I met Peter Zhang at one of my SF street photography workshops, and was blown away by his up-close street photos (shot at 28mm with a Ricoh GR) of the changing neighborhood of SoMa (South of Mission in San Francisco). Check out how he got started, as well as his personal and vivid color street photographs:

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Photography once reigned as the defining visual medium, but emerging trends suggest its role is changing.  On one hand, technological shifts – especially generative AI – have begun to replace many traditional photo tasks.  On the other, immersive technologies (AR/VR/3D) and cultural tastes (favoring “realness” and immediacy) are drawing attention away from static images.  Economically, the ubiquity of cameras and photo-overload have commodified photography, driving down prices and opportunities.  Critics even label much modern photography as formulaic.  Taken together, these factors lead some to argue that photography is being diminished or redefined, not necessarily “the future” of visual storytelling.  We examine these arguments – and then contrast them with defenses of photography’s enduring value – with examples and expert observations.

Generative AI: The Rise of “Synthetic” Images

A revolution in AI-driven image synthesis has dramatically altered the photography landscape.  Today’s tools (DALL·E, Midjourney, Stable Diffusion, etc.) can produce photorealistic images on demand without a camera.  Entire industry segments are feeling the impact.  For instance, corporate headshots and portraits – once steady income for photographers – are being undercut by AI services that “produce professional-looking portraits from minimal samples” at a fraction of the cost .  Where a photographer might charge $100–$200 per headshot (plus overhead), an AI subscription can generate hundreds of consistent-looking portraits for $29–$49 each .  Likewise, product and catalog photography is migrating to digital renderings.  Automated studios now allow a company to “deposit a product” and instantly generate perfect images against any backdrop in minutes  .  E-commerce firms report slashed costs and far faster turnaround by using CGI instead of real photos.  Even stock photography – once a semi-passive income source – is said to be “finished, completely… definitively finished” , because a designer can now type a phrase (“people in a modern office celebrating”) into an AI model and get dozens of unique, royalty-free images in seconds  .  As one analyst bluntly states, stock photographers who built passive income portfolios are “now competing against infinite free alternatives” .

In short, many routine photographic tasks are being automated.  As Fstoppers writer Alex Cooke observes, “whole segments of the profession have quietly vanished through automation” .  Entry-level photo jobs like basic retouching, headshots, and generic catalog shoots are “on finite time” unless practitioners pivot  .  AI’s cost-efficiency means clients often prefer “good enough” synthetic images over expensive photoshoots .  Even complex scenes that used to need location crews can be AI-generated, removing the need for models, crews or studios .  The bottom line is stark: many photographers find that “photography as we’ve known it will be largely diminished” unless they adapt .

Immersive Media: AR/VR and 3D Experiences

Beyond AI, immersive visual technologies are changing what we expect from imagery.  Augmented Reality (AR), Virtual Reality (VR), and real-time 3D “walkthroughs” offer experiences that static photos cannot.  In VR, users explore fully rendered environments; in AR, digital objects blend with the real world .  This shift means narratives can be interactive and multi-sensory, not just flat snapshots.  For example, architectural walkthroughs or product demos now often use 3D renderings and VR tours so viewers can “move around” a scene.  As one UX design resource notes, immersive media “engages multiple senses” and lets users “alter the course of a narrative” in ways that traditional photos cannot .

This trend redefines storytelling.  For instance, photojournalists and educators experiment with 360° and VR content to create a sense of presence – making the viewer feel “on the ground” at events – that a single photo cannot convey .  In commercial design and real estate, interactive 3D tours and AR apps are increasingly preferred over static gallery photos.  A careers blog observes that “we’re moving beyond the flat image,” as drones, 360° cameras, and AR/VR “allow for interactive visuals” that traditional photography can’t match .  In the gaming world, “virtual photography” (taking in-game screenshots) has become a recognized practice, further blurring lines between photography and digital rendering .  Taken together, these immersive formats suggest a future where images are part of dynamic experiences, not standalone artifacts.

Cultural Shifts: Authenticity, Presence, and Immediacy

Meanwhile, cultural attitudes toward images have evolved.  Many viewers now value authenticity and immediacy over polished perfection.  The rise of platforms like TikTok and BeReal highlights this.  Gen Z in particular is said to be “chasing something different: authenticity” .  After witnessing heavily filtered content, younger users welcome candid, “unfiltered” posts that look real, even if technically imperfect.  The BeReal app (posting raw simultaneous front/back camera shots once a day) exemplifies a backlash against overly staged photos .

This quest for “realness” undermines the allure of idealized photography.  If authenticity is king, AI-generated “too perfect” images may feel hollow.  Scholars note that the traditional indexical bond between a photograph and reality is weakening.  In the digital age, the “givenness” or presence that a camera image once guaranteed is no longer assumed .  In practice, people now ask: can we trust what’s in a photo?  Deepfakes and hyper-realistic CGI make even ordinary scenes suspect.  Thus, a cultural emphasis on presence and trust favors either raw capture (like live video or VR) or the photographer’s personal viewpoint over generic images.

At the same time, social media saturation has changed how people consume photography.  As one critic notes, the “number of images disseminated to the world has absolutely exploded” with smartphones and Instagram .  This glut has shifted priorities.  Users (and even photographers) often focus on quantity and viral impact: “likes and follower counts reign supreme”, encouraging one-size-fits-all “Instagrammable” shots .  The result is a kind of homogenization – the same backlit beach shot or teal-and-orange filter recycled endlessly – which some argue diminishes creativity .  In this landscape, a hand-crafted photo must compete with a torrent of simpler images.  Many observers lament that smartphone-era culture “commodifies the craft and diminishes the artistry” of photography .

Economic Pressures: Commodification and Oversupply

Economically, photography today faces fierce pressure.  The craft has been commodified: billions of snapshots flood the internet, and many photographers now compete in a race to the bottom on price.  As Fstoppers writes, “photographers working years to develop a sound style” suddenly feel forced to mimic trending aesthetics just to get noticed .  Client expectations have changed – many assume they can get adequate images for free or very cheap.  The influx of amateur smartphone shooters creates a surplus of available photos and drives down fees.  This has led to an expectation that basic photography (portraits, product shots, event photos, etc.) should be inexpensive or on-demand.

Surveys reflect this squeeze.  For example, Zenfolio’s 2025 industry report found that “seven in ten photographers reported increased business costs, while product prices did not follow suit, reducing profits.” .  Photographers also report having to diversify wildly (smartphone shooting, drone work, video) just to survive  .  Even as the number of self-employed photographers has crept up, many are working harder for less return.  A glut of hobbyists willing to work at cut-rate rates means professionals often battle “expectations for free or heavily discounted work,” further eroding livelihoods .

AI compounds these economics by threatening entire revenue streams.  As one expert notes, if a photographer’s work can be described in a formula (e.g. “shoot corporate team portraits in the office”), then AI can undercut it with mass production and lower cost  .  In fact, a recent Fstoppers analysis warns that 80% of income coming from basic e-commerce product photos or stock imagery is “on finite time” – photographers should already be planning their exit strategy  .  Supply-and-demand economics thus create a shrinking niche for conventional photography: the more generic and high-volume the work, the more it is squeezed out by cheaper alternatives.

Artistic Critiques: Are Photos Formulaic or Derivative?

Some critics go further, arguing that much contemporary photography is artistically stale.  Trend-chasing and filter apps mean that many images follow pre-set recipes (“portraits with perfect backlighting, couples holding hands walking away from the camera,” etc.), and true innovation can seem rare.  In social feeds, repetitiveness becomes apparent: a commentator notes that chasing popularity on Instagram often leads to “reinforcing the popularity of that trend,” with snap-your-fingers presets replacing creative exploration .  The ease of digital tools also means that technical “perfection” (noise-free, sharp, saturated) is no longer special.

Moreover, philosophers argue that digital and AI processes have eroded the unique status of the photograph as “an indexical imprint of reality.”  In the past, a photograph’s power lay partly in reflecting actual light from a real scene.  But as one theorist notes, today the “reality of photography is no longer dependent on the alleged indexicality” of camera capture – instead photography has become a continual “actualization of the virtual” .  In simpler terms, in an era of CGI and AI, a “photograph” can be entirely computer-generated and still look real, so the classical idea of the photo as evidence of reality is weakened.  This philosophical shift feeds artistic critique: if images are so easily generated, what makes a real photo special?  Critics ask whether photography has lost some of its authenticity and edge, becoming just one repeating style among many digital image types.

Shifting Industries and Creative Movements

Several industries illustrate the move away from pure photography.  Fashion advertising is a cautionary example: AI-generated models and outfits now threaten to replace whole photoshoots.  One analysis explains that basic catalog images can be completely AI-generated at costs 25–50× cheaper than a traditional shoot  .  In such cases, “the entire production ecosystem collapses” – no need for models, makeup artists, or crews .  Similarly, architecture and real estate have seen a surge in 3D renderings and virtual tours.  Ikea famously replaced over 75% of its catalog photos with CGI scenes years ago , a shift driven by cost and flexibility.  And professional photographers report seeing clients opt for AR/VR “experiences” (like virtual home tours or interactive brand demonstrations) instead of static photo albums.

Even creative movements signal a turn from traditional photography.  For example, some commercial designers and artists are embracing “virtual photography” – capturing images entirely within video games or simulations – as a new art form .  In social media, the aesthetic of “analogue vs digital” sometimes valorizes film and point-and-shoot snaps as a rebellion against the slick digital norm .  Collectively, these shifts suggest that many visual storytellers are exploring beyond the camera.

Nonetheless, defenses of photography’s relevance persist.  Advocates point out that real, unrepeatable moments still demand real cameras.  Weddings, family gatherings, athletic feats, wildlife encounters and social movements are examples where a human photographer’s presence captures nuances an algorithm cannot replicate .  As one photographer argues, even if AI could produce a corporate portrait, people who “truly loved taking headshots” would keep doing it out of passion .  In architecture, professionals note that renderings “can’t be infused with a true sense of place”; no digital mock-up can replace the documentary power of photographing an actual building on site .  In journalism and documentary work, the need for verifiable proof (“truth, verification, and witnessing actual events” ) keeps real photography vital.

Surveys also show resilience.  The 2025 Zenfolio report finds many photographers embracing new technology rather than abandoning the craft.  Over half of pros now use AI tools in post-production (e.g. for sky selection or background removal), not to replace their art but to speed up routine edits .  Likewise, hybrid workflows (mixing real photos with 3D elements) are growing.  Full-time photographic careers have even edged upward in recent years , suggesting the medium adapts rather than vanishes.  The photographers who “survive” the upheaval, experts predict, will be those who carve out niches where human creativity, judgment, and presence still matter   – for example, high-end editorial portraiture, documentary series, or bespoke fine art.  In short, defenders say the medium is not dead but evolving: photography now coexists with VR tours, CGI, and AI, finding its place in a richer multimedia landscape.

Conclusion

In summary, numerous arguments suggest photography’s centrality is being challenged.  Generative AI is automating many photo tasks  .  Immersive media offer alternative ways to communicate visually  .  Culturally, audiences often prize authenticity and immediacy over polished images  .  Economically, ubiquity of imaging and expectations of free content have commodified the field  .  Even the art of photography is criticized as formulaic in today’s environment.  Yet many still champion photography’s unique strengths – its ability to document reality, capture emotion, and preserve memory.  As one commentator puts it, the question may no longer be if AI and new media will transform photography, but whether photographers will adapt to remain relevant  .  The debate continues, but for now photography seems less like a dying art and more like a medium at a crossroads – constantly being redefined by the very technologies and cultures that challenge it.

Sources: Authoritative commentary and industry reports were cited throughout        . These include recent analyses from professional photographers and scholars on AI, AR/VR, social media trends, and market surveys relevant to the subject. Each source is linked in context for verification.

Executive Summary

The United States is embarking on a bold, 15-year strategic initiative to accumulate 4 million Bitcoin (BTC) as a national asset. This visionary plan spans short-term (1–3 years) foundational actions, mid-term (4–7 years) expansion, and long-term (8–15 years) consolidation. It mobilizes all sectors – federal and state governments, private corporations, financial institutions, the tech industry, and individual citizens – in a coordinated effort. The strategy is funded through innovative, budget-neutral mechanisms (leveraging existing reserves, redirected budgets, public-private investment, and blockchain-related revenues) and emphasizes ethical, legal acquisition methods (mining, market investment, ETFs, voluntary pooling, and international partnerships). Strategic objectives include enhancing economic resilience, diversifying national reserves, cementing blockchain technology leadership, and strengthening national security. This plan anticipates and addresses challenges such as market impact, global competition, regulatory frameworks, and environmental sustainability. The following report details a roadmap for this initiative, with clear milestones, roles for each stakeholder, and an inspirational vision of American leadership in the digital asset era.

Introduction: A New Frontier in National Economic Strategy

Bitcoin, often dubbed “digital gold,” has matured from a niche experiment into a credible strategic asset on the global stage . With its permanently capped supply of 21 million BTC, Bitcoin’s scarcity and security present a unique opportunity for nations that move early to incorporate it into their reserves . Just as the U.S. historically accumulated gold and foreign currency reserves, the time has come to thoughtfully manage national ownership of digital assets for prosperity .

Other countries and forward-looking leaders have begun to recognize Bitcoin’s potential. The United States itself holds a significant amount of Bitcoin from forfeitures, but until recently had no comprehensive strategy to leverage these holdings . A turning point came with high-level proposals and actions in 2024–2025, including calls for a U.S. Strategic Bitcoin Reserve and legislation to acquire substantial BTC for the Treasury . These moves signaled that Bitcoin is entering the halls of U.S. fiscal policy as a long-term store of value and hedge against inflation .

Why 4 million Bitcoin? This ambitious target – roughly 20% of Bitcoin’s eventual supply – would position America as the world’s largest Bitcoin holder, securing a dominant stake in the digital asset that could shape the future of finance. Holding such a reserve over decades is envisioned to strengthen the dollar’s resilience, hedge against economic volatility, and even help address the national debt by capitalizing on Bitcoin’s historical growth trajectory . While bold, this goal is in line with America’s tradition of thinking big and leading in new frontiers, from the space race to the internet revolution.

Core Values and Principles: This strategy aligns with U.S. values of innovation, free enterprise, and individual liberty. It relies on voluntary, market-driven participation rather than coercion – there will be no forced appropriation of private Bitcoin holdings. Instead, the government will incentivize and inspire collective action. Transparency, rule of law, and respect for property rights will be upheld at every step. By embracing Bitcoin within a legal and ethical framework, the U.S. will demonstrate how democratic societies can innovate responsibly in the blockchain era.

The following sections lay out the strategic objectives guiding this plan, the stakeholders involved and their roles, a phased roadmap across short, mid, and long-term horizons, funding sources and mechanisms, and considerations to mitigate risks. This comprehensive approach ensures that by 15 years from now, the United States will have not only accumulated 4 million BTC, but also solidified its position as the global leader in the digital asset economy – fostering prosperity, security, and technological leadership for generations to come.

Strategic Objectives

1. Economic Resilience and Inflation Hedge

Build a more resilient economy by holding Bitcoin as a hedge against inflation and macroeconomic uncertainty. Bitcoin’s provable scarcity makes it akin to a digital commodity that cannot be inflated at will . By allocating a portion of national reserves to BTC, the U.S. can protect wealth against currency debasement and reduce reliance on any single foreign creditor or currency. Over time, Bitcoin’s long-term appreciation (historically averaging ~55% annually ) offers the potential to strengthen the national balance sheet and even help pay down public debt as its value grows . This financial buffer would enhance stability during economic downturns or crises, providing a store of value that is uncorrelated to traditional markets and immune to foreign political influence .

2. Digital Reserve Diversification

Complement traditional reserves (such as gold and foreign currencies) with digital reserves. Establishing a Bitcoin reserve diversifies the nation’s holdings into a 21st-century asset class . Just as gold bolsters confidence in a country’s financial footing, Bitcoin – with its decentralized, transparent network – can serve as a trust anchor in an increasingly digital global economy. A U.S. Strategic Bitcoin Reserve would be a portfolio diversifier and innovation signal , reducing dependence on dollar-centric systems while positioning the nation for a future where digital assets play a key role in global finance . This diversification is pragmatic: it hedges against potential weakness in other reserves and embraces the evolving monetary landscape.

3. Technological Leadership and Innovation

Assert American leadership in blockchain technology and the emerging digital economy. A national effort to accumulate Bitcoin goes hand-in-hand with promoting innovation in the underlying technologies – from cybersecurity and cryptography to financial technology. By actively engaging with Bitcoin, the U.S. signals that it is the best place to develop and deploy blockchain innovations, attracting talent and investment. Strategic Bitcoin accumulation is a “statement of alignment with a digitally native economic future,” providing a blueprint that encourages private sector adoption and innovation . This objective includes fostering a robust domestic cryptocurrency industry, supporting research in energy-efficient mining and scalability, and setting global standards for blockchain use. Ultimately, it’s about ensuring the next generation of tech companies and protocols are made in America, securing our role as the global hub of blockchain development.

4. National Security and Geopolitical Influence

Enhance national security by preventing strategic adversaries from dominating the crypto realm and by leveraging Bitcoin as a geopolitical asset. In the 21st century, economic security is national security. If Bitcoin and other digital assets become integral to the world financial system, the U.S. must not fall behind. A substantial BTC reserve gives America greater influence over the future of decentralized finance, much as our gold reserves bolstered our clout in the 20th century. It also acts as a neutral reserve asset that could reinforce alliances (for example, through coordinated accumulation or exchange agreements with allies) and provide options in sanction regimes or international aid (using BTC for humanitarian payments where traditional systems fail). By leading in Bitcoin ownership, the U.S. can help set global norms (for transparency, anti-money-laundering, cyber defense) and ensure that open societies, not authoritarian regimes, shape the rules of digital finance. As Senator Cynthia Lummis noted, Bitcoin’s strategic importance for the country is such that some call it “manifest destiny for the United States” – a new frontier to secure for the nation’s freedom and prosperity.

These objectives are interlocking and mutually reinforcing. Economic strength supports security; technological leadership fuels economic growth; reserve diversification aids resilience; and all enhance America’s standing in the world. With the “why” established, we now turn to the “how” – the stakeholders and strategies that will deliver on these objectives.

Key Stakeholders and Their Roles

Achieving a goal as ambitious as accumulating 4 million BTC requires a “whole-of-America” approach, engaging public and private sectors as well as individual citizens. Each stakeholder group has unique strengths to contribute:

Stakeholder	Role in the National Bitcoin Strategy
Federal Government	Leadership & Coordination: Set national strategy and policy (e.g., through executive actions and legislation). Establish the Strategic Bitcoin Reserve as a custodian for government-held BTC . Redirect existing assets (forfeited BTC, gold reserves, etc.) into accumulation . Ensure regulatory clarity to foster innovation and protect investors. Fund R&D in energy-efficient mining and blockchain security. Integrate Bitcoin into economic planning (Treasury, Federal Reserve cooperation) as a long-term reserve asset.
State Governments	Local Innovation & Investment: Pilot state-level Bitcoin reserves and crypto-friendly policies. For example, Texas’s new law created a state Bitcoin reserve fund for long-term investment . Other states like Arizona and New Hampshire have also authorized state crypto reserves . States can leverage local resources – inexpensive energy for mining, tech hubs for startups – to support the national goal. They may also accept tax payments in crypto or create sandbox regulations to attract blockchain businesses. Healthy competition among states will drive creative approaches, all contributing to the national accumulation indirectly.
Private Corporations	Treasury Investment & Innovation: Companies are encouraged to hold Bitcoin in corporate treasuries as a hedge and growth asset, following pioneers like MicroStrategy and Tesla. Normalization of Bitcoin as a corporate asset will significantly boost national holdings . Industry consortia might form to share best practices for corporate Bitcoin custody and investment. Energy firms can partner with miners to utilize excess power, while tech firms develop new Bitcoin applications (payments, security, financial services) that grow the ecosystem. Corporate America’s financial might and innovative spirit are crucial for scaling Bitcoin accumulation.
Financial Institutions	Infrastructure & Capital Mobilization: Banks, asset managers, and financial firms integrate Bitcoin into the mainstream financial system. This includes offering exchange-traded funds (ETFs) and other regulated investment vehicles that make it easy for pensions, endowments, and individuals to invest . By providing custody, insurance, and compliance frameworks, institutions enable large-scale investment in BTC with confidence. Some institutions may allocate a portion of their own reserves to Bitcoin, and pension funds or insurance companies could follow suit under prudent guidelines, adding enormous buying power to the national effort.
Tech Sector	R&D and Sustainability: The tech community – from Silicon Valley giants to startups – drives innovation to support this plan. This means developing better blockchain infrastructure (e.g., scaling solutions like Lightning Network), improving wallet security and usability, and pioneering green mining technologies. U.S. chipmakers and data center firms can lead in designing next-gen ASIC miners and energy-efficient computing for Bitcoin. Renewable energy and grid companies can collaborate with tech firms to ensure mining is sustainable and even beneficial to grid stability (for instance, miners buying surplus renewable power to boost profitability of green energy projects ). The tech sector’s role is to make Bitcoin technology faster, safer, and more eco-friendly, aligning digital progress with American environmental values.
Individual Citizens	Grassroots Adoption & Support: Americans at large play perhaps the most important role – by learning about and responsibly using Bitcoin, they democratize the ownership of this asset. Citizens are encouraged to save and invest in Bitcoin as part of their personal finance (much like buying savings bonds or contributing to retirement accounts). Grassroots initiatives could include community Bitcoin education programs, voluntary pooling or crowdfunding of BTC for local development, and participating in public-private investment opportunities. When millions of Americans hold even small amounts of BTC, it not only boosts the national total, but also builds a constituency that understands and values digital assets. Public enthusiasm and patriotic pride in America’s crypto leadership will be key to sustaining this long-term project.

All these actors will coordinate under a shared vision. A National Digital Assets Task Force can be established to ensure communication and synergy between federal agencies, state governments, industry leaders, and community representatives. Regular summits and progress reports will keep everyone aligned. The message is clear: every American can be part of this endeavor, and everyone stands to benefit from the innovation, wealth creation, and security enhancements it will bring.

Strategic Roadmap by Timeframe

The journey to 4 million Bitcoin is mapped out in three phases – short-term, mid-term, and long-term – each with specific initiatives and milestones. This phased approach ensures steady progress while allowing assessment and course-correction at each stage. Importantly, actions are designed to minimize market disruption (accumulating gradually and via multiple avenues) and remain flexible to technological and economic developments.

Short-Term (1–3 Years): Laying the Foundation

Goals (1–3 years): Establish the legal, institutional, and infrastructural groundwork for large-scale Bitcoin accumulation. Kickstart the reserve with existing assets, enact supportive policies, and galvanize private sector involvement – all while raising public awareness. Early moves are budget-neutral or low-cost, relying on reallocated resources and voluntary participation to avoid burdening taxpayers.

• Federal Actions: The federal government leads with bold but careful first steps. A Presidential Executive Order (or action) formally establishes a Strategic Bitcoin Reserve under the U.S. Treasury , consolidating all BTC the government already holds (e.g. from law enforcement seizures). This reserve is placed under strong custodial controls and transparency requirements, so the public knows these assets are held for the nation’s benefit . Crucially, policy directs that these holdings not be sold but retained long-term as strategic assets .
  Alongside, Congress pushes forward legislation like the proposed BITCOIN Act (Boosting Innovation, Technology, and Competitiveness through Optimized Investment Nationwide) . This bill authorizes the Treasury to acquire Bitcoin over coming years using funding sources that require no new taxes – for example, Federal Reserve dividends/remittances and revalued gold reserves . In practical terms, the Treasury can revalue the U.S. gold stock (updating outdated book values) and capture the gain to purchase Bitcoin without printing new money . Similarly, any annual profits remitted by the Federal Reserve (which normally go to general funds) could be earmarked for Bitcoin acquisition. These measures keep the strategy budget-neutral, as Senator Lummis and others have emphasized .
  Regulatory agencies are mobilized to clear roadblocks: The SEC and CFTC coordinate to approve robust Bitcoin ETF products and clarify that digital assets like Bitcoin are commodities, not securities – removing ambiguity that hindered institutional investment. Banking regulators provide guidance so banks can custody crypto and count it in certain reserve calculations, under sensible risk management rules. The message from Washington is one of embrace and enable: encouraging innovation while policing fraud and illicit use. The short-term also involves the Treasury and Commerce Department studying legal frameworks for digital asset management and storage , ensuring that as the reserve grows, it’s managed prudently and securely.
• State Government Initiatives: On the state level, the pioneering actions of places like Texas become a model. Texas established a Bitcoin Reserve Fund with an initial $10 million allocation in 2025 – a largely symbolic but important first step. In the next 1–3 years, we expect several states to launch their own pilot crypto reserve programs, allocating a small percentage of budget surplus or rainy-day funds into Bitcoin. States such as Wyoming (already a blockchain trailblazer), Florida, or others rich in energy resources might join Texas, Arizona, and New Hampshire in this club of “Crypto-Forward States” .
  Additionally, states encourage Bitcoin mining and blockchain businesses to set up shop. For example, providing tax incentives or cheap leases for mining farms in areas with energy abundance (wind in the Midwest, natural gas in Texas and Pennsylvania, hydro in the Northwest). Some states may experiment with accepting Bitcoin for state services or taxes, immediately converting to BTC reserves or to dollars as needed. The aim is to integrate Bitcoin gradually into state financial operations. Education initiatives at state universities (funded by grants) will focus on blockchain tech, ensuring a skilled workforce. By the end of year 3, we envision a nationwide network of pro-blockchain states, all contributing a patchwork of BTC holdings (perhaps a few thousand BTC collectively) and, more importantly, creating an environment where Bitcoin-related activities flourish.
• Private Sector (Corporations and Financial Institutions): In the foundational stage, the government uses moral suasion and incentives to get the private sector on board. High-profile summits are held with Fortune 500 CEOs, urging them to consider holding a small allocation of their corporate treasury in Bitcoin as a long-term reserve asset (just as companies hold cash or gold). Success stories like MicroStrategy – which converted a large portion of its corporate treasury into Bitcoin – are highlighted to illustrate potential gains and strategic rationale . To support this, accounting standards are updated (the Financial Accounting Standards Board can move to allow fair-value accounting for crypto assets, so companies aren’t penalized on their balance sheets for holding BTC). The federal government could also offer tax breaks on capital gains for corporations that hold Bitcoin for a minimum period (e.g., 5+ years), reinforcing a long-term mindset and reducing fears of short-term volatility.
  Major financial institutions, for their part, roll out the red carpet for Bitcoin investment. By year 1 or 2, we anticipate at least one spot Bitcoin ETF approved in the U.S., allowing retail and institutional investors to buy BTC conveniently in brokerage accounts . Fidelity, BlackRock, and other asset managers, who have already signaled interest in Bitcoin funds, will aggressively market these as part of diversified portfolios. Banks like JPMorgan and Bank of America, which have already dipped into crypto services, expand offerings: custody solutions for high-net-worth individuals, Bitcoin savings accounts, and Bitcoin-backed loans for businesses. The presence of regulated, insured custodians addresses security concerns and makes large institutions comfortable to invest.
  In parallel, public-private investment vehicles are created. For example, a “U.S. Digital Reserve Fund” could be launched where government seed funding (say $1 billion) is matched by private investment to purchase Bitcoin and hold it for the long term. Such a fund could operate like a sovereign wealth fund for digital assets, managed by professionals with oversight from both government and private investors – aligning interests and sharing expertise. By the end of the short-term phase, the private sector’s Bitcoin holdings (corporate treasuries, ETFs on behalf of clients, etc.) should be on a clear uptrend, adding tens of thousands of BTC into American hands.
• Tech Sector and Mining: The first 3 years focus on ramping up Bitcoin mining capacity in the U.S. as a direct acquisition mechanism. With roughly 900 new BTC mined per day globally (pre-2024 halving, then ~450/day after 2024), mining is a source of “fresh” bitcoins that does not push up market price in the way large open-market buys would. The United States is already a global leader in mining – North America (led by the U.S.) accounts for a large share of the global mining industry – thanks to abundant land, energy and a stable rule of law. This advantage will be expanded. The Department of Energy (DOE) and private energy companies collaborate to launch renewable-powered mining farms. We will see more projects like retired coal plants converted to solar or natural gas facilities powering mining rigs, with agreements that miners can shut off during peak grid demand (to stabilize the grid) and run during off-peak times . Such symbiosis can even incentivize more renewable energy projects by providing a buyer for excess power that would otherwise be wasted .
  Innovation in mining tech is spurred by grants and competitions. For instance, the government might fund R&D for advanced ASIC chips and cooling systems, possibly through DARPA or the National Science Foundation, emphasizing energy efficiency and low-carbon footprint. American tech giants could enter the mining hardware space – for example, Intel announced energy-efficient mining chips in 2022; further advancements could be commercialized at scale. The goal is twofold: increase the U.S. share of global hash power (ensuring a steady inflow of mined BTC to U.S. entities) and do so sustainably. By year 3, we aim for the majority of U.S. mining to be from sustainable sources or waste energy. A recent Cambridge study already found that over 52% of Bitcoin mining’s energy worldwide comes from sustainable sources (including 9.8% nuclear and 42.6% renewables) , a figure that has been rising rapidly. U.S. initiatives can push this even higher, making American Bitcoin some of the “greenest” Bitcoin – in line with our climate goals.
• Individual Citizens: In the foundational phase, a major push is made to educate and involve the public. The government, together with nonprofit organizations and industry, will launch a “Digital Asset Literacy” campaign, akin to financial literacy programs. This will demystify Bitcoin, promote safe practices (like using reputable exchanges or wallets, understanding volatility), and highlight the long-term benefits of holding a small amount as savings. Inspiration and inclusion are key: Americans should feel they are part of a historic mission – much like buying war bonds in the 1940s or participating in Victory Gardens, but for the digital age.
  One idea is to introduce “Bitcoin Savings Bonds” or patriotic crypto bonds. While the U.S. Treasury cannot take citizens’ Bitcoin, it can offer bonds or Treasury certificates whose proceeds are explicitly used to buy BTC for the national reserve. These bonds would pay a modest interest and perhaps a bonus indexed to Bitcoin’s price over a number of years, giving citizens a safe, government-backed way to indirectly be part of Bitcoin’s growth. It’s a voluntary program: those who wish to support the initiative and invest in America’s future can participate with as little as, say, $50 – lowering the barrier for ordinary Americans. This not only funds reserve purchases but also broadens public buy-in.
  Additionally, policies might exempt small Bitcoin holdings from capital gains tax after a certain holding period (for example, no tax on gains for holdings under $1000 if held 5+ years), to encourage long-term saving in Bitcoin. Employers could be encouraged (but not required) to offer salary or 401(k) options in Bitcoin for employees who are interested, following the example of some city mayors who opted to take paychecks in BTC as a show of confidence . By the end of this phase, millions of Americans should have had exposure to Bitcoin, either directly or via ETFs/retirement accounts, firmly integrating Bitcoin into the fabric of American investment culture.

Milestones for Phase 1:

• Creation of the U.S. Strategic Bitcoin Reserve office and initial seeding with government-held BTC (targeting at least 50,000+ BTC from forfeitures and small market buys).
• Passage of supportive legislation (e.g., BITCOIN Act) or inclusion of Bitcoin reserve funding in budget processes, ensuring no new taxes are levied for these efforts .
• At least 5-10 states initiating state Bitcoin funds or mining projects, signaling broad state-level engagement .
• Approval of a U.S. spot Bitcoin ETF and rollout of crypto custody by major banks, leading to an influx of institutional and retail investment (with a goal of adding hundreds of thousands of new U.S. Bitcoin investors).
• Significant expansion of U.S. mining capacity with a focus on sustainable energy – aim for U.S. entities to consistently account for a large share of new BTC mined (with >50% sustainable energy mix for U.S. mining ).
• Launch of at least one public-private Bitcoin investment fund and a patriotic savings bond program, raising public participation and funding for further BTC purchases.
• National sentiment shift: by year 3, Bitcoin is increasingly seen not as a fringe speculation, but as a mainstream strategic asset – with government officials, CEOs, and news outlets discussing it in the context of national interest and future prosperity.

