Dear friend, a word of advice: don’t seek to be a ‘fancy’ or complicated photographer/artist– seek to be more simple in your artistry and picture-making:
1. Who are we trying to impress with our photography?
The problem with photography is that we are always comparing ourselves with others. It is a constant rat-race of ‘one-upmanship’. Every photographer is trying to show how clever he/she is– by adding more ‘visual gymnastics’ to their images.
Rather than making pictures that are personally meaningful to us– we are just trying to make more complex pictures, for the sake of it. We are trying to make difficult compositions, just to show off our visual prowess. We want to flex our picture-making muscles.
Yet– I look at the pictures of Josef Koudelka and Richard Avedon — and see the true genius of their work is how simple their work was. Black and white. No distractions. Just focus on the subject. No fancy camera-work. Pictures that show their own soul– and shows their clear-cut reality, without any superfluous ornamentation or frills.
2. Simple colors are key.
I’ve been interested in shooting color for a while now– and trying to understand what makes a good color picture. I studied color-theory, and honestly — there are no ‘rules’ in color. These are all just conjectures and theories.
But the most important thing I learned from personal experience:
Make simple color pictures.
Not too many colors. Try to vary your colors– some with complementary colors (where all the colors are the same), or contrasting colors (orange juxtaposed against blue), or just colors that please your own eye.
Don’t over-think color. Just keep it simple.
Photography should be simple. Rather than seeking to make our pictures more and more complicated– let us seek to make more simple pictures. Pictures that are less pretentious, but more personal. Pictures that reflect LIFE, rather than compositional trickery.
3. Simple color photography
Often when I’m shooting on the streets, I just look for simple colors. A pop of red, blue, or orange.
The color-combination I love is BLUE-ORANGE — I feel that these two colors beside one another, ENHANCE the colors of both (this is what my sister ANNETTE KIM taught me):
4. Simple black and white photography
With black and white pictures, I like to do the ‘thumbnail test’. The concept: you know if a picture works if you can obtain visual and aesthetic appreciation with the image as a small thumbnail — the same as if you saw it full-screen.
For example, when I’m choosing all of these black and white pictures, I look at them them as small thumbnails. If the composition ‘pops out’ at me– it means that it is a strong image:
5. Simple Cindy
I also look at the pictures I’ve made of Cindy — and my favorite pictures of her are the simple ones. Without complex compositions. That are simple, straight-on, and full of my emotion and soul:
6. Simple is hard.
Contrary to popular belief, it is more difficult to make a simple picture than a complicated picture.
A simple picture (like simple design) takes a lot of thought. It takes a lot of chipping away the superfluous– like a sculptor with a block of marble. To know what to REMOVE is more difficult than knowing what to add.
7. My evolution as a photographer
I’ve been looking at a lot of my old pictures, to see how I’ve grown and evolved. I like to see that as I’m starting to develop, evolve, and grow as a photographer– I’m actually becoming more and more simple in my image-making.
For example, here are some of my earlier pictures from 2009-2011 — I started with pretty simple graphical pictures:
Looking at my recent pictures from Kyoto — I’ve returned to this ‘naive’ simple-style of picture-making:
8. Do your pictures feel authentic to you?
And for me — it is nice to look at simple pictures. Why? They aren’t pretentious, or feel forced. They feel natural. They feel authentic.
Rather than show off to the viewer, ‘Look at how clever I am at making pictures’ — you are saying, ‘Look at how I see the world, and how I live my life.’
To me, authenticity is the key of being a real photographer and artist.
9. What makes an ‘authentic’ picture?
But what makes our pictures ‘authentic’ or ‘inauthentic’?
Just ask yourself:
Do you need the approval of others before you determine your picture is ‘good’ or not? Or are your own judge and own arbiter?
10. I never asked myself, ‘Do I like my own pictures?’
In the past, I cared too much what others thought of me and my pictures. Before posting a picture, I had to get ‘approval’ from my friends/colleagues– because I had no faith in myself.
Now, I have absolute faith in my pictures. I feel evolved, uplifted, and more empowered as an artist.
Conclusion: How to empower yourself as a visual artist
But how do you gain this sort of self-empowerment, and self-confidence as a photographer? This is what worked for me:
- Study the masters of photography, and the history of photography. To know the past, is to have confidence that you are on the right path– and that you have assimilated the knowledge, technique, and philosophies of the photographers who came from before you.
- Don’t care for the approval of anyone but yourself. If you don’t like your own pictures– what do you care what others think of your pictures?
