are laid on the ice.

9.) Use Blur to Suggest a Memory

Shoot something out of focus on purpose. Or capture motion blur. Or shoot through something that smears the edges.

Let the photo become less about clarity, more about the feeling of remembering badly.

A fuzzy daydream as you’re cruising down the road (see featured image).

Black and white turns blur into metaphor.

The following image was submitted by Cassi Moghan. The Van has a soft blur around the edge that makes it feel like a half-remembered place from a dream, more about the memory than the details.

10.) Photograph Something You Feel Guilty About

This don’t have to be a confessional. It can be subtle.

Maybe it’s the dishes you said you’d do. Or the pack of cigarettes you swore you quit. Or a place you visit but pretend you don’t.

Shoot it honestly. With care. Like it matters, even if you’re still not sure it does.

Monochrome invites honesty without the fuss. You don’t need to explain yourself. Let the photography be your confession.

In Echoes Between the Pages by Bayne, the nostalgia of a bookstall with its worn paperback pages stirs a quiet guilt in the photographer. It’s a reminder of stories once held in hand, now too often replaced by the glow of a screen. I love how the photograph seems to linger between past and present, holding space for what we’ve set aside but never stopped yearning for.

11.) Make a Portrait With No Face

Try this: shoot a portrait that says something about the person without showing their face.

Hands. Their desk. The mess they leave behind. The way they wear their coat.

Black and white strips the image down to essence.

So let the essence speak. No face.

The following image was submitted by _growth revolution who explains, “_the hollow” is a portrait without a face. Just the weight of items to portray the space we hold for memories.

12.) Photograph Things That Don’t Match Their Environment

A beach ball in a parking lot.

A chair in a hallway where it clearly doesn’t belong.

Photograph it without irony. Let it be quiet and strange. Let it feel like a dream you almost remembered.

Like how I’m Still Alive by ALI depicts a tiny flower pushing up through the deep, cracked earth. A fragile life in a place that looks like it shouldn’t allow it.

13.) Look for Absence

Instead of chasing interesting things, look for what’s missing.

A shelf with only one item. A conversation with only one participant. A space where something should be… but isn’t.

Let black and white exaggerate that absence.

Let it feel like forgetting…

or remembering…

Where the silence took you and the Absence you left.

Where the Silence Took You by CORAlinesaidso.tez – This piece is in the memory of one of my friends whom i recently lost. she loved wearing dresses and she was an autumn lover… this photo is an ode to her

Final Thought, If You Made It This Far

There’s something beautiful about not having it all figured out yet.

None of these ideas are groundbreaking by their self. Most of them probably won’t work the way I think they will. But that’s the magic of it. Trying without knowing.

And I want to see what you try too.

If any of these ideas spark something in you, shoot it. Then reply to this Twitter post with your image. Or post it anywhere and tag me.

I’ll be updating this post later with some of your work, not as “examples,” but as echoes. Proof that a weird little idea might lead somewhere.

☕ This Blog Runs on Coffee – Buy me a Coffee to help fuel the late nights and early mornings.
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💬 Comment below: Which idea are you most tempted to try first? Or do you have your own that belongs here?

💬 What Did This Post Make You See?

Leave a comment and share what this post made you think, feel, or notice.

👀 NFT Friends

Feel free to drop your public wallet address with your comment… because who knows right…

A few days ago, I saw this post from Chase Jarvis on LinkedIn. It started with a message he probably receives a lot.

“Chase… I’m about to lose it. How do I get anyone to give a sh*t about what I’m doing?!”

Which immediately made me think, yeah, I have the same question.

The person in the post had done everything they were “supposed” to do, allegedly. You know, they made good work, shared it online, maybe even paid for a template or two to make it look official.

But the response? Crickets. Or maybe just one cricket. I know that cricket. And even it’s tired. Eventually. Just… silence.

And Chase’s answer? It wasn’t some magic marketing trick or a platform pivot. It was this:

“You’re only doing half the job. The other half is building a community that’s ready to receive your work.”

I read that line like Chase was talking to me. I knew it was true. Which is probably why I’m not the best person to be talking to you about how photographers can build community.