With the foundation laid and early momentum achieved, the stage is set to accelerate into the mid-term phase.

Mid-Term (4–7 Years): Scaling Up and Integration

Goals (4–7 years): Rapidly scale the accumulation efforts while integrating Bitcoin more deeply into U.S. economic structures. In this phase, the aim is to go from hundreds of thousands of BTC to millions of BTC under American ownership. The federal government, having proven the concept and established trust in phase 1, can expand its holdings more aggressively (market conditions permitting), and the private sector’s involvement becomes self-sustaining. This phase will likely coincide with greater global attention – both cooperation and competition – which the U.S. must navigate wisely.

• Federal Actions: By year 4 or 5, the U.S. Treasury – via the Strategic Bitcoin Reserve mechanism – begins systematic accumulation of Bitcoin. Depending on market liquidity, a target rate could be set (for example, acquiring 200,000 BTC per year for 5 years, as one proposal outlined ). These purchases will be executed with minimal market disruption: through OTC (over-the-counter) trades, strategic buys during market dips, and possibly through algorithmic “smoothing” that buys small amounts continuously to avoid spikes. The Treasury can also use Bitcoin price weakness to its advantage – similar to how the Strategic Petroleum Reserve buys oil when prices are low.
  Funding for these purchases continues to emphasize budget neutrality. By now, the earlier gold revaluation and Fed remittance strategies may have created a pool of dollars earmarked for Bitcoin (potentially tens of billions of dollars over several years). If Bitcoin’s price has risen, the Reserve’s existing holdings will have appreciated; leveraging that, the Treasury might issue Bitcoin-backed bonds or use the appreciated BTC as collateral to borrow funds for further purchase – effectively bootstrapping the reserve without new taxpayer funds. Additionally, savings from other budget areas could be redirected – for instance, if defense spending is streamlined by efficiencies or if there are leftover funds from winding down certain programs, those could be reallocated to the digital reserve as a forward-looking investment in national strength.
  By mid-term, it’s plausible that Bitcoin will be recognized as a formal reserve asset internationally, perhaps discussed in forums like the G20 or IMF (if not officially by central banks yet, at least as part of sovereign wealth strategies). The U.S. should lead in creating a cooperative environment: for example, coordinating with allies (Europe, Japan, others) on fair guidelines so that allied nations accumulating Bitcoin doesn’t turn into a zero-sum race but rather a collective strengthening (while still staying ahead of adversaries). Diplomatic channels might be used to share best practices for custody and to ensure no single hostile actor corners too much of the supply.
  Importantly, the Federal Reserve may start to acknowledge Bitcoin in its policy orbit. While the Fed might not add BTC to its own balance sheet in this period, it could work with the Treasury to treat the Strategic Bitcoin Reserve as a complementary reserve much like Special Drawing Rights (SDRs) or gold. The Fed can also study the financial stability implications of large Bitcoin reserves, ensuring any risks (like price volatility) are mitigated, perhaps by adjusting capital requirements if banks hold too much unhedged crypto, etc. The overarching federal stance in mid-term is one of normalization and integration: Bitcoin is now a fixture in government financial strategy, with regular reports to Congress on the reserve’s status and its role in the broader debt and reserve management.
• State Governments: By years 4–7, what was initially symbolic state participation grows into substantive programs. States that saw success or positive publicity in phase 1 may increase their allocations – for instance, a state that put $5 million could raise it to $50+ million, especially if their initial investment has grown in value. Resource-rich states might embark on state-run mining enterprises: envision state public utilities or partnerships launching mining farms, where a portion of the BTC mined goes into state coffers to fund public services (education, infrastructure). This could be particularly appealing to states with struggling rural economies – mining operations can create jobs in areas with cheap land and power.
  Additionally, some states may begin to integrate Bitcoin into pension or investment funds in a prudent manner. For example, a large state pension fund might allocate a small percentage (~1-2%) of assets to Bitcoin or Bitcoin ETFs, recognizing the asset’s long-term appreciation potential and diversifying the retirement portfolio for teachers or state employees. This would significantly boost U.S. holdings (state pension funds collectively manage trillions of dollars, so even a tiny slice is huge). However, this would be done cautiously, likely after seeing a few more years of market maturation to satisfy fiduciary duties.
  On the legislative front, more states will pass crypto-friendly laws: establishing legal clarity for smart contracts, allowing corporations to hold crypto assets under state law, perhaps enabling state-chartered crypto banks (following Wyoming’s lead). By mid-term, we might even see a compact among pro-Bitcoin states – an “Interstate Blockchain Coalition” – to share strategies and maybe negotiate as a bloc for federal support or consistency in regulations. States will remain the “laboratories of democracy,” trying diverse approaches (e.g., one state might issue a Bitcoin-denominated municipal bond, another might give tax credits to crypto startups, etc.). These experiments all contribute to the national accumulation indirectly by fostering an ecosystem where more BTC flows into U.S. hands and stays here.
• Private Corporations: The mid-term phase is when corporate adoption of Bitcoin could snowball. By year 5 or 6, if Bitcoin’s trajectory remains positive, holding a percentage of reserves in BTC might become a norm for forward-thinking companies. We might see a “Second Wave” of corporate BTC treasuries: beyond tech firms, mainstream companies in industries like retail, manufacturing, and pharmaceuticals taking the plunge. For example, an S&P 500 consumer goods company might put 2% of its $10 billion treasury into BTC as an inflation hedge – a conservative move individually, but across many firms this substantially raises national holdings.
  The federal government can encourage this with subtle measures: publishing guidelines for corporate officers on fiduciary considerations of digital assets, perhaps even suggesting that under certain conditions it is prudent to have diversified reserves (which could implicitly endorse some BTC exposure). The legal safe harbor might be provided so boards feel safe from shareholder lawsuits if they hold a small Bitcoin position responsibly. High-profile endorsements will help too – by this time, we may have prominent billionaire CEOs or investors (the likes of Elon Musk, Michael Saylor have already, but others could join) vocally supporting Bitcoin as a key asset. Their leadership can influence peers.
  In the tech sector, specifically, we expect deeper integration of Bitcoin into products and services. Major payment platforms and fintech apps will fully incorporate Bitcoin: think Paypal, CashApp, Visa/Mastercard networks all seamlessly handling BTC transactions. Apple, Google, or other giants might enable secure Bitcoin wallet features in phones or offer crypto rewards to customers – making the user experience frictionless. This drives individual adoption (increasing the count of BTC held by Americans) and signals corporate belief in Bitcoin’s value.
  Furthermore, entirely new business models will emerge. For example, as Bitcoin and Lightning Network usage grow, companies might earn BTC through microtransactions (content platforms, IoT devices paying each other in satoshis, etc.). U.S. startups at the forefront of “Web3” and decentralized finance might create services where Bitcoin is locked or collateralized, indirectly bringing more BTC under U.S. influence even if the protocols are global. The private sector’s creativity will be an engine in this phase – we can anticipate services that monetize small BTC holdings (like earning yield through decentralized lending) which could attract even more people to hold some BTC rather than letting it sit idle.
• Financial Institutions: By the mid-term, Wall Street and the crypto world are fully intertwined. Multiple Bitcoin and crypto ETFs, including perhaps a government-endorsed one that directly contributes to national reserves, are in the market. Institutional custodians (like Fidelity Digital Assets, Coinbase Custody, etc.) by now could be holding and managing millions of BTC for clients worldwide, with a large share belonging to U.S. investors. The U.S. financial sector may even develop new instruments: for instance, Bitcoin-backed government bonds. One concept is that the Treasury could issue bonds that pay interest in Bitcoin or are redeemable in Bitcoin at maturity – effectively blending traditional finance with crypto. This would attract crypto-native capital to finance U.S. debt while increasing the Treasury’s BTC holdings.
  Another avenue: stablecoins and digital dollars. By this time, the U.S. might have a regulated stablecoin or Central Bank Digital Currency (CBDC). While separate from Bitcoin, a vibrant stablecoin ecosystem (especially one regulated under acts like the proposed GENIUS Act for stablecoins ) would complement Bitcoin by bringing more blockchain infrastructure under U.S. oversight. Banks could use stablecoins for settlement and hold Bitcoin as part of reserves to back some digital liabilities, in a modern version of the gold standard (except Bitcoin standard, perhaps informally). This interplay is complex, but the key is U.S. banks and financial firms treat Bitcoin as a legitimate asset class by mid-term – including offering Bitcoin-denominated accounts or loans to clients.
  We may also see U.S. financial institutions facilitating international Bitcoin flows: acting as intermediaries when other nations or large entities want to buy or sell Bitcoin. This not only earns fees for U.S. firms but ensures that big liquidity flows pass through U.S.-regulated channels, giving some visibility and influence. By providing deep, reliable markets, U.S. exchanges and banks could attract foreign holders to trade or even custody their BTC in the U.S. for safety – effectively increasing the share of global BTC under U.S. custodianship even if not all “owned” by Americans. This soft power through financial plumbing should not be underestimated.
• Technology & Sustainability: In years 4–7, U.S. technological leadership in the Bitcoin space should be evident. The country fosters a robust ecosystem of Bitcoin software developers, hardware manufacturers, and energy technologists. Possibly, a U.S. company or consortium will implement large-scale Bitcoin layer-2 solutions (like an enhanced Lightning Network infrastructure) that make transacting in BTC instantaneous and nearly free, further boosting adoption. The government can assist by adopting Bitcoin or Lightning for certain uses, e.g., foreign aid disbursements via Bitcoin for transparency, or defense contractors being paid via blockchain for speed (as pilots).
  On mining, by this stage, U.S. mining operations may have expanded to cutting-edge realms. There could be mining farms co-located with solar farms in deserts, using batteries to smooth power; off-grid mining using flare gas mitigation (which not only yields BTC but reduces pollution from flaring – a win-win for environment ); and even experimental projects like ocean thermal mining or satellite-based mining if feasible (private space companies might look at using excess power in space or remote locations for mining – speculative, but not impossible in a 7-year timeframe). The environmental sustainability of Bitcoin will continue improving: the Cambridge study already noted the decline of coal to only ~8.9% of mining energy and rise of gas and renewables . By supporting these trends (perhaps implementing a carbon credit program for green miners, or a voluntary certification), the U.S. ensures that scaling up Bitcoin does not conflict with climate goals. In fact, Bitcoin can drive investment into renewables by providing a flexible demand source.
  Another tech aspect is security: as national holdings grow, securing them against theft or cyberattack is paramount. The mid-term will see advanced custody solutions, like multi-signature vaults distributed across different agencies or even geographies (to guard against a single point of failure). The U.S. might employ its cybersecurity experts (NSA, CISA) to audit and harden Bitcoin storage solutions. Additionally, planning for post-quantum cryptography should start now – ensuring that if quantum computers threaten Bitcoin’s cryptographic algorithms in the future, the U.S. will be ready to upgrade keys and support the network through any transitions. All this technical groundwork in mid-term guarantees that when the U.S. holds a massive Bitcoin trove, it remains secure and resilient.
• Individual Citizens: By the midpoint of the plan, the presence of Bitcoin in everyday American life could be commonplace. Many citizens might hold a portion of their savings in BTC, either directly or through funds. The government’s open support and the normalization by institutions likely means public trust in Bitcoin has grown (contrast to early skepticism). We will continue public education, focusing now on inclusive prosperity – making sure all demographics have access to the tools and knowledge to benefit from Bitcoin’s rise, not just the early adopters or wealthy. Libraries, community colleges, and online programs could offer free courses on crypto basics, sponsored by public-private partnerships.
  There could also be an element of gamification or community drives: for example, a national challenge to get “Bitcoin in every home” – maybe through an airdrop or matching program for small purchases. While direct government giveaways of Bitcoin might not happen (to avoid picking winners and due to budget), partnerships with fintech companies could see promotional BTC given to new users of wallets, etc., subsidized by marketing budgets rather than taxes.
  Meanwhile, the concept of voluntary pooling for national goals could take shape in charitable or investment forms. Perhaps a nonprofit “America Bitcoin Trust” is created, where private donors can gift BTC to the nation (some patriotic millionaires might do so for legacy, just as people donate art to national museums). The donated BTC could be held in the Strategic Reserve with recognition given to donors. Alternatively, community Bitcoin funds might form – for instance, a city’s residents pooling funds to invest in Bitcoin and later use gains to improve local infrastructure. If such stories emerge (imagine a town that paid for a new park or school from Bitcoin investments), they will further cement Bitcoin’s positive image domestically.

Milestones for Phase 2:

• U.S. Strategic Bitcoin Reserve surpasses 1 million BTC (cumulatively) by around year 5–6 , thanks to systematic purchases and appreciation. This would be a symbolic achievement (around 5% of total supply, depending on how much is lost/unmined).
• Passage of refined regulations: e.g., a clear tax regime for crypto, possibly lower capital gains tax rates for long-term Bitcoin holding to encourage retention, and updated securities laws to accommodate tokenized assets and Bitcoin products (while ensuring consumer protection).
• At least half of U.S. states (25+) have enacted some form of crypto-friendly legislation or investment program. A few key states have significant Bitcoin reserves (hundreds or thousands of BTC) and/or run successful mining operations funding public projects.
• Corporate adoption: Aim for 50+ major corporations holding Bitcoin on their balance sheets, and many more small and medium businesses accepting or using BTC in operations. The notion of Bitcoin as a standard reserve asset for companies becomes uncontroversial.
• Financial integration: Bitcoin ETFs and funds could collectively hold millions of BTC on behalf of U.S. investors. U.S. exchanges remain dominant in trading volume. Possibly, a U.S.-based exchange-traded product might be among the world’s largest holders of Bitcoin.
• Technological strides: U.S. share of global hash rate remains strong or grows (targeting perhaps >50% of global hash rate if environmentally sustainable, ensuring network influence). Sustainability metrics for U.S. mining improve (e.g., >70% renewable/nuclear energy usage in U.S. mining operations).
• Global cooperation: The U.S. leads an international dialogue on crypto reserves. Ideally, a coalition of democracies holding Bitcoin emerges, counter-balancing any accumulations by less friendly actors. The U.S. could have formal or informal agreements with allies about mutual support in crypto markets during crises.
• Public sentiment: By year 7, Bitcoin may be seen similarly to how the internet was by the early 2000s – an inevitable part of life and progress. Skepticism remains in some quarters, but broad understanding exists. Importantly, Americans feel ownership of this success: much like national pride in the moon landing, there’s pride that the U.S. embraced Bitcoin innovation and didn’t try to stifle it.

At the end of the mid-term phase, the U.S. should be well on its way to the 4 million BTC goal, possibly around halfway there, and the foundations of a crypto-powered economy fully laid. The final phase will focus on securing the gains and leveraging them for enduring advantage.

Long-Term (8–15 Years): Leadership, Preservation, and Prosperity

Goals (8–15 years): By this phase, the United States envisions reaching the 4 million BTC target and solidifying the permanence of Bitcoin in its national asset mix. The focus shifts from aggressive accumulation to sustainable management and utilization of the reserve as needed for the national interest (without ever undermining Bitcoin’s ecosystem). America’s leadership in the blockchain space should be unquestioned by year 15, and the strategic Bitcoin reserve serves as a foundation for economic strength, much like gold did in previous eras. This period also involves adapting to any new developments (technological, geopolitical) that could affect our Bitcoin strategy.

• Federal Actions: If the earlier phases are successful, by year 8–10 the U.S. Treasury will have accumulated on the order of 1–2+ million BTC or more (in its own reserves plus indirectly via funds), with additional millions held across the private sector and citizenry. Continuing the trajectory, the 4 million BTC mark could be hit by year 15 or earlier, depending on market availability and price (note: as Bitcoin’s price likely increases significantly over a decade, acquiring each additional BTC could become very expensive – which is why front-loading some accumulation in earlier phases is wise).
  At this stage, the government’s role is to prudently manage and protect the national Bitcoin trove. Policies will likely state that the strategic reserve is a permanent holding – selling is off the table except under extraordinary circumstances (analogous to how Fort Knox gold isn’t casually sold). This instills global confidence that the U.S. is treating Bitcoin as a long-term store of value. However, leveraging the reserve for national benefit is possible without selling: for instance, the government could borrow against its Bitcoin in a crisis rather than sell it, or use it in swap agreements with other nations in tightly controlled exchanges.
  The federal government also monitors and mitigates any systemic risks. By year 10+, Bitcoin could be a multi-trillion-dollar asset; a sharp swing in its value might have economy-wide impacts if everyone is exposed. The Fed, Treasury, and financial regulators would develop tools akin to today’s stress tests – ensuring banks or funds aren’t over-leveraged on Bitcoin, and the economy can weather volatility. If Bitcoin’s volatility dampens as it matures (which is possible if it becomes as broadly held as gold), it might be less of an issue . In any case, integrating Bitcoin into the fabric of macroeconomic policy will be an ongoing task. We might see, for example, the Fed including crypto market analysis in its reports, or even using blockchain data as economic indicators.
  The U.S. could also consider establishing a formal sovereign wealth fund for digital assets if not already done – an entity that manages part of the reserve and possibly invests in related technologies or yield opportunities in a controlled manner. For instance, a fraction of the national BTC could be deployed in ultra-secure lending platforms to earn interest, which is then turned back to public coffers. Any such activity would be cautious to avoid losing the principal, but given Bitcoin’s programmability, there could be novel ways to put holdings to work without selling them (like the concept of “Lightning channel pools” to earn transaction fees while helping the network – technical but feasible).
  Geopolitically, by year 15 Bitcoin might feature in international agreements. The U.S. may leverage its leadership to promote global stability in crypto markets. Perhaps treaties or accords ensure nations don’t use state-owned Bitcoin to manipulate markets maliciously. If adversaries have acquired BTC, the U.S. holding a larger amount acts as a deterrent to any attempts to destabilize the crypto economy (similar to nuclear deterrence logic, though economic). The U.S. can also use some Bitcoin diplomatically: for example, extending aid in BTC to allies under sanction (imagine bypassing certain financial blockades to provide relief, which Bitcoin can enable) – thereby using our reserve in support of freedom and humanitarian values.
• State Governments: In the long run, states that invested early in Bitcoin might find themselves with significantly strengthened finances. For example, if a state’s $10 million pilot reserve became $100 million or more after a decade of Bitcoin’s growth, that’s a windfall that can bolster pension funds, infrastructure budgets, or allow tax relief. Success stories will prompt even late-adopting states to join in. By year 15, it’s conceivable that every state has some form of digital asset holdings or involvement, even if symbolic. State governments also integrate blockchain tech more fully: perhaps using Bitcoin or other blockchains for transparent budgeting and expenditures (citizens could monitor where funds go in real-time on a blockchain ledger). Some states might launch state-backed stablecoins or use tokens for local governance.
  Importantly, the interstate collaboration could lead to harmonized regulations – making it easy to use Bitcoin across state lines (no patchwork of contradictory laws). States will also continue to be incubators for technology: their universities producing blockchain experts and their local policies trialing innovations (like DAO-based governance for some public functions, or digital ID systems, etc.).
  States rich in natural resources could by now have integrated Bitcoin mining into their energy grid management fully. For instance, Texas might have formal programs where during energy surplus, state-sponsored miners soak up the excess, and during shortages, miners shut down to free capacity – creating an efficient market that also yields Bitcoin for the state. Environmental agencies at the state level will have established guidelines making sure mining operations meet emissions or land use standards, proving that the environment and Bitcoin growth can coexist.
• Private Sector: In the long-term horizon, we anticipate Bitcoin and blockchain to be as common in business as internet technology is today. Corporations might not even discuss holding Bitcoin as something unusual – it could be just another line item in financial reports, akin to foreign currency holdings. Many companies could be partially or wholly transacting in crypto, especially if global trade starts seeing Bitcoin or stablecoins as common settlement media.
  The combined holdings of U.S. publicly traded companies could easily reach into the millions of BTC if trends continue. For perspective, companies like MicroStrategy acquired over 150,000 BTC by 2023; extrapolate to dozens of companies and the number soars. Moreover, new American millionaires and billionaires created by the crypto boom would invest in the U.S. economy, start new ventures, or endow philanthropies – a virtuous cycle of wealth creation feeding innovation and social benefit.
  The tech giants of 15 years from now might be those who mastered blockchain. It’s possible that by then, some of today’s big players (Google, Amazon, etc.) have deeply integrated blockchain for cloud services, or new giants have arisen specifically from crypto (maybe a future “Crypto Amazon” that operates a decentralized marketplace). The U.S. private sector’s agility and creativity ensure that the nation continuously capitalizes on blockchain innovations, from AI-integrated smart contracts to perhaps even biotech or supply chain systems running on blockchains. All of this reinforces the value of the national Bitcoin reserve by maintaining the relevance and utility of the Bitcoin ecosystem.
  Private financial institutions by year 15 would have gone through and refined at least one Bitcoin market cycle (since historically Bitcoin has booms and corrections). They will have risk management perfected for this asset class. Bitcoin might even be used in cross-border interbank settlements if it proves efficient (somewhat replacing a portion of what is done via SWIFT or forex exchanges, especially between allied countries who trust Bitcoin’s neutrality). U.S. banks could be the global clearinghouses for crypto transactions, extending America’s financial dominance into the crypto age.
• National Security & Defense: A unique aspect by this time might be the direct consideration of Bitcoin in national defense planning. For example, the Department of Defense might hold some Bitcoin to potentially fund operations outside of normal channels in emergencies (since BTC can be moved globally quickly). Cyber defense units will actively protect not just government crypto but also watch for attempts to attack the Bitcoin network itself (51% attacks, etc.), since it would be considered critical infrastructure. The U.S. could even contribute to Bitcoin network security by running government-operated full nodes around the world and maybe mining in secure locations (ensuring that no hostile entity can easily dominate mining).
  There’s also the realm of intelligence: understanding who else holds significant BTC and their intentions becomes strategic. The transparency of Bitcoin (every transaction is visible on-chain) paradoxically can aid law enforcement and intelligence in tracking illicit finance more easily than cash. So by 15 years, the U.S. may have turned what some saw as a tool for criminals into a powerful tool against criminals, through advanced blockchain analytics. This further underpins why holding and controlling a good share of Bitcoin supply is beneficial – it gives the U.S. both visibility and leverage in the new digital financial order.
• Individual Citizens: In the long run, the American people stand to reap the benefits of this strategic shift. By year 15, if Bitcoin’s global success continues, many early individual adopters could find their modest holdings grown substantially, contributing to increased household wealth. More broadly, the national reserve’s gains could be used to strengthen the economy that citizens live in – possibly reducing the tax burden or funding social programs from the proceeds of Bitcoin investments rather than from debt. For instance, there could be a future where a portion of Medicare or Social Security is sustained by returns from the national digital asset portfolio – truly converting digital innovation into social dividends.
  Culturally, the stigma or uncertainty around Bitcoin will likely diminish. Young Americans in 2040 (those born in the 2020s) will have never known a world without cryptocurrency. They might find it completely natural that their country took this path, just as earlier generations took the dominance in internet and tech for granted. We foresee a population that is financially savvy and tech-forward, comfortable using digital wallets as easily as credit cards. The inspirational aspect cannot be overstated: seeing America lead in a new domain will instill confidence and optimism. The narrative will be that the U.S. didn’t fear the future – we faced it and shaped it.
  Citizens will also benefit from thousands of new companies and jobs created in the blockchain sector – from software developers to legal experts to energy technicians maintaining mining farms. This industry’s growth keeps America economically competitive and provides high-paying jobs, many in rural or economically challenged areas (since mining can be located anywhere with power, it’s more geographically flexible than many industries).

Milestones for Phase 3:

• The United States (government + private sector + citizens) achieves aggregate holdings of ~4,000,000 BTC, representing a significant share of circulating Bitcoin. This includes, ideally, at least 1–1.5 million BTC in the Strategic Reserve alone (the rest distributed among corporations, financial institutions, and individual holders).
• Bitcoin is formally acknowledged in national financial statements and reports. For example, annual Treasury reports list the BTC reserve alongside gold holdings. The Federal Reserve perhaps incorporates digital assets in its flow of funds accounting.
• The U.S. leads an international agreement or framework on digital asset reserves, promoting responsible state behavior with crypto (preventing market manipulation, ensuring transparency of state holdings to build trust, etc.).
• Technological resilience: By year 15, Bitcoin’s infrastructure is even more robust – U.S. has contributed to implementing quantum-resistant solutions if needed, and the network has proven secure against threats. U.S. research labs and companies may have pioneered these next-gen security measures.
• Environmental goal: Bitcoin mining is no longer seen as an environmental villain. Through U.S. innovation and leadership, the global Bitcoin mining industry might approach carbon-neutrality. Perhaps 90%+ sustainable energy use is achieved, with mining being an integral part of balancing and funding renewable grids (a success story of turning a challenge into an opportunity).
• Economic impact: If Bitcoin’s value has grown as expected, the U.S. may use some of the value appreciation to dramatically improve its fiscal position. There could be scenarios by 15 years where the national debt is reduced not by austerity, but by the windfall from early Bitcoin investments – a truly remarkable outcome that earlier seemed far-fetched . Even if not fully eliminating debt, the interest from Bitcoin-backed funds or strategic sales at opportune moments (very limited) could fund critical projects (infrastructure, space exploration, etc.) without burdening taxpayers.
• By the end of this period, Bitcoin (and perhaps select other digital assets) would be firmly embedded in the U.S. economic and strategic paradigm. Future policymakers will treat it as a given component of reserves, much like foreign currency reserves or gold. The initial controversies will have faded, replaced by a bipartisan consensus that America did the right thing by embracing innovation. The country stands as the undisputed leader in the global digital economy, much to the benefit of its citizens.

Funding Sources and Mechanisms

A variety of funding sources and mechanisms are employed across these phases to finance Bitcoin accumulation in a sustainable, ethical manner. Below is a summary of key funding approaches, emphasizing creativity and public-private collaboration:

Funding Source / Mechanism	Description & Rationale	Example / Status
Existing Government Reserves	Redeploy value from current assets to Bitcoin. This includes revaluing underutilized assets (like gold) or using foreign currency reserves strategically. Because U.S. gold is carried at a historic fixed price, an update to market value yields a significant accounting gain, which can be converted into BTC without new debt .	Ex: Revalue gold certificates (from $42/oz to market $2000/oz) and use the windfall ($500 billion potential) to buy Bitcoin . Treasury already studying optimal legal channels for such transfers .
Redirected Federal Budgets	Identify federal programs or funds that can be reduced, optimized, or concluded, and redirect a portion of those savings to Bitcoin acquisition. Also allocate a small % of annual budget specifically as an investment in the Strategic Bitcoin Reserve, framing it as intergenerational asset investment. Keep allocations modest to avoid crowding out current needs, and emphasize long-term return.	Ex: A 1% efficiency saving across a $1 trillion budget section (e.g., discretionary spending) yields $10B/year for BTC. Also, if defense tech advances allow cost cuts, a portion of the “peace dividend” could fund digital reserves – aligning future security investment.
Tax Revenues and Fees	Without creating new taxes, leverage incremental revenues from the crypto sector itself. As the industry grows, tax receipts from crypto capital gains, corporate profits of blockchain companies, and sales tax from crypto-related commerce will rise. Earmark a fraction of these new revenues for reinvestment into Bitcoin. Additionally, consider small transactional fees: e.g., a minuscule excise fee on large crypto transactions or exchange activities, funneled to the reserve. The key is any fee should be low enough not to stifle innovation (pennies per $100, potentially).	Ex: Suppose crypto-related economic growth yields an extra $5B in federal tax receipts annually; direct 20% of that ($1B) to BTC purchases. Some countries fund sovereign wealth funds from natural resource taxes – here, the “digital resource” of blockchain innovation can analogously fund a reserve.
Public-Private Investment Vehicles	Create investment funds or vehicles where government seed capital attracts larger private co-investment to buy Bitcoin. This spreads risk and engages market expertise. The government can act as a minority partner or guarantor, nudging private capital to join national goals. Such funds could also invest in Bitcoin infrastructure (mining facilities, blockchain startups) with a portion of profits accruing in BTC.	Ex: A National Bitcoin Trust is formed with $10B from Treasury and $30B from pension funds, tech companies, and allied sovereign funds, collectively targeting to acquire e.g. 200,000 BTC over several years. The fund’s structure ensures professional management and that the government’s share of BTC cannot be sold without consensus, reinforcing long-term holding.
Blockchain-Related Revenues	This innovative category involves the government directly earning Bitcoin through blockchain participation. Two main avenues: (1) Mining revenues – government or public-private mining operations produce BTC at near cost. (2) Staking / Node incentives – although Bitcoin doesn’t have staking, if the U.S. engages with other networks (like Ethereum post-merge, if relevant to strategy) any earned crypto could be converted to BTC. Another idea is leveraging U.S. technological prowess to capture transaction fees: running Lightning Network nodes or other service nodes that earn small BTC fees, scaled nationally.	Ex: A federal renewable mining initiative deploys mining rigs at hydro plants; it mines, say, 5,000 BTC a year, which are sent to the Reserve. Additionally, the U.S. Postal Service could run Bitcoin Lightning nodes in its offices (hypothetical scenario) earning fees that accumulate to a national wallet – symbolically letting everyday transactions feed the reserve. These approaches also improve network decentralization.
Voluntary Citizen Contributions	Mechanisms for Americans to voluntarily contribute to the national Bitcoin accumulation. This taps into patriotic sentiment and the appeal of being part of a big mission. Options include special savings bonds (where individuals’ money is used by government to buy BTC, and they get a guaranteed return plus a Bitcoin-pegged bonus), charitable donations to government-held funds (with recognition or minor tax benefits), or crowdsourced initiatives where communities invest together for local/national benefit. While contributions won’t cover the bulk of 4 million BTC, they promote public ownership of the effort and can still raise significant amounts.	Ex: The Treasury issues “Freedom Bitcoin Bonds,” $500 minimum, 10-year maturity. The money raised buys BTC for the Reserve. At maturity, holders get back their $500 plus interest, and a bonus that is a percentage of the BTC price increase (if any). Alternatively, a “Donate Bitcoin to America” program could see philanthropic gifts – imagine a tech billionaire donating 10,000 BTC to the national reserve as a legacy project, which is not inconceivable in a culture that celebrates such contributions.

All these funding sources share a common theme: they are ethical, transparent, and largely voluntary/market-driven. The plan pointedly avoids any coercive measures like forced confiscation or heavy new taxation that would contradict the values of a free economy. By tapping into existing value, future growth, and willing participation, the U.S. can accumulate Bitcoin in a way that strengthens rather than burdens the nation.

It’s worth noting that as Bitcoin’s price potentially grows, the dollar cost of reaching 4 million BTC will increase. Thus, early funding (short-term) gets more “bang for buck” in BTC terms, while later on the focus might shift to maximizing value of holdings rather than chasing a numeric BTC total at any cost. Flexibility in funding strategy will be maintained – if Bitcoin’s market is overheated, the U.S. can pause buys and rely more on mining or wait for corrections, for example.