- Photography should be your stimulus for life. If photography doesn’t encourage you to LIVE MORE — and to experience more of ‘real life’ — why are you making pictures? Does photography encourage you to live more, and does photography give you more hope, optimism, and joy of real life? Or does it just make you feel envious and jealous of other artists?
BE STRONG, AND ALWAYS BELIEVE IN YOURSELF!
TAKE YOUR PHOTOGRAPHY TO THE NEXT-LEVEL:
If you’re new to photography, start here:
- Free Photography Bootcamp
- The Ultimate Beginner’s Guide to Photography
- 100 Photography Tips for Beginners
- The Spirit of Becoming a Photographer
- How to Make Better Pictures
- 10 Tips How to Take Better Photos of People
- How to Avoid Boredom in Photography
- How to Master Photography
- A Photographer’s Guide to Seeing
- PRETENTIOUS PHOTOGRAPHY
- Photography Energy Management
- How to Unlock Your Potential in Photography
- There Are No Good or Bad Photos
- The 5 Minute Photographer
- A-Z: PHOTOGRAPHY DICTIONARY by ERIC KIM
- Why I Want to Be a Photography Newbie Forever
- PHOTOGRAPHY FLUX.
- 10 Creative Photography Assignments to Re-Inspire You
- 50 Photography Tips by ERIC KIM
The Fundamentals of Photography
- The Art of Reading a Picture
- How to Choose Your Best Photos
- GET CLOSER.
- Keep or Ditch?
- What Makes a Good Photo?
- Why Photography?
- Everyone is a Photographer
- How to take better pictures
- How to take better selfies
- How to Paint With Light
- Why Bokeh is Overrated
- What is the Perfect Camera For You?
- What to Consider When Buying a Camera
- More Megapixels, More Problems
- How to Take Better Photos
- How to Capture Emotion in Your Photos
- How to Create a “Curiosity Gap” in Your Photos
- Composition Lesson #1: Triangles
- Composition Lesson #2: Figure-to-ground
- Composition Lesson #3: Diagonals
- 40 Practical Photography Assignments
- 15 Street Photography Assignments
- 25 Photography New Year’s Resolutions
- Street Photography Contact Sheets
- Street Photography Contact Sheets Volume II
- Debunking the “Myth of the Decisive Moment”
- Each Photo You Take is an “Attempt”
- How to Overcome Photographer’s Block
- Why Do You Need “Inspiration” to Shoot?
- How to Edit Your Photos
- Grain is Beautiful
- Are Filters “Cheating” in Photography?
- Video: Introduction to Editing, Processing, and Workflow in Lightroom
How to Create a Body of Work
Technical Photography Settings
Learn From the Masters of Photography
“He without a past has no future.”
- Why Study the Masters of Photography?
- Great Female Master Photographers
- Cheat Sheet of the Masters of Photography
- 100 Lessons From the Masters of Street Photography
- Beginner’s Guide to the Masters of Street Photography
- Download All Articles >
The Masters of Photography
Classics never die:
- Alfred Stieglitz
- Alec Soth
- Alex Webb
- Alexey Brodovitch
- Anders Petersen
- Andre Kertesz
- Ansel Adams
- Blake Andrews
- Bruce Davidson
- Bruce Gilden
- Constantine Manos
- Daido Moriyama
- Dan Winters
- David Alan Harvey
- David Hurn
- Diane Arbus
- Dorothea Lange
- Elliott Erwitt
- Eugene Atget
- Eugene Smith
- Fan Ho
- Garry Winogrand
- Gordon Parks
- Helen Levitt
- Henri Cartier-Bresson
- Irving Penn
- Jacob Aue Sobol
- Jeff Mermelstein
- Joel Meyerowitz
- Joel Sternfeld
- Josef Koudelka / Part 2
- Josh White
- Lee Friedlander
- Lisette Model
- Magnum Contact Sheets
- Magnum Photographers
- Mark Cohen
- Martin Parr
- Martine Franck
- Mary Ellen Mark
- Rene Burri
- Richard Avedon
- Richard Kalvar
- Robert Capa
- Robert Frank
- Saul Leiter
- Sergio Larrain
- Sebastião Salgado
- Shomei Tomatsu
- Stephen Shore
- The History of Street Photography
- Todd Hido
- Tony Ray-Jones
- Trent Parke
- Vivian Maier
- Walker Evans
- William Eggleston
- William Klein
- Zoe Strauss
Take your street photography to the next level:
- August 27 (Friday): SEATTLE MASTER STREET PHOTOGRAPHY WORKSHOP - [NOW LIVE!]
- September 11 (Saturday): DOWNTOWN LA ADVANCED STREET PHOTOGRAPHY WORKSHOP - [NEW!]
Be notified of when new workshops are live here.