Because I struggle like hell. I want to build the house and then go have a glass of cold lemonade. And then start the next house.

I don’t want to talk about it. I don’t want to shout about it. And I definitely don’t want to announce about it.

I just don’t really like social media all that much.

But, I decided to write about it because that’s what I do. I write the plan of action so I can internalize it even if I only half-heartedly believe in it.

I write as if, and hope it becomes a matter of fact. And maybe that will help you too. So let’s talk through this.

I Don’t Have a Content Problem. I Have a People Problem.

I probably have almost 100 blog posts on See Imagery and quite a few posts over on Subtack now. I think my content is decent, even if I am living in a kind of low-energy level, functional despair.

Because I’m doing it. I’ve been blogging every week. Yeah, consistency has been a problem in the past, but lately. I’m here. I post new photography. I mint my photography as an NFT. I show up. But still, it feels like I built this beautiful little house, carefully, thoughtfully, with all my best materials, and now I just want to sit on the porch, drink something cold, and admire it.

And instead the world says:
Cool house. Now start knocking on 500 doors and tell people it’s there.

And that… feels like hell.

The Exhausting Myth of “Just Put It Out There”

The internet lied to us, or maybe we misheard, or maybe I just lied to myself. Somewhere along the way, we got the idea that if you just make something good and “share it,” people will care. That your art will float through the noise and land gently in the hands of people who get it.

But it doesn’t work like that. Not anymore. Maybe not ever.

Now the world is more like a crowded Costco on a Sunday afternoon. Everyone’s yelling, carts are colliding, and nobody wants to stop for another free sample, no matter how good the cheese is.

So yes, maybe the work is good. But if there’s no one standing nearby with a paper plate, they’ll never taste it.

What Chase Said (This is the work)

Here’s what Chase wrote that stuck with me the most:

“This isn’t a distraction from the work. This is the work.”

And:

“Your work will remain invisible until you decide to do the WHOLE job.”

I can’t lie. I have been treating the sharing part like a distraction. The social part like a necessary evil I could half-heartedly check off the to-do list.

Being social isn’t my strongest quality. I would rather stay home and not go to the party. I would rather walk the streets or trail alone with my camera.

And let’s be honest:
Community-building sounds nice… until you realize it means talking to people.

There are two kinds of people in the world. Those who feel energized by social interaction, and those who feel completely drained by it.

I fall into the second camp.

How Photographers Can Build Community (Even If You’re Tired and Awkward)?

This is where we switch into field trip mode. Because I don’t have a clear answer. But maybe if we walk around the idea long enough, we’ll trip over something useful.

Imagine this like we’re on a weird little errand. We’ve got a camera, a coffee, and a creeping sense that maybe we should be doing more than just “posting and hoping.”

So let’s try to find it.

This Blog Runs on Coffee, Photos, and Your Support
I mint select images as NFTs and list the gear I use. Collecting or shopping through my links is like buying the blog a coffee. ☕ 🧡

→ Support & Collect Art

First – What Is a Community, Actually?

I used to think it meant hundreds of people in a Discord or a newsletter list or a bunch of hearts on everything I post.

But community, in the simplest sense, might just be:

People who would notice if you stopped showing up.

That’s it. That’s the bar.

Not fans. Not collectors. Just people who care enough to wonder: “Hey, where’d they go?”

And that feels a lot more doable.

I mean, at least it’s a start…

Right?

Places Where Creative Community Hides

Maybe community doesn’t have to look like a crowd. At least not right away.

It’ doesn’t have to be 10,000 die-hard fans.

It can be 1 fan, and then 10, and then 100.

Sometimes it’s a quiet DM, a comment thread, or a lonely comment you forgot to reply to. It can look like:

• That one person who always reposts your stuff without being asked
• A group chat that barely talks but reacts to each other’s wins
• A newsletter reply that starts with “I needed this today”
• An artist who tags you in their work because you reminded them to keep going
• A small thread of encouragement on Farcaster that somehow stays warm all week

None of these will move mountains all by itself. But they are seeds. And maybe that’s the real work. Not building a crowd, but watering seeds. Continuously.