Ethical, Legal, and Security Considerations

A plan of this magnitude raises important ethical and legal considerations, which are addressed proactively to ensure the initiative upholds American values and the rule of law:

• Legal Framework: The accumulation strategy operates within existing U.S. law and seeks new legislation only where necessary. The BITCOIN Act and related executive actions provide the legal basis for Treasury to hold and manage crypto assets . All acquisitions of Bitcoin by the government will be done through lawful means – purchases on open markets, partnerships, or mining – with full accounting. No private holdings will be taken or nationalized; this is a voluntary wealth-building exercise, not an expropriation. As new laws are passed (e.g., clarifying tax treatment, allowing state investments, etc.), they will be debated democratically and made transparent. The judiciary would maintain oversight as needed, and any disputes (such as regulatory turf battles between agencies) will be resolved through established legal processes. Essentially, we treat Bitcoin like any strategic asset, subject to checks and balances.
• Ethical Acquisition: The plan emphasizes ethical means of acquiring Bitcoin. This means no market manipulation, no exploitation of other nations, and no compromising on principles. For instance, if the U.S. enters bilateral agreements involving Bitcoin, it will be in the spirit of mutual benefit – say, helping a developing country build a renewable mining industry so they earn income in BTC, while the U.S. might get a portion of that BTC or a stake in the operation. Such arrangements can be win-win and transparent, avoiding any neo-colonial overtones. Domestically, if voluntary citizen programs are launched, they will come with clear disclosures of risks (since Bitcoin can be volatile) and entirely optional participation. The government’s role is to facilitate and maybe match contributions, not pressure anyone to convert their savings.
• Market Impact and Fairness: A critical ethical aspect is ensuring the U.S.’s large-scale buying doesn’t unduly distort the market to the detriment of others. The phased, multi-channel approach is our solution: by spreading accumulation over many years and relying partly on mining (new supply) and organic private uptake, we mitigate sudden price spikes. Large purchases will be done discreetly via OTC with cooperation from major exchanges to prevent front-running or flash crashes. If despite precautions U.S. actions seem to be driving up price too fast, the strategy can adjust (pause buys and focus on mining for a period, for example). We want a stable growth in Bitcoin adoption, not a bubble. Fairness extends globally – smaller countries or investors should not feel locked out by U.S. dominance. In fact, U.S. leadership can bring stability that benefits all Bitcoin holders (government participation tends to legitimize and stabilize ). The U.S. could also assist allies to start their own modest reserves, as long as it doesn’t jeopardize our goals, fostering a collaborative atmosphere.
• Transparency and Accountability: The management of the Strategic Bitcoin Reserve and any related funds will be highly transparent. Regular reports to Congress and the public will detail how much BTC is held, how it was acquired (while perhaps keeping exact timing/trade details confidential to protect strategy), and how it’s stored. An auditable public-facing ledger might be maintained for certain portions of holdings, so citizens can actually observe transactions on the blockchain to the extent possible . This level of transparency would far exceed that of many traditional reserves and could build trust (imagine being able to verify the nation’s Bitcoin holdings 24/7 on-chain – a powerful tool against corruption or mismanagement). Oversight bodies, including a possible advisory board of public, private, and academic experts, will keep the execution ethical and on track.
• Security Measures: The ethical imperative to protect what has been entrusted (taxpayer funds, citizens’ contributions, etc.) means top-tier security is non-negotiable. The U.S. will employ state-of-the-art cybersecurity for all Bitcoin custody. This likely involves multi-signature wallets requiring sign-off from multiple agencies (e.g., Treasury, Federal Reserve, and an independent trustee) to move any funds, reducing single-point insider threats. Cold storage (offline wallets) will be used for the bulk of holdings, with physical vaults and layered defenses similar to gold storage but updated for digital assets. Disaster recovery plans will be in place: multiple backups of keys (sharded perhaps) in secure locations across the country. The government can also leverage the National Security Agency’s expertise in cryptography to safeguard keys against any advanced threats. As mentioned, planning for quantum computing threats will begin well in advance – maybe even sponsoring development of quantum-resistant encryption that could be adopted by the Bitcoin community if needed, thereby protecting everyone’s BTC, not just ours (which underscores a value: contributing to the global good while securing ourselves).
• Preventing Abuse and Illicit Activity: Another ethical facet is ensuring that our push for Bitcoin leadership doesn’t inadvertently shield bad actors. On the contrary, the U.S. can use its position to strengthen anti-money laundering (AML) and anti-crime efforts in crypto. With regulatory clarity and cooperation from exchanges, law enforcement will more effectively track and clamp down on illicit use of crypto (which is already a small fraction of activity, but still important). The government’s stance will be zero-tolerance for using cryptocurrency for terrorism, child exploitation, or sanctions evasion. We will continue international partnerships to share intelligence on crypto crimes. By being in the arena rather than outside, the U.S. will actually have more influence to make Bitcoin’s network a safer place (for instance, discouraging rogue states from hacking exchanges or stealing crypto, since that would directly conflict with U.S. interests once we’re a big stakeholder). We will seek to “ring-fence” illicit actors – using blockchain’s transparency to isolate stolen or crime-tainted coins, working with miners and exchanges globally to not process those (this could be controversial in purist terms, but a level of transaction monitoring will likely become standard as sovereign adoption grows). All these efforts aim to ensure that growing the crypto economy doesn’t mean tolerating crypto-crime; rather, we integrate it into the rule of law.
• Environmental Stewardship: Ethically, we also owe it to future generations to implement this strategy in an environmentally conscious way. As detailed earlier, the U.S. is prioritizing sustainable mining – turning Bitcoin’s energy consumption into a driver for renewable energy expansion and innovation. We acknowledge the concerns and will continue transparently publishing data on the energy mix and efficiency improvements (like the Cambridge study showing trends ). If certain mining operations are found to be excessively polluting or harming local environments, state and federal regulators will step in to enforce standards (just as they would with any data center or industry). We believe that by harnessing American ingenuity, Bitcoin’s footprint can be mitigated significantly, perhaps making it a largely clean industry by the end of the 15-year period. This balances the economic and strategic benefits with our responsibility to combat climate change – showing the world that the U.S. can innovate while upholding environmental values.

In summary, the ethical and legal framework surrounding this strategy is robust: voluntary, transparent, lawful, and responsible. The plan is designed to amplify the best of American capitalism and democracy – using open markets and free choice to achieve a national goal – while putting checks in place to curb excesses or missteps. This strategic journey will be one carried out in the public eye, inviting input and scrutiny, which will only strengthen its execution.

Conclusion: A Future-Focused Vision for American Prosperity

Fifteen years from now, Americans will look back on this initiative as a pivotal chapter in our nation’s economic story – the moment we seized the opportunity of a digital frontier and made it our own. By accumulating 4 million bitcoins, the United States positions itself not only to benefit from the growth of a revolutionary asset but also to steer that revolution in accordance with our values of freedom, transparency, and innovation.

This comprehensive plan harnesses the collective power of federal resolve, state creativity, private sector dynamism, and individual enthusiasm. It is inspirational and optimistic by design: it says that America’s best days are not behind us, but ahead on a new horizon of blockchain technology and digital finance. Just as past generations rallied to ambitious national endeavors – building the transcontinental railroad, landing on the moon, inventing the internet – we too rally to make the U.S. the guiding light in the crypto era.

By pursuing this strategy, the U.S. will enjoy a more resilient and diversified economy, new waves of tech entrepreneurship, and a strengthened geopolitical hand. We will have shown that embracing change, rather than fearing it, is the surest path to long-term prosperity and security. The strategic Bitcoin reserve, once a novel idea, will become a cornerstone of national strength – a digital complement to Fort Knox, symbolizing American ingenuity in the 21st century.

There will undoubtedly be challenges along the way: market fluctuations, technical hurdles, perhaps political debates. But as laid out, we have plans to navigate these – cautiously, transparently, and boldly when needed. The involvement of all stakeholders means this vision does not belong to one party or administration, but to all Americans. It can and should unite us in common purpose, much like great infrastructure or exploration projects of the past.

In conclusion, this strategic plan is more than an economic play – it’s a statement to the world that America remains the land of forward-looking visionaries, unafraid to invest in the future. It invites every citizen, entrepreneur, and public servant to be a part of forging a new legacy. Together, we are not just accumulating coins; we are building a foundation of economic freedom, technological leadership, and national renewal that will support the American Dream for generations to come.

Let us proceed with confidence, creativity, and unity on this path. The digital frontier is ours to lead – and in doing so, we will secure the blessings of prosperity and security for ourselves and our posterity, in the true spirit of the United States of America.

Sources:

• White House Executive Order – Establishment of the Strategic Bitcoin Reserve (Mar 6, 2025) 
• BITCOIN Act proposal – Sen. Cynthia Lummis (Apr 2025) 
• State-Level Adoption – Texas Bitcoin Reserve Act (2025) 
• Chainalysis Analysis – Bitcoin Strategic Reserves (May 2025) 
• Cambridge Centre for Alternative Finance – Bitcoin Mining Sustainable Energy Study (Apr 2025) 
• The Defiant – Summary of Lummis Proposal (2024) 
• StateScoop – Commentary on U.S. leadership vision in crypto 
• Additional insights from industry experts and public statements .

by Eric Kim

Dedication

To Cindy,

You never stopped believing in me, and you have helped me fulfill my personal maximum in my life.

I love you now and forever.

Berkeley, Dec 9, 2015.

Table of contents

• Fulfill your personal maximum
• Get closer
• Shoot 25% more than you think you should
• Shoot from the gut
• The “.7 Meter Challenge”
• “Marinate” your photos
• Don’t shoot from the hip
• Influence the scene
• Don’t crop
• Focus on the edges
• Emotionally detach yourself from your photos
• Create context in your frame
• Provoke your subjects
• “Can you do that again for me?”
• Don’t be a slave to your camera
• Cure yourself of “G.A.S.”
• Embrace “beginner’s mind”
• Shoot how you feel
• Limitations are freedom
• Document your own life
• Shoot with a “stream-of-consciousness”
• Shoot what it feels like
• Embrace failure
• Don’t be afraid to click the shutter
• Add “something more” to the frame
• Master your body language
• Tell convincing lies
• Kill your master
• Contradict a “rule”
• Follow your curiosity
• Don’t explain your photos
• “Open” vs “closed” photos
• Kill your ego
• Shoot what you love
• Don’t hesitate
• Don’t try to be someone else
• Don’t repeat yourself
• Ask for permission
• Try to get rejected
• Don’t stop your projects too soon
• Take shitty photos
• Chase the light
• Channel your personal emotions
• “All photographs are accurate, none of them is truth”
• Disturb your viewer
• Disregard technical settings
• Embrace “P” mode
• Enjoy the process
• Single photos can’t tell stories
• Don’t worry about marketing your work
• Subtract from the frame
• Make yourself vulnerable
• Forever be an “amateur”
• Stay hungry, stay foolish
• Don’t force it
• Don’t take easy photos
• Shoot what you’re afraid of
• Print your photos
• Don’t be “suckered by the exotic”
• Shoot in boring places
• Don’t take bad photos
• Make specific photos
• Compose intuitively
• Don’t have a “project”
• Improve 1% everyday
• Take 1 photo everyday
• Make something extraordinary from the ordinary
• Don’t see your photos as “art”
• Constantly question yourself
• Feel emotions in color
• Never leave home without your camera
• Make a book
• Juxtapose
• Pave your own path
• What do you want from your photography?
• Don’t constantly switch your equipment
• Learn where to stand
• Expect to be disappointed
• More megapixels, more problems
• Experiment with film
• Kill your babies
• Don’t look at your photos immediately
• Don’t shoot for others
• Photograph your own backyard
• Make images that stand on their own
• What counts is the result
• Abstract reality
• Capture your own personal “decisive moments”
• Rules will set you free
• Experiment
• Fuck fame
• Think long-term
• Create a relationship with your subjects
• Don’t bore your viewer
• Embrace your day job
• Count your blessings
• Don’t become married to your beliefs
• You’re only as good as your last photo
• Unlearn

1. Fulfill your personal maximum

“What has interested me in taking photographs is the maximum — the maximum that exists in a situation and the maximum I can produce from it.” – Josef Koudelka

For the last ten years, I have tried to seek my own personal voice, style, and path in photography. This journey has led me through life in so many incredible ways. I have learned so many valuable lessons in photography (and life) which has transformed me as a human being.

My particular interest has been in street photography; capturing moments of everyday life in public settings. I have always been drawn to my fellow human beings, and street photography has helped me become a more empathetic human being.

Ultimately, photography is photography. I used to feel that I should only shoot “street photography,” but I have discovered in my path that it doesn’t matter what you shoot. What matters is how shooting makes you feel. What matters is whether photography pushes you outside of your comfort zone, and whether you are able to achieve your personal maximum.

I feel the purpose of my life is to produce knowledge, and to distill information and lessons I’ve learned about photography to the masses. I am certainly not a “master” myself; just a humble student dedicated to a life-long pursuit of learning. Everything I share in this book is a distillation of the lessons I’ve learned from the masters of photography.

Don’t take everything in this book as “truth.” Rather, see the masters of photography as your personal guides. Take these lessons with a pinch of salt; pick and choose which lessons resonate with you, and throw away the rest.

Ultimately to find your own personal vision and style in photography, you just need to know yourself as a human being. “Know thyself” is the greatest wisdom given to us by the ancient philosophers.

Find yourself through the book, and discover the photographer you are. Love, Eric (@ Blue Bottle on Broadway, Oakland, Tuesday 3:46pm, Nov 10, 2015)

2. Get Closer

“If your photographs aren’t good enough, you’re not close enough.” – Robert Capa

One of the common mistakes that many beginning street photographers make is this: they don’t get close enough.

We have many fears and provide a lot of excuses for not getting close enough in our street photography. We are worried about pissing people off, we are worried about making other people feel uncomfortable, and we are worried that strangers might call the cops on us (or even worse, physically assault us).

Realize that this is all in your head. By getting closer to a stranger, you won’t die. In-fact, I have learned that in photography (and life), with physical proximity comes emotional proximity.

It isn’t enough to use a telephoto or zoom lens to get “close” to your subject. By using a telephoto lens, you compress your image, and visually your photo feels less intimate. It feels like you are more of a voyeur looking in; rather than you being an active participant of the scene.

In street photography I generally recommend using a 35mm lens (full-frame equivalent) for most photographers (Alex Webb, Constantine Manos, and Anders Petersen shoot with this focal length). The human eye sees the world in around a 40mm field-of-view, and I find that shooting with a 35mm lens gives you enough wiggle-room around the edges of the frame.

A 50mm is fine too (Henri Cartier-Bresson was famous for using it for nearly his entire life), but in today’s crowded world, I find it to be a bit too tight. A 28mm is fantastic too (William Klein, Bruce Gilden, and Garry Winogrand have used this focal length), but realize that you have to be close enough with this lens to fill the frame.

As a rule-of-thumb, I try to shoot with a 35mm at least two-arm-lengths away (or closer). 2 arm-lengths is 1.2 meters (around 4 feet). Therefore I always have my camera pre-focused to 1.2 meters, set at f/8, ISO 1600, and I simply go out to find moments to shoot.

3. Shoot 25% more than you think you should

If you see an amazing character once in your life, realize that you will never see them ever again. So live life without regrets and make the photograph.

For this photo, I saw this amazing woman in the streets of NYC and said to her, “Oh my God miss, you are the most incredible-looking woman I have seen all day. Do you mind if I made a few photographs of you?” She was quite humbled and said, “Of course!”

I got very close with her with a Ricoh GR digital camera, and shot on 28mm with the Macro mode in “P” (program) mode with ISO 400. To fill the frame with her face, I shot this photograph at around .3 meters (about 1 foot away). I took many photographs, shooting some with flash, some without. I asked her to look up, and to look down at me.

On the 19th frame, she started bursting out laughing and said, “You’re taking so many photos, you’re crazy!” and started laughing. On that frame, I captured the “decisive moment.”
After capturing the moment, I still wasn’t 100% sure whether I got an interesting photograph or not, so I kept clicking, around 10 more frames.

As a general rule-of-thumb, when I think I’ve got the photograph, I try to take 25% more photographs (because you never know if you might catch an even more interesting photograph after-the-fact).

Later she told me she was 82 years old. The reason the photograph is meaningful to me is because there are too many photos of death, destruction, and misery in the world.
It is one of the very few “happy” photos I’ve shot. Inspired by this image, I hope to make more photographs like this to spread positivity and love in the world.

4. Shoot from the gut

“My photography is not ‘brain photography’. I put my brain under the pillow when I shoot. I shoot with my heart and with my stomach.” – Anders Petersen

Anders Petersen is one of the most influential contemporary master photographers. He shoots with a simple point-and-shoot film camera (Contax T3) and shoots soulful black and white images which he refers to as “personal documentary.” He makes himself and the people he meets as his main subjects, and he shoots from the heart.

A photograph without emotion is dead. The problem that a lot of photographers make is that they try to become too analytical with their photography. They are too preoccupied with composition, framing, form, nice light, and they forget the most important thing of making a memorable image: creating an image that has heart, soul, and passion.

When you’re out shooting, try not too be too analytical. Shoot from your intuition and your guts. If you find anything even remotely interesting, don’t self-censor yourself.

Don’t let your brain tell you: “Don’t take that shot, it is boring, and nobody will find it interesting.” Take the photograph anyways, because you can always edit it out (remove it) later.

But when is it time to become analytical?

“It is more after when I am shooting when I am looking at my contact sheets, and then I try to analyze and put things together.” – Anders Petersen

Shoot from your gut when you’re out on the streets, but use your brain when you’re at home and editing (selecting) your shots. Analyze your images after-the-fact as a post-mortem, and learn how to “kill your babies” (weak photos that you are emotionally attached to, but you know aren’t great photos).

Separate the shooting and editing sides of your photography. They use different parts of your brains, and if you try to do both of them at the same time, you will fail.

As a practical tip, turn off your LCD screen when shooting, and refrain from looking at your images immediately after you’ve shot them (they call this “chimping”). Why? It kills your shooting “flow.”

Furthermore, let your shots “marinate” by not looking at them until a week after you have made your images.

5. The “.7 Meter Challenge”

To truly get comfortable getting closer to your subjects, try this assignment from my friend Satoki Nagata: For an entire month, only take photos of your subjects from .7 meters (1-arm-length).

For this assignment, switch your camera to manual-focusing mode, and tape the focusing mechanism of your lens to that distance. By setting yourself this “creative constraint,” you will learn how to better engage your subjects and get them comfortable with you shooting at such a close distance.

Start off by asking for permission, then once you feel more courageous, start shooting candidly.

6. “Marinate” your photos

I shoot both film and digital, but one of the biggest advantages of shooting film is that you’re forced not to look at your photos immediately after you’ve shot it.

With film, I generally don’t get my film processed until 6 months-1 year after I’ve shot it. This helps me truly help disconnect myself emotionally from my shots, which allows me to look at my photos more objectively.

With digital I find it a lot harder to let my shots “marinate,” as I am prone to “chimping” (looking at your LCD screen immediately after you’ve taken photographs).

For this photograph, I saw this woman juxtaposed against this billboard behind her in London. I got close to her, and took two photos: both with a flash. One of them she was looking away, and one she was looking directly at me.

At first I didn’t think that it was an interesting shot, but then I let the shot “marinate”— and the longer I sat on the image, the more I ended up liking it. I also ended up showing the photograph to a couple of my close friends, who all agreed that it was a strong image. For some shots, the longer you let your shots “marinate,” the more you like them.

For others, the longer you let your shots “marinate,” the less you like them. Imagine oil and water in a bottle. You shake the bottle hard, and they are both mixed.

The longer you wait, the oil will soon rise to the top (your good photos), while the water will sink to the bottom (your weak photos).

7. Don’t shoot from the hip

“I never shoot without using the viewfinder.” – Garry Winogrand

Another common mistake that aspiring street photographers make is that they try to overcome their fear of shooting street photography by shooting from the hip (photographing with your camera at waist-level and not looking through the viewfinder).
Personally when I started shooting street photography, I was dependent on “shooting from the hip” (2010). I was too scared to bring my camera’s viewfinder up to my eye, because I was afraid of getting “caught” of taking candid photos of strangers.

Garry Winogrand was one of the most prolific street photographers in history. He shot with a Leica M4, 28mm lens, and was known for creating layered, edgy, and head-on shots. If you go on YouTube, you can see how close he is to his subjects when shooting, and he always quickly looks through his viewfinder while shooting. This allowed him to frame properly, and capture the moments he found interesting.

“[Don’t shoot from the hip], you’ll lose control over your framing.” – Garry Winogrand

In my experience, I found that shooting from the hip was a huge crutch. The more I shot from the hip, the less confident I was as a street photographer. Not only that, but as Garry Winogrand said, I lost control over my framing. My shots would be poorly framed, skewed, and any shot that I got that looked half-decent was because of luck.

As a street photographer, you aren’t doing anything wrong. You are trying to make images that people can empathize with. If it weren’t for street photographers, historians would have no idea what people did in public spaces in the past. All of the iconic street photography done by Henri Cartier-Bresson, Helen Levitt, Robert Doisenau, and Vivian Maier wouldn’t exist.

Be confident. Have faith in yourself. By not shooting from the hip, you’re signaling to the world that you’re not doing anything wrong. Also by using your viewfinder (or LCD screen), you can have better control over your framing and composition.
What do you do when you’re shooting street photography and you get “caught in the act?”

My suggestion: Look at your subject, smile, say “thank you” and move on.

8. Influence the scene

Sometimes it is good to have your subjects notice that you are about to take a photograph of them.

For example in this photo I shot in Hollywood, I saw this hip older lady with these great sunglasses and hat. I crouched down, and took a photograph with my Canon 5D and 24mm lens. The second I was about to take a photograph of her, she looked at me and posed with her hands (giving me the “jazz hands”).

If I shot from the hip, she might have not noticed me. Therefore she would have never posed for me, and this photo wouldn’t exist.

But does that ruin the photograph, the fact that your subject noticed you? Absolutely not. William Klein famously engaged with his subjects a lot when he shot street photography, and his presence made his photographs more vibrant, dynamic, and edgy.

9. Don’t crop

“If you start cutting or cropping a good photograph, it means death to the geometrically correct interplay of proportions. Besides, it very rarely happens that a photograph which was feebly composed can be saved by reconstruction of its composition under the darkroom’s enlarger; the integrity of vision is no longer there.” – Henri Cartier-Bresson

A common mistake many photographers make is that they over-crop their images. They are “crop-a-holics,” in which they crop every single photograph they take (even when unnecessary). I am also a recovering “crop-a-holic.” I would unnecessarily over-crop my shots (even when the edges would be interesting).

Another downside to being a “crop-a-holic”: I would be lazy when shooting street photography. I shot really far away from my subjects, thinking that I could just crop and zoom in to my subjects, instead of moving physically closer to my subjects.
I would always tell myself in the back of my head, “Eh, if I didn’t get the shot right, I can always crop it later.” This made me lazy, and prevented me from improving my composition and framing.

When I first learned that Henri Cartier-Bresson (the Godfather of street photography and the master of composition) didn’t crop his images (and forbade his students to do so), I decided to also try the assignment for myself.

In the beginning, it was difficult not to crop my shots. Also by not cropping my shots, I realized how sloppy I was when I framed my images. Therefore by imposing this rule of not cropping on myself, I began to focus on “filling the frame” and creating better edges in my shots, which improved my composition dramatically.

I am not saying that you should never crop your photographs. There are a lot of master street photographers who heavily cropped their photographs (Robert Frank did some radical cropping for his seminal book: “The Americans,” even turning some landscape shots into portrait shots with cropping).
If you want to improve your composition: go an entire year without cropping. I can guarantee you that a year later, your composition will improve dramatically. And if in the future you do decide to start cropping again, always do it in moderation (I recommend cropping less than 10% of a frame).

When you’re shooting in the streets, avoid “tunnel-vision” (only looking in the center of the frame). Focus on the edges of the frame and particularly the background to improve your composition.

10. Focus on the edges

If you want better composition and framing in your photography, focus on the edges. Don’t worry about the subject in the center of the frame, if you focus on the edges what is in the center of the frame generally takes care of itself.

In Aix-en-Provence, I saw a woman drinking some wine the table across from me. I saw this epic silhouette of her and her wine glass, so I went up to her and asked if I could take some photos of her shadow. She reluctantly agreed.

I ended up shooting many different photos of the scene, focusing on the edges of the frame while I was composing this image. I wanted to get the silhouette of her face, the silhouette of the wine glass, and also of the water carafe in the bottom-left of the frame.

Focus on the edges, and your composition will fall into place.

11. Emotionally detach yourself from your photos

“Sometimes photographers mistake emotion for what makes a great street photograph.” – Garry Winogrand

Imagine this situation: it is a cold and rainy day. You are out shooting on the streets, and you are feeling miserable. You are about to give up and go home when you see a little girl with a red umbrella about to jump over a puddle.

You think of the famous photograph of Henri Cartier-Bresson (man jumping over puddle), and get excited. The girl jumps, and you click. You just captured the “decisive moment.”

You rush home, quickly download your photos to your computer, post-process the photo, and then upload the photograph online. You cross your arms, and think that it is one of the finest photographs you have ever taken. You are excited that perhaps, finally, you will get over 100+ favorites/likes on this image.
A day or so passes, and you only got 10-15 favorites/likes. You throw up your hands in rage and think to yourself: “These people on the internet wouldn’t know a great image if it hit them in the face!” You then continue about your day.

A week or two go by, and you revisit the image. You then look at the image and tell yourself: “Hmmm, this image isn’t quite as good as I remembered it.”

What just happened? You became emotionally attached to the backstory of how difficult it was to get that image (and the emotion you felt of being excited). This confused you into thinking that this was actually an “objectively” good shot.
This happens to the best of us. We get too emotionally attached to our shots, because we were there. We experienced it. It feels alive and vivid inside our memories.

The problem is that our viewers have no idea what the backstory of the image is (unless you write a long caption, which I generally advise against).

What is the solution? Emotionally detach yourself from your photos. When editing (selecting) which images to “keep” and “ditch,” ask your peers to be “brutally honest” with your work.

12. Create context in your frame

In photography, the entire story of the image must exist inside the frame. If you want to tell a better story, include context in your photos.

I have this vivid story in my head of how I got the image: I saw this well-dressed man in a hotel lobby, and asked if I could make a few photos. He said, “No problem,” and I took seven photos. Afterwards, I asked him what he did. He told me, “I own this hotel!”

Now I have this vivid backstory, but the viewer has no idea about that story or information in this photograph.
Viewers find this photograph interesting because the outfit of the man looks like he’s from the 1950s — a relic of the past. The viewer then makes up their own story about the man, based on the films they have seen in the past.

If you have a photograph which is weak without having a compelling story, ditch the shot. When you have to “explain” the back-story of a street photograph, it is like explaining a joke. Funny jokes don’t need to be “explained.”

13. Provoke your subjects

“Rather than catching people unaware, they show the face they want to show. Unposed, caught unaware, they might reveal ambiguous expressions, brows creased in vague internal contemplation, illegible, perhaps meaningless. Why not allow the subject the possibility of revealing his attitude toward life, his neighbor, even the photographer?” – William Klein

There is a general scorn in street photography against “posed” photos (or photos that aren’t shot candidly). A lot of people follow the Henri Cartier-Bresson school of street photography in which the photographer shouldn’t interact with his/her subjects, and to be an unattached observer.

However there is more than one approach to street photography. One street photographer who interacted with his subjects is William Klein; a street photographer who gave a middle-finger to all of the “rules” in photography. Klein provoked his subjects, and interact with them.

Even for Klein’s famous “Kid with gun” photograph, he told the kid: “Look tough.” At that moment, the kid with the toy gun pointed the gun to Klein’s face with a look of hate, anger, and intensity (see the contact sheet).

One lesson I learned from Martin Parr when shooting “street portraits” is this: ask your subject to look straight into the lens and not to smile. Sometimes I will more directly pose my subjects by asking them to look the other direction, cross their arms, to take a puff of their cigarette, or look left, right, down, and up.

An objection I often hear: “But Eric, once you engage with your subjects and ask them to do something for you, doesn’t it make the photograph less legitimate?”

My response is this: Every photograph we take is a self-portrait of ourselves. We decide how to filter reality. We decide what to put into the frame and what to exclude.

Don’t have any personal qualms about showing your own version of reality through your photography. Embrace it.

14. “Can you do that again for me?”

Sometimes you see things happen in the street; certain gestures, facial expressions, or actions by your subjects but miss “the decisive moment.” If you ever see a moment that you miss, try this out: approach the subject and ask them: “Can you do that again for me?”

For example, I was in Downtown LA in the fashion district and I saw a man blowing his nose. It looked like an interesting gesture, and I loved his eyes, his suit, and the overall moment. However the second I brought up my camera, he dropped the tissue and made eye contact with me (and stopped blowing his nose). I then said, “Excuse me sir, I love your outfit and look. Can you do me a favor and blow your nose again for me?” He laughed, and blew his nose again, and I took a few photos while walking backwards with a flash.

Now believe it or not, most people are quite happy to repeat certain gestures for you if you just ask.
Another technique you can try out in street photography if you feel timid approaching strangers and taking photos without their permission is to approach them and ask them, “Pretend like I’m not here.”

If you see a cool-looking guy smoking a cigar in front of a store, you can approach him and say, “Excuse me, I think you look badass smoking that cigar. Don’t mind me, can you just keep smoking that cigar and pretend like I’m not here?”
Most people will laugh, and literally ignore you. This can help you get a candid-looking photo (without getting punched in the face).

Sometimes your subject will start posing and smiling while continuing to smoke their cigar. In those situations, simply linger around, don’t say anything, and wait about 30 seconds until they start ignoring you.

Another tip: you can start chatting with them and asking them how their day is. When they start talking and drop their guard, you can continue taking photos. This allows you to capture much more natural looking photos (that don’t look posed).

15. Don’t be a slave to your camera

“You are not supposed to be a slave of mechanical tools, they are supposed to help you and be as small and unimportant as possible not to disturb the communication.” – Anders Petersen

There is a disease and a sickness out there which afflicts millions of photographers globally, and costs them hundreds and thousands of dollars. This disease breeds insecurity amongst photographers, as they feel that the camera they have is never good enough.

They think that once they upgrade their camera to a newer and more expensive version (or buy a new lens), they will suddenly become more “inspired’ and creative.

The disease? It is called “G.A.S.” (Gear Acquisition Syndrome). The concept is that camera companies, bloggers, and marketers try to breed dissatisfaction and insecurity with photographers by telling them: “The reason your photos suck is because your camera isn’t good enough.”

Personally I am still afflicted with “G.A.S.” Whenever I am dissatisfied with my photography, I always hope that buying a new camera will suddenly re-inspire me, and open up doors of creativity. Trust me: it never does.

One of the mantras I preach is: “Buy books, not gear.” Frankly I regret all the time, energy, and effort I wasted on buying new cameras and lenses. I wish I invested all of that time and money in photography-education (books, workshops) as well as traveling.

Money can buy you happiness, but only if you spend it on experiences, not stuff.

Not only that, but I find reading gear review sites, gear rumor sites, and gear forum sites always poisons me into wanting to buy new cameras and lenses that I don’t need. I have added a “StayFocusd” Google Chrome plugin which prevents me from visiting these gear-related sites (because I have no self-control).

I have discovered that when I am out shooting, I don’t think much about my camera. I only think about my camera when I am sitting at home or bored at work when I am surfing the web.
When I had a full-time 9-5 job, I barely had enough time to shoot street photography and hated my life. Somehow I convinced myself that by buying a new camera, I would spend more time going out and shooting.

Whenever I bought a new camera, it would only “inspire” me for a week or two, then I would return to baseline.
Remember; invest your money into experiences, travel, workshops, education, and photography books. No camera will help improve your vision.

16. Cure yourself of “G.A.S.”

I am still personally afflicted from “G.A.S.” (regardless of how many Tums I eat). I am a materialistic person, and everyday I have to fight the urge not to desire a new smartphone, car, home, clothes, watch, laptop, tablet, camera, lens, or accessory.

I am still not fully cured from “Gear Acquisition Syndrome”, but here are some things that have me feel (less) “gassy”.

1. Be grateful for what you have:

Rather than wanting a camera that I don’t have, I try to write down why I love the camera I already own.

2. Realize there is no “perfect” camera:

Every camera has an upside and downside. Rather than trying to find a “perfect” camera, try to find a “good enough” camera. Become a “satisficer” (happy with “good enough”) instead of being a “maximizer” (wanting “perfect”). For further reading, read my article: “What to Consider When Buying a New Camera for Street Photography” and the book: “The Paradox of Choice.”

