Adib Noh Photography

At first glance, this is a simple beach scene—children standing by the shoreline, others already in the water, waves repeating their endless rhythm. Nothing dramatic. Nothing staged. And yet, this is exactly where the art of seeing begins in photography. What drew me to press the shutter was not a single subject, but a pattern of attention. The line of children facing the sea feels almost ceremonial, as if they are waiting for permission from the water itself. Their silhouettes strip away identity and detail, turning them into shapes, gestures, and relationships. In black and white, the scene becomes quieter, more reflective—less about who they are and more about what is happening. Photography, at its core, is not about seeing more—it’s about seeing differently. Many people would walk past this moment, registering it only as background activity. But the photographer pauses. Observes. Notices the contrast between stillness and movement: some bodies frozen at the edge, others already imm...

ARCHITECTURAL PHOTOGRAPHY IN KL Lately I saw a lot of Bangunan Sultan Abdul Samad photos being posted on social media. This is a good sign of public awareness and interest in architecture and history. During my KL Photowalk in the last ten years, I have accumulated a few hundred photos- just for my collection. Looking back…. Kuala Lumpur has a habit of surprising you—especially when you slow down and really look at its buildings. Beyond the obvious height and glassy confidence, KL’s architecture is full of rhythm, texture, and quiet drama. Capturing these qualities through photography is less about recording skylines and more about observing how buildings behave with light, space, and people. What fascinates me most is how architectural features reveal themselves in fragments. A sweeping roofline casts a sharp shadow across a public plaza. Repeating columns create a visual tempo that pulls the eye forward. Curves soften concrete, while rigid lines assert strength and order. In black a...

  Yes, this photo can clearly be impressionist photography, and it is a strong example of the genre. Here’s why: 1. It Prioritises Impression Over Description The image does not aim to describe who the people are, where exactly they are, or what they are doing. Instead, it captures an impression of movement, light, and urban energy. The figures are reduced to shapes and gestures rather than identifiable subjects—very much in the spirit of impressionism. What we see is not factual clarity, but felt experience. 2. Intentional Blur as Expression The motion blur here is not a technical accident; it is expressive. Vertical streaks suggest movement and flow Human figures dissolve into colour and rhythm Time feels compressed, as if several moments exist at once This aligns closely with impressionist photography, where blur is used to evoke emotion and temporality, not to hide mistakes. 3. Strong Emphasis on Light and Colour The photograph is driven by colour relat...

  View from My Window The phrase “view from my window” sounds simple, almost ordinary. Yet, it carries layers of meaning far beyond what the eyes can see. A window is never just an opening in a wall. It is a boundary, a filter, and a perspective—all at once. In the photograph above, the window of a moving MRT train frames the city outside. Highways, buildings, trees, and passing vehicles appear slightly softened through the glass. This is not the city as it truly is, but the city as I experience it at that moment. And that is precisely the point. A window reminds us that we never see the world directly. We see it through our own “glass”—our experiences, beliefs, emotions, and circumstances. Just as the train window adds reflections, stickers, and a frame, our lives add layers to how we interpret what is happening outside us. Two people can look through different windows at the same city and come away with very different stories. The window also speaks of distance. I am insi...

  A shadow is an area where light is blocked by an object. When light travels in a straight line and meets something opaque—like a person, a tree, or a building—the object prevents light from reaching the surface behind it. The result is a darker shape that mirrors the outline of the object. That dark shape is the shadow. In simple terms Light source → shines Object → blocks the light Surface behind → receives less or no light ➡️ A shadow appears More than just physics Beyond science, shadows carry deeper meaning: In photography, shadows add depth, contrast, mood, and mystery. They help shape forms and guide the viewer’s eye. In art, shadows can suggest time, direction, and emotion. In reflection and metaphor, a shadow often represents what is hidden, unseen, or overlooked—things that exist, but are not immediately visible. A quiet reminder A shadow only exists because light exists. Without light, there would be no shadow at all. That is why shadows are not ...

CREATIVE DOUBLE EXPOSURE Double exposure photography has a quiet magic of its own. In this image, reality is no longer presented as a single, literal moment. Instead, layers of scenes, colours, and textures merge into one frame, creating something that feels closer to emotion and memory than documentation. What I find beautiful about double exposure is how it allows chaos and harmony to exist together. Trees overlap with architectural lines, light cuts through shadow, and bold colours intersect with organic forms. The result is not meant to be read in one glance. Like modern art, it invites you to pause, to explore, and to interpret. Each viewer may notice something different—a rhythm, a pattern, or a hidden balance. At times, the image feels abstract, almost painterly. The repetition of forms and the play of transparency turn ordinary urban elements into visual poetry. It reminds us that photography does not always have to explain; sometimes it simply needs to evoke. For me, this appr...