The photography renaissance is here
사진 르네상스가 여기 있습니다
Возрождение фотографии уже здесь
写真のルネッサンスはここにあります
摄影的复兴就在这里
फोटोग्राफी पुनर्जागरण यहाँ है
Il rinascimento della fotografia e' qui
የፎቶግራፊው ህዳሴ እዚህ አለ
The photography renaissance is here
사진 르네상스가 여기 있습니다
Возрождение фотографии уже здесь
写真のルネッサンスはここにあります
摄影的复兴就在这里
फोटोग्राफी पुनर्जागरण यहाँ है
Il rinascimento della fotografia e' qui
የፎቶግራፊው ህዳሴ እዚህ አለ
The photography renaissance is here
사진 르네상스가 여기 있습니다
Возрождение фотографии уже здесь
写真のルネッサンスはここにあります
摄影的复兴就在这里
फोटोग्राफी पुनर्जागरण यहाँ है
Il rinascimento della fotografia e' qui
የፎቶግራፊው ህዳሴ እዚህ አለ
Off Shore #8
Magnifique #1
Talacre Coast #1
Blue hour breakout
Life on Water
Around Ubehebe Crater #1
Night Reflection 6.10 #10
Eternity

Own the future of photography

Collect and own genuine photo art from limited series by amazing photographers around the world.

Off Shore #8 by Ryan Allen

Trending Editions

Giverny - Monets Garden (Part 1)

Giverny - Monets Garden (Part 1)

simonpuschmann.eth

Full Splendor in Motion The white of a water lily with a rich green leaf in the midst of deepest blue, the sea of blue thistles or the brown-yellow magnificence of a coneflower – all show nature, full of energy, in its full, explosive beauty. These works uniquely show how fleeting and ephemeral the beauty of nature is. Taken with a Super 8 camera on color negative film, the pictures bring out the luminosity of nature’s remarkably vibrant colors, while the fuzziness that is the result of the consciously jerky movements of the film camera emphasizes the ephemeral quality of human visual perception. The film strip consists of a varying number of individual images, created frame by frame, in which the camera operator, with full engagement of his body, works against the proverbial rolling time of the film camera and thus records the moment of the human eye in passing. The resulting randomness in the exposed material using this technique, the outcome of which cannot be judged until the film has been developed and scanned, is a kind of passage into the unknown. It is both open and staked out, and makes the photographer into an accomplice of the observer’s passing glance. This impression is reinforced by the visibility of the perforations along the edges of the film strip, giving the works a frame and the viewer an orientation, allowing him or her to completely surrender to the play of fragmentary impressions and to grasp that which is there to see. But the object seems to evade the observer, as in an unconscious view from a moving train, in which the opportunity to fix upon something is gone before it can be taken – the train has already rushed past. Puschmann is taking up a topic that steadily gained importance in the nineteenth century with the rise of industrialization and urbanization: the perception of speed. As society underwent changes due to inventions like the railroad or as a result of the increasing significance of urban life, it followed that human sensitivities, perceptual capacities, and experiential structures changed. The perception of space and time became compressed, as in the view from a traveling train, which offers a fast and constantly interrupted change of external impressions. The landscape can only be perceived selectively, as single points. The perception thus becomes diffuse, and attention that is directed from the outside, which, driven by motion and speed, loses firm ground and the calm necessary for contemplation. Furthermore, with this subject Puschmann places himself in the vicinity of the artists of the second half of the nineteenth century. Like the impressionists, he chooses motifs from nature, dissolves their forms into movement and color, so that their real forms melt away into momentary impressions. In that he consciously uses his technical apparatus against the grain, as the Impressionists once did with their brushes, Puschmann offers a new and different perception that consciously moves beyond the original invention which made it possible to capture the world in 24 frames per second. Instead he provides an exciting view of the object that becomes a very subjective perception in motion; the perception of acceleration compressed into one single picture, that puts the viewer into motion, as though electrified, both physically and mentally. It hardly makes a difference that the garden is that very garden in Giverny which a certain painter by the name of Monet interpreted countless times, today these paintings are the most important artworks of Impressionism. What is of importance is the garden’s incomparable beauty in the works of both of these artists.