3. Set yourself an upgrade limit:

You don’t want to own one digital camera for the rest of your life. For example, most laptops and smartphones work reasonably well for about 3 years. So set yourself a rule: “I am not allowed to buy new camera unless I have owned this camera for 3 years.”

4. Re-read old reviews of your camera:

Re-live the excitement you had for the camera you already own.
Imagine losing your camera: If tomorrow you lost your camera (or if your camera was stolen from you), how would you feel? I bet you would appreciate the camera you own a lot more.

5. Don’t own more than one camera and one lens:

I think it is fine to own high-quality and expensive cameras. Just try not to own more than one at a time. Personally when I have owned more than one camera and lens in the past, I had no idea which camera to bring with me when I left my apartment. Psychologists call this “paralysis by analysis.” If you only have one camera and one lens, you know exactly what camera to bring with you.

17. Embrace “beginner’s mind”

“My dream is that if you go out in the streets where you were born you see the streets like for the first time in your life even though you have been living there for 60 years.” – Anders Petersen

Do you remember when you first picked up a camera, and weren’t disturbed by dogma, rules, constraints, or any other “theories” in photography? Do you remember the lightness that you would just roam the streets, and just took photos that interested you without any prejudice or self-criticism? Do you remember how excited it was to just play, like a child?

In Zen Buddhism they call this approach “beginner’s mind.” When we begin any sort of pursuit, hobby, or art in life, we are unburdened. We see the world as fresh and full of opportunities. We are excited, nimble, fresh, and open-minded. We see possibilities, not obstructions.

The problem is that the more experienced we become in photography (and life), we become jaded. Everything just seems to becoming boring. Nothing interests us anymore. You can live in the most interesting city in the world (Paris, Tokyo, New York) and after a while become bored of what you see.

Follow Anders Petersen’s advice and hit the streets like it is the first time. Imagine that it is the first time you experienced it. Imagine what you would find interesting and unique. Imagine yourself like a tourist in your own city.

Try switching things up. Walk around your city with a different route than you usually take. Perhaps take a short trip out of town, and come back to your city with new and refreshed eyes.
Imagine yourself like an alien visiting from another planet. If you were an alien and visited your own city streets for the first time, what would you find interesting or unique?

Don’t analyze your scenes too much when you’re shooting. Just photograph what you find interesting, and just click.
Disregard what others think; just take photos like any good beginner would.

18. Shoot how you feel

Our emotions are highly variable: on some days we are super optimistic and think everything in life is perfect and super dandy. On other days we can feel pretty shitty and only feel doom and gloom.

Personally even though I have a “perfect” life (traveling, teaching photography, meeting amazing people) I still suffer a lot of dissatisfaction in my life. I have financial worries, family issues, and personal issues.

There are a lot of times I feel lost, confused, and frustrated. I don’t know what direction my life is going. Other times I have no idea what I am doing in photography and question myself, “Why do you even take photos? Nobody cares about your work. You suck. You will never be great.”

Photography is one of the best forms of self-therapy. Don’t judge your emotions (whether negative or positive). Know that life is a roller-coaster; we will suffer dips and highs.

When life is going downhill, the hill going up is just around the horizon. Similarly, when things are going well, remember that it won’t last.

When I am feeling dark and moody, I find that shooting gritty black and white suits my mood. However when my life is feeling more positive and upbeat, I find myself shooting more happy, colorful, and saturated color.

A photograph without emotion is dead. Avoid taking photos that are just purely compositional or design-oriented. Make street photos that open the doors of empathy to your viewer.

19. Limitations are freedom

”Too much choices will screw up your life. Work on one thing, then expand on your canvas.” – David Alan Harvey

The problem with modern society is that we have too many choices. Do you remember the last time you went to the grocery store and wanted to get some breakfast cereal? Let’s say you wanted to get some wheat cereal. You go to the cereal aisle, and you see that there are 10 different brands for wheat cereal. Even worse, there are different flavors: sugar, chocolate, vanilla, blueberry, and strawberry. Even worse, there are some cereals loaded with probiotics, some with less sugar, and some that is advertised as “heart healthy.”

Overwhelmed, you just pick up some of the chocolate wheat cereal, and you go home and the next morning you have a bowl of cereal. You are slightly disappointed with your choice, and you kick yourself for not getting the sugar variety.

This is what psychologists call “The Tyranny of Choice” (or “The Paradox of Choice”). When we have too many choices or options, we become overwhelmed. This causes more regret, and more stress.
Having too many choices (for example, owning more than one camera and one lens) can be stressful. By having more choices as a photographer, you spend less time shooting, and more time and energy debating which camera, lens, or film to use.

Ironically enough, having fewer options leads to less stress, and more inner-peace.

When I used to own more than one lens, “decision fatigue” killed me. I would be out shooting, and constantly switch my lens from a 28mm to a 35mm to a 50mm. No lens was ever perfectly “ideal” for the situation I was shooting. In the past I also shot with a Sigma 18-200mm (which made me a really lazy photographer).

If you only own one prime (non-zoom) lens, you learn how to work within the boundaries of your focal length. If your 35mm can’t fit in a whole body shot of your subject, perhaps you can focus on just their face or hands. “Creative constraints” force you to make more intriguing and interesting images.

Many masters of street photography have followed the philosophy of “one camera, one lens.” Henri Cartier-Bresson made the majority of his iconic images with his film Leica, 50mm, and black-and-white film. Alex Webb has stuck to mostly a film Leica, a 35mm lens, and Kodachrome color film. Daido Moriyama has stuck with point-and-shoot Ricoh GR cameras, 28mm, and have stayed consistent with grainy black and white look.

Of course there are other great photographers like Todd Hido who have used multiple cameras, lenses, films, and formats and have made great work. However if you are a beginner, starting off with just one camera and one lens and sticking with it for a long time can help push you creatively.

Try to figure out how you can start to eliminate options and choices from your photography (and life). Having more limitations will force you to be more creative, and set you free.

20. Document your own life

In January 2013, I got the news that my grandfather passed away. I quickly boarded a plane, and only brought one camera and lens with me: the Ricoh GR1v (a point-and-shoot film camera with a 28mm lens). I also only brought 10 rolls of film (Neopan 400) and pushed the film to 1600. I set myself this limitation in terms of my gear and my goal was to document my grandfather’s funeral in a meaningful, present, and mindful way.

By having this simple point-and-shoot camera, I was able to really focus on the experience of being there for my grandfather’s funeral. Because the camera is film, I couldn’t “chimp” and check my LCD screen after every photograph I took.
I was truly present, and wasn’t distracted by my camera. I think this lack of distraction from my camera helped me create one of the most meaningful projects in my photography career: my “Grandfather” series.

If you are a photographer that owns more than one camera and one lens, just bring one camera and one lens with you when you go out shooting. Or if you’re pursuing a certain photography project, do it all on one camera, one lens, and one film (or style of post-processing if you shoot digital).

Focus on the “shooting process,” and less about the equipment and technical settings involved.

21. Shoot with a “stream-of-consciousness”

“For me, capturing what I feel with my body is more important than the technicalities of photography. If the image is shaking, it’s OK, if it’s out of focus, it’s OK. Clarity isn’t what photography is about.” – Daido Moriyama

One of the common mistakes a lot of photographers make is that they are too analytical when they shoot street photography. They forget the most important part of photography: photographing what you feel with your heart.

Daido Moriyama is one of Japan’s most famous photographers who popularized the “stream-of-consciousness” style of photography. Not only that, but he popularized the radical “are, bure, boke” (grainy, blurry, out-of-focus) aesthetic, which rebelled against the photography at the time, which focused on making hyper-sharp images with fancy high-end cameras.

What is “stream-of-consciousness” in photography you ask? Well, the concept is that your thoughts, emotions, and ideas are like a river or stream, flowing through your mind. You trust your intuition, instincts, and gut.

When you’re shooting street photography, you just photograph what you find interesting, without any judgement, self-criticism, or frustration. You setup your camera with fully-auto settings, and just point-and-click. It is the purest form of “snapshot” photography, where you aren’t thinking like an “artist.” You are just like a child, exploring the world, and photographing what you find interesting.

If you shoot with a “stream-of-consciousness,” realize that the majority of your shots won’t be very good. In-fact, you will make a lot of crappy, uninteresting, and boring photographs. However if you channel your emotions into your photos, they will become more personally meaningful to you. Furthermore, this feeling will transfer to the viewer.

This makes the editing process so important. You need to always get a second opinion on your photos, and to see if other people get the same emotions from your photograph as you do.

22. Shoot what it feels like

“Seeing is not enough; you have to feel what you photograph” – Andre Kertesz

I shot this image in Saigon, Vietnam. I was at a bar, and I saw the mysterious mood and feeling of this man through a set of curtains. In terms of technical settings, I shot this image on a Fujifilm x100s, and set the camera to manual-focus, focused on the man, and just started to shoot away in “P” (program) mode (aperture set to auto, shutter-speed set to auto) at ISO 3200.
I often use “P” mode when shooting digitally, because it helps me focus on composing the scene, framing, and “working the scene” (instead of fiddling around with my camera).

I loved the expression of the man’s face, his sense of loneliness, and the mysteriousness of the place. I didn’t think too much about the composition and the framing, I just kept shooting what the scene felt like: dark, estranged, and lost.
Afterwards when I shared the photo with my friends and other photographers I trusted, they told me that the emotion that I felt in this scene mirrored what they felt.

The emotions you feel while shooting street photography won’t always translate to your viewers. However the more you shoot with your heart (and not with your brain), the more likely you are to translate what a scene feels like to your viewer.

23. Embrace failure

“Luck – or perhaps serendipity – plays a big role… But you never know what is going to happen. And what is most exciting is when the utterly unexpected happens, and you manage to be there at the right place at the right time – and push the shutter at the right moment. Most of the time it doesn’t work out that way. Street photography is 99.9% about failure.” – Alex Webb

Street photography is all about failure. As Alex Webb said, “Street photography is 99.9% about failure.” Every time you click the shutter, there is only a .1% chance that you will make an interesting shot. The majority of the time, you might shoot an entire day, not get a single good shot, and feel disappointed and frustrated.

Know that failure is a good thing. The more you fail, the more likely you are to succeed. As Thomas Edison once said: “If you want to increase your success rate, double your failure rate.” 
You can control the effort, not the results. Meaning, you can control putting in 8 hours of shooting in one day, and how hard you work. What you can’t control is whether you get a good shot or not.

In my street photography, I often found that the more I go out and bring my camera, the more “lucky” I get. When I have my camera with me, the more opportunities I see. Luck isn’t some magical thing that hits us like lightning. However luck favors the prepared.

Be prepared by always having your camera with you, always observing your scenes and environment, and know that every once in a while, you will be at the “right place at the right time.” If you’re comfortable with your camera and skilled enough, you will also click the shutter at the right moment.

When you fail to get the shot, don’t become discouraged. Rather, learn from your failures and mistakes. What caused you to miss the shot? Was it because your camera wasn’t setup properly? Was it because your camera was in your bag (and not in your hand)? Was it because you were too nervous and didn’t have the courage to click the shutter? Learn from your failures, and the closer you will become to mastering your photography.

24. Don’t be afraid to click the shutter

One of the mistakes that street photographers make is that they are afraid to click the shutter, fearing that they will take bad shots. Realize the more bad shots you take, the more likely you are to get a “keeper.”

In this scene in Istanbul, I took 6 “bad” shots until I got lucky (boy jumping into the water) and got an interesting image next to this man.

To succeed more, fail more.

25. Add “something more” to the frame

“It’s not just that that and that exists. It’s that that, that, that, and that all exist in the same frame. I’m always looking for something more. You take in too much; perhaps it becomes total chaos. I’m always playing along that line: adding something more, yet keeping it sort of chaos.” – Alex Webb

The more experienced you get in street photography, the more sophisticated you will become. You might start getting bored with the images you make, and you want something more in your images.

Alex Webb is famous for creating complex images, with multiple layers and colors while having minimal overlaps in his frame. His photos are bursting with life, energy, and subject-matter. His photos are on the border of chaotic, yet they still work.
What Alex Webb does is he constantly looks for something more in the frame he can add, especially things in the background.

As beginner street photographers, we become obsessed only what is in front of us, and we disregard the background. We don’t know that the background is often as important as the foreground.

If you see a single-subject in the foreground, take the shot, but wait and be patient and look for “something more.” Perhaps somewhere to the right of the scene, you see an old lady about the enter the frame. And on the top-left of the scene, you might see a woman pushing a baby stroller into the frame.

Try to frame the shot where you can balance the image by dispersing subjects in opposite sides of the frames. Also try to avoid creating overlaps in your images with your subjects by adding a little bit of white-space between them.

But how do you know when a scene is “too busy”? It is often a matter of taste. What I try to find is “multiple stories” in a single scene, which keeps the viewer engaged and interested.
Don’t just put extra subjects in the frame for the sake of it. Only add what you think is essential and will add something of value to the frame.

26. Master your body language

“If you photograph for a long time, you get to understand such things as body language. I often do not look at people I photograph, especially afterwards. Also when I want a photo, I become somewhat fearless, and this helps a lot. There will always be someone who objects to being photographed, and when this happens you move on.” – Martin Parr

As a street photographer, you want to learn how to master your body language. 90% of communication isn’t verbal; we communicate through our facial expressions, body language, and hand gestures.

If you want make strong images, Martin Parr explains the importance of getting close to your subject, and how difficult it is:

”I go straight in very close to people and I do that because it’s the only way you can get the picture. You go right up to them. Even now, I don’t find it easy.” – Martin Parr

Even Martin Parr, who has been shooting street photography for decades still finds it difficult to get close to people and get the shot.

To be “invisible” when shooting street photography, Martin Parr gets very close to his subjects by pretending to focus somewhere else:

”I don’t announce it. I pretend to be focusing elsewhere. If you take someone’s photograph it is very difficult not to look at them just after. But it’s the one thing that gives the game away. I don’t try and hide what I’m doing – that would be folly.” – Martin Parr

Eye contact often makes a stronger street photograph, but also it makes it very obvious to your subject that you want to photograph them. So if you want to be invisible when shooting street photography, avoid eye contact.

The less nervous and awkward body language you show, the less nervous and awkward your subjects will feel.

26. Tell convincing lies

For this image, you can see the powerful effect of having eye contact in your photographs. To me, the man looks like he is peering straight into your soul; with a death-stare, which is unforgettable to the viewer.

How do you make memorable street photos?

Tell convincing lies.

The lie in this photograph is that it looks like a candid photograph, where I just took a photo of him without permission, and he is about to go up to me, and bash in my face.

The truth? He was the sweetest guy ever, as you can see in the contact sheet:

The photo is a lie. I crafted my own version of reality, rather than capturing what I saw before me. Ultimately I think it is less boring.

In this scene, I didn’t pretend like I was shooting something else. I was bold and make eye contact with my subject, and interacted with him. If I had never built up the confidence being able to make eye contact with strangers, I would have never been able to make this image.

Switch it up in your street photography. Sometimes interact with your subjects and ask them not to smile. Other times shoot candid shots without permission. Shoot whatever suits your mood, and know that there isn’t one “right” or “wrong” way to shoot.
Follow what feels right for you, and forget the rest.

28. Kill your master

“In those days Henri Cartier-Bresson limited us to lenses from 35 mm to 90 mm. When I showed him the photos he said, ‘brilliant René!’ I went outside and shouted ‘Hah!’ He heard me and said ‘what was that?’ I said, ‘nothing, never mind’. The lens I used was 180 mm – I never told him! At that point I broke loose from my mentor. I killed my mentor!” – Rene Burri

Ironically enough even though this book is on learning from the masters of street photography, there are only so many “lessons” you an learn from the masters before you need to “kill your master.”

For example, when Rene Burri started to shoot photography in Magnum, Cartier-Bresson was one of his mentors and “masters.” He hugely admired Cartier-Bresson’s work, and therefore would follow his philosophies in not using telephoto lenses, not cropping, and not posing his subjects.

Ironically enough one of Burri’s most famous image of silhouetted men in Brazil, he shot it with a 180mm (directly contradicting the rules of Cartier-Bresson). By “breaking the rules,” Burri was able to make one of his most iconic and memorable images.

Remember that after learning from the masters, you need to know when to ignore them or when to go against their teachings.
Consider the “masters” of street photography simply as mentors or guides. Don’t listen to them blindly, as one day you need to take off your training wheels and learn to ride on your own.

29. Contradict a “rule”

If there is a certain “rule” in photography you normally follow, break it for a month, in a creative way.

If the rule is “don’t crop,” do the exact opposite by experimenting with radical cropping. This is what William Klein and Robert Frank did with their images, and it worked for them. So never take “rules” at face value– always challenge them and try to contradict them.

A personal rule I don’t shoot the back of heads. Why not? Generally if you can’t see someone’s face, it is hard to see their facial expression, and get a sense of emotion in the shot. I almost always prefer faces.

In this situation for my “Suits” project, I visited the business quarters in Tokyo at around midnight. There was this arcade that I found on the top floor, and went around taking some photos with a flash. I saw this old man playing games at the arcade machine, and I took perhaps or two shots, and simply moved on.
For me, the reason I think the shot works is because the back of his head is quite interesting: it shows that he is an older “suit,” probably in his 60’s or older (because of his balding head).

If the back of someone’s head is more interesting than their face, just shoot it. Don’t be constricted by rules in a negative way.

30. Follow your curiosity

“The camera is like my third eye it is an outlet for my curiosity. I was always curious as a kid and you have to use your senses. I wanted to meet the big giants of the 19th century, a sculptor, an artist, a dictator a musician and then I would find the pictures would just happen. You don’t capture a picture you are responding. I respond to situations and I am very fast – fastest gun in the West – even at my age.” – Rene Burri

One of the best traits a street photographer can have is curiosity. You can’t fake curiosity in life. Curiosity is the fuel of life. Curiosity is what keeps us hungry to learn more, experience more, and live more.

If you want to become a better photographer, learn how to become more curious in life. Be more like a child and less like an adult. Once we become adults, we become closed off to new ideas and ways of thinking. Rather than exploring things for ourselves and following our curiosity we rather Google answers.

Jacob Aue Sobol is a photographer who is perpetually curious about the lives of others. This is what fuels his work and passion:

”I also photograph because I am curious. I am curious about what the person on the other side of the street is thinking, how he or she lives, and how he or she feels. I am always looking for someone to share a moment with.” – Jacob Aue Sobol

Don’t photograph what you think others might find interesting. One of the best ways to discover your “style” in photography is to learn what you don’t like to photograph. Photograph what you are personally interested in. If there is a certain neighborhood or part of your town that you are interested in, just go there with a camera and take photos.

Don’t think too much. Follow and shoot what you’re curious about.

31. Don’t explain your photos

“I leave it to others to say what [my photos] mean. You know my photos, you published them, you exhibited them, and so you can say whether they have meaning or not.” – Josef Koudelka

One of the common mistakes photographers make is that they don’t leave their photos open to interpretation. They use fancy titles which explain what they want the viewer to take out of the photograph.

Take the opposite approach: leave your photos open to interpretation to the viewer. The more open to interpretation you make your photos, the more engaging they will be to your viewer.

A key way to do this is to leave out key information, or to add mystery or ambiguity to your photos. Intentionally cut off heads, limbs, or obscure the background. Kill the sense of context of the scene. Make the viewer work hard to interpret what is going on in the scene.

A good joke shouldn’t need to be “explained” by the joke teller. Similarly a good street photograph shouldn’t need a detailed backstory in the caption of a photograph.

Similarly, movies are always the best when they end in an ambiguous way, in which the viewer makes up their own ending. When the director ends a film without a clear ending, the film is unforgettable.

Photographer Joel Sternfeld shares how when the photographer makes an image, he or she is interpreting the world:

”Photography has always been capable of manipulation. Anytime you put a frame to the world, it’s an interpretation. I could get my camera and point it at two people and not point it at the homeless third person to the right of the frame, or not include the murder that’s going on to the left of the frame.” – Joel Sternfeld

Richard Kalvar, a master Magnum photographer, also shares the importance of having mystery behind your shots and not explaining them:

“It’s tempting to satisfy people’s curiosity as to what was “really going on” in a scene, but it always leaves a bad taste in my mouth. If there’s a mystery, the viewer should try to unravel it for him- or herself, subjectively, through intelligence, imagination and association. I want people to keep looking, not just move on to the next thing.” – Richard Kalvar

One of the biggest takeaways we can get from Richard Kalvar?

Don’t make the mystery or drama too obvious to your viewer. Let them follow their curiosity, by analyzing your images, and trying to unfold the mystery themselves.

32. “Open” vs “closed” photos

In photography, there tends to be two types of images: “open” photos and “closed” photos.

“Open” photos

“Open” photos are open to interpretation; which means the viewer can make up his or her own story in their head. “Open” photos tend to be more memorable and engaging.

“Closed” photos

“Closed” photos are closed to interpretation. A “closed” photo can only be interpreted in one way. Generally “closed” photos are forgettable; the viewer looks at the image once and has no reason to look at it again.

Here are some assignments you can try out:

Assignment #1: Make an “open” photo

Make a photograph without a clear explanation. Intentionally try to use blur, out of focus effects, a flash, high contrast black and white, or cut out limbs or body parts.

Make an image difficult to interpret, and ask your friends or viewers to come up with their own story. Capture people with strong body gestures or emotions, and don’t make it clear what exactly is going on.

Make a mystery out of your photos, in which the viewer has to be the detective.

Assignment #2: Make a “closed” photo

Sometimes when you’re doing documentary or photojournalism photography, you don’t your photos open to interpretation. You want it to share a specific viewpoint.

In this case, you want a detailed description or caption, for the viewer not to be misled. But street photography is more about creating your own interpretation of the world, rather than trying to capture some “objective” reality.

Don’t forget that the more ambiguous or open-ended you make your images, the more fun and engaging it will be for the viewer.

33. Kill your ego

”I wouldn’t talk about the photographs. No, I try to separate myself completely from what I do. I try to step back to look at them as somebody who has nothing to do with them.” –  Josef Koudelka

We can let our ego get in the way of our photography. We think our photos are like our children, and we become too emotionally attached to them (even if they are bad photos). We need to learn how to “kill our babies.”

I have a difficult time overcoming my attachments to my photos. When people critique my photos, I feel like they’re critiquing me as a human being.

Remember: you are not your photos. When people critique or criticize your photos, they aren’t criticizing you. They’re just judging your photos.

One of the best ways to overcome this is to detach your ego from your photos. By detaching your ego from your photos, you can judge them more honestly and objectively.

When you want feedback on your photos, ask people, “Please be straightforward and give the photos a brutally honest critique.” Also when critiquing your own work, imagine that they were shot by someone else.

Another master photographer, Sebastião Salgado mirrors this sentiment. He dedicates making images for others to make a positive impact in the world, instead of boosting his own self-ego:

”The biggest danger for a photographer is if they start thinking they are important.” – Sebastião Salgado

Edit ruthlessly, and kill your ego from the process.

34. Shoot what you love

”I wouldn’t talk about the photographs. No, I try to separate myself completely from what I do. I try to step back to look at them as somebody who has nothing to do with them.” –  Josef Koudelka

We can let our ego get in the way of our photography. We think our photos are like our children, and we become too emotionally attached to them (even if they are bad photos). We need to learn how to “kill our babies.”

I have a difficult time overcoming my attachments to my photos. When people critique my photos, I feel like they’re critiquing me as a human being.

Remember: you are not your photos. When people critique or criticize your photos, they aren’t criticizing you. They’re just judging your photos.

One of the best ways to overcome this is to detach your ego from your photos. By detaching your ego from your photos, you can judge them more honestly and objectively.

When you want feedback on your photos, ask people, “Please be straightforward and give the photos a brutally honest critique.” Also when critiquing your own work, imagine that they were shot by someone else.

Sebastião Salgado mirrors this sentiment. He dedicates making images for others to make a positive impact in the world, instead of boosting his own self-ego:

”The biggest danger for a photographer is if they start thinking they are important.” – Sebastião Salgado

Edit ruthlessly, and kill your ego from the process.

35. Don’t hesitate

I have always been drawn to badasses, characters, and tattoos. Partly because I grew up not being confident in my own masculinity, so whenever I see those who I think are tough, I am naturally drawn to them.

I saw this man in Downtown LA, and I was absolutely frightened to approach and photograph him. However I mustered up the courage to approach him, and ask to make a few portraits of him.

Even though he looked scary, he was extremely friendly and had no problem with me taking his photo. I shot two photos with a flash on my camera, and I am glad that I followed my gut and intuition in asking him for the shot.

If you see what you think might be a good photo, never hesitate; and just go for it. Live life without regrets.

36. Don’t try to be someone else

”Photograph who you are!” – Bruce Gilden

One of the most polarizing street photographers is Bruce Gilden. Love him or hate him, he is true to who he is. He was born and raised in the concrete jungle of New York City, and he professes that his father was a “gangster type.” Bruce has an attitude, shoots up close and personal with a flash and 28mm, and is unapologetic about how he shoots or his work.

A lot of people criticize him for exploiting his subjects, or being an asshole. Personally I’ve met him and I would say that he stays true to who he is: a rough, tough, no bullshit human being. But at the same time, he has a lot of empathy for the people he photographs:

”I love the people I photograph. I mean, they’re my friends. I’ve never met most of them or I don’t know them at all, yet through my images I live with them. At the same time, they are symbols. The people in my pictures aren’t Mr. Jones or Mr. Smith or whatever; they’re someone that crossed my path or I’ve crossed their path, and through the medium of photography I’ve been able to make a good picture of that encounter. They have a life of their own, but they are also are symbols. I would say that I respect the viewer, but I don’t want to tell him everything.” – Bruce Gilden

When I started shooting street photography, I tried to imitate Henri Cartier-Bresson (who was extremely introverted and didn’t like to interact with his subjects).

But the problem is that I wasn’t being true to myself. I didn’t photograph who I was. I was imitating a photographer whose personality and worldview was completely different from mine.
Over the past several years I discovered my style in street photography reflected who I was as a human being: social, chatty, and engaging with others.

At heart I am an extrovert (I am an “ESFP” according to the Myers-Briggs personality test). Ultimately I prefer engaging with my subjects when photographing them (as Bruce Gilden often does), and I prefer to shoot closely and prefer physical intimacy through proximity.

There is no “right” or “wrong” way to shoot street photography. You need to shoot who you are. What makes your personality unique? If you prefer not to interact with your subjects, shoot from a distance and be candid.

If you’re extroverted and like conversation, don’t be afraid to talk with your subjects.

The ancient Greeks said: “Know thyself.” Similarly, know thyself in street photography. Shoot what suits your personality, mood, and temperament, and disregard what everyone else says or does.

37. Don’t repeat yourself

”When I went out of Czechoslovakia I experienced two changes: The first one is that there wasn’t this situation any longer. I didn’t need wide-angle lenses. And I had understood the technique very well, I was repeating myself, and I’m not interested in repetition, I wanted to change. I took a 50mm/35mm Leica.The second change was that I started to travel the world. I had this possibility and I had a look at this world.” – Josef Koudelka

There is always a fine line between repetition and variety as a photographer and artist. On one hand you want repetition and consistency in your work to give you a certain style or voice. On the other hand, you want variety in your work to prevent yourself (and viewer) from getting bored.

When Josef Koudelka worked on his “Gypsies” project, he traveled and lived with the Roma people for around ten years. He shot it all on a SLR and a 25mm lens. This helped him shoot in cramped quarters, and create an intimate document of the life of the Roma people.

When Koudelka was done with the project, he realized that he no longer needed to repeat himself. Therefore he just ended up exploring and traveling the world with a 35mm/50mm Leica. Koudelka wanted to also switch up the subject matter that he photographed:

“I don’t want to reach the point from where I wouldn’t know how to go further. It’s good to set limits for oneself, but there comes a moment when we must destroy what we have constructed.” – Josef Koudelka

There is a concept called “creative destruction” in art and life. The idea is that you need a framework to keep you inspired and creative in your artwork. But at a certain stage, this framework can become more of a cage. Once this happens, you must break out of your cage.

38. Ask for permission

“I carried this little album of my work. I have three choices. If I see someone in this beautiful mood, I’ll go up to them and ask them, I’d like to take a picture of that mood. If they say yes, I ask if they can get back into that mood. Not everyone can do that. Or, if the said no, then I took out the album and they saw the work. Or I took it, and ran like hell. I had those three choices in the subway.” – Bruce Davidson

Bruce Davidson is a photographer who isn’t afraid to ask for permission. He is a street photographer who has deep empathy for his subjects, and tries to make imagery that connects with them.
Davidson’s first body of work was “East 100th Street,” in which he documented impoverished individuals and families with uncompromising sincerity and love with a large-format camera. He would visit the neighborhood over and over again, before he was able to build trust with his subjects. One thing that helped him was that he printed photos of the people he shot and gave it to the subjects in the neighborhood, rather than just taking shots and running away.

After that project, he started to work on photograph the gritty subways of NYC in color, using an SLR and a flash in the 1980’s.

If you see Davidson’s images in his “Subway” book, most of them look candid and without permission. But in reality, Davidson asked a lot of his subjects for permission. Davidson describes his approach:

“Often I would just approach the person: ‘Excuse me, I’m doing a book on the subway and would like to take a photograph of you. I’ll send you a print.’ If they hesitated, I would pull out my portfolio and show them my subway work; if they said no, it was no forever. Sometimes, I’d take the picture, then apologize, explaining that the mood was so stunning I couldn’t break it, and hoped they didn’t mind. There were times I would take the pictures without saying anything at all. But even with this last approach, my flash made my presence known. When it went off, everyone in the car knew that an event was taking place– the spotlight was on someone. It also announced to any potential thieves that there was a camera around. Well aware of that I often changed cars after taking pictures.” – Bruce Davidson

Davidson didn’t always ask for permission. But shooting candidly would sometimes draw unnecessary attention:

”Sometimes, I’d take the picture, then apologize, explaining that the mood was so stunning I couldn’t break it, and hoped they didn’t mind. There were times I would take the pictures without saying anything at all. But even with this last approach, my flash made my presence known. When it went off, everyone in the car knew that an event was taking place- the spotlight was on someone.” – Bruce Davidson

Know that there is no reason you should be afraid of asking for permission. The worst case scenario is that someone will say “no” upon you asking them.

Zoe Strauss, a contemporary Magnum Photographer also has to deal with a lot of rejection in her work when asking for permission:

“I’ve stopped hundreds of people and asked to make their photo. If it’s an up-close portrait, I always ask the person if I can take the photo. Often the answer is ‘no’.” – Zoe Strauss

Asking for permission is incredibly difficult. You make yourself vulnerable to rejection, which is scary and intimidating.

The wonderful thing about asking for permission is that the image-making process becomes more a collaboration between two individuals, rather than the photographer simply “stealing” an image from the subject.

If you are afraid of approaching strangers and shooting their photo without permission, start off by asking. The more you ask and the more you get rejected, the more confidence you will build. Not only that, but you will improve your people skills when people do eventually say “yes.”

Here is some practical advice when asking for permission:

1. Compliment your subject

When you first approach your subject, start off by complimenting them by telling why you want to photograph them. For example, it can be the color of their hair or eyes, their outfit, their earrings, or sunglasses. In the past I have said, “Excuse me sir, I absolutely love your face. Do you mind if I made a portrait of you?” with great success.

If you find someone who looks a bit down on his/her luck yet still want to make a photo of them, don’t give a fake compliment. However you can say something positive like, “Excuse me sir, you look like you have one hell of a life story. Do you mind if I made a portrait of you?”

2. “Making” vs “Taking” a photo

I have also found that by saying “making” a photo (instead of “taking” a photo), I get more people to say yes. Why is that? “Making” a photo is a more collaborative and creative process (this is what Europeans say). “Taking” a photo almost sounds like you’re stealing somebody’s soul.