What If We Made a Plan That Didn’t Suck?

OK. Let’s say I accept this. I’m tired, I’m introverted, I don’t want to be a hype person or a brand or a TikTok factory. But I still want to grow something real.

What does a human plan look like?

Let’s build one. Not a marketing plan. A lonely artist survival plan.

Let’s call it…

The Half-Social Plan for Tired Creatives Who Want to Build a Community… Kind of Maybe

1. Pick Two Places to Show Up
Look, we are tired, trying to be everywhere is the same as being nowhere.
One social (public), one private (intimate).
Mine right now is Twitter/X and my newsletter on Substack. That’s it. That’s all I can commit to.
If you enjoy this post you would probably enjoy my Substack “What if Nobody’s Watching“. It is very, let’s meet at 4am in a small town diner over coffee and talk things out. You can’t make it? I’ll send you a letter…
Subscribe to that after this post down below, or directly on Substack. Thank You!

2. Make Three Human Interactions Per Day
Not a like. Not a repost. Not a GM or a gm. Not “cool shot” or “love this”

Like, a real interaction. Find someone who said something interesting and reply with something thoughtful. Not to promote anything. Just to beaperson.

Say something meaningful. We can do this.

3. Build a Weekly “Quiet Signal”
This is something small that people come to expect. A post. A quote. A question. A routine. This is your thing. It doesn’t have to be loud or go viral. You’re just aiming for consistent.

4. Have One Slow Channel
This could be your blog, a monthly digest, a portfolio you update seasonally.
Something that doesn’t require daily attention, but shows you’re alive and evolving. For me, this is my blog, See Imagery.

5. Make Invitations, Not Announcements
Lately, I’ve been trying to stop making announcements. I sound stupid and boring. So, instead of “Here’s my new post,” I’m going to start advertising with more intention. I’m going to send invitations. Like…

• “I wrote this for anyone who’s feeling invisible lately.”
• “This one’s for anyone feeling a little sick, a little tired, and a little….”
• “I think this might help anyone… Or at least make you feel less alone.”

People are allergic to promotion. But they’re wired for connection. Let’s connect.

But What If It Still Doesn’t Work?

Then we try again.

I mean it. That’s the whole thing. We show up. We whisper into the void. We try again.

There’s this idea I love. Sometimes, you’re not shouting into the void. You’re just waiting for someone else to find the courage to speak back.

And that means you have to keep the light on.

If you see the light, leave a comment.

I’m here.

The Part That Never Feels Comfortable

There will always be days where someone who is not you gets 5,000 likes for posting a photo of their breakfast. Or someone starts a podcast and lands a sponsor in week one. Or someone runs a poll on “why photography is ded” and gets 500 replies.

And you’ll look at your blog or your art or your tiny newsletter and feel like you’re talking to the wall.

There will be days where you feel like quitting. And then the next day you will play John Lennon and hear him say “Nobody told me there’d be days like these” and somehow it will give you the strength to carry on.

Because you remember: every big story starts small. Every successful internet person once sat at their laptop with nothing more than an idea and a feeling. And most of the people who “went viral” couldn’t repeat it if they tried.

How to Stay Sane (When You’re Doing the Other 50%)

Now, we have a plan or some resemblance of such, but we need rules. Now you have just shown up in the diner, it’s 4 am, and I’ve been working on the rules.

We will call these the 4 am Rules because we are human rules:

• Don’t track engagement daily. Once a week max. Or not at all.
• Take real breaks…with coffee. Even from community-building. Burnout isn’t noble.
• Celebrate tiny moments. Someone replying “this helped” should feel like a standing ovation.
• Mute the loud ones. You don’t need to see everyone’s success. Especially not every day.
• Name your seasons. “This is my quiet planting season” is a better mindset than “why isn’t this working.”

Final Thoughts from the Porch

I still want that lemonade.

I still want to make the thing and rest. To post it and let it be. To believe that good work finds good people without needing to shout. And maybe one day, that’s possible.

But right now? The house is built. And the job’s not done.

Not because we have to hustle. But because we want to find our people. And to do that, we have to go out.

Awkward, tired, full of doubt.