Giverny - Monets Garden (Part 2)

Giverny - Monets Garden (Part 2)

simonpuschmann.eth

Full Splendor in Motion The white of a water lily with a rich green leaf in the midst of deepest blue, the sea of blue thistles or the brown-yellow magnificence of a coneflower – all show nature, full of energy, in its full, explosive beauty. These works uniquely show how fleeting and ephemeral the beauty of nature is. Taken with a Super 8 camera on color negative film, the pictures bring out the luminosity of nature’s remarkably vibrant colors, while the fuzziness that is the result of the consciously jerky movements of the film camera emphasizes the ephemeral quality of human visual perception. The film strip consists of a varying number of individual images, created frame by frame, in which the camera operator, with full engagement of his body, works against the proverbial rolling time of the film camera and thus records the moment of the human eye in passing. The resulting randomness in the exposed material using this technique, the outcome of which cannot be judged until the film has been developed and scanned, is a kind of passage into the unknown. It is both open and staked out, and makes the photographer into an accomplice of the observer’s passing glance. This impression is reinforced by the visibility of the perforations along the edges of the film strip, giving the works a frame and the viewer an orientation, allowing him or her to completely surrender to the play of fragmentary impressions and to grasp that which is there to see. But the object seems to evade the observer, as in an unconscious view from a moving train, in which the opportunity to fix upon something is gone before it can be taken – the train has already rushed past. Puschmann is taking up a topic that steadily gained importance in the nineteenth century with the rise of industrialization and urbanization: the perception of speed. As society underwent changes due to inventions like the railroad or as a result of the increasing significance of urban life, it followed that human sensitivities, perceptual capacities, and experiential structures changed. The perception of space and time became compressed, as in the view from a traveling train, which offers a fast and constantly interrupted change of external impressions. The landscape can only be perceived selectively, as single points. The perception thus becomes diffuse, and attention that is directed from the outside, which, driven by motion and speed, loses firm ground and the calm necessary for contemplation. Furthermore, with this subject Puschmann places himself in the vicinity of the artists of the second half of the nineteenth century. Like the impressionists, he chooses motifs from nature, dissolves their forms into movement and color, so that their real forms melt away into momentary impressions. In that he consciously uses his technical apparatus against the grain, as the Impressionists once did with their brushes, Puschmann offers a new and different perception that consciously moves beyond the original invention which made it possible to capture the world in 24 frames per second. Instead he provides an exciting view of the object that becomes a very subjective perception in motion; the perception of acceleration compressed into one single picture, that puts the viewer into motion, as though electrified, both physically and mentally. It hardly makes a difference that the garden is that very garden in Giverny which a certain painter by the name of Monet interpreted countless times, today these paintings are the most important artworks of Impressionism. What is of importance is the garden’s incomparable beauty in the works of both of these artists.

Giverny - Monets Garden (Part 3)

Giverny - Monets Garden (Part 3)

simonpuschmann.eth

Full Splendor in Motion The white of a water lily with a rich green leaf in the midst of deepest blue, the sea of blue thistles or the brown-yellow magnificence of a coneflower – all show nature, full of energy, in its full, explosive beauty. These works uniquely show how fleeting and ephemeral the beauty of nature is. Taken with a Super 8 camera on color negative film, the pictures bring out the luminosity of nature’s remarkably vibrant colors, while the fuzziness that is the result of the consciously jerky movements of the film camera emphasizes the ephemeral quality of human visual perception. The film strip consists of a varying number of individual images, created frame by frame, in which the camera operator, with full engagement of his body, works against the proverbial rolling time of the film camera and thus records the moment of the human eye in passing. The resulting randomness in the exposed material using this technique, the outcome of which cannot be judged until the film has been developed and scanned, is a kind of passage into the unknown. It is both open and staked out, and makes the photographer into an accomplice of the observer’s passing glance. This impression is reinforced by the visibility of the perforations along the edges of the film strip, giving the works a frame and the viewer an orientation, allowing him or her to completely surrender to the play of fragmentary impressions and to grasp that which is there to see. But the object seems to evade the observer, as in an unconscious view from a moving train, in which the opportunity to fix upon something is gone before it can be taken – the train has already rushed past. Puschmann is taking up a topic that steadily gained importance in the nineteenth century with the rise of industrialization and urbanization: the perception of speed. As society underwent changes due to inventions like the railroad or as a result of the increasing significance of urban life, it followed that human sensitivities, perceptual capacities, and experiential structures changed. The perception of space and time became compressed, as in the view from a traveling train, which offers a fast and constantly interrupted change of external impressions. The landscape can only be perceived selectively, as single points. The perception thus becomes diffuse, and attention that is directed from the outside, which, driven by motion and speed, loses firm ground and the calm necessary for contemplation. Furthermore, with this subject Puschmann places himself in the vicinity of the artists of the second half of the nineteenth century. Like the impressionists, he chooses motifs from nature, dissolves their forms into movement and color, so that their real forms melt away into momentary impressions. In that he consciously uses his technical apparatus against the grain, as the Impressionists once did with their brushes, Puschmann offers a new and different perception that consciously moves beyond the original invention which made it possible to capture the world in 24 frames per second. Instead he provides an exciting view of the object that becomes a very subjective perception in motion; the perception of acceleration compressed into one single picture, that puts the viewer into motion, as though electrified, both physically and mentally. It hardly makes a difference that the garden is that very garden in Giverny which a certain painter by the name of Monet interpreted countless times, today these paintings are the most important artworks of Impressionism. What is of importance is the garden’s incomparable beauty in the works of both of these artists.