3. “Portrait” vs “Picture”

By asking to make someone’s “portrait” not “picture,” subjects are much more willing. What is the difference? “Portrait” sounds much more regal and respectful. Most people would be honored to have their “portrait” made. However “picture” sounds more creepy and unprofessional.

4. Show them your LCD screen

If your subject says “yes” to being photographed, make them part of the image-making process by showing them the LCD screen. Ask them which shot they like the best, and even offer to email them the photo.

5. Ask them their life story

Generally when I approach people and don’t have anything to say, I ask them “What is your life story?” as an ice-breaker. This opens up so many amazing stories, and you can always find some common ground. By paving this path, you can find a way to connect with any stranger on the streets, and also share some of your life story with them too.

As an example, I met this interesting character in the Mission in San Francisco while out shooting with a student. We chatted with him for about 10 minutes before taking his image. Once we started to talk about his life story, he totally dropped his guard:

I took 69 photos of him in total, and it wasn’t until the last photo that I made which I felt showed his character. I loved his orange beard, and the soft robin-egg blue of his eyes. Even though he was a rough character who was homeless, we made a connection. I ended up giving him a print, which brought him immense amounts of joy.

39. Try to get rejected

We often fear the rejection more than the rejection itself.

If you want to quickly break out of your shell in street photography, start off by asking for permission. The goal is by the end of the day, you want 10 people to say “yes” being photographed, and 10 people saying “no” to being photographed.

If your subject says “yes,” take at least 10 photos of them, and show them the LCD afterwards. Even offer to email it to them.
You can also ask your subject which photo of them they prefer. This engages your subject, and makes them more comfortable being photographed.

40. Don’t define yourself

“Oh people you’re a documentary photographer. I don’t even know what that means. Oh people say you are a photojournalist. I’m rarely published in journals. Oh then yore a fine art photographer. Then I say I’m not. I aspire to be a fine photographer.” – Bruce Davidson

Don’t become pigeon-holed by definitions in photography (especially in “street photography”). Most of the “street photographers” profiled in this book never call themselves “street photographers.”

“Street photography” is just an easy blanket term we can use to describe the type of public photos of people we make (to differentiate ourselves from nature and landscape photographers).

Photography is photography. Some days you might want to shoot “street photography,” and on other days you might want to shoot your friends, family, or sunsets.

Don’t let definitions hold you back. Disregard labels that others try to put on you.

Bruce Davidson is often characterized as a “documentary” or “street” photographer. Some of his work is “documentary” in the sense that he spends a lot of time with the same subjects. Some of his work is “street photography” in the sense that sometimes he shoots photos of subjects candidly, in public spaces.

Bruce Davidson sees himself as a “humanist” that happens to take photos, rather than being any sort of “photographer.”

You are a human being that is interested in life. Just think of yourself as an individual that loves life, and just happens to take photos.

Once you shed external definitions, this opens up your view to the world. No longer do you not shoot certain subject matter because it isn’t “street photography.”

Photograph anything that remotely interests you. Don’t worry if the photo might be a “cliche” or “boring.” You don’t need to publish all the photos you take. And if you shoot digitally, there is no downside to making extra photos.

Don’t aim to be a “street photographer”, aim to be a great photographer. Don’t ask photographers whether they think your photos are “street photography” or not. Simply ask them whether the images you make emotionally move them.

Why do photographers like to define one another and stick them into boxes? It makes others feel comfortable about themselves.

By putting other photographers into boxes, you feel more secure about yourself. This is a greedy and selfish thing to do that imposes your own definition onto others. Human beings are uncomfortable with unambiguity, and they always want to see where they are in comparison to you.

I often get ridiculed that I am not a “street photographer.” Rather than arguing with them, I just resort to self-deprecating humor by saying, “You’re right, I’m not a street photographer, I’m just an Asian tourist with a camera.”

To be a better photographer, be more interested in your fellow human beings:

“I’m just a humanist. I just photograph the human condition as I find it. It can be serious. It can also be ironic or humorous. I’m political, but not in an overt way.” – Bruce Davidson

Even Garry Winogrand hated the term “street photographer.” In one interview he joked that when people asked him what kind of photographer he was, he would just that that he was a “zoo photographer.”

To sum up, aim to love people first, and then focus on photography afterwards. I believe that it is more important to make connections with people than to make photos.

41. Don’t stop your projects too soon

“I find that young people tend to stop too soon. They mimic something they’ve seen, but they don’t stay long enough. If you’re going to photograph anything, you have to spend a long time with it so your subconscious has a chance to bubble to the surface.” – Bruce Davidson

One of the problems that many photographers starting off is that they stop their photography projects too soon. They quickly get bored before really delving deep into their subject matter, theme, or concepts.

A truly great photography project require time, depth, consideration, hard work, sweat, passion, and endurance.

For example for Bruce Davidson’s “Subway” project, he rode the subway nearly every single day (at random hours in the day) for two years straight. By spending so much time in the subway, he became part of the subway. He learned the nuances of the subway, was able to capture different types of subject matter, and a variety of images.

The problem with modern day society is that we often suffer from “photographic ADD”; we can’t concentrate on one project, vision, or subject matter. We quickly flit from one fashionable type of photography to another.

Growing a strong photography project is like growing a tree. You need to start off with a strong foundation, and you need to plant a seed and give it lots of water, light, and love. It takes a long time for a seed to sprout into a great tree.

Look at all the great redwood trees, and imagine the thousands of years they needed to grow to the height they currently exist.

The mistake many photographers do is that they prematurely pull their seeds out of the ground. They don’t let their seeds germinate long enough to lay down roots, and grow. If you are constantly re-planting your seed, it will never grow to incredible heights.

How do you find a photographic project that is interesting? Bruce Davidson gives great advice for aspiring photographers:

”If I were a student right now and I had a teacher like me I’d say, ‘You have to carry your camera everyday and take a picture everyday. And by the end of the week you should have 36 pictures exposed. And then suddenly you’ll latch onto someone, maybe a street vendor- oh he or she is very interesting I might have to be with him or her. So things open up visually.” – Bruce Davidson

Dorothea Lange, the famous photographer of “migrant mother” also shares the philosophy of working your theme until exhaustion, and not giving up too soon:

“Pick a theme and work it to exhaustion… the subject must be something you truly love or truly hate. […] Photographers stop photographing a subject too soon before they have exhausted the possibilities.” – Dorothea Lange

When you’re working on a project, don’t stop too soon. Keep working your theme over a long period of time. The more depth you have with your project, the more unique and meaningful you will make it.

A practical tip? Think decades for your photography project, not years, months, or days.

42. Take shitty photos

“You shoot a lot of shit and you’re bound to come up with a few good ones.” – Trent Parke

Don’t be a perfectionist in your photography. If you seek perfection, it might lead to “photographer’s block.”

Don’t get caught up in your ideas for your photography projects. Don’t worry about the small details; just go out and shoot and figure out the details later.

A lot of perfectionists shoot themselves in the foot because every time they go out and shoot, they expect all their shots to be great. But friend remember that the more “shit” you shoot, the more likely you are to get a great shot.

I am constantly disappointed in my photography, especially when I shoot digitally. Why is that? Because I set unrealistic expectations for myself, and I look at my photos too soon (the same day).

Most master photographers I have talked to only admit to making one good photo a month, and one great shot a year. The chance of me making a good photo in a day is extremely low.

This is a benefit of shooting film: I generally get my film processed once every 6 months-1 year. This means that I am more likely to get a great shot, which leads to less disappointment.

With digital, I don’t have the mental fortitude to wait so long.

Remember that the more risks you take, the more likely you are to take a great shot. To live life without taking any risks is to never have the chance to be great. Wayne Gretzky, one of the best hockey players of all time once said:

”You miss 100% of the shots you don’t take.” – Wayne Gretzsky

If you don’t take any photos of a scene you find interesting, your chance of making a good photo is 0%. The more risks you take, you are slightly more likely to make an image you are happy with.

Don’t be afraid to shoot shitty photos. In-fact, intentionally try to shoot a lot of “shit.” To be frank, I think it is impossible to shoot 100,000 “shitty” photos in a row. You are bound to get a good one along the line.

I don’t mean for you to put your camera to burst mode and just “machine gun” everything you see. Rather, try to shoot 10,000 photos intentionally, and try to make good shots. But the secret is to have no expectations of making any good photos.

The higher the expectations you set for yourself, the more pressure you will put on yourself, and the less likely you are to make a good shot. It is kind of like going on a first date: trying too hard to impress your date will actually make them less interested in you.

Remember to separate the shooting/editing phase in photography. When you’re out on the streets, just shoot anything you find interesting. Don’t put any restrictions on your shooting.

Once you go home and download your photos to your computer, be a brutal editor. Be ruthless. Kill your babies.

As a general rule of thumb, only expect to make one good street photograph a month.

Never forget how difficult street photography is; it is the most difficult genre of photography that exists. No other form of photography requires courage to approach strangers, to compose your frame well, and to also have the stamina to “work the scene.”

Not only that, but so much of what happens in street photography is fleeting and random. There is so little we can control in street photography; we can only control where to stand and when to click the shutter.

Remember if you don’t get the shot, don’t make excuses. There are certain scenes in which there is nothing else you can do in terms of making a better shot. For example, you might have been in a very cramped area, which prevented you from framing the scene better. But ultimately you have the control whether to “keep” or “ditch” your shot.

I honestly feel that 90% of photography is about being a good editor of your own work (choosing your best shots), rather than just making good images.

With modern digital cameras, making a technically competent photo is very easy (especially if you shoot in “P” mode and RAW). “Bad” cameras don’t exist anymore.

The biggest issue we have in modern photography is that there are too many images to look through. My friend Charlie Kirk said it best:

“If you shoot film, you’re a photographer. If you shoot digital, you’re an editor.” – Charlie Kirk

Not to say film is better than digital; they are just different. With digital, you need to be even more brutal with your editing, because with film you end up shooting less.

One great example of a master photographer is Trent Parke who is never satisfied with his work, and is always trying to take his work to the next level.

For example, one of Parke’s most famous images of of dark silhouetted subjects against a bus in Sydney (AUSTRALIA. Sydney. Martin Place, Moving bus. 2002) required him to visit the area 3-4 times a week for an entire month to capture. Parke explains:

”I shot a hundred rolls of film, but once I’d got that image I just couldn’t get anywhere near it again. That’s always a good sign: you know you’ve got something special.” – Trent Parke

One of the lessons I learned from a Magnum workshop I attended with David Alan Harvey and Constantine Manos is this: the difference between a mediocre and great photographer is how bad they want the shot.

A mediocre photographer will be satisfied with 1-2 photos of a scene. A great photographer will take 100-200 photos of a scene (to get the perfect image).

Don’t be afraid to make bad images. Diane Arbus explains how by taking “bad” photos we can learn:

“Some pictures are tentative forays without your even knowing it. They become methods. It’s important to take bad pictures. It’s the bad ones that have to do with what you’ve never done before. They can make you recognize something you had seen in a way that will make you recognize it when you see it again.” – Diane Arbus

43. Chase the light

“I am forever chasing light. Light turns the ordinary into the magical.” – Trent Parke

The root of the word “photography” in Greek means “drawing with light.” Don’t see yourself as a photographer, but as painter using a camera as your brush.

As a rule, always follow the light. When you’re out shooting on the streets, try to find areas with dramatic contrast between the shadows and light. If you shoot during the middle of the day, you can adjust your camera to -2 exposure compensation to get very dark shadows, and well-exposed highlights.

In post-processing, you can also “crush the blacks” by dragging the “black” slider to make even more contrasty black and white images.

One thing I have discovered is that black and white looks good regardless of lighting situations. However color photographs look really bad when shot in poor light.

For good inspiration of good light and color, study the work of Alex Webb. As a rule, he doesn’t shoot when the light is poor and harsh. Therefore he either shoots early-morning (sunrise) or late-afternoon (sunset). He is the ultimate painter of light in color photography.

What you can also do is this: during the day (when the light isn’t good), use that time to scout locations. If you find a street corner that you find might be interesting, re-visit it when the sun starts to set, and then park yourself on that corner, and work the scene.

Light turns the ordinary into the magical. A scene without good light can be boring. A scene with great light becomes something otherworldly.

If you’re shooting at sunset, follow the light. As the sun starts to set, you will notice the rays of light will shift and move. Just follow the light.

If you want to be more “efficient” in your street photography, limit your shooting only to “golden hour” (sunrise/sunset). During the times when the light isn’t good, either get a cup of coffee or take a nap.

When the light is good, shoot like a madman.

44. Channel your personal emotions

”When I came to Sydney at the age of 21 I left everything behind – all my childhood friends and my best mate – at first I just felt this sense of complete loneliness in the big city. So, I did what I always do: I went out and used my Leica to channel those personal emotions into images.” – Trent Parke

There is no “objectivity” in photography. As a photographer, you are a filter of reality. You decide what to include in the frame, and what not to include in the frame.

Furthermore, you are also a “subject selector.” You filter what you find “interesting” and what you find “boring.”

There is no such thing as an objectively “interesting” image. What you find interesting might not be interesting to your viewer.

For example, let’s say you took a photo of an African villager with exotic paint on their face. To you (assuming you are a Westerner) you might find it fascinating. But if you showed that to one of the fellow African villagers (who also wear the same exotic paint on their face), they wouldn’t find it interesting.

As viewers of images, we use our own personal background and story to interpret images. We use our prejudices, our pre-conceptions of the world, and interpret images based on our personal biases and views.

How can we make emotional images that connect with our viewers, if photography is so subjective?

My suggestion: shoot with your heart. Capture emotions.

There is no guarantees that your viewers will find your images interesting. But the more you shoot with your heart, the more likely you are to strike an emotional chord with your viewer as well.

One photographer whose work I greatly admire is Josh White, a friend of mine who shows his emotional scars through his photos. He is from Canada and has lived in Seoul for many years, and has blogged about his life experiences very publicly.

The viewer of Josh’s images don’t feel like outsiders; they feel like a part of his experiences. Furthermore, Josh writes with his heart on his sleeve (and also shoots from the heart). I feel like I have gotten to know Josh not only as a photographer but a human being through both his writing and images.

Often photographers who deal with a lot of emotional hurt and turmoil end up creating great work. Think about all the famous artists who have created incredible work after suffering a death, a break up, or any other personal tragedy.

Similarly, many artists have created great work when intensely happy things happen in their lives (birth of a child or a second-chance at life after a near-death accident).

Trent Parke, whose monochrome images bleed with emotion and mystery shares how he tries to infuse his personal images into his work:

”I’m always trying to channel those personal emotions into my work. That is very different from a lot of documentary photographers who want to depict the city more objectively. For me it is very personal – it’s about what is inside me. I don’t think about what other people will make of it. I shoot for myself.” – Trent Parke

I find that photography is one of the best ways of self-therapy. When I used to work a 9-5 job, and feeling stressed after answering 200+ emails, I would go walk around the block from my office and just take photos of strangers to relieve stress.

When I channeled my emotions in my shooting, I could better relate and emphasize with my subjects on the streets. When I felt shitty and overwhelmed, I would see other people like that on the streets. When I felt excited and overjoyed, I could see that in the streets as well.

In-fact, I could surmise that many street photographers treat street photography as “walking meditation” (Rinzi Ruiz, a good friend has taught me a lot about how he connects Zen “mindfulness” and street photography).

The more I shoot strangers, the more I discover and learn about myself. Every image I take of a stranger is a projection of my own emotions and beliefs upon them. Each image I shoot of a stranger is a self-portrait.

I love the interactions that I gain through street photography. There is nothing more soothing than sharing my stresses, anxieties, and difficulties with strangers (ironically enough, strangers are more willing to listen to your life problems than your close friends).

Trent Parke has a similar philosophy, that photography is discovering yourself and your place in the world:

”My mum died when I was 10 and it changed everything about me. It made me question everything around me. Photography is a discovery of life which makes you look at things you’ve never looked at before. It’s about discovering yourself and your place in the world.” – Trent Parke

Jacob Aue Sobol is another Magnum Photographer who is intensely curious about his subjects. I am always amazed to see the access he is able to get with his subjects during intimate moments (even having sex). His goal with photography? Integrating his life experiences with love:

”The year after I started at the European Film College, I started writing short stories and, later, taking pictures. Once I realized that I was able to isolate my emotions and communicate them through my pictures, I felt like I had found an ability which was unique and which I wanted to explore further. Now, a lot of experiences in life and the people I have shared my time with have added to my memories, my fear and my love, and through this they have inspired me to continue photographing.” – Jacob Aue Sobol

Photography enhances my life experiences. Without a camera I wouldn’t be as present. Furthermore, the camera helps record my emotions, memories, and feelings of loved ones, strangers, and my life experiences.

45. “All photographs are accurate, none of them is truth”

”There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is truth.” – Richard Avedon

Richard Avedon isn’t known as a “street photographer.” He is famous for his large-format black and white portraits of models, celebrities, and musicians.

However I feel that his strongest body of work is his “In the American West” project. From 1979-84, Avedon traveled across America with a crew and shot stark black-and-white portraits of ordinary people against a simple white backdrop. His images ooze of hope, despair, longing, strength, confusion, and love.

When Avedon first exhibited the images, he got a lot of criticism. Many said that he showed a “distorted” view of working-class Americans. Furthermore, he was often criticized for capturing unflattering portraits of his subjects. How did Avedon respond? He described how his image-making process was more of a “fiction than “objective” documentary:

“I think the larger issue is that photography is not reportage, it is not journalism— it is fiction. When I go to the west and do the working class (it is more about the working class than the west)—it is my view. Like John Wayne is Hollywood’s view. So it means my idea of the working class is a fiction.” – Richard Avedon

Every photo we make is an opinion. Opinions are never “right” or “wrong”; they are simply our subjective view of reality.

Avedon boldly states that all photos are “accurate” in the sense that the moment your camera captures an image, the moment you caught is precise (cameras don’t lie).

There is no objective “truth” in your photos, because we only capture a fraction of a second. How can a fraction of a second show the entirety of someone’s personality, character, and soul? If you take a photo of someone blinking (and it makes them look stupid), is that a “lie,” or just a slice of reality?

Mary Ellen Mark (a photographer who was very intimate with her subjects) admits that photos are just opinions. As a photographer, you need to express your subjective point-of-view:

“I don’t think you’re ever an objective observer. By making a frame you’re being selective, then you edit the pictures you want published and you’re being selective again. You develop a point of view that you want to express. You try to go into a situation with an open mind, but then you form an opinion and you express it in your photographs. It is very important for a photographer to have a point of view- that contributes to a great photograph.” – Mary Ellen Mark

The humanist photographer Sebastião Salgado adds the deeply subjective nature of photography:

“Photography is not objective. It is deeply subjective – my photography is consistent ideologically and ethically with the person I am.” – Sebastião Salgado

Who are you as a photographer and a human being? Show it through your images.

46. Disturb your viewer

”It’s so strange to me that anyone would ever think that a work of art shouldn’t be disturbing or shouldn’t be invasive. That’s the property of work— that’s the arena of a work of art. It is to disturb, it to make you think, to make you feel. If my work didn’t disturb from time to time, it would be a failure in my own eyes. It’s meant to disturb— in a positive way.” – Richard Avedon

Fear holds us back as photographers and artists. We are afraid of being judged, critiqued, or hated on.

Every great photographer had their critics. No matter how great you are as a photographer, you will never have 100% of the photography world love your work.

Often people hate on photographers simply because they are jealous of their success. These jealous people call great photographers “overrated” because they feel frustrated about their own lack of fame and success.

No matter how good you are as a photographer, you’re always going to get your “haters.” In fact, you can judge how successful a photographer by how many haters that photographer has.

When you’re starting off, everyone is supportive of you. But once you become rich, famous, and influential– you are going to have people stab you in the back, be jealous of your success, and talk shit about you behind your back (trust me, it has happened to me).

When Robert Frank published “The Americans,” (arguably the most influential photography book in history) it was hated. Photography critics called it communist, Anti-american, and ugly. They disliked the high-contrast and gritty images, and they thought Frank was an amateur who didn’t deserve any respect.

Nowadays everybody looks at Robert Frank with a holy reverence, and his work has inspired millions of photographers from all around the world.

Whenever you try to do something against the grain, you will always be criticized. For example, when Daido Moriyama first started to shoot photography, the trend was to get hyper-crisp, sharp, and realistic images (with little grain as possible). Perfection in images were valued.

However Daido followed his own path and disregarded what everyone else did. He inherited a point-and-shoot film camera from a friend (film Ricoh GR) and shot gritty black-and-white photos, and innovated the grainy, out of focus, and technically imperfect aesthetic called “are, bure, boke.”

Now gritty black-and-white photos with high-contrast is a popular aesthetic, adopted by photographers such as Anders Petersen and Jacob Aue Sobol.

Going back to what Richard Avedon said, great art is often disturbing and invasive to the viewer. Great art disturbs the viewer by pushing them out of their comfort zones. Great art challenges the thinking, pre-conceived notions, beliefs, and concepts of the viewer. Great art challenges viewers to think and feel in a different way.

The worst thing you can be as an artist and photographer is to be boring. The secret to failure as a photographer is to make work that doesn’t offend anybody.

No matter how great a photographer is, they will always have “haters.” For example, do a Google search on any photographer or artist you admire. Search for their name and add keywords like “overrated” or “sucks.”

You cannot go through life and your photographic journey without having someone dislike your work.

My suggestion: embrace it, and follow your own voice, without worrying if others will be disturbed by your work.

47. Disregard technical settings

”Modern technology has taken the angst out of achieving the perfect shot. For me, the only thing that counts is the idea behind the image: what you want to see and what you’re trying to say. The idea is crucial. You have to think of something you want to say and expand upon it.” – Martin Parr

Nowadays with modern digital technology, a photographer doesn’t need to rely on manual or technical settings anymore. If you just set your camera to “P” (program mode), your camera automatically chooses the exposure, aperture, shutter speed, and often does a better job than the photographer. This liberates the photographer to focus on composing and framing the scene.

The technical settings matter insofar much as you need to make a strong image with a strong idea.

The real master photographers don’t care so much about technical settings, but what they are trying to say through their images. Magnum photographer Constantine Manos also mirror the importance of ideas in photography:

”Ideas are very important and underrated in photography. A photograph, like a written text or a short story, is an idea. A photograph is an idea. A visual idea. It doesn’t need any words. If you see something, a good photograph is the expression of an idea. This doesn’t require captions and explanations. A photo should make a statement.” – Constantine Manos

Even several decades ago many photographers were overly-obsessed with technical considerations. Andre Kertesz (a predecessor to Henri Cartier-Bresson) stressed the importance of mood and emotion:

”Technique isn’t important. Technique is in the blood. Events and mood are more important than good light and the happening is what is important.” – Andre Kertesz

Andre Kertesz expands by saying images with expression and soul is more important than technical perfection:

”If you want to write, you should learn the alphabet. You write and write and in the end you have a beautiful, perfect alphabet. But it isn’t the alphabet that is important. The important thing is what you are writing, what you are expressing. The same thing goes for photography. Photographs can be technically perfect and even beautiful, but they have no expression.” – Andre Kertesz

When someone reads a book that is amazing, wouldn’t it be silly if they asked the author what typewriter, laptop, or pen or paper they used?

It is the content and the emotion that matters, not the tool or technical settings.

48. Embrace “P” mode

When you’re out making images, you only have a limited amount of brainpower. So don’t waste your effort in thinking about your camera settings. Focus on capturing the moment, the mood, and the soul behind an image.

If you’ve never tried “P” mode, give it a go. Set your camera to “P” (or program), center-point autofocus, and ISO 800. This will automatically prevent you from worrying about the technical settings, and more on the image-making aspect of things. Try it out for a month, and see if this liberates and helps your photography.

For example when I was in New Orleans in 2015, I shot only with a Ricoh GR II digital camera, and shot it all in “P” mode, center-point autofocus, and ISO 800. I photographed anything I found remotely interesting, and had fun. It was amazing; I felt like I was a kid again.

The less I worry about technical settings, the more fun I have, and I also make better images.

If you make a great shot, nobody is going to care what camera mode you shot it in. Apparently Steve McCurry shoots nowadays digitally in “P” mode and Auto-ISO (even Moises Saman and Eli Reed from Magnum).

Set your camera settings, forget about it, and just shoot. Or even easier to remember: “Set it and forget it.”

49. Enjoy the process

“I was taking pictures for myself. I felt free. Photography was a lot of fun for me. First of all I’d get really excited waiting to see if the pictures would come out the next day. I didn’t really know anything about photography, but I loved the camera.” – William Klein

If you’re not having fun in photography, you’re doing something wrong. Not only that, but why would you make photos if you didn’t enjoy it? We already have enough stress and anxiety from our jobs, relationships, and other aspects of our lives. The more fun you have while making images, the more your enthusiasm will communicate to the viewer.

William Klein expresses his love and enthusiasm for photography vividly. Through his words, you can see how much love and passion he has for his craft:

“… a photographer can love his camera and what it can do in the same way that a painter can love his brush and paints, love the feel of it and the excitement.” – William Klein

When William Klein shot on the streets, he would experiment and try out different techniques. He wasn’t 100% sure what he would get, but he harnessed luck and chance, all the while enjoying the process:

”I would look at my contact sheets and my heart would be beating, you know. To see if I’d caught what I wanted. Sometimes, I’d take shots without aiming, just to see what happened. I’d rush into crowds – bang! Bang! I liked the idea of luck and taking a chance, other times I’d frame a composition I saw and plant myself somewhere, longing for some accident to happen.” – William Klein

While it is important to work hard in your photography, don’t push yourself so hard that you no longer enjoy the process of photography. Constantine Manos explains:

”Don’t drive yourself [too hard]. If you’re tired, sit down. If you’re not enjoying it [photographing], you’re doing something wrong. Photography should always be a pleasurable search for something wonderful.” – Constantine Manos

Another tip: don’t take yourself too seriously, just like Elliott Erwitt:

”I’m not a serious photographer like most of my colleagues. That is to say, I’m serious about not being serious.” Elliott Erwitt

At the end of the day, nobody cares about your photos but yourself. So remember that photography isn’t about creating great images, but about enjoying your life, and enjoying the process.

50. Single photos can’t tell stories

”For me this just reveals, once again, the biggest problem with photography. Photographs aren’t good at telling stories. Stories require a beginning, middle and end. They require the progression of time. Photographs stop time. They are frozen. Mute. As viewers of the picture, we have no idea what those people on the waterfront are talking about.” – Alec Soth

Alec Soth is one of the most successful and hard working contemporary master photographers. He is a master storyteller, and also constantly experiments with his photography. Although he is a photographer, he is less interested in making single images and more interested in telling good stories.

Soth makes the bold statement that a single image cannot tell a story. While a single image can suggest a story to the viewer, a real story needs a beginning middle and end. And you can only achieve that through a series of images. Soth expands on the idea:

”So what are photographs good at? While they can’t tell stories, they are brilliant at suggesting stories.” – Alec Soth

Furthermore, the problem with single images is that they often don’t provide enough context. Soth states:

”You can’t tell provide context in 1/500th of a second.” – Alec Soth

Photography has only been around for less than 150 years. But story telling has been around for millennia. Soth views the storytelling as the ultimate goal in his photography:

“I think storytelling is the most powerful art. I just think there’s nothing more satisfying than the narrative thrust: beginning, middle, and end, what’s gonna happen. The thing I’m always bumping up against is that photography doesn’t function that way. Because it’s not a time-based medium, it’s frozen in time, they suggest stories, they don’t tell stories. So it is not narrative. So it functions much more like poetry than it does like the novel. It’s just these impressions and you leave it to the viewer to put together.” – Alec Soth

Garry Winogrand also shares his perspective that photographs by themselves are just images; light reflected off surfaces. The meanings created through images are through the viewer, not the images themselves:

“Photos have no narrative content. They only describe light on surface.” – Garry Winogrand

Joel Sternfeld also shares the problem of photography, that single images can’t explain enough context:

“You take 35 degrees out of 360 degrees and call it a photo. No individual photo explains anything. That’s what makes photography such a wonderful and problematic medium.” – Joel Sternfeld

Sebastião Salgado ties it all together by also hammering in the point that he only works for a group of images to tell a story:

”I always work for a group of pictures, to tell a story. If you ask which picture in a story I like most, it is impossible for me to tell you this. I don’t work for an individual picture. If I must select one individual picture for a client, it is very difficult for me.” – Sebastião Salgado

One last piece of advice from Alec Soth when working on a project: think of yourself as a film maker, not a photographer. This will help you, because making great photography projects isn’t just shooting; the editing, sequencing, and publishing are just as important:

”I don’t come close to shooting every day. For better or worse, I don’t carry a camera with me everywhere I go. I liken my process to that of filmmaking. First I conceive of the idea. Then I do pre-production and fundraising. Then shooting. Then editing. Then distribution (books and galleries). As with most filmmakers, the shooting takes just a fraction of my time.” – Alec Soth

One of the problems of social media (Instagram and Flickr especially) is that there is a focus on the single-image. While single images are powerful and memorable; they’re not good at story-telling.

Know that making strong single images is important, but if you want to make a compelling story or narrative in a photography project, you need to string together many images to create that story.

51. Don’t worry about marketing your work

”I see a lot of young photographers pushing their work, and I think that’s fine, but so often it’s wasted effort before the work is ready. Everyone’s running around trying to promote themselves, and you kinda have to put in those years of hard work to make something decent before you do that. Particularly that first project is the hardest thing. I always say the 20s are the hardest decade because you don’t have money and you don’t have a reputation. In relation to this kind of issue, I’m always wary that the advice is like “you need to put together this promo package that you send out to these 100 people.” No, you need to do the work, and worry about that later.” – Alec Soth

In today’s society we all want to become famous. Social media has only intensified this. We start to focus on how to become more famous; how to get more followers, more views, more comments, more likes, more awards, more commissions, more exhibitions, more money, and more popularity.

Before you worry about promotion, fame, and wealth, you should focus on the most important thing in photography and art: the work itself.

It is true that you need some promotion if you want to have your work recognized. For example, Vivian Maier died penniless because she never showed her work to anybody else while she was alive (even though she was a master photographer).
At the same time, the problem that a lot of photographers make is they focus on the promotion of their images before getting better.

If you make good work, sooner or later you will become “discovered” and have your work appreciated. Even if you never become “discovered,” don’t you shoot to please yourself, not others?

I find the photographers who best become “discovered” are the ones who work on meaningful projects, that have a cohesive concept and theme, and publish it as a “body of work.” This often works much better than publishing random photos to Facebook, Instagram, or Flickr.

52. Subtract from the frame

”I have this thing, the camera’s on a tripod, it’s like an easel “Ok, I can only take a couple, I gotta makes this great.” Then I tried to get everything in the frame, which, in fact, is not a good strategy for photography. Its pulling stuff out of the frame is usually what you want to do, to simplify it. But I didn’t know that. So that was one of the lessons learned.” – Alec Soth

As a photographer, you are a surgeon with a scalpel, deciding what to remove from a frame and what to keep in the frame.
To make stronger images, you want to have less clutter and distractions in your frame. You want to be specific. By having too many subjects or objects in a frame, you only confuse your viewer. A cluttered photograph is difficult to look at, and often uninteresting.

By removing unnecessary elements from the frame, you give more focus and importance to what actually exists in the frame.

Ruthlessly eliminate distractions from the frame.

“The framing is very important – you have to keep out things that distract from the little drama that’s in the picture. I’d like my pictures to exist almost in a dream state and have people react to them almost as if they’re coming in and out of daydreams, you know?” – Richard Kalvar

Less is more. Try to be a minimalist in photography, and you will give more strength and focus to the subjects in your frame.