But still knocking on doors.

One a door. Two. Maybe Three.

Yeah, three sounds right.

We knock on three doors.

And then we come back, sit on the porch, sip the lemonade, and try again tomorrow.

💬 What Did This Post Make You See?

Leave a comment and share what this post made you think, feel, or notice.

👀 NFT Friends

Feel free to drop your public wallet address with your comment… because who knows right…

🖼️ Before Language, After Light

Default Gallery: Featuring recent photography and artwork from creators I’ve collected on Tezos. Updated regularly to reflect the spirit of each post. → View Full Curation on OBJKT

🟢 Currently Open for Submissions

Have a Tezos NFT that fits this post’s theme? Share a link with your comment (link-only posts will get flagged as spam). I may collect or feature it here or in a future post.

Support independent creators. Discover and collect below.

Monika's Art: Spring Card 2026 (Easter)

By: Monika

Persian Cat Under the Rubble

By: Diba ADIB

system loading… please wait

By: wondermundo

It was on OpenSea and just to get a shared contract up and running, it was almost a hundred bucks. This was on ETH Mainnet back in March of 2021.

That’s a lot… For me.

I did manage to make my money back but just barely.

A month later, I found Tezos (It’s not Pasta) and minted my first piece on April 24^th.

It felt like stumbling into a shady pawn shop where everything was on the floor instead of the shelves. And for once, it didn’t cost $100 just to try it.

That’s what pulled me into Tezos in the first place.

Ethereum gas fees were sky-high. I was curious about NFTs, but not enough to keep burning real money just to see what happened.

I wanted room to experiment. To fail. To mint a photo I wasn’t even sure was good. And maybe do it again the next day with something weirder.

Tezos gave me that space.

And now? It’s still the place I tell photographers to start.

Why Photographers Should Be Minting on Tezos in 2025

This post is for the curious ones.

If you’re a photographer who has heard about NFTs but never made the leap, this is for you. If you leapt and gave up, this post is also for you.

If you’re already selling on other platforms but looking for a place that feels more like a weird, gritty underground art gallery than a high-end auction house, this is also for you.

You’ll get everything you need to understand how to use Tezos and mint your photography NFTs on OBJKT.

I’ll walk you through what Tezos is, why it matters for photographers, and the full step-by-step process of how to mint your work on OBJKT. No crypto knowledge required.

A Short Story About 2021, Gas Fees, and Feeling Free

Back in 2021, I was grieving, overwhelmed, and honestly just needed something to keep my mind moving.

NFTs were popping up everywhere, but it felt like a closed circle. Collectors had wallets. Artists had followings. And Ethereum was charging me the price of a dinner date just to list an image.

Then I heard about HEN. It was short for Hic et Nunc, a weird little Tezos-based platform that felt like a basement show. Honestly, the platform felt like I had run the DOS command prompt from the Windows boot screen by accident.

The words were weird. The process was Messy. The art was Uncurated. And there was no gatekeeping.

But beyond all that. The platform felt alive.

I minted my first photo for pennies…

And sold it for pennies.

But it didn’t matter.

You see, my first mint happened during an event called objkt4objkt.

Basically, we were just swapping art, but we were doing it in a fun new way, and it was exciting.

The rush was real. The fact that I could even publish it, that I could have it on-chain, was exciting.

And that’s what Tezos was back then. And still is. A place where photographers and artists could try things. Post blurry street shots. Abstract double exposures. Personal projects that felt kind of experimental.

It wasn’t about pumping value. It wasn’t about fame, launch parties, or the guy with a million bucks playing kingmaker and wedging himself into every sale, pretending he discovered you, like some self-appointed middleman.

It was about art, community, and the freedom to share.

And that freedom is still here.

What Is Tezos and Why Should Photographers Care?

Tezos is a blockchain. Basically a decentralized database just like Ethereum or Bitcoin. But unlike those, it was designed to be energy-efficient, low-cost, and easy to upgrade.

The main reasons photographers love it?

• Low gas fees (mint or sell for pennies)
• Strong, welcoming artist community
• More experimental and less commercial than ETH
• Built-in royalties and artist-first culture

You don’t need to know how blockchain works to use it. You just need a wallet, a few tez (the currency used on Tezos), and something to mint.