Giverny - Monets Garden (Part 4)

Giverny - Monets Garden (Part 4)

simonpuschmann.eth

Full Splendor in Motion The white of a water lily with a rich green leaf in the midst of deepest blue, the sea of blue thistles or the brown-yellow magnificence of a coneflower – all show nature, full of energy, in its full, explosive beauty. These works uniquely show how fleeting and ephemeral the beauty of nature is. Taken with a Super 8 camera on color negative film, the pictures bring out the luminosity of nature’s remarkably vibrant colors, while the fuzziness that is the result of the consciously jerky movements of the film camera emphasizes the ephemeral quality of human visual perception. The film strip consists of a varying number of individual images, created frame by frame, in which the camera operator, with full engagement of his body, works against the proverbial rolling time of the film camera and thus records the moment of the human eye in passing. The resulting randomness in the exposed material using this technique, the outcome of which cannot be judged until the film has been developed and scanned, is a kind of passage into the unknown. It is both open and staked out, and makes the photographer into an accomplice of the observer’s passing glance. This impression is reinforced by the visibility of the perforations along the edges of the film strip, giving the works a frame and the viewer an orientation, allowing him or her to completely surrender to the play of fragmentary impressions and to grasp that which is there to see. But the object seems to evade the observer, as in an unconscious view from a moving train, in which the opportunity to fix upon something is gone before it can be taken – the train has already rushed past. Puschmann is taking up a topic that steadily gained importance in the nineteenth century with the rise of industrialization and urbanization: the perception of speed. As society underwent changes due to inventions like the railroad or as a result of the increasing significance of urban life, it followed that human sensitivities, perceptual capacities, and experiential structures changed. The perception of space and time became compressed, as in the view from a traveling train, which offers a fast and constantly interrupted change of external impressions. The landscape can only be perceived selectively, as single points. The perception thus becomes diffuse, and attention that is directed from the outside, which, driven by motion and speed, loses firm ground and the calm necessary for contemplation. Furthermore, with this subject Puschmann places himself in the vicinity of the artists of the second half of the nineteenth century. Like the impressionists, he chooses motifs from nature, dissolves their forms into movement and color, so that their real forms melt away into momentary impressions. In that he consciously uses his technical apparatus against the grain, as the Impressionists once did with their brushes, Puschmann offers a new and different perception that consciously moves beyond the original invention which made it possible to capture the world in 24 frames per second. Instead he provides an exciting view of the object that becomes a very subjective perception in motion; the perception of acceleration compressed into one single picture, that puts the viewer into motion, as though electrified, both physically and mentally. It hardly makes a difference that the garden is that very garden in Giverny which a certain painter by the name of Monet interpreted countless times, today these paintings are the most important artworks of Impressionism. What is of importance is the garden’s incomparable beauty in the works of both of these artists.

Giverny - Monets Garden (Part 5)

Giverny - Monets Garden (Part 5)