53. Make yourself vulnerable

”One thing I’m really interested in is vulnerability. I like being exposed to vulnerabilities. I think there’s something really beautiful about it. That’s kind of what I’ve been doing with these little stories, amping up the vulnerability, but also my own vulnerabilities, exposing more of myself. Because I knew with that “journalist” line I’m exposing my own shit there. I’m trying to get down to something raw.” – Alec Soth

The more vulnerable you make yourself as a photographer, the more vulnerable your subjects will make themselves to you. By breaking down these barriers, you will be able to connect with your subjects on a deeper level.

If you look at many of Alec Soth’s portraits of strangers, you might wonder how he was able to make them open up so much to him. His subjects are open, transparent, and sometimes even nude. Alec Soth still has difficulty approaching strangers, but he does it for the greater good.

You can’t expect your subjects to open up to you if you don’t open up to them. Human beings are mirrors; they will treat you the way you treat them.

Jacob Aue Sobol also gets deeply intimate with his subjects, and makes himself equal to them:

”You mustn’t avoid being vulnerable. For me, it’s a kind of exchange. Even though I’m the one taking the pictures, my ambition is to achieve an equal exchange between myself and the person I’m photographing.” – Jacob Aue Sobol

One of the common mistakes is that photographers just “take” from their subjects, but don’t “give” to their subjects. This happens more so when your subject is of a lower socio-economic background from you (think about all the middle-class photographers who have documented poor communities).

Treat and photograph your subjects the way you would like to be photographed if you were in their shoes.

54. Forever be an “amateur”

“I am an amateur and intend to remain one my whole life long. I attribute to photography the task of recording the real nature of things, their interior, their life. The photographer’s art is a continuous discovery, which requires patience and time. A photograph draws its beauty from the truth with which it’s marked.” – Andre Kertesz

In modern society, being called an “amateur” is an insult. However in reality, the definition of “amateur” is someone who does something purely for the love of it. Therefore just because you are an “amateur photographer” doesn’t mean that you are a bad photographer. It just means that you don’t make a living or money from your photography.

Similarly, just because you’re a “professional” photographer doesn’t mean that you’re good. You can be a baby photographer in a mall and be a “professional.”

Some of the best photographers I know are amateurs. Similarly, some of the best professional photographers I know admit to being amateurs, by shooting personal work on the side (which doesn’t pay their bills, but it is what they’re really passionate about).

Embrace and revel being an amateur.

The next time you meet someone at a party and they ask you the typical, “What do you do?” question simply respond and say, “I am an amateur photographer.” This will be much more interesting than just saying you work as some consultant or whatever.
Be proud of your photography, your passion, and your love of making images.

When I started shooting photography for fun, I did it purely for the joy of it. But then I got the idea that if I did photography full-time for a living, it would solve all of my life’s issues and I would be eternally happy.

Although it is true that now that I am technically making a living from photography (by teaching workshops), I honestly don’t shoot more now than when I had a full-time job. Furthermore, I know a lot of friends who are full-time wedding photographers who no longer have the passion to shoot as a hobby.

My practical advice is this: if you want to become a professional photographer, keep your day job, and work enough part-time gigs on the weekend until you earn enough income to make the jump. Don’t just quit your job and start traveling the world without a practical business plan.

At the same time, it is totally fine to have a day job and to work on your photography on the side. Often worrying too much about paying rent and monetizing your photography will suck the soul out of your work.

It is a fine line; tread carefully between following your passion and making money.

Ultimately, shoot because you love it. Forever be an “amateur.”

55. Stay hungry, stay foolish

”Even when Andre Kertesz was 90 years old, he created a new portfolio and shared it with the photographer Susan May Tell. When Tell asked him what kept him going, Kertesz responded: ‘I am still hungry.’”

Many of us have many frustrations in our photography: that we’re too old (and wish we started sooner), that we wish we had more time to shoot, that we don’t have enough money to travel (or afford the fancy new equipment), or that we don’t have enough “talent” (I don’t believe talent exists in any artistic form, it is just hard work).

None of these things matter. The only thing that matters is how passionate and hungry you are in your photography.

Many photographers become jaded after years of shooting. They lose a sense of their hunger and passion. This is what leads to artistic death and stagnation.

Andre Kertesz (after a lifetime of shooting) still created new work in his 80’s and even presented a new portfolio when he was 90 years old. Kertesz wasn’t easily satisfied with his work, he was still hungry to explore the world and shoot more, and to see the limits of the photographic medium.

One of the mantras I try to live my life by is from Steve Jobs who said:

”Stay hungry, stay foolish.” – Steve Jobs

We all need a bit of hunger in our life to propel us to action, and to keep going. If you’re constantly full and bloated with food, you have no motivation to move or do anything.

Personally I find my best writing, photography, and exercise happens when I am physically hungry. Hunger compels me to act. Hunger forces you to innovate.

Similarly in photography, stir up your appetite and hunger for image-making. Whenever I don’t feel motivated or inspired, I look at the photography and work of the masters. By chewing and digesting their images, I feel invigorated again and full of life, and hungry to follow in their footsteps.

Don’t let any external circumstances hold you back (whether time, financial, or where you live). Just ask yourself the question:

”How bad do I want it?”

56. Don’t force it

The irony of photography is that the harder I try to make good photos, the less likely I am to make good photos.

As a general rule, always have your camera with you, but don’t force yourself to shoot when you don’t feel like it.

There are certain photos you know you “should” shoot, and certain photos that you “must” shoot. Here is the difference:

“Should” photos

Photos that you “should” shoot are photos you think others expect you to shoot. This is the pressure of society to mold you into a certain type of photographer. Disregard taking “should” photos.

“Must” photos

Photos that you “must” shoot are images or situations in which you feel physically compelled to shoot, and you know that if you don’t shoot them, you will feel extreme regret or sadness afterwards.

Avoid taking “should” photos; only focus on taking “must” photos for more inner-serenity, happiness, and freedom from the opinion of others. Of course there is still a lot of fear to overcome of shooting “must” photos as well.

Whenever I see a photo that I “must” shoot (and still feel nervous), I generally go up to the person and ask for permission. I would rather ask and get rejected (than not ask at all).

If you want a candid photo, learn to deal with the negative consequences of shooting street photography (once again, the question you have to ask yourself in photography is “How bad do I want the photo?”) It ultimately comes down to a personal choice.

For me, I want to shoot and live with no regrets (and deal with the risk of pissing someone off or having them get angry at me).

57. Don’t take easy photos

”Shooting people is more beautiful, because it is more difficult.” – Constantine Manos

One of the best things about street photography is that it is so challenging. Anything in life which is too easy is no fun. As human beings we crave adventure, difficulty, and challenge.

Street photography is one of the most difficult genres of photography out there, because it is difficult to shoot human beings. We have so little control over the background, the subject, and the light. We have a fear of pissing people off. We have the fear of missing the “decisive moment.”

If you find yourself being bored with photography, it probably has become too easy for you. Push yourself out of your comfort zone, and aim to make more complex and difficult images from what you’re used to.

58. Shoot what you’re afraid of

Have you ever had a situation when you were out shooting all day and you didn’t find anything interesting? Happens to me all the time.

However have you ever seen a scene that you wanted to capture but were too nervous or afraid to do so?

Channel that fear in a positive way. Photograph what you are afraid of. The only reason that you’re afraid of shooting a scene is because you want to photograph it, but you’re afraid of the consequences.

By doing what we’re afraid of we continue to grow. We escape complacency.

As an assignment, go out and photograph a neighborhood or type of subject matter which frightens you. Of course do this within common sense and with safety in mind.

Whenever you see a shot you’re afraid of, shoot it.

59. Print your photos

”A photograph doesn’t exist until it is printed.” – Constantine Manos

In today’s digital age, we are so used to seeing our images on a screen. We see them on our laptops, tablets, and smartphones.

But the print is a dying medium. When is the last time you printed 4×6 prints of a holiday trip, instead of just sharing and tagging them on Facebook?

Constantine Manos says a photograph doesn’t exist until it is printed. If a photograph isn’t printed, it only exists metaphorically in pixels, and in 1’s and 0’s digitally in the ether. Printing a photograph makes it physical and brings it into the “real world.” A printed photograph has texture, weight, and takes up physical space.

In a manifesto called “The Print,” Constantine Manos shares the importance of printing our images:

“There are still photographers who believe that a photograph does not exist until it is a print. There remains in their memory the experience of working in a darkroom and recalling the magic of seeing an image gradually appear on a piece of paper in a tray of liquid. If processed and stored properly this print can last for generations. It becomes a treasure. It can be framed and hung in a favorite spot, to become an object of daily pleasure and comfort. It is a real object we can hold in our hands, not a negative or an image floating around in space and stored in cold machines. Let us celebrate the print.” – Constantine Manos

Prints are cheap. You can get them done at home, at the local drugstore, or the local photography lab. You can also get them done affordably online (I recommend mpix.com in the states). Print out your photos as small 4×6’s, give them away as friends as gifts, hang them on your walls, and enjoy the physicality of the print as an object. Lay them out on a table to edit your photography projects and sequence them.

Prints also make for fantastic presents to close friends and colleagues. The joy I get from giving away my prints is quite possibly the most joy I have ever received in photography.

60. Don’t be “suckered by the exotic”

“It is not enough to just photograph what something looks like. We need to make it into something that is unique, a surprise. Photography has been used forever to show what things look like, like when photographers photographed objects and landscapes.” – Constantine Manos

Have you ever been to India for the first time, where you strove to make all your photos look “National Geographic” and exotic? But we have all already seen those types of images before. The job of a photographer isn’t to just make beautiful postcards of exotic places but to make a unique image that hasn’t been done before.

Rather than simply duplicating what has been done in the past, we should strive to add to the conversation of photography by adding something a little extra.

Constantine Manos advised me not to get “suckered by the exotic.” I have to admit, this happens to me all the time, especially when I travel to exotic locations which are novel to me, like India, Tokyo, or Paris. I have a mental repository of all the exotic photos I have seen in the past, and I try to simply replicate it.

Also as a photographer, we need to imbue meaning into the images we make. We aren’t there to simply capture what is before our very eyes. We have already seen a million photos of the Eiffel tower, the Taj Mahal, and of a sunset.

We shouldn’t photograph what things look like. We should photograph what things feel like.

For example, it took me 3 trips to India before I didn’t take the cliche “National Geographic” Steve McCurry-wanna-be images. When I first went to India, I was blown away by all the colors, and the “exoticness” of the place.

61. Shoot in boring places

I make it a point to always have a camera with me, because you never know where there will be a good photo opportunity. However I do have the same struggles as you, I often find it hard to find inspiration in my photography.

Let me give you an example; when I lived in East Lansing, Michigan for about a year, I struggled a lot to find inspiration. I just moved from Los Angeles, where my main focus was photographing people.

Once I got to Michigan, there was barely anybody walking in the streets. I complained about my fate everyday, and made excuses how I wasn’t able to shoot interesting photos in Michigan.
However I started to try to find possibilities in the “boring” life that I lived.

This image shot at Meijer, the supermarket in town. I had a point-and-shoot film Ricoh GR1s in my pocket (which I always carried with me in Michigan), and I saw this interesting scene: an online employment application booth with an “OUT OF ORDER” sign in front.

To me, it said much about the socio-economic condition of Michigan and the United States. I would always hear Republican debates about the “lazy” and poor Americans not getting jobs.
What is the irony of the shot? Even if you want to get a job and apply for it, you can’t. Obviously you can see my political leanings in this image. But the takeaway point is know that good photos exist everywhere, sometimes in the most unlikely places (gas stations, supermarkets, mall, etc).

62. Don’t take bad photos

“The best way to take a bad picture is to take it. Ask yourself: ’Why am I pushing the button?’ You want to get rid of the clutter before putting it into the machine.” – Constantine Manos

As photographers we sometimes ask the wrong questions to ourselves. We ask how to take photos, where to take photos, when to take photos. But rarely do we ask ourselves why we take photos.

You need a reason to click the shutter. Otherwise you will lose your passion and drive.

What about a scene interests you? Why did you make that image? What kind of mood does it have? What are you trying to say about society? Try to keep this question always in the back of your head.

Furthermore, if you see a person or a scene that you don’t think will be a good photo, don’t feel pressured to shoot it. You don’t need to take bad pictures.

Sometimes it is sufficient to just look at something, appreciate it, and move on (without shooting it).

63. Make specific photos

”A photograph has to be specific. I remember a long time ago when I first began to photograph I thought, ‘There are an awful lot of people in the world and it’s going to be terribly hard to photograph all of them, so if I photograph some kind of generalized human being, everybody’ll recognize it.’ It was my teacher Lisette Model, who finally made it clear to me that the more specific you are, the more general it’ll be.” – Diane Arbus

A common mistake I see a lot of beginning photographers make is that their photos are too general. If you make your photos too general, there isn’t enough interest for the viewer to keep looking.

Viewers want to latch onto certain details they find interesting in a photograph. They want a visual anchor they find interesting to keep their eyes from wandering outside of the frame.

Diane Arbus learned the lesson from her teacher (Lisette Model) that the more specific you make your photos, the more people they will reach and touch.

For example, Diane Arbus would find specific details in her subjects that she found interesting. She would be drawn to their face, body gestures, or their expressions. Not only that, but she was specific in the types of subjects she photographed; people generally ignored or ostracized in society. These included dwarves, transgendered people, and others commonly known in her era as “freaks.”

What made Diane Arbus’ work special is that she photographed them as just normal human beings, and photographed them with empathy, love, and compassion.

Life is too short for you to photograph everything. Rather than trying to photograph every single genre of photography, stick to the type of photography that you are truly passionate about.

If your passion is street photography, intentionally give up all forms of other photography. Why? If your mind is divided amongst many different genres of photography, you will never create a single body of work that you are truly proud of. Not only that, but it takes a long time to cultivate and do one thing very well.

Don’t be a generalist in your photography; aim to be specific. Aim for depth over breadth. Then once you are able to “master” a type of shooting (let’s say this takes 10 years), then you can “graduate” and move onto the next project, theme, genre, or idea.

64. Compose intuitively

”Composition must be one of our constant preoccupations, but at the moment of shooting it can stem only from our intuition, for we are out to capture the fugitive moment, and all the interrelationships involved are on the move.” – Henri Cartier-Bresson

There are two things that make a great photograph: content (what’s in the frame) and form (how it is composed). You need a perfect marriage of these two elements to make a compelling image.

As photographers we must constantly be preoccupied with how we compose our photos. When it comes to street photography, how can we compose quickly when the moment we see can be so fleeting?
Henri Cartier-Bresson states that composition can only be derived from intuition. It is difficult to see diagonals, triangles, circles, leading lines, or other compositional elements when you’re out shooting.

You want to internalize composition. You want composition to be something that lives and breathes inside of you.

I never learned the theory of composition until after 8 years of shooting street photography. Too much theory can hurt you; you need to first be a practitioner and then create the theory from your experiences. You can sit in a studio and draw lines over images for hours on end, or you can go out and make images and discover the compositions after you shoot them.

Cartier-Bresson continues and once again really hits home the point: you can only discover composition after you’ve shot your images, not when you shoot them:

”Any geometrical analysis, any reducing of the picture to a schema, can be done only (because of its very nature) after the photograph has been taken, developed, and printed- and then it can be used only for a post-mortem examination of the picture.” – Henri Cartier-Bresson

Having a “post mortem” examination is one of the key points to improving your composition. We learn more from our mistakes than our successes.

When you’re out shooting on the streets, shoot with your gut. Then when you go home and sit down in front of your computer, edit with your brain. When you are analyzing your images, dissect your compositions, learn from them, and learn how you can improve from them.

Don’t shoot composition for composition’s sake. Who cares if you have a pretty photograph with beautiful composition, if the image has no soul and emotion?

One common mistake I make in my composition is that the edges of my frame are distracting and messy. So now I am super anal about having clean edges in my frame.

Nowadays when I am shooting, I only focus on the edges of the frame and just toss my subject somewhere in the center of the frame. By focusing on the edges of my frame, I eliminate distracting elements, which gives more focus to the subject in my photograph.

Another common mistake that a lot of street photographers make is that they have messy and cluttered backgrounds. Avoid poles sticking out of heads and shoulders of your subjects, white bags, white cars (anything white is the brightest part of the frame and is often distracting), cluttered trees, and too many subjects in the background.

Henri Cartier-Bresson studied Zen philosophy, and you can see how clean and minimalist his compositions are. He also often integrated the “fishing” technique into his images; he would find a nice composition, wait for the right person to enter the scene, and then shoot them once they stepped into the right part of the frame.

Interesting note: Cartier-Bresson was a hunter. A good hunter is one who is patient, sets a lot of traps, and knows when to pull the string.

Going back to the point of analyzing your photos after you’ve shot them, try this out: trace the geometric shapes you see in your photos in order to analyze and learn:

”You can take a print of this picture, trace it on the geometric figures which come up under analysis, and you’ll observe that, if the shutter was released at the decisive moment, you have instinctively fixed a geometric pattern without which the photograph would have been both formless and lifeless.” – Henri Cartier-Bresson

In a practical sense, make it a habit to print out your photos as small 4×6 prints, and use them as little sketches. Take a red sharpie, and draw the geometric shapes and forms you see on your images (or you can do it in Photoshop).

Honestly I am very suspicious of anyone who tells me that composition is their number one focus when they’re out shooting, and that they can see all these diagonals, triangles, circles, curves, and red lines when they’re out on the streets. It might work if you’re a landscape or architecture photographer, but as street photographers, this is something that cannot be done (especially if you want to focus on photographing a fellow human being).

Diane Arbus would probably agree on this point, as she also stresses that composition is mostly intuitive and comes with practice:

”I hate the idea of composition. I don’t know what good composition is. I mean I guess I must know something about it from doing it a lot and feeling my way into and into what I like. Sometimes for me composition has to do with a certain brightness or a certain coming to restness and other times it has to do with funny mistakes. Theres a kind of rightness and wrongness and sometimes I like rightness and sometimes I like wrongness. Composition is like that.” – Diane Arbus

Helen Levitt (another great female street photographer) also draws on the importance of practice and intuition and composition, and less on theory:

“It would be mistaken to suppose that any of the best photography is come at by intellection; it is like all art, essentially the result of an intuitive process, drawing on all that the artist is rather than on anything he thinks, far less theorizes about.” – Helen Levitt

Less theory; more practice.

Walker Evans also shares how he doesn’t think much when composing his images:

”I don’t think very much about it consciously, but I’m very aware of it unconsciously, instinctively. Deliberately discard it every once in a while not to be artistic. Composition is a schoolteacher’s word. Any artist composes. I prefer to compose originally, naturally rather than self-consciously. Form and composition both are terribly important. I can’t stand a bad design or a bad object in a room. So much for form. That way it’s placed is composition… when you stop to think about what an artist is doing one question is, what is the driving force, the motive.” – Walker Evans

Frankly speaking, I would take a photograph with strong emotional content and weak composition any-day over a photograph with a strong composition and weak emotional content.

Never forget: a photograph without emotion is dead.

65. Don’t have a “project”

”My obsession is with making photographs. I generally do not have a theme when in the act of photographing. Themes emerge after the photographs begin to accumulate. This happened in a clear way with my new book and exhibition Twirl / Run. For me picture taking is pure instinct. Gut. That is why I love doing it. I’m not thinking when I am working.” – Jeff Mermelstein

Jeff Mermelstein is a focused and intense contemporary street photographer who goes out and shoots whatever he finds interesting, than makes books later. This is a method that has worked well for him, and can work well for us too.

Working on street photography projects can be very challenging if you have too rigid of a concept before you go out and shoot. This can make your mind rigid to new opportunities.

If you face “photographer’s block” (or dislike working on “projects”) go out and shoot without a theme in mind. Simply photograph what interests you, and discover your “project” or a theme as you go.

React to what you see, and then you can compile your projects or series later. Elliott Erwitt follows the same way of working and explains:

”I don’t start out with any specific interests, I just react to what I see. I don’t know that I set out to take pictures of dogs; I have a lot of pictures of people and quite a few of cats. But dogs seem to be more sympathetic.” – Elliott Erwitt

Elliott Erwitt has shot for many decades, and after compiling thousands of images, he discovers common threads and themes in his work. Now towards the later part of his life, he is compiling his images into books of certain subject matter and places.

Helen Levitt, one of the pioneers of color street photography also rebelled against the notion of having a “project,” she simply photographed what she noticed:

“I never had a ‘project.’ I would go out and shoot, follow my eyes—what they noticed, I tried to capture with my camera, for others to see.” – Helen Levitt

Another way to discover what kinds of projects to pursue in your photography is to print out your photos and start sorting them into different boxes. Once the boxes start to fill up, you’ve got a project as Lee Friedlander explains:

”I just work and I throw the pictures in a box that says “X” or whatever, and eventually if the box gets full it merits looking at. I often work on two or three or four of those things at once. People tell me that they all look like they’ve been well thought out, and that’s because I’ve worked on them for so long.” – Lee Friedlander

Ultimately you want to figure out what fulfills you in photography. Some photographers hate going out and shooting “random” photos of everything. Some photographers prefer more focus and rigidity (working on projects).

However other photographers hate working on projects. They just want to go out, shoot, and have fun.

Follow what is true to you. There is no “right” or “wrong” in photography. There are just different approaches. Experiment and discover what works for you.

66. Improve 1% everyday

“Without instruction, at a very early age, I could play the piano. Anything, particularly—after hearing it once. Not reading music. I would pass a quite fine piano in my house every time we came from the back from the front—and every time I would pass it I would play a few things, and without any success at all. And I got a little better and better, and time went on. And maybe never playing the same one twice. It ain’t much different the way I work today, still [in photography].” – William Eggleston

It is easy to look at a body of work by an accomplished master photographer and feel that no matter how hard we work, we can never achieve as much as that photographer.

The journey of a thousand steps begins with the first step. If you want to create a body of work in photography, you need to start off with a single photograph.

If you want to improve your photography, just aim to become slightly a better photographer everyday. Aim to improve your photography by 1% everyday. You can improve your photography by taking more photos, studying master photographers, or analyzing photography books.

By improving 1% everyday, you will see huge compounded interest in the course of a year.

Great bodies of work take time. We need to be patient. Zen master Hakuin Ekaku explains:

”It’s like chopping down a huge tree of immense girth. You won’t accomplish it with one swing of your axe. If you keep chopping away at it, though, and do not let up, eventually, whether it wants to or not, it will suddenly topple down…But if the woodcutter stopped after one or two strokes of his axe to ask, ‘Why doesn’t this tree fall?’ and after three or four more strokes stopped again, ‘Why doesn’t this tree fall?’ he would never succeed in felling the tree. It is no different from someone who is practicing the Way.” – Hakuin Ekaku

1% improvement in a day is realistic. Don’t set unrealistic expectations for yourself, or you will become so overwhelmed and not start. Some suggestions:

• Shoot 1% more photos everyday
• Provide 1% more critiques to other photographers on social media everyday
• Edit down your portfolio by 1% everyday
• Learn 1% new photographic theory everyday
• Try to be 1% happier everyday

Don’t hesitate; start now!

67. Take 1 photo everyday

What is an easy way to get into physical shape? Just aim to do 1 pushup everyday.

“But how can you get physically fit from just 1 pushup a day?”

The secret is this: when you go down to do just 1 pushup, you end up doing more than 1 pushup. You might end up doing 5, 10, perhaps even 20 pushups. If you aim to do at least 1 pushup everyday, in the course of just a month you can become quite fit. The difficult part is overcoming the psychological burden of just getting down on the ground.

In your photography, aim to take 1 photograph everyday. Not every photograph you take everyday is going to be a good shot. But it is a good practice that keeps your eye sharp, and your trigger finger well greased and lubricated. If you aim to just make 1 photo a day, that might lead you to making 5, 10, 20 or even more photos.

Then compound that over the course of a week, a month, a year, and a decade, and before you know it, you will have an incredible body of work in your photography.

68. Make something extraordinary from the ordinary

”I think it’s exciting to make something extraordinary out of the banal. I’m not the kind of photographer that needs to travel to take pictures. I am not saying that there aren’t extraordinary images being made in Gaza and sometimes I wonder I should go to Gaza. But I’d probably get sick and be scared. I don’t want it. I’m comfortable, I’m not drawn to bullets. I’m not drawn to danger.” – Jeff Mermelstein

One of the great things about street photography is that we don’t need to live in a super exotic or interesting place to make good photos. The beauty of street photography is to make powerful images from the ordinary and mundane.

But what if you live in a really boring place, and you can’t see any beauty? Start off by taking photos of “ugly stuff”, as Rosa Eggleston (the wife of William Eggleston) shares:

“[William] at one time said to his great, highly respected friend: ‘Well, what am I going to photograph? Everything here is so ugly.’ And our friend said, ‘Photograph the ugly stuff.’ Well we were surrounded everywhere by this plethora of shopping centers and ugly stuff. And that is really initially what he started photographing.” – Rosa Eggleston

Then over the course of several decades, William Eggleston made an incredible body of work of pretty mundane and boring scenes. His city Memphis isn’t New York City, but he has really made his banal city beautiful. Photographer Joel Meyerowitz also agreed that the most beautiful art often comes from the ordinary of everyday life:

”Why is it that the best poetry comes out of the most ordinary circumstances? You don’t have to have extreme beauty to write beautifully. You don’t have to have grand subject matter. This little dinky bungalow is my Parthenon. It has scale; it has color; it has presence; it is real: I’m not trying to work with grandeur. I’m trying to work with ordinariness.” – Joel Meyerowitz

Embrace the plain, boring, mundane. Don’t strive to create high-brow “art”. Just document ordinary things as a photographer. Walker Evans shares his experiences:

”Forty years ago when I was going around with a camera I was doing some things that I myself thought were too plain to be works of art. I began to wonder – I knew I was an artist or wanted to be one – but I was wondering whether I really was an artist. But I didn’t have any support. Most people would look at those things and say, “Well, that’s nothing. What did you do that for? That’s just a wreck of a car or a wreck of a man. That’s nothing. That isn’t art.” They don’t say that anymore.” – Walker Evans

You don’t need an expensive camera or live in an exotic place to make interesting photos. You just need a keen and curious eye, and the ability to transform the ordinary into the extraordinary.

69. Don’t see your photos as “art”

”I don’t think of my photos as works of art—I see them as a fraction of a second in which my understanding and the worlds offering are unified in some way. That allows us to have some sort of open experience to share with whoever happens to look at the photo. So it isn’t formal, it is more experiential.” – Joel Meyerowitz

Pretentiousness is what often blocks or obstructs many photographers. If you want to create more inspired images, don’t force yourself to create “art.” If you start thinking that your work has to be “Art” with a capital A, you will put unnecessary pressure on yourself, which can actually prevent you from creating beautiful photographs which can be considered as “art.”

By not thinking of your work as art, you can be more open to experimentation and failing and tying out different things for fun.

70. Constantly question yourself

“[I’m always] asking myself: ‘How interesting is this medium? And how interesting can I make it for me? And, by the way, who the fuck am I?‘” – Joel Meyerowitz

It can be painful to feel lost and confused in our photography. But don’t fret, this is absolutely normal. Even the master photographers constantly grapple with these questions.

Photography is often a form of self discovery. And the more questions you ask yourself and the more you analyze your intentions in photography, the more you will grow, and the more you will become focused in your work.

Joel Meyerowitz, who was one of the most influential pioneers in color photographs even admits that he hasn’t found the definitive answer for himself yet:

”No, not yet [smiling], and time is running out. But I’m getting there.” – Joel Meyerowitz

You will never 100% “discover” who you are as a photographer or human being. But it is the journey what makes it all worth it.

71. Feel emotions in color

”Color plays itself out along a richer band of feelings—more wavelengths, more radiance, more sensation. I wanted to se more and experience more feelings from a photograph, and I wanted bigger images that would describe things more fully, more cohesively.” – Joel Meyerowitz

Shooting color isn’t just purely for decorative purposes. Shooting color reveals a deeper psychological depth and emotions in a scene. Joel Meyerowitz explains the importance of how colors can evoke feelings, memories, and certain life experiences:

”A color photograph gives you a chance to study and remember how things look and feel in color. It enables you to have feelings along the full wavelength of the spectrum, to retrieve emotions that were perhaps bred in you from infancy—from the warmth and pinkness of your mother’s breast, the loving brown of you puppy’s face, and the friendly yellow of your pudding. Color is always part of experience. Grass is green, not gray; flesh is color, not gray. Black and white is a very cultivated response.” – Joel Meyerowitz

Whether you decide to shoot color or black and white realize that you have control over your palette:

”A photographer must choose a palette as painters choose theirs.” – Joel Sternfeld

Joel Sternfeld, another pioneer in color photography also shares the challenge of color, which is how to abstract reality:

”Black and white is abstract; color is not. Looking at a black and white photograph, you are already looking at a strange world. Color is the real world. The job of the color photographer is to provide some level of abstraction that can take the image out of the daily.” – Joel Sternfeld

Color isn’t just decorative; it must have emotion as well to be memorable.

72. Never leave home without your camera

“I carry [the 8×10 camera] with me as I would carry a 35mm camera. In the very beginning, if I went for a drive or to the A&P, the camera was in the back seat of the car; if I went for a walk down the street to visit a neighbor, or if I went to the beach, the camera was on my shoulder. No matter where I went, that camera was ever-present: parties, walks, shopping. It came from the discipline of carrying a 35mm at all times—in the early years you never saw me without a camera. I didn’t want to be in that position of saying, “Oh I saw a great shot, if only I had my camera.” – Joel Meyerowitz

Have you ever seen a great potential photograph, but you didn’t have your camera with you? It has happened to all of us at least once.

I think one of the best disciplines that a photographer can have is always have a camera with him or her. I don’t necessarily feel that a photographer must take a photograph everyday (unless you want to), but the peace of mind of always having a camera on you (just in case) is wonderful:

”At that time no photographer was without a camera. We got that from Henri Cartier-Bresson’s being ready for ‘the decisive moment,’ and from Robert Frank’s traveling everywhere in America and making pictures of the Americans that seemed to occur in the most unexpected moments. Since my discipline was always to carry a camera, it didn’t matter that when the size changed it became big and awkward; I still wanted to have it at all times. So I provided myself with the opportunity of making large-scale, highly detailed photographs of unusual moments.” – Joel Meyerowitz

Most of us have smartphones, with great cameras. If you ever find yourself without your main camera, know you can always use your smartphone camera. It is better to shoot a scene with a smartphone camera than not take a photograph at all.

73. Make a book

”Before I lay out a book, I read the pictures many many times, until I’ve absorbed the so-called meaning of each picture. My feeling about it – not intellectually, but my gut feeling about these pictures and how I relate to them, and then I just collect them all as miniatures, at three inches across, and I carry them with me like a deck of cards, and I lay them out, everytime I have a few minutes, I lay them out – I’m doing it now, for this next book – I lay them out and look and look, and then I’ll see something that looks like a starting point!” – Joel Meyerowitz

Every photographer should aim to make at least 1 personally meaningful book in his or her lifetime. Why? A book can last decades, centuries, or perhaps even millennia (if well stored). A digital photograph on Instagram on your hard drive? Who knows how long that will be accessible (do you remember floppy or hard disks?)

Seeing your photos printed out in a book is a unique experience. It is a unique way of looking at your images which more tangible, real, and personal. Furthermore, a book allows you to pair, sequence, and arrange images in novel and flexible ways.

Joel Meyerowitz shares his pairing process when he is putting together a book:

”I’ll put that picture first, and then I’ll see what happens. What does it call, like magnetism, to itself? And what do these two call themselves, and what do these three call? Because it’s not just about the next picture, it’s the weight of the three of them in a row. Five of them in a row. Ten! I can set-up certain rhythms or cadences, so that when you get to the third or fourth picture, you begin to realize the first picture again, like, ‘oh yeah, the first and fourth are linked!’ And there are these links so that if you were to make a drawing of this book, if there were forty pictures – I could probably make a diagram that comes after the fact, not before the fact, that the first connects to the fourth and the tenth and on and on – and that there are these interconnections. It’d be a fun thing to do, actually.” – Joel Meyerowitz

You don’t need to get your books printed by some fancy publisher. Nowadays there are many great print on demand services like Blurb which give you high quality photo books without having to print 1,000s of them.