This Blog Runs on Coffee, Photos, and Your Support
I mint select images as NFTs and list the gear I use. Collecting or shopping through my links is like buying the blog a coffee. ☕ 🧡

→ Support & Collect Art

What Is OBJKT.com?

OBJKT.com is the largest NFT marketplace on Tezos. Think of it like the OpenSea of the Tezos world.

It lets you:

• Mint your photography NFTs (upload and create them on-chain)
• Sell and list your NFTs
• Collect work from other artists
• Customize your collections and profile

It’s easy to use, even if you’ve never touched crypto.

Below…the first NFT I ever collected on Tezos. ART by Janno Bergmann

Step 1: Get a Tezos Wallet

You need a wallet to hold your Tezos (XTZ) and NFTs. Many people choose Temple Wallet.

1. Go to https://templewallet.com
2. Download the browser extension (Chrome or Firefox)
3. Create a new wallet (save your seed phrase somewhere safe. This is like your master password. Don’t lose it!)
4. Add a password to unlock it on your browser

Now you have a Tezos wallet!

Note: You can also use Kukai wallet, which is a web-based wallet (no extension needed). Some people prefer this option.

Step 2: Get Some Tez (XTZ) Into Your Wallet

You need a small amount of Tez (XTZ) to mint NFTs or buy them.

Here are two easy ways to get Tez:

Option 1: Buy on Coinbase (or any exchange)

• Create a Coinbase account
• Buy Tezos (XTZ)
• Send it to your Temple wallet address (copy from the extension)

Option 2: Ask a friend in the Tezos community

If you’re just testing things, ask someone in the Tezos NFT community. A lot of us still send a few XTZ to newcomers to get them started. It’s tradition.

I also found this from TEIA, which is another great platform you can use to mint on Tezos. Everything you need to know about TEIA and how to apply for Fountain Funds is in this link.

Note: Anything you mint on TEIA will still show up under that same wallet address on OBJKT as well. Cool right?

Free Tez To Mint Your First Tezos NFTs

Step 3: Connect Your Wallet to OBJKT.com

1. Visit https://objkt.com
2. Click the wallet icon (top right)
3. Choose “Temple Wallet”
4. Approve the connection

You now have a profile on OBJKT. Customize it to your liking. I definitely recommend linking it to your social media accounts.

Step 4: Mint Your First Photography NFT

Minting is just the process of uploading your photo to the blockchain.

1. Click your profile pic >> dropdown >> “Create” on OBJKT.com
2. I suggest you create a collection first (Collection tab), otherwise you will mint to the shared contract
3. Once you have a collection go back to the (Token tab)
4. Toggle the Custom Collection Switch and pick your collection
5. Upload your image (JPG, PNG, GIF; Max file size is 250 megabytes)
6. Give it a name, description, tags, and any other details you want to include
7. Choose how many editions you want (e.g. 1/1 or 10 copies)
8. Set a royalty percentage (10-25% is standard)
9. Click Continue >> Mint Token

You’ll confirm the transaction with Temple, and it’ll cost a tiny fee (pennies).

That’s it. Your photography is now an NFT on Tezos.

Step 5: List Your NFT for Sale

After minting, your NFT will show up under “Created.”

To list it:

1. Click on the NFT
2. Click “List”
3. Set your price (in Tez)
4. Confirm the transaction

Once listed, collectors can buy it immediately. That’s it. You are now selling NFTs. Congrats.

What Makes Tezos Photography Different?

It’s not just the low fees.

The vibe here is different. Tezos has always been about:

• Experimentation: You can mint the stuff you’re working through without fear and still be taken seriously.
• Accessibility: Entry costs are low for everyone
• Real community: Most of us talk to each other. We share, collect, and support weird stuff
• Curation by vibe: Less gallery, more underground art show
• And make no mistake: the quality here isn’t lesser. It’s just less filtered. Some of the most innovative, respected artists in Web3 are minting right alongside you.