simonpuschmann.eth

Full Splendor in Motion The white of a water lily with a rich green leaf in the midst of deepest blue, the sea of blue thistles or the brown-yellow magnificence of a coneflower – all show nature, full of energy, in its full, explosive beauty. These works uniquely show how fleeting and ephemeral the beauty of nature is. Taken with a Super 8 camera on color negative film, the pictures bring out the luminosity of nature’s remarkably vibrant colors, while the fuzziness that is the result of the consciously jerky movements of the film camera emphasizes the ephemeral quality of human visual perception. The film strip consists of a varying number of individual images, created frame by frame, in which the camera operator, with full engagement of his body, works against the proverbial rolling time of the film camera and thus records the moment of the human eye in passing. The resulting randomness in the exposed material using this technique, the outcome of which cannot be judged until the film has been developed and scanned, is a kind of passage into the unknown. It is both open and staked out, and makes the photographer into an accomplice of the observer’s passing glance. This impression is reinforced by the visibility of the perforations along the edges of the film strip, giving the works a frame and the viewer an orientation, allowing him or her to completely surrender to the play of fragmentary impressions and to grasp that which is there to see. But the object seems to evade the observer, as in an unconscious view from a moving train, in which the opportunity to fix upon something is gone before it can be taken – the train has already rushed past. Puschmann is taking up a topic that steadily gained importance in the nineteenth century with the rise of industrialization and urbanization: the perception of speed. As society underwent changes due to inventions like the railroad or as a result of the increasing significance of urban life, it followed that human sensitivities, perceptual capacities, and experiential structures changed. The perception of space and time became compressed, as in the view from a traveling train, which offers a fast and constantly interrupted change of external impressions. The landscape can only be perceived selectively, as single points. The perception thus becomes diffuse, and attention that is directed from the outside, which, driven by motion and speed, loses firm ground and the calm necessary for contemplation. Furthermore, with this subject Puschmann places himself in the vicinity of the artists of the second half of the nineteenth century. Like the impressionists, he chooses motifs from nature, dissolves their forms into movement and color, so that their real forms melt away into momentary impressions. In that he consciously uses his technical apparatus against the grain, as the Impressionists once did with their brushes, Puschmann offers a new and different perception that consciously moves beyond the original invention which made it possible to capture the world in 24 frames per second. Instead he provides an exciting view of the object that becomes a very subjective perception in motion; the perception of acceleration compressed into one single picture, that puts the viewer into motion, as though electrified, both physically and mentally. It hardly makes a difference that the garden is that very garden in Giverny which a certain painter by the name of Monet interpreted countless times, today these paintings are the most important artworks of Impressionism. What is of importance is the garden’s incomparable beauty in the works of both of these artists.

1/1 Photo Series

The yin and yang of beaches and mountains

Explore

Exploring the streets of Old Havana for experiences and wonderful colors...

Explore

A dystopian cyberpunk future

Explore







Discover more drops

All drops


SUBSCRIBE TO NEVER MISS A DROP

Get the latest drops, news, and updates from Sloika in your inbox. No spam.

THE TOOLS FOR THE
 DIGITAL RENAISSANCE

Built to Empower

Creators have full provenance over their digital assets, including custom $token, and the ability to set their own royalty fee

Powerful Tools

Reveal your series as a fixed or variable price drop, set an auction, or let collectors play Gacha—a randomized drop

Ready, Set, Launch

Experience the power of community with Launchpad, a new collaborative way to find collectors before your first drop

All features

Verified by Sloika

Every photographer is carefully verified by the Sloika team

Fixed price

Every piece in a series with a fixed price, easiest way to get started

Variable price

Every piece in a series can have custom price

Gacha

Set a randomized drop to avoid bid and gas wars while having fun

Creators royalty

Don't settle for what others tell you, set your own creator royalty

Custom $TOKEN

Every photo series comes with it’s own token to guarantee rarity

Lowest gas

Lowest gas for minting in the industry due to finely crafted smart contracts

Collectives

Join artists in a collective and share a percentage of sales with the group

On-chain rights

Respecting collectors and artists by providing on-chain rights with every photo

Sloika Vault

We support emerging and established photographers by collecting and showcasing a wide variety of rare photographic works.

Open Vault

FOR CREATORS

Photography is an art form. It requires time, space, and consideration. Sloika is designed to focus on your art, with photos that are 10x bigger and of higher quality. Every series is carefully launched with a custom smart contract, own $token, detailed properties, and the creator's choice of on-chain photography rights.

FOR COLLECTORS

Look no further. Every drop is curated and every artist is "white-glove" onboarded and manually verified. Every series is minted on a full provenance un-upgradable contract with a fixed supply using a custom $token. No lazy minting or open editions.

FOR THE COMMUNITY

We build for the community. From the start, Sloika is being built on principles of giving back. A chunk of proceeds from commissions goes to financially support young artists and female creators to help them succeed in the NFT space. In addition, Sloika Vault collects prominent works of upcoming photographers.

The photography renaissance is here
사진 르네상스가 여기 있습니다
Возрождение фотографии уже здесь
写真のルネッサンスはここにあります
摄影的复兴就在这里
फोटोग्राफी पुनर्जागरण यहाँ है
Il rinascimento della fotografia e' qui
የፎቶግራፊው ህዳሴ እዚህ አለ
The photography renaissance is here
사진 르네상스가 여기 있습니다
Возрождение фотографии уже здесь
写真のルネッサンスはここにあります
摄影的复兴就在这里
फोटोग्राफी पुनर्जागरण यहाँ है
Il rinascimento della fotografia e' qui
የፎቶግራፊው ህዳሴ እዚህ አለ
The photography renaissance is here
사진 르네상스가 여기 있습니다
Возрождение фотографии уже здесь
写真のルネッサンスはここにあります
摄影的复兴就在这里
फोटोग्राफी पुनर्जागरण यहाँ है
Il rinascimento della fotografia e' qui
የፎቶግራፊው ህዳሴ እዚህ አለ