What if you have no experience putting together a photography book, where do you start? You can start off by dissecting your favorite photography books from other photographers. Joel Meyerowitz gives some advice:

“You should take your favorite book and take it apart that way and see why it works that way. What is it about the rhythm of these pictures that make you see it as a book, rather than a collection of pictures. I think, too many photographers make books that are just collections of pictures. You could throw them together any way and they’d be alright.”- Joel Meyerowitz
Lee Friedlander also shares the joy of the process of putting together books:

“I like making books… I realize that the nature of photography is such that I can’t see everything on first look, because photography has this ability to deal so well with information.” – Lee Friedlander

The beautiful things about photography books is that they are like a nice wine, they get better with age. Friedlander continues:

”There’s so much information in a picture that often I don’t see until the fifth reading or 30 years later.I can pick up Walker’s book American Photographs today and see something I never saw before – and I’ve owned that book for over 30 years. So I think that books are a great medium for photography. They seem to be the best. I can go back and re-read things – ‘Oh shit, I didn’t see that before’.” – Lee Friedlander

Don’t let your photos die on your hard drive. Convert them into photography prints or books; give them a physical life.

74. Juxtapose

“I believe that recognition and the power of the frame to put disparate, unrelated things together—suddenly this guy who was going on his business doing all this stuff and this woman with her poodle—they have no knowledge of each other. But in your frame, it is context.” – Joel Meyerowitz

One way to make stronger images is to put together unrelated things into a frame, which create a sense of juxtaposition, contrast, and context.

If you’re not familiar with the term “juxtaposition,” it is essentially a fancy word which means contrast. It is when you put two different things or concepts together (side by side) that directly contrast or contradicts one another, yet there is some sort of relationship.

A great juxtaposition in a photograph would include a young kid next to an old man, a tall person next to a short person, a person with a dark complexion next to a person with light complexion.

If you’re out shooting street photography and you identify one interesting thing going on, see if you can add another element of interest to make the frame more complex. Joel Meyerowitz continues on the point of making relationships in his photos:

”I’m going to go on record here—when I think about my photographs, I understand that my interest all along has not been in identifying a singular thing. But in photographing the relationship between things. The unspoken relationships, the tacit relationship—all of these variables are there if you choose to see in this way. But if you choose to only make objects out of singular things you will end up shooting the arrow into the bull’s-eye all the time, and you will get copies of objects in space.” – Joel Meyerowitz

It us only through comparison, analogy, similarities, and differences can we create meaning. Without sadness we couldn’t have joy. Without dark we couldn’t have light.

Much of street photography is to also show the hidden drama of everyday life. So if you’re able to make photos that show this tension between happiness and sorrow, hope and despair, old age versus youth in a single frame, you’re connecting with the viewer.

By capturing these relationships in your photos, you’re also acknowledging your own humanity, as Meyerowitz continues:

“I didn’t want copies of objects—I wanted the ephemeral connections between unrelated things to vibrate. And if my pictures work at all, at their best—they are suggesting these tenuous relationships. And that fragility is what is so human about them. And I think its what is in the ‘romantic tradition’—it is a form of humanism that says we’re all part of this together. I’m not just a selector of objects.” – Joel Meyerowitz

What kind of connections can you make in your photos, and how can you make your viewers connect to your photos?

75. Pave your own path

”I was enthralled by Eggleston, as everybody was. But I knew if I was ever to make a mark, I’d have to go to places he hadn’t headed. He owned the poetic snapshot, but I’d always had this leaning towards narrative, and so I began to lean a little harder.” – Joel Sternfeld

When learning photography, it is always great to study the work of the masters. The masters have put in decades of work, and have dedicated their lives to photography and their craft.

We can gain a lot of inspiration from them but we should consider us more of our guides, rather than trying to follow them blindly and duplicate them.

When Joel Sternfeld started shooting, he was greatly inspired by the color photography of William Eggleston (as were many other photographers). But Sternfeld knew that if he wanted to make his mark in the world of photography, he needed to go down his own path and road.

76. What do you want from your photography?

One of my personal struggles in street photography was trying to find my own voice. And to be honest, I still don’t think I’ve found my true “voice.” However as time has gone on, I feel I finally have a bit more clarity in terms of what I want out of photography.

Ultimately, I want to capture emotions in my photography. I want my photography to be a tool to empathize with my subjects. I want to make photos that pull at the viewers heart strings. Other details like what camera I use, what lens I use, whether I shoot black and white or color mean less to me now.

Ask yourself why you shoot. Do you only shoot to get likes, favorites, and comments on social media? Or do you really do it for yourself? And if you do it for yourself, what drives you?

77. Don’t constantly switch your equipment

”They’re humorous to watch, people who photograph, especially people who aren’t in tune with their equipment, because they don’t know when they pick it up what it will do. If you work with the same equipment for a very long time, you will get more in tune to what is possible. But within that there are still surprises. But using a camera day after day after day, within a framework, I’ll do the same thing. I’ll back up and I’ll go forward with my body.” – Lee Friedlander

In today’s society we are plagued by the disease of “G.A.S” (Gear Acquisition Syndrome). The concept is that when we are dissatisfied with our photography (or don’t feel inspired), we wrongly believe that buying new cameras, lenses, or equipment will make us more creative or inspired.

In reality what ends up happening is that we waste our valuable money, flit from one camera system to the next, trying to find the “perfect” camera for our needs.

The reality? No perfect camera exists. With every upside there is a downside. Not only that but because there are so many cameras out there, we never get really comfortable with one system.

For me, I am constantly tempted to change my gear. I know that having new equipment is just going to be a distraction, but I am constantly tempted by gear review sites, advertising, and marketing.

However I found the more cameras and lenses I owned the more stressed out I was. Before going out to shoot, I wouldn’t know which camera to use. I fell victim to “paralysis by analysis” and having too many choices hurt me.

The solution? Stick with one camera and one lens. With only one camera and one lens, the benefit is there is no stress. You know exactly which camera and lens to take to shoot because you have no other options. This is another “creative constraint” that will help your vision as a photographer.

Not only that, but when you stick with one camera and lens for a long time, you get to know the camera inside and out. You can change the controls of the camera without even thinking about it. You know all the buttons, dials, and how much to twist the focusing tab of your lens for a certain distance. You begin to worry less about technical settings and more about making the images you want.

Another tip that has helped me: try to appreciate your camera more by imagining how sad you would be if you lost your camera (or if someone stole it). Or you can re-read old reviews of your current camera, and re-live your joy and enthusiasm for the equipment you already own.

78. Learn where to stand

”The question of where to stand is interesting. What we’re really talking about is a vantage point. If you look at amateurs or people taking pictures, they do funny things. Most people obviously don’t know where to stand. They’re standing too close, they’re contorted.” – Lee Friedlander

One of the lessons I learned from Magnum photographer David Hurn is that the two main things you control in photography is where to stand (your position) and when to click the shutter (your timing). Lee Friedlander shares the importance of your position, and knowing where to stand when hitting the shutter:

”You don’t have to be a fancy photographer to learn where to stand. Basically you’re stuck with the frame and just like the person taking a picture of his family, who needs to go half a foot back – well, he doesn’t step half a foot back—but on the other hand, he knows where to be if he hits it right.” – Lee Friedlander

You don’t need an expensive camera or equipment to know where to stand. Sometimes all you need to do to make a better photo is to take a step forward or backwards.

79. Expect to be disappointed

“It’s generally rather depressing to look at my contacts- one always has great expectations, and they’re not always fulfilled.” – Elliott Erwitt

No matter how good you are in photography, expect to be disappointed. Even the masters of photography are often disappointed when they’re looking through their photos.

“I hate looking at my work. I delay it for as long as possible… I just know that it won’t live up to my own expectations.” – David Alan Harvey

Don’t be disappointed at being disappointed. Rather know that your disappointment comes from the fact that you have high expectations for yourself. If you had low expectations for yourself, you would never be disappointed.

In photography it is important to have high expectations. If you set your mark high, even if you miss, you still achieve a higher caliber of work. However learning from your mistakes can be the best instructor, as David Hurn explains:

“The contact sheet is a valuable instructor. Presumably, when a photographer releases the shutter, it is become he believes the image worthwhile. It rarely is. If the photographer is self-crucial, he can attempt to analyze the reasons for the gap between expectation and actuality.” – David Hurn

How do we bridge the gap between creating what we expect and the final result? Think about how you can improve the photo next time you shoot a similar scene.

”Could the image be improved by moving backwards or forwards, by moving to the right or left? What would have been the result if the shutter were released a moment earlier or later? Ruthless examination of the contact sheet, whether one’s own or another’s, is one of the best teaching methods.” – David Hurn

Work hard, but manage your expectations.

80. More megapixels, more problems

“The workload with digital has certainly doubled with fieldwork. You have now to photograph, edit and send your images on the same day. You go back to your car or hotel room to download, caption and transmit your work. It’s much more immediate and it becomes much more difficult to revisit the work.” – Paolo Pellegrin

Digital photography is one of the greatest blessings in photography. It has helped democratize photography to the masses. With digital photography, we can learn a lot quicker from our mistakes.

There are also downsides to digital photography. With digital photography, sometimes we feel too rushed to share our images. Other times, it is difficult to revisit our work after letting our images “marinate.” Digital photography can also cut out some of the collaborative process:

“Digital photography can permit greater sharing in the field, but cuts out collectively at the other end. Fewer people share the whole process. It used to be that you sent raw film in and often the Magnum editorial or another photographer would take a look at the contacts.” – Susan Meiselas

Not only that but the LCD screen is a blessing and a curse. One of the downsides of being able to see your images immediately is that you are given a false sense of certainty. Not seeing your photos on film made you work harder to get the image because the process was more uncertain:

”I still think not knowing what you ‘have’ at the end of the day with film gives strength of the intensity when you work. It is a mystery and surprise. Now everyone spends more time looking at their screens, first on the camera and then the computer.” – Susan Meiselas

Gilles Peress also shares how with digital it is harder to reflect at the end of the day after a full day of shooting:

”With film you kept track in your head of what you were shooting, and evenings could be spent on a mental recap of the work you had made: the technical demands of digital editing in the field, at their worst, mean ‘less reflection, less intelligence, less thinking time.’” – Gilles Peress

Shooting film isn’t better than digital. Digital isn’t better than film. They are just different. There are benefits to shooting both digital and film.

I have discovered that shooting digital requires more discipline than shooting film. Why? You need to be much more ruthless when editing your photos, because you end up shooting more than on film.

When you shoot film, it is easier to let your photos “marinate” for a long time, which actually makes it easier to “kill your babies.”

At the end of the day, it doesn’t matter if you shoot film or digital. Shoot whatever medium suits you (or shoot both). Ultimately photography is about emotions and capturing the human condition; the tool you use doesn’t matter so much.

81. Experiment with film

It doesn’t matter whether you shoot film or digital. There is not one “superior” format; they’re just different.

If you have never shot film before, try it out. Just buy the cheapest film camera you can buy, some cheap film, and go out and shoot 20 rolls, and get them developed and scanned some local lab (many local labs and drugstores still process color film).

Reflect on how the process of shooting film is different from digital. Then ultimately take those lessons and apply it to your digital photography. Or perhaps you can just end up sticking with film (or shooting both film and digital).

What you will find with film is that it will teach you patience, appreciation of images, the enjoyment of the slower process, and the excitement and joy of finally seeing your images after a long time.

82. Kill your babies

”I am a tough editor of my work, and usually when I look at my contacts I find that I can go as many as fifty rolls without getting a good photo.” – Bruce Gilden

Editing (choosing your best images) is one of the most important things in photography. The problem is nowadays “editing” is used interchangeably with “post processing.” So when many photographers say that they’re going to go home and “edit” their shots, what they really mean is that they’re going to go home and post-process their photos.

What is the problem with this? The issue is that there is much more emphasis on post processing images (rather than having the discipline of choosing only your best photos). What ends up happening is that you think that post processing a so-so photo will suddenly make it better. But no amount of post processing can make a mediocre photo into a great photo.

Know that photography is hard, especially street photography. Bruce Gilden admits that sometimes he has to shoot 50 rolls of film (1,800 images) before he gets a photo he likes.

Choosing your best shots is one of the most difficult decisions, especially when we shoot many photos of the same scene. The difficulty is that ultimately, you can only choose one image to represent your vision. Leonard Freed expands on this idea:

“It can be difficult to make a decision because you can like this frame for this reason, and that frame for that reason. Each photograph has its particular strength. But you only pick one. One has to represent all. So I am always trying to put everything into one image: the statement, the foundation, the composition, the story, the individual personality – all of that together into one image.” – Leonard Freed

How do we best edit our photos? One tip, follow your gut. Eli Reed says to choose the images that “speak to you”:

”Over three or four days I shot something like forty rolls of film. When I edit, I go for a gut, instinctual feeling. I started editing when I got the film back a day or two after I returned to the states. You are so aware of what you saw; the experiences that reflect in your mind. You don’ really forget the people and what they are going through. So I wanted to work on it immediately. Like anything else, when you’re trying to put down what you witnessed, you go for the pictures that speak to you.” – Eli Reed

Also don’t ignore your heart and feelings, and integrate your memories into the editing process. Larry Towell says how you can imbue your images with symbolism:

”When I look at a contact sheet, I try to remember the feeling I had when I took the frame. The memory of feeling helps me edit. Art for me is really simple. It’s when a feeling overcomes you and you convey your feeling with symbols. In photography the symbols are the thing itself.” – Larry Towell

There are also times when you’re looking through your images, there are some that simply “jump off the page.” That is a great indicator that it is a strong image, as Bruce Gilden explains:

”When I look at a contact sheet, I go in order from no 1 to no 36. I mark the ones I like, and unless something really jumps off the page at me, I go over them again to see which is the best one. With my personal work, I only print what I think is good. When something jumps off the page, it’s easy.” – Bruce Gilden

Another tip: I look at my photos in Lightroom as small thumbnails, which helps me better judge the composition and emotions of my images. I no longer look through all of my photos in full-screen.

When you aren’t sure which image to choose, ask yourself: “What am I trying to communicate through this image?” Mark Power had a similar difficulty, when he tried to edit down from 14,000 individual images. He ultimately asked himself, “What is this work really about?” This gave him insight into what the project was about:

”During the four years I spent making The Shipping Forecast I exposed nearly 1,200 rolls of film, which amounts to 14,000 individual pictures. Editing this down to a manageable number was a major exercise. I had advice from several people whose opinion I respected, but this only served to confuse me more. So instead I asked myself what the work was really about, and the answer was far clearer: it was about my childhood. In the end, The Shipping Forecast doesn’t depend on outstanding individual pictures, but instead on its collective strength.” – Mark Power

It is often hard to edit your images just by yourself. Having outside opinions and advice can greatly help the process. Mary Ellen Mark trusts the opinions of those close to her:

”I ask my husband or Teri who works for me in New York, to also look through the contact sheets and to pick the ones they like. It always helps to have an outside opinion. You are so close and so personally involved with your work, it’s hard to separate yourself from it and see it objectively.” – Mary Ellen Mark

I personally think that editing your photos is more difficult than shooting them. Any monkey can shoot a photograph, but it takes a rational, discerning, and experienced photographer to choose his or her best images.

83. Don’t look at your photos immediately

The problem with editing our own images is that we are often too emotionally attached to them. Often the memory of taking certain shots is so vivid that we think a shot is good. We treat our images like our children, and if you know anyone with ugly children you know, we think all of our children are beautiful.

Your photos aren’t your babies or children. They’re just photographs. So you need to learn how to “kill your babies.”

There are many ways to kill your babies. You can first off ask people you trust to be brutally honest with you. You can show people certain shots you’re unsure of and simply ask them: “Keep or ditch?”, then ask them to explain why.

Garry Winogrand famously wouldn’t process his photos for a year after he shot it to totally emotionally disconnect himself with his images, and to forget the photos he shot.

You don’t have to wait an entire year, but I do advise for you to at least sit on your photos for a week before looking at them. This gives you enough distance with your photos which can help you make more objective decisions when editing your shots.

84. Don’t shoot for others

”What was happening in Czechoslovakia concerned my life directly: it was my country, my problem. That’s what made the difference between me and the other photographers who came there from abroad. I was not a reporter. I didn’t know anything about photojournalism. I never photograph ‘news’. I photographed gypsies and theatre. Suddenly, for the first time in my life, I was confronted with that kind of situation, and I responded to it. I knew it was important to photograph, so I photographed. I took these pictures for myself, with no intention of publishing them.” – Josef Koudelka

There are many photographers who make images hoping that they will get a lot of attention, acclaim, and “likes” on social media.

But that is the wrong approach; you need to first start off by shooting for yourself. Shoot as if you will never show your photos to anybody. This will make your images much more authentic and personal.

Even if you become a world-famous photographer, realize that fame and fortune are fleeting. You might be famous for a day, but the next day you will be forgotten. Sooner or later, you will be ignored. Even the greatest photographers of history have faded into obscurity, or have faced financial difficulties.

The chief reason to continue to photograph? Because you need to. Your soul requires it. If you go without shooting, you feel like you are dying inside. You should focus on shooting for self-fulfillment and self-gratification, rather than shooting for others. If nobody ever saw the images that you made, would you still shoot them?

Focus on making your photography your passion, as Alex Webb recommends:

”Photograph because you love doing it, because you absolutely have to do it, because the chief reward is going to be the process of doing it. Other rewards — recognition, financial remuneration come to so few and are so fleeting. And even if you are somewhat successful, there will almost inevitably be stretches of time when you will be ignored, have little income, or often both. Certainly there are many other easier ways to make a living in this society. Take photography on as a passion, not a career.” – Alex Webb

Many photographers pick up a camera as a hobby and because they love it. But then the idea of becoming a “professional” can taint their vision. Start off by taking photos for yourself; photos you care about. Then let everything follow.

Nowadays I hear a lot of photographers rushing to become “professional.” They go out and buy tons of expensive professional gear, and hope to make a living doing wedding or commercial photography. Then once they get a few clients, they realize that they actually don’t like shooting professionally. They also soon lose their zest and passion for shooting, because it becomes more of a job than a passion.

Realize that you don’t need to be a “professional” to be a good photographer. There are many benefits of being an amateur; you can shoot exactly what you want, without any expectations from others or clients.

In some regards, there are a lot of downsides to being a “professional.” You become a slave to others, because you need to make photos you don’t care about just to pay the rent. Much better to have a 9-5 job to pay the bills, and utilize all of your free time to do the photography that really sets your heart on fire.

Christopher Anderson gives practical advice in terms of starting off by making photos that you enjoy, and perhaps professional photography will follow. But it is a process you shouldn’t force. Don’t be in a rush. If it happens, it happens. If it doesn’t happen, that is fine too:

”Forget about the profession of being a photographer. First be a photographer and maybe the profession will come after. Don’t be in a rush to make pay your rent with your camera. Jimi Hendrix didn’t decide on the career of professional musician before he learned to play guitar. No, he loved music and and created something beautiful and that THEN became a profession. Make the pictures you feel compelled to make and perhaps that will lead to a career. But if you try to make the career first, you will just make shitty pictures that you don’t care about.” – Christopher Anderson

If you have the talent to make great images, people will soon take notice of you by the quality of the images you make. This is a better route than trying to make photos that will please others:

Only shoot photos what you feel like shooting, rather than what you think others will find interesting. The best innovations often come from ignoring everybody else, and going opposite from the crowd, as Richard Kalvar explains:

”I think that I do what I feel like doing, which may not follow contemporary fashions but which comes spontaneously from the heart, the guts and the brain. To me, that’s what counts.“ – Richard Kalvar

Don’t follow the crowd; follow your own heart and intuition. Only shoot for yourself.

85. Photograph your own backyard

“I just made my photos in Wilkes-Barre and a few other places because I wasn’t the kind of photographer who liked to, or needed to, travel around the world. That reminds me, I saw something you had said about how artistic range effects an artist’s development over time. And I work on an extremely narrow range, in terms of my method and technical issues, too. It’s what is in my head that has developed over time. So I’ve just kept taking pictures in the same two counties [Wilkes-Barre and Scranton].” – Mark Cohen

It is always hard to shoot your own backyard. We become accustomed to our own neighborhood, and it is easy to become jaded.

Mark Cohen is a photographer who documented his own “boring” small town for several decades, and made interesting photographs. He didn’t need to be in NYC, Tokyo, or Paris. He made his own backyard his Paris.

You can often find beauty in the most ordinary places. Many photographers bemoan the fact that they don’t live somewhere exotic; but you can find beauty regardless of where you are.
To be alive and on the planet Earth is a blessing. You can find beauty in the conversation of an old couple at a local coffee shop, a child playing, or someone enjoying the warm rays of the sun in a park.

There is a hidden benefit of living in a boring place– the more boring the place you live, the harder you have to work to make interesting photos. That sort of challenge helps you be more creative.

Photographer Saul Leiter lived a pretty obscure life. Leiter didn’t care for fame, he cared to just capture beauty whenever he saw it. He also focused on capturing beauty rather than misery, pain, and distress in the world (like a lot of other photographers do):

”I never thought of the urban environment as isolating. I leave these speculations to others. It’s quite possible that my work represents a search for beauty in the most prosaic and ordinary places. One doesn’t have to be in some faraway dreamland in order to find beauty. I realize that the search for beauty is not highly popular these days. Agony, misery and wretchedness, now these are worth perusing.” – Saul Leiter

I personally find re-inspired by the place I live in by leaving and traveling. Then once I come back home, I appreciate my backyard even more.

86. Make images that stand on their own

”To be honest with you, I always try to think of the specific pictures. What’s important to me is to make strong, individual pictures. When I look at a documentary photographer or photojournalist whose work I really love- somebody like Eugene Smith-it’s because the images are single images. I think of his great picture stories as stories where the images really stood by themselves. In Life’s ‘Country Doctor,’ for example, you remember each image. They weren’t only linking images -each one was strong, and each can stand alone. I think in great magazine or newspaper photography every picture can stand on its own; it doesn’t need the other pictures to support it to tell a story.” – Mary Ellen Mark

One analogy I heard about writing is that instead of thinking of writing a “book,” try to write perfect paragraphs. Every time you write a perfect paragraph, you are making a pearl. And with enough pearls, you can connect them and make a beautiful pearl necklace.

You can also apply the same thinking to your photos. Try to make each photograph into a perfect pearl. Make each photograph a strong one that can stand on its own, without any sort of caption or outside context.

A strong single image is often universal, and can be appreciated by anybody, regardless of their culture, worldview, or age. Mary Ellen Mark explains:

”What I’m trying to do is make photographs that are universally understood, whether in China or Russia or America‑photographs that cross cultural lines. So if the project is about street performers, it touches those little things and whimsies we’re all interested in -animals and people and anthropomorphic qualities. If it’s about famine in Ethiopia, it’s about the human condition all over the world: It’s about people dying in the streets of New York as much as it’s about Ethiopia. I want my photographs to be about the basic emotions and feelings that we all experience.” – Mary Ellen Mark

A strong single-image will burn itself into the mind of the viewer, and live with them. Even if you have created one memorable single-image before you die, you have done your job as a photographer.

87. What counts is the result

”What counts is the result. It works or it doesn’t work. You may think after you’ve taken a picture that you may have something. And then you find out that you don’t have anything, that you almost had something but that in fact, you pressed the button at the wrong time. That you took a lot of pictures, but you were on auto-pilot – that instead of waiting, you shot buckshot at it, so you missed the one that might really work.” – Richard Kalvar

It is common we make photos that “almost” work. But ultimately, a photo either works or it doesn’t work. There is no need to beat around the bush.

If you didn’t get the shot right “in-camera,” don’t think that excessive cropping, vignette adding, making it black and white, HDR, selective color, or post processing can salvage the image.
The process of making photos is important, but know at the end of the day, the result of the photograph is the most important. You can have the most interesting backstory in terms of how you shot a scene, but if the result of the photograph isn’t interesting, nobody will care.

Learn to be honest with yourself and your images. Be sincere to yourself; ask yourself, “Does this shot work, or not?”
I have generally found with my photographs, if I have to hesitate whether I think works or not, it doesn’t work. Also when editing my photos, if a photograph is a “maybe”, it doesn’t work. The good photos you take generally tend to be quite obvious.

As a general rule remember: “When in doubt, ditch.”

88. Abstract reality

“In order for the mystery to work, you need abstraction from reality. Black and white is an additional abstraction, in addition to selective framing, to the freezing of the moment that in reality is a part of an infinite number of other moments (you have one moment and it never moves again; you can keep looking at the picture forever). The black and white is one more step away from reality. Color, for me, is realer, but less interesting.” – Richard Kalvar

Reality can be boring. What the viewer is interested in seeing is the abstraction of reality, not reality itself. So think to yourself, when you are making photos, what is the extra layer that makes the image interesting? 

How can we make reality more surreal and abstract? You can start off by trying to “lie with reality,” as Richard Kalvar explains:

”That’s part of the magic of photography. Look at a picture and you have no idea what was going on. The only thing you can know is what’s visually depicted, and we all know photographers lie. That’s where the fun comes in. To be able to tell a lie with “reality” is a very tough trick.” – Richard Kalvar

You don’t want to make your photos too obvious. You want the viewer to work hard to come up with his or her own interpretation of reality. You do this by adding mystery and removing context from your images: 

”As a photographer if your photos are too obvious then you’re missing the point. Photos are about mystery, about not knowing, about dreams, and the more you know about that—then you can recognize them on the street.” – Jason Eskenazi

Another approach you can have in street photography is to try to create “little dramas” in your frame. You want to create little mini-stories in your images, and you want them to stay open ended. You want the viewer to come up with their own interpretation of the scene:

“I’m trying to create little dramas that lead people to think, to feel, to dream, to fantasize, to smile… It’s more than just catching beautiful moments; I want to fascinate, to hypnotize, to move my viewers. Making greater statements about the world is not my thing. I think there’s a coherence in the work that comes not from an overriding philosophy but from a consistent way of looking and feeling.” – Richard Kalvar

Don’t make “obvious” photos. Make your viewer work to interpret your images and reality.

89. Capture your own personal “decisive moments”

”Sometimes it happens that you stall, delay, wait for something to happen. Sometimes you have the feeling that here are all the makings of a picture – except for just one thing that seems to be missing. But what one thing? Perhaps someone suddenly walks into your range of view. You follow his progress through the viewfinder. You wait and wait, and then finally you press the button – and you depart with the feeling (though you don’t know why) that you’ve really got something. Later, to substantiate this, you can take a print of this picture, trace it on the geometric figures which come up under analysis, and you’ll observe that, if the shutter was released at the decisive moment, you have instinctively fixed a geometric pattern without which the photograph would have been both formless and lifeless.” – Henri Cartier-Bresson

When we are shooting images, we never fully know which moment will be “decisive.” But when we are shooting, we sometimes have a gut feeling or an intuition that a certain moment might be significant. At that moment, we must click the shutter.
It is hard to know which moments are significant while we’re shooting, so we need to take a risk. Whenever you’re in doubt or think a moment might be interesting, don’t think too much. Just click the shutter.

Henri Cartier-Bresson expands the concept of “the decisive moment” below:

”To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression.” – Henri Cartier-Bresson

But which moment is “decisive” and which moment isn’t “decisive?” Ultimately, it is a judgement call. Every single moment which we think might be significant is personal:

”Your decisive moment is not the same as mine, but most of us are looking for a moment that is necessary for what we’re trying to do. Unnecessary moments quickly become easy, common, and boring.” – Richard Kalvar

Capture fewer “decisive moments” of people jumping over puddles, and more personal decisive moments. Make meaningful photos of your close friends, loved ones, and family. Make photos that you think are going to be meaningful on your deathbed. Make photos that aren’t going to get tons of “likes” on social media, but will bring you inner-happiness and satisfaction.

90. Rules will set you free

”I didn’t write the rules, but following them set me free.” – Richard Kalvar

As artists we have a knee-jerk reaction against “rules.” We want to be open, free, and unlimited in our creativity. But know that often having rules can help us be more creative.

Certain “rules” in photography include not cropping, not mixing color and black and white in a series, not posing your photos, not to use zoom lenses, and not applying gimmicky post-processing to your photos.

Know that these “rules” are simply “creative constraints.” Richard Kalvar followed a lot of the “rules” from Henri Cartier-Bresson, and first disdained them. But over time, he found out how these rules ended up helping his photography:

”Sometimes it turns out that the things that you do for the wrong reasons turn out to be the right things to do anyway. In retrospect, I’m really glad that I decided not to crop, because that developed my compositional discipline and my ability to organize a picture instinctively, in the viewfinder. It also obliged me to work very close up to my subjects in order to fill my 35mm lens frame. I had to be a toreador, not a sniper. Also, I had the feeling of doing something difficult, getting the picture right in the first place; anyone could crop a picture and find something interesting, but doing it in the camera was special. These things were essential to my photographic development.” – Richard Kalvar

When you’re starting off any creative endeavor, you don’t want to have too many options. It is good to set these artificial boundaries and rules for yourself.

By having these “creative constraints,” you will force yourself to be more creative given your limited options. Imagine a kid who doesn’t have any toys at home. He will take a refrigerator cardboard box and turn it into a fort. He will take plastic bags and turn them into parachutes for his little toy soldiers. He will innovate creative ideas given the few things he might have.

I personally believe that having some rules and structure in your life helps give you more creative freedom.

For example, I have a personal rule in writing (I am not allowed to turn on the internet before noon). I use an app called “Freedom” on the Mac which shuts down my internet for a pre-determined period of time. This “rule” has helped me become much more focused and productive as a writer (I currently have my internet disabled as I write these words).

Another rule you can set yourself: don’t go a day without taking a single photograph. This “rule” is a positive one, rather than that of a dictator.

Many “rules” in photography are just guidelines and suggestions. But there is a reason why so many of these “rules” stick around for a long time in history (because there is some wisdom and usefulness in them).

If you’re starting off in street photography, adhere to simple rules like don’t zoom, don’t crop, don’t constantly switch your equipment, don’t publish too many photos, don’t mix color and black-and-white.

Once you have learned these “rules” and learned why they are rules, then you can break away from them and kill them.

91. Experiment

”I liked different lenses for different times. I am fond of the telephoto lens, as I am of the normal 50 mm lens. I had at one point a 150 mm lens and I was very fond it. I liked what it did. I experimented a lot. Sometimes I worked with a lens that I had when I might have preferred another lens. I think Picasso once said that he wanted to use green in a painting but since he didn’t have it he used red. Perfection is not something I admire. [Laughs]. A touch of confusion is a desirable ingredient.” – Saul Leiter

Experimentation is what makes life exciting and fun. If you were to simply do the same thing everyday, life would quickly become boring and dull. Imagine eating the same one dish for the rest of your life.

Imagine how quickly you would become bored with it. As artists and photographers, it is hard to balance the fine line between experimentation and consistency. However without experimentation, you will never be able to find your voice in photography, or what you enjoy.

Have fun and experiment. Think of yourself like a scientist, and you can experiment with different approaches, subject-matter, cameras, lenses, films, styles of post processing, etc. Once you’ve found a certain experiment that works well, try to stick with it and see how deep you can go with it.

Even as an example, I have been experimenting shooting more with my smartphone and processing it in the VSCO app (with the “a6” preset). I have been happy with some of the results, but figured that I preferred using a more standard camera at the end of the day. Yet it was an experiment I’m glad I did.

Variety is the spice of life.

Don’t let others dictate what experiments you “should” do and “shouldn’t” do. Follow your own voice, and be your own mad photography scientist.

92. Fuck fame

”I’ve never been overwhelmed with a desire to become famous. It’s not that I didn’t want to have my work appreciated, but for some reason — maybe it’s because my father disapproved of almost everything I did — in some secret place in my being was a desire to avoid success.” – Saul Leiter

Being famous in photography or life is overrated. Fame can often add unnecessary pressure, anxiety, and stress.