You don’t need to be famous. You don’t need a big drop. You don’t need a rooftop gallery party with a team of crypto bro visionaries.

You just need you.

Tips for Tezos NFT Photographers Starting Today

• Start with a small batch: Try 3–5 photos. Don’t overthink it, but do think about a small collection. Photography hits better when there is a theme, story, collection.
• Join Twitter: Twitter is where most of the NFT crowd hangs out. Yes, everyone’s always leaving, but at the same time, everyone’s always still there.
• Collect and Engage with others: Jump into conversations. Engage. Buy work you love. Engage. Comment. Share. And Engage some more.
• Build a profile: Add a banner and bio on OBJKT, include links to your social media accounts.
• Be patient: Sometimes sales take time. That’s okay. One important note. Collectors are collecting the artist as much as they are collecting the art. It’s a fact. Your work alone isn’t going to get it done. Your going to have to network.

Why I Still Mint on Tezos in 2025

Because it still feels like the most real place in crypto art.

Because I can post something emotional, blurry, strange, abstract, weird, or whatever, and it doesn’t need to sell to matter. But bonus if it does.

Because the people who collect there care about art. And they talk to you.

Because the cost to try is still pennies.

Because it’s never just been about the money.

Because while markets are shutting down left and right, Tezos continues to offer new experiences. Let’s see this continue!

So…What Now?

You mint a photo. Nothing happens. Then one day, out of nowhere, someone buys it. You don’t know who they are. They don’t know who you are. But now they own your amazing photo of a laundromat.

And the two of you are forever connected because someone owns a moment they never lived…

Your moment.

You wonder if it means something.

You mint another.

Now you’re photographing laundromats all over the city on purpose.
Now you’re thinking of a big collection of different laundromats.
Now you’re googling “how to burn an NFT you regret minting.”
Now you’re in too deep to explain this to Mom and Dad.

But it’s fun. And it’s your little journey nobody else understands.

And that might be enough.

💬 What Did This Post Make You See?

Leave a comment and share what this post made you think, feel, or notice.

👀 NFT Friends

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🖼️ Before Language, After Light

Featuring photography and artwork from other artists in the community that echo the spirit of this post. Support independent creators and expand your collection. → View Full Curation on OBJKT

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This post’s curation is complete, but feel free to comment and connect. Your work might still inspire a future Before Language, After Light!

Support independent creators. Discover and collect below.

When everything aligns

By: Unknown Creator

Temple of Leaves

By: Unknown Creator

All About Scale

By: Unknown Creator

I’ve been thinking a lot about flaws lately. Not just in my work but in everything I see.

A cracked glass. An awkward photo composition. A voice that quivers during a live song.

A house falling apart in every direction, but too wild to fix, too broken to forget, and too loud to clean up.

That collection lives here: Heidelberg Street

Flaws stay with me more than anything “perfect” ever has.

It’s simple, imperfection makes better art.

There’s this strange, beautiful thing in something that isn’t quite right. It lives in my mind longer. It grabs at my soul with a life all its own.

And I think we forget that in photography. We forget it online. We forget it in the endless scroll of polished, filtered, “flawless” things.

We try to fix the very thing that makes our work feel alive and yes…

Human.

Which begs the question: Should I fix the flaw?

Should I fix the blemish on the face?

Should I fix the slightly crooked composition?

Should I fix the grain that adds mood to the image?

Should I fix the uneven lighting that makes it feel alive?

Should I fix the motion blur that tells a deeper story?

Should I fix the imperfection that makes it uniquely mine?

Should I fix the flaw?…. Or is the flaw what makes it art?

The One-of-a-Kind Value of Flaws

The cool thing about flaws is that no two are ever exactly the same. Every flaw is, in essence, a one-of-a-kind, or a 1/1, so to speak.

Think about it, if something can be copied endlessly, is it even worth anything?

If you’ve ever watched antique shows or Pawn Stars, you’ve probably heard someone say something like this: “This piece is from [such and such] time period. You can tell because, back then, they didn’t have [modern method], so everything had to be done by hand.”

And this is where something retains value, because it’s imperfect.

You see, the beauty of imperfection lies in its refusal to be replicated.

The beauty of imperfection lies in its refusal to be replicated.
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The Old Ceiling Lamp (That Almost Got Thrown Away)

The other day we replaced the old lamp ceiling lampshade in my daughter’s room with something a little more girly/kid oriented and a little less grandma.

I asked my wife… “Hey honey, what we should do with the old one?”

She told me to throw it away.

But I felt bad for it. Yes, I felt bad for an old lampshade.

Plus, it’s old, maybe it’s a vintage antique or something?

After a little research I found out that one clue in determining the age of a ceiling light shade is examining the little hole in the middle of the glass. It’s the hole where the bolt goes through, secured by a decorative nut.

If this hole is etched perfectly than it’s probably done in more recent times and mass manufactured.

However, if it’s off center, sort of rough, rather imperfect and not so smooth then you’re probably looking at something a little older.

Something a little less perfect.

Something a human had a little more to say about the final outcome.

And isn’t that what makes something art? The human touch, the imperfection, the story?

Why Imperfect Art Feels More Real

When I think about imperfection, I think of Van Gogh. His brush strokes weren’t clean. They were stormy. Messy. Emotional.

They were alive.

Same with photography. Some of the most striking street photos? Not technically perfect. But full of soul.

Early on, I used to Photoshop everything. Fix the white balance. Straighten the lines. Nuke the grain.

Like, hey dummy, some compositions say more crooked.

That’s me yelling at myself years later.

Because now I look back at some of that work and I feel… nothing.

There’s an emptiness or peculiar kind of hollow feeling in trying to always get it right.

That’s not what I love about photography anymore.

Give me the uneven. The flawed. The stuff that screams I’m human and this is what I saw in this moment, and this is how I captured it.

The Psychology Behind Our Love for Imperfections

Human beings are wired to appreciate uniqueness.

Unique Art, unique writing, a unique voice.

For the most part, we like things that feel different.

Somehow, it feels like we are able to form a deeper emotional connection with things that feel real and unpolished.

Take how AI writes for contrast.

Even though AI can generate accurate content, it often produces misinformation. Some call this an hallucination but I’m not talking about the content.

I’m talking about the almost too perfect tone and structure.

I’m talking about the voice.

It lacks authentic experience, emotion, and it doesn’t feel all that relatable. There’s no voice resonating behind the words with an actual lived experience that makes you relate.

It just doesn’t feel real. It doesn’t feel lived.

AI doesn’t stop there. Everyone with a keyboard is making beautiful pictures now using AI.

When I first started messing around with AI programs like MidJourney, it couldn’t do hands or eyes very well but the new models/versions seemed to advance quickly.

But, for that brief moment, I remember some people embracing the flaws. It was AI’s own little moment of imperfection and artists recognized it.

They began to make collections around the weird hands and they were funny because of how imperfect they were.

But now, as these AI models improve they continue to push towards one ideal and that ideal is perfection.

Everything looks too good, too ideal, flawless, and yet somehow, perfectly fake.

I think as the pursuit for perfection floods our world with flawless images, I believe more photographers will step back from creating unreal, hyper polished photos and instead embrace a more natural, authentic approach.

This idea isn’t new. In fact, there’s a name for it: Wabi-Sabi.

The Wabi-Sabi Way: When the Flaws Become Gold

You can google it but essentially Wabi-Sabi is a Japanese philosophy that finds beauty in imperfection. It celebrates the imperfect, impermanent, and incomplete.

Where AI strives for perfection, Wabi-Sabi embraces all that is flawed, and perhaps all that is considered… wrong.

Have a cracked pot? Perfect, Wabi-Sabi celebrates the cracks in pottery.

And that faded ink on a handwritten note, perfect!

Perhaps most important for us photographers, the grain in a film photograph. Film photographers have learned to embrace it but digital has a ways to go. We still want to kill all that noise as much as possible. It’s just not all that aesthetically pleasing. But, maybe we …. ok, never mind. I don’t know what I’m saying…

Let’s just look at Wabi-Sabi in Practice.

Wabi-Sabi in Practice: In Japanese art they sometimes fix broken pottery with gold. It’s called Kintsugi and instead of hiding the flaw, this process actually highlights it.

This makes the pot even more rare, unique and valuable.

So you see, real beauty isn’t in perfection.

Real beauty is the flaw.

Real beauty is that thing that makes something unique, unrepeatable, and deeply human.

Can AI and Technology Replicate Imperfection?

Now some of you might be thinking, “Yeah, but I can use AI to replicate imperfection. I can just tell it to make it not so perfect.”

I mean, we’ve been doing this forever, trying to imitate imperfection. We have light leak filters, film grain, retro, polaroid, etc.

You name it, we have a filter for every type of imperfection and now we have AI.

AI can help.

This is true, but while artificial intelligence can mimic artistic styles and human creativity, it struggles to replicate the randomness and emotional depth that true imperfections bring.

Real imperfections come from the unpredictable nature of us.

Yes, the human.

Throw in the environment, and even chance itself and you will see that there’s, an emotional depth in flaws that can’t be pre-programmed.

Light leaks, expired film, motion blur, grain, over or underexposure, lens flare, dust, vignetting, soft focus, distortion, and even accidental compositions.

These aren’t just stylistic choices. They’re also the unexpected consequences of living a real human photographer experience.

That’s the difference between an imperfection designed to look real and one that simply is real.

And this isn’t just true in photography.

Imperfection is everywhere and woven into the fabric of life itself.

What Nature Teaches Us About Beauty

Maybe nature has some lessons to teach us. Think about it.

No two leaves are exactly the same right? No mountain peak is perfectly symmetrical, and yet, we recognize the beauty.

Imagine stepping out into the same sunrise every day, or watching the sun go down the same way every time.

The same colors, the same light, the same everything that makes a so-called perfect sunset.

That would be boring right?

Nature gives us the most breathtaking sights, rugged landscapes, asymmetrical flowers, and shifting cloud patterns.

Any Yet, there’s nothing perfect about nature.

Still, somehow it feels so perfect, so real, and so refreshing.

If anything, nature teaches us that imperfection is perfection.

How to Embrace Imperfection in Your Own Creative Work

Instead of chasing perfection, simply run the other way.

Run toward the raw and unfiltered aspects of your work that make it uniquely yours.

For example, if you have a tendency to underexpose your photos maybe your drawn to the dark, moody shadows.

If your continuously overexpose maybe your heart is seeking that light and airy style of photography.

Before hitting the auto button in post and cooking everything to a happy medium maybe take some time to feel the photo out.

Don’t just automatically try to straighten the composition or try to push everything to some preconceived notion of normal.

Instead, think, “what is the story if I leave it like this?”

Final Thoughts – The Flaw Is the Feature

Maybe that’s the real takeaway here. Imperfection isn’t something to fix.

It’s something to recognize, honor, and then maybe just lean into.

The crack in the pottery adds character.

The grain or slightly off composition in the film adds mystery.

It’s all part of the story.

If we keep chasing perfection, we risk sanding down the very edges that make our work (and our lives) interesting.

We risk making everything interchangeable, forgettable, and soulless.

We risk pushing everything into the middle ground, the safe but happy medium.

Is that where you want your art to live?

No, I know it’s not. I know you.

So maybe the next time you’re tempted to “fix” something, ask yourself: Does it really need fixing?

Or is the flaw the very thing that makes this piece unforgettable?

💬 What Did This Post Make You See?

Leave a comment and share what this post made you think, feel, or notice.

👀 NFT Friends

Feel free to drop your public wallet address with your comment… because who knows right…

🖼️ Before Language, After Light

Default Gallery: Featuring recent photography and artwork from creators I’ve collected on Tezos. Updated regularly to reflect the spirit of each post. → View Full Curation on OBJKT

🟢 Currently Open for Submissions

Have a Tezos NFT that fits this post’s theme? Share a link with your comment (link-only posts will get flagged as spam). I may collect or feature it here or in a future post.

Support independent creators. Discover and collect below.

Monika's Art: Spring Card 2026 (Easter)

By: Monika

Persian Cat Under the Rubble

By: Diba ADIB

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By: wondermundo

Best Settings for Street Photography