Saul Leiter is one of the best examples of a great photographer who lived a happy, peaceful, and fulfilled life. Instead of trying to network all the time and try to get his photos seen in prestigious galleries, he preferred to simply sit and enjoy a nice cup of coffee:

“My friend Henry [Wolf] once said that I had a talent for being indifferent to opportunities. He felt that I could have built more of a career, but instead I went home and drank coffee and looked out the window.” – Saul Leiter

Becoming “famous” is something which is out of your control. 90% of “success” in photography is about who you know (and how much ass you kiss) not how good your work is (unfortunately).

Consider all of the famous artists who died penniless and without any fame (Van Gogh being a notable example), and were “discovered” after they died. Yet they still pursued their art for the pure love of it, not for the fame or money or riches. Saul Leiter explains:

”The cream does not always rise to the surface. The history of art is a history of great things neglected and ignored and bad and mediocre things being admired. As someone once said “life is unfair.” In the 19th Century someone was very lucky. He or she acquired a Vermeer for $ 12. There are always changes and revisions of the appreciation of art, artists, and photography and writers and on and on. The late art of Picasso is no good but then a revision takes place and then it becomes very good as the art records indicate. Things come and go.” – Saul Leiter

With social media and today’s modern society, we crave attention. But there is often a great advantage of being ignored, that you can live more peacefully and live life according to your own principles. Saul Leiter shares the upside of being “ignored”:

“I spent a great deal of my life being ignored. I was always very happy that way. Being ignored is a great privilege. That is how I think I learnt to see what others do not see and to react to situations differently. I simply looked at the world, not really prepared for anything.” – Saul Leiter

Even if you become the world’s most famous photographer, there will still be people who don’t know or appreciate your work. Just focus on creating work for yourself, without the added pressure to please others:

”I have a deep-seated distrust and even contempt for people who are driven by ambition to conquer the world … those who cannot control themselves and produce vast amounts of crap that no one cares about. I find it unattractive. I like the Zen artists: they’d do some work, and then they’d stop for a while.” – Saul Leiter

Saul Leiter expands on not taking yourself or life too seriously:

“In order to build a career and to be successful, one has to be determined. One has to be ambitious. I much prefer to drink coffee, listen to music and to paint when I feel like it… Maybe I was irresponsible. But part of the pleasure of being alive is that I didn’t take everything as seriously as one should.” – Saul Leiter

Fuck fame, fortune, and the number of social media followers you have. No matter how famous you become, there will always be someone more famous than you. Not only that, but sooner or later, all the people who admire your work will eventually die. And when you’re dead, why do you care if people admire your work anyways (you can’t enjoy “fame” when you’re dead).

The only pursuit in photography and life which is noble is this: pursue your inner-vision in photography, without any sort of internal censor or critic stopping you. Don’t make work to please others, but revel in creating work which brings you inner-satisfaction and joy.

Fame and fortune is the most empty and shallow thing. So many great photographers have lost their inner-vision and passion because they start chasing the dollars and the number of online followers, rather than sticking to their inner-wisdom and inner-voice.

Trust me, it has happened to me. When I started photography, I did it for the pure love of it. Then I discovered social media, and then it became about getting more views, comments, followers, and “fame.” I started to do sneaky stuff, like following people (only hoping that they would follow me back), and I would only leave comments and like their photos because I hoped that they would reciprocate. I would constantly refresh my photos every hour hoping that I got more views, comments, and other badges of external recognition.

Over the years, I’ve realized that this is bullshit.

Even now, I have tons of followers online, and after a while, they just become numbers. And enough is never enough. Even though my dream was once to get at least 100 “favorites” on Flickr, that number soon turned into 200 favorites, then 300 favorites, then 500 favorites. My most popular photo of a laughing lady in NYC has over 1,000 favorites, yet it still pales in comparison to other photographers who have over 10,000 favorites on their images.

Even with Instagram, I currently have around 24,000+ followers (which is a lot by “normal” people). But I still feel pangs of jealousy seeing other photographers with 200,000+ followers. I think to myself, “Why do they have so many followers, their work sucks, I am such a better photographer than them!” But how many “likes” or “favorites” is enough?

All of this ultimately was a reflection of my own insecurity of myself and my work.

Remember even if you do become “famous” in your photography, you will have lots of trolls and “haters” who come out of the woodwork. They will try to tear you down, not because you are a bad photographer, but because they are dissatisfied with their own work and lack of fame, and are jealous that you are pursuing your dream and passion (and have received some recognition).
To sum up, once again, fuck fame. Seek to please yourself, perhaps a few friends and close colleagues, and shoot everyday if it were your last.

When you die, you can’t take your “likes” with you.

93. Think long-term

“I very much like to work on long-term projects. There is time for the photographer and the people in front of the camera to understand each other. There is time to go to a place and understand what is happening there. When you spend more time on a project, you learn to understand your subjects. There comes a time when it is not you who is taking the pictures. Something special happens between the photographer and the people he is photographing. He realizes that they are giving the pictures to him.” – Sebastião Salgado

Everything great takes a long time to grow. You can’t expect to become a master photographer overnight. A redwood tree needs decades, centuries, and sometimes even thousands of years to achieve their grandeur.

Similarly, don’t feel so rushed in your photography to create great work overnight. Some of the best photographers in history need years, sometimes even decades to make a body of work they’re proud of.

For example, Sebastião Salgado shares the importance of spending a long time on a project, which really allows you to understand your subject matter deeper. Even though you might be tired and exhausted, you must keep peddling forward:

“When I started Genesis I was 59 and I thought I was an old man. But now I am going to be 70 and I feel fine so I am ready to start again. Life is a bicycle: you must keep going forward and you pedal until you drop.” – Sebastião Salgado

Zoe Strauss also worked on her “I-95” project for nearly a decade. The effort of her work really shows, the images are powerful, cohesive, and tell a narrative:

“I-95 was an epic narrative about the beauty and struggle of everyday life, comprising 231 photographs adhered to the concrete support pillars under an elevated highway that runs through South Philadelphia, Interstate 95. The installation of photos went up once a year, from 1pm to 4pm, on the first Sunday of the month. I worked on 95 for a decade, from 2000 to 2010.” – Zoe Strauss

Why a full decade? Strauss explains:

”A decade would allow me enough time to make a strong body of work. I needed to learn to make photographs and couldn’t gauge my capability until I actually started working. Setting a time constraint assured that the installation wouldn’t be overworked. Plus, I could go at it as hard as possible without fear of burning out.” – Zoe Strauss

Strauss also did something interesting: she set a time limit on how long she was allowed to work on her project. She figured a decade was enough time to work on her project, but didn’t dare work on it for longer than that.

Another example: Richard Avedon worked on his epic project, “In the American West” for 6 full years. During that period of time, he photographed 752 people, exposed 17,000 sheets of 8×10 film, traveled to 17 states, 189 towns, and ultimately only showed 123 photos for his exhibition.

Don’t settle for single-images on social media; aim to make meaning long-term projects.

If you pursue any project that is personally meaningful for at least a decade, how can it be weak?

94. Create a relationship with your subjects

”If you take a picture of a human that does not make him noble, there is no reason to take this picture. That is my way of seeing things.” – Sebastião Salgado

One of the main problems in street photography is how shallow it can be. Through street photography, we are trying to build a connection with our fellow human beings. But often when we shoot candidly, we aren’t able to make that deeper connection.

In these circumstances, I feel that it is important to try to build a human connection with your subjects.

Many proponents of street photography day that street photography must be candid. It is true that sometimes the best street photos are candid. But also some of the best street photos involve the photographer getting intimate with his or her subject. By getting to know your subject, you connect with them on a deeper and emotional level, which might help you uncover some hidden truths about them, which might manifest in the photos that you take.

Sebastião Salgado isn’t a “street photographer” and most consider him a “documentary photographer.” Salgado is most famous for photographing important socioeconomic and political issues all around the world.

Salgado’s personal story is this: he started off as an economist, saw all the problems in the world, and decided to pursue photography to reveal those injustices. This came out of his humanity and deep love of others.

Salgado doesn’t believe that making an image is just a one way process; rather, making a photograph is a collaboration between the subject and photographer. He explains below:

”The picture is not made by the photographer, the picture is more good or less good in function of the relationship that you have with the people you photograph.” – Sebastião Salgado

To get your subjects to open up to you, you also need to open yourself up to your subject:

”I tell a little bit of my life to them, and they tell a little of theirs to me. The picture itself is just the tip of the iceberg.” – Sebastião Salgado

Walker Evans also shares the importance of a photographer being able to be with other people, and to have your subjects feel comfortable:

“Incidentally, part of a photographer’s gift should be with people. You can do some wonderful work if you know how to make people understand what you’re doing and feel all right about it, and you can do terrible work if you put them on the defense, which they all are at the beginning. You’ve got to take them off their defensive attitude and make them participate.” – Walker Evans

There will be moments where you won’t have time to make a deep connection with your subject. However one of the most important things are to create an emotional bond with your subject, by empathizing with them as Weegee shares:

”When you find yourself beginning to feel a bond between yourself and the people you photograph, when you laugh and cry with their laughter and tears, you will know you are on the right track.” – Weegee

I believe the connections we make with our subjects is far more important than making photos. After all, what is a photograph anyways? It is just light reflected off a surface. There is no real soul or emotion in a photograph.

But the true emotion and soul of humanity lies within the connection we have with our fellow human-beings.

Personally, I might go an entire day without making any good photos. But if I had a nice chat with the bus driver, with my barista, or a stranger on the street and built a lovely (albeit brief) connection, my entire day was justified and worth it.

95. Don’t bore your viewer

”Don’t take boring photos.” – Tony Ray-Jones

One of the worst things you can do as a photographer is to bore your viewer. In today’s society we have very limited attention spans and if your work doesn’t instantly invite, captivate, or interest your viewer, you will fail to ever have an audience for your work.

But how can you make your photos less boring? One piece of advice from Jason Eskenazi is to reveal something personal about yourself:

”Ultimately any photo project that you do isn’t really about the subject matter, it is about you – and revealing yourself. If you don’t reveal anything about yourself, you are boring everyone. It is a confession in some ways.” – Jason Eskenazi

It is hard to tell whether a photo is any “good” or not, but it is easier to tell whether it is boring or not.

If you need editing (selecting) advice, approach your friends or fellow photography colleagues and simply ask them: “Is this shot boring?” Then based on their feedback, integrate their suggestions, and decide which photos to cut (and which to keep).

What you find boring is highly subjective. However most people have pretty keen “boredom detectors” which can be used as a useful tool when culling down your images or projects.

Furthermore, avoid boredom in your photography. If you are pursuing a project that no longer interests you, close it out, and continue along a new path. If black and white bores you, try color. If digital bores you, try film. If 35mm bores you, try medium-format. If shooting your neighborhood bores you, check out a different neighborhood. If photography itself bores you, pick up painting or some other artistic form.

Living life by simply avoiding boredom is a quite easy (and very fulfilling) way to live creatively.

96. Embrace your day job

I know a lot of photographers who wish their full time profession was being a photographer. Or if they were rich, and didn’t have to work, and could simply travel the world and photograph all the time.

The reality is that sometimes having too much free time can be bad for your creativity. There is a benefit on having a “day job” as a photographer. Having a steady income allows you to buy photography books, film, attend workshops, travel, and not have to stress to make a living from your photograph.

Many professional photographers burn out from doing so much commercial and wedding photography (and work they don’t really like doing). After a 12-hour long wedding, do you really have the energy, time, or motivation to go out and shoot some street photography? I doubt it.

Some of the most famous street photographers in history have had normal “day jobs”, like Vivian Maier who worked as a nanny. The benefit of being a nanny was whenever she took her kids to the city, she brought her camera along and made photos. Not only that, but when she was off work, she could fully devote her time to making images, without having to worry about selling her photos or anything to survive.

Walker Evans also had a job that gave him during the day, which didn’t pay much, but paid for his freedom:

”I had a night job on Wall Street in order to be free in the daytime. It paid for room and food. You didn’t have to sleep or eat much. In those days I was rather ascetic.” – Walker Evans

Even Albert Einstein worked as a clerk at the Swiss patent office, doing menial labor while he came up with the theory of relativity.

You have no barriers. Realize you can create a great body of work in photography even with a normal job.

97. Count your blessings

If you have a day job, count yourself blessed. Rather than making excuses about how your day job holds back your creativity as a photographer, think about the benefits of having a day job as a photographer. Then write down all the benefits on a piece of paper and tape it to your cubicle wall.

Another idea: try to find where you can make free time around your day job to do more shooting.

Perhaps you can shoot for 30 minutes before work on the train, subway, or in your neighborhood before you go to work. If you drive, perhaps you can shoot photos while stuck in traffic (do this with caution).

If you have a lunch break, devote that time to shoot your office neighborhood. If you don’t have people in your office area walking around, shoot urban landscapes, or just portraits of your Co workers. Don’t stay late after work sending more emails or sucking up to your boss, get out immediately at 6pm and go shooting where you want to go.

Maximize your weekends for shooting. Devote holidays to shoot. Ask your boss if you can work part time to allow yourself more time to shoot. Find the little holes of time in your schedule and maximize it.

There are no excuses, only photos to be made.

98. Don’t become married to your beliefs

”A year ago I would have said that color is vulgar and should never be tried under any circumstances. It’s a paradox that I’m now associated with it and in fact I intend to come out with it seriously.” – Walker Evans 

In today’s society it is frowned upon to be a “flip-flopper” and to go back on previously stated beliefs you might have had. Not only that, but it is true that it is hard for old dogs to learn new tricks. Once we have a certain belief or way of thinking established in our minds, we don’t like to change our beliefs.

In order to continue to grow, evolve, and learn as a photographer is to not get married to your beliefs. It is important to stay open-minded to new ideas, approaches, and ways of working.

For example, Walker Evans worked most of his career in black and white. He looked at color photography with disgust, horror, and suspicion. He went on the public record by calling color photography “vulgar.” 

Ironically enough, he started to be more interested in color when he started to shoot with an instant Polaroid camera. He then started to have fun and understand the benefits of shooting color. What I admire about Evans that he was able to admit that he was wrong, and changed his beliefs. Not many photographers or human beings can do that.

What are some preconceived notions or concepts or ideas that you have which you cling onto dearly? Learn how to kill your preconceived notions, and to divorce yourself to your own beliefs.

99. You’re only as good as your last photo

”Keep your eyes open. If you see anything, take it. Remember – you’re as good as your last picture. One day you’re hero, the next day you’re a bum.” – Weegee

There’s a saying also for film directors that you’re only as good as your last movie. Once you reach a certain quality or bar in your photography, you don’t want to make future work which is worse than your old work. You want to continue to improve, and be judged based on your past work.

Have a strong work ethic in your photography. Don’t be easily satisfied, try to make the best possible photos you can, judging yourself to your past work.

The secret isn’t to judge yourself and your work compared to other photography. Rather, only judge yourself to the last photo you took. If you have a certain shot that you’re really proud of, make that photograph your new standard.

Aim to make photos as good as that shot, if not better. This will help you continue to pave new ground in your photography, and take your work to the next level.

100. Unlearn

Dear friend,

I want to leave you with the last lesson it would be this: unlearn.

You’ve read all these 100 lessons from the masters of street photography. Some of these lessons probably resonated with you more than others. Some of these lessons probably were “bullshit” in your eyes, but you still kept an open mind.

If there is anything I can share that I have personally learned from putting this book is this: I appreciate all of the theory, lessons, and learning from the masters. But now I need to “kill my masters” and set my own sail.

Ironically enough, everyday I am trying to unlearn one thing. After a while of accumulating too much photography theory, it has hurt me more than hurt me. I hesitate making photos because I have too much self-criticism. The voices in my head tell me, “No Eric, don’t take that photo. It will be shitty.” I am a very harsh editor of my work as well; I only make about one photo a month I am proud of.

But moving forward, I want to have more fun with my photography. I don’t want to be held by theories and ideas. I want to pave my own path.

So friend, after you have learned all of these fundamental lessons, unlearn them as well. Pave your own path. Just see the “masters” as guides in your journey in photography. Once you’ve found your path, you can bid farewell to them.

If I could summarize all of the lessons I learned from the masters of street photography (and their philosophies of life) it would be this:

1. Never stop learning.
2. Never stop shooting.
3. Never stop challenging your beliefs in photography.
4. Don’t forget that you only live once; shoot everyday if it were your last.
5. Follow the path of the masters, but know when to “kill” the masters.
6. Don’t feel rushed; take your time. Your voice will emerge naturally.
7. Disregard fame, fortune, and shoot for yourself.
8. Buy experiences, not gear.
9. Make connections, not photos.
10. Love your subjects like yourself.

What are you going to unlearn today?

Epilogue

Dear friend,

Thank you so much for accompanying me along this journey. I hope you enjoyed reading this book as much as I enjoyed writing it.
The end of a journey is always a bit bitter-sweet. I have poured my entire heart, soul, and being into researching, writing, and designing this book— and I am quite proud of the final outcome. But remember at the end of the day, it is just a guide and a manual; not a bible you should mindlessly follow.

Always read all these lessons with a skeptical eye. Even though these master photographers are great, they are still fallible human beings (like the rest of us). Many of these photographers still succumbed to envy, grief, frustration, and jealousy (of other photographers). They didn’t have all of their shit figured out, and neither do we.

Ultimately we need to all pave our own path and life in photography. So don’t follow the masters blindly; be a good pupil and always question the teacher. After all, the teachers are also students at the end of the day.

In writing this book, I had a lot of ups-and-downs. I got my backpack stolen while in Paris and thought without a laptop I couldn’t write the book. But I followed the ancient proverb: “Hunger breeds sophistication.” I ended up writing most of the text for the book on my smartphone, synced it via Evernote, and designed the whole thing on an iPad and Apple Pages. For this eBook edition, I used the iBooks author tool.

The lesson it taught me was this: don’t let any of your external circumstances in life hold you back from creating. Your creativity, aspirations and ideas are limitless.

You have no boundaries to your imagination. The only boundary you have is your own mental limits. The limits are never your lack of money, lack of time, lack of opportunity, or the lack of equipment.

If you have any other ambitious photography projects, ignore what everybody else says. Follow your own heart and bliss. You only live one life, and it is short. Why waste it living according to the expectations of others? Devote every waking moment to creating your art.

Even when you’re busy at your day job “working”— never stop dreaming about your creative projects.

What legacy do you want to leave behind after you die? What regrets do you want to prevent at the end of your photographic life? What are some photographic projects you haven’t pursued yet that you have always wanted to?

Use money as a tool to accomplish some of your dreams, and know at the end of the day, you don’t need a fancy camera to pursue any of your projects. All you need is determination, grit, a supportive community of like-minded artists and photographers, and a dog-like determination to complete your project.

Never stop learning and creating, and always embrace “beginner’s mind.”

Farewell my dear friend, you were destined for great things.

Love,
Eric
New Orleans, Sun, 4:28pm, Oct 11, 2015

Index of the masters of street photography

• Alec Soth
• Alex Webb
• Anders Petersen
• Andre Kertesz
• 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
• Garry Winogrand
• Helen Levitt
• Henri Cartier-Bresson
• Jacob Aue Sobol
• Jeff Mermelstein
• Joel Meyerowitz
• Joel Sternfeld
• Josef Koudelka
• Josh White
• Lee Friedlander
• Mark Cohen
• Martin Parr
• Mary Ellen Mark
• Rene Burri
• Richard Avedon
• Richard Kalvar
• Robert Capa
• Robert Frank
• Saul Leiter
• Sebastião Salgado
• Stephen Shore
• Todd Hido
• Tony Ray-Jones
• Trent Parke
• Vivian Maier
• Walker Evans
• Weegee
• William Eggleston
• William Klein
• Zoe Strauss

Quotes from the masters of street photography

“What has interested me in taking photographs is the maximum — the maximum that exists in a situation and the maximum I can produce from it.” – Josef Koudelka

“If your photographs aren’t good enough, you’re not close enough.” – Robert Capa

“My photography is not ‘brain photography’. I put my brain under the pillow when I shoot. I shoot with my heart and with my stomach.” – Anders Petersen

“It is more after when I am shooting when I am looking at my contact sheets, and then I try to analyze and put things together.” – Anders Petersen

“I never shoot without using the viewfinder.” – Garry Winogrand

“[Don’t shoot from the hip], you’ll lose control over your framing.” – Garry Winogrand

“If you start cutting or cropping a good photograph, it means death to the geometrically correct interplay of proportions. Besides, it very rarely happens that a photograph which was feebly composed can be saved by reconstruction of its composition under the darkroom’s enlarger; the integrity of vision is no longer there.” – Henri Cartier-Bresson

“Sometimes photographers mistake emotion for what makes a great street photograph.” – Garry Winogrand

“Rather than catching people unaware, they show the face they want to show. Unposed, caught unaware, they might reveal ambiguous expressions, brows creased in vague internal contemplation, illegible, perhaps meaningless. Why not allow the subject the possibility of revealing his attitude toward life, his neighbor, even the photographer?” – William Klein

“You are not supposed to be a slave of mechanical tools, they are supposed to help you and be as small and unimportant as possible not to disturb the communication.” – Anders Petersen

“My dream is that if you go out in the streets where you were born you see the streets like for the first time in your life even though you have been living there for 60 years.” – Anders Petersen

“Too much choices will screw up your life. Work on one thing, then expand on your canvas.” – David Alan Harvey

“For me, capturing what I feel with my body is more important than the technicalities of photography. If the image is shaking, it’s OK, if it’s out of focus, it’s OK. Clarity isn’t what photography is about.” – Daido Moriyama

“Seeing is not enough; you have to feel what you photograph” – Andre Kertesz

“Luck or perhaps serendipity plays a big role… But you never know what is going to happen. And what is most exciting is when the utterly unexpected happens, and you manage to be there at the right place at the right time – and push the shutter at the right moment. Most of the time it doesn’t work out that way. Street photography is 99.9% about failure.” – Alex Webb

“It’s not just that that and that exists. It’s that that, that, that, and that all exist in the same frame. I’m always looking for something more. You take in too much; perhaps it becomes total chaos. I’m always playing along that line: adding something more, yet keeping it sort of chaos.” – Alex Webb

“If you photograph for a long time, you get to understand such things as body language. I often do not look at people I photograph, especially afterwards. Also when I want a photo, I become somewhat fearless, and this helps a lot. There will always be someone who objects to being photographed, and when this happens you move on.” – Martin Parr

“I go straight in very close to people and I do that because it’s the only way you can get the picture. You go right up to them. Even now, I don’t find it easy.” – Martin Parr

“I don’t announce it. I pretend to be focusing elsewhere. If you take someone’s photograph it is very difficult not to look at them just after. But it’s the one thing that gives the game away. I don’t try and hide what I’m doing – that would be folly.” – Martin Parr

“In those days Henri Cartier- Bresson limited us to lenses from 35 mm to 90 mm.  When I showed him the photos he said, ‘brilliant René!’ I went outside and shouted ‘Hah!’ He heard me and said ‘what was that?’ I said, ‘nothing, never mind’. The lens I used was 180 mm I never told him! At that point I broke loose from my mentor. I killed my mentor!” – Rene Burri

“The camera is like my third eye it is an outlet for my curiosity. I was always curious as a kid and you have to use your senses. I wanted to meet the big giants of the 19th century, a sculptor, an artist, a dictator a musician and then I would find the pictures would just happen. You don’t capture a picture you are responding. I respond to situations and I am very fast – fastest gun in the West – even at my age.” – Rene Burri

“I also photograph because I am curious. I am curious about what the person on the other side of the street is thinking, how he or she lives, and how he or she feels. I am always looking for someone to share a moment with.” – Jacob Aue Sobol
“I leave it to others to say what [my photos] mean. You know my photos, you published them, you exhibited them, and so you can say whether they have meaning or not.” –  Josef Koudelka

“Photography has always been capable of manipulation. Anytime you put a frame to the world, it’s an interpretation. I could get my camera and point it at two people and not point it at the homeless third person to the right of the frame, or not include the murder that’s going on to the left of the frame.” – Joel Sternfeld

“It’s tempting to satisfy people’s curiosity as to what was “really going on” in a scene, but it always leaves a bad taste in my mouth. If there’s a mystery, the viewer should try to unravel it for himor herself, subjectively, through intelligence, imagination and association. I want people to keep looking, not just move on to the next thing.” – Richard Kalvar

“I wouldn’t talk about the photographs. No, I try to separate myself completely from what I do. I try to step back to look at them as somebody who has nothing to do with them.” –  Josef Koudelka

“The biggest danger for a photographer is if they start thinking they are important.” – Sebastião Salgado

“It’s not normal to feel that you have to do something, that you love to do something. If that’s happening you have to pay attention so you don’t lose it.” – Josef Koudelka

“I ran around Paris; I had to photograph everything. I realized that with this camera I could do something I’d never done before. The panoramic camera helped me go to another stage in my career, in my work. It helped me to remain interested in photography, to be fascinated with photography.” – Josef Koudelka

“I’m going to be seventy-seven. When I met Cartier-Bresson, he was sixty-two. I’m 15 years older than Cartier-Bresson was then. And at that time Cartier-Bresson was stopping his work with photography.” – Josef Koudelka

“Many photographers like Robert Frank and Cartier Bresson stopped photographing after 70 years because they felt that they had nothing more to say. In my case I still wake up and want to go and take photographs more than ever before.” – Josef Koudelka

“Photograph who you are!” – Bruce Gilden

“I love the people I photograph. I mean, they’re my friends. I’ve never met most of them or I don’t know them at all, yet through my images I live with them. At the same time, they are symbols. The people in my pictures aren’t Mr. Jones or Mr. Smith or whatever; they’re someone that crossed my path or I’ve crossed their path, and through the medium of photography I’ve been able to make a good picture of that encounter. They have a life of their own, but they are also are symbols. I would say that I respect the viewer, but I don’t want to tell him everything.” – Bruce Gilden

“Hopefully, there’s an element of mystery involved. I like him to look at a picture and say “Well, that that reminds me of someone,” and make up a little story in his head, make him smile, brighten up his day. I think this is what I’m trying to achieve with my photographs.” – Bruce Gilden

“When I went out of Czechoslovakia I experienced two changes: The first one is that there wasn’t this situation any longer. I didn’t need wide-angle lenses. And I had understood the technique very well, I was repeating myself, and I’m not interested in repetition, I wanted to change. I took a 50mm/35mm Leica.The second change was that I started to travel the world. I had this possibility and I had a look at this world.” – Josef Koudelka

“I don’t want to reach the point from where I wouldn’t know how to go further. It’s good to set limits for oneself, but there comes a moment when we must destroy what we have constructed.” – Josef Koudelka
“I carried this little album of my work. I have three choices. If I see someone in this beautiful mood, I’ll go up to them and ask them, I’d like to take a picture of that mood. If they say yes, I ask if they can get back into that mood. Not everyone can do that. Or, if the said no, then I took out the album and they saw the work. Or I took it, and ran like hell. I had those three choices in the subway.” – Bruce Davidson

“Sometimes, I’d take the picture, then apologize, explaining that the mood was so stunning I couldn’t break it, and hoped they didn’t mind. There were times I would take the pictures without saying anything at all. But even with this last approach, my flash made my presence known. When it went off, everyone in the car knew that an event was taking place- the spotlight was on someone.” – Bruce Davidson

“I’ve stopped hundreds of people and asked to make their photo. If it’s an up-close portrait, I always ask the person if I can take the photo. Often the answer is ‘no’.” – Zoe Strauss

“Despite my fantasies of being a hunter stalking a wild animal, I was still afraid. It was hard for me to approach even a little old lady. There’s a barrier between people riding the subway – eyes are averted, a wall is set up. To break through this painful tension I had to act quickly on impulse, for if I hesitated, my subject might get off at the next station and be lost forever.” –  Bruce Davidson

“Oh people you’re a documentary photographer. I don’t even know what that means. Oh people say you are a photojournalist. I’m rarely published in journals. Oh then yore a fine art photographer. Then I say I’m not. I aspire to be a fine photographer.” – Bruce Davidson

“I’m just a humanist. I just photograph the human condition as I find it. It can be serious. It can also be ironic or humorous. I’m political, but not in an overt way.” – Bruce Davidson

“I find that young people tend to stop too soon. They mimic something they’ve seen, but they don’t stay long enough. If you’re going to photograph anything, you have to spend a long time with it so your subconscious has a chance to bubble to the surface.” – Bruce Davidson
“If I were a student right now and I had a teacher like me I’d say, ‘You have to carry your camera everyday and take a picture everyday. And by the end of the week you should have 36 pictures exposed. And then suddenly you’ll latch onto someone, maybe a street vendor- oh he or she is very interesting I might have to be with him or her. So things open up visually.” – Bruce Davidson

“Pick a theme and work it to exhaustion… the subject must be something you truly love or truly hate. […] Photographers stop photographing a subject too soon before they have exhausted the possibilities.” – Dorothea Lange

“You shoot a lot of shit and you’re bound to come up with a few good ones.” – Trent Parke

“You miss 100% of the shots you don’t take.” – Wayne Gretzky

“I shot a hundred rolls of film, but once I’d got that image I just couldn’t get anywhere near it again. That’s always a good sign: you know you’ve got something special.” – Trent Parke

“Some pictures are tentative forays without your even knowing it. They become methods. It’s important to take bad pictures. It’s the bad ones that have to do with what you’ve never done before. They can make you recognize something you had seen in a way that will make you recognize it when you see it again.” – Diane Arbus

“I am forever chasing light. Light turns the ordinary into the magical.” – Trent Parke

“When I came to Sydney at the age of 21 I left everything behind- all my childhood friends and my best mate -at first I just felt this sense of complete loneliness in the big city. So, I did what I always do: I went out and used my Leica to channel those personal emotions into images.” – Trent Parke
“I’m always trying to channel those personal emotions into my work. That is very different from a lot of documentary photographers who want to depict the city more objectively. For me it is very personal it’s about what is inside me. I don’t think about what other people will make of it. I shoot for myself.” – Trent Parke

“My mum died when I was 10 and it changed everything about me. It made me question everything around me. Photography is a discovery of life which makes you look at things you’ve never looked at before. It’s about discovering yourself and your place in the world.” – Trent Parke

“The year after I started at the European Film College, I started writing short stories and, later, taking pictures. Once I realized that I was able to isolate my emotions and communicate them through my pictures, I felt like I had found an ability which was unique and which I wanted to explore further. Now, a lot of experiences in life and the people I have shared my time with have added to my memories, my fear and my love, and through this they have inspired me to continue photographing.” – Jacob Aue Sobol

“What I want is more of my feelings and less of my thoughts. I want to be clear. I see the photograph as a chip of experience itself. It exists in the world. It is not a comment on the world. I want the experience that I am sensitive to to pass back into the world, fixed by chemistry and light to be reexamined. That’s what all photographs are about—looking at things hard. I want to find an instrument with the fidelity of its own technology to carry my feelings in a true, clear, and simple way.” – Joel Meyerowitz

“A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is truth.” – Richard Avedon

“I think the larger issue is that photography is not reportage, it is not journalism— it is fiction. When I go to the west and do the working class (it is more about the working 
class than the west)—it is my view.  Like John Wayne is Hollywood’s view. So it means my idea of the working class is a fiction.” – Richard Avedon

“I don’t think you’re ever an objective observer. By making a frame you’re being selective, then you edit the pictures you want published and you’re being selective again. You develop a point of view that you want to express. You try to go into a situation with an open mind, but then you form an opinion and you express it in your photographs. It is very important for a photographer to have a point of view- that contributes to a great photograph.” – Mary Ellen Mark

“Photography is not objective. It is deeply subjective – my photography is consistent ideologically and ethically with the person I am.” – Sebastião Salgado

“It’s so strange to me that anyone would ever think that a work of art shouldn’t be disturbing or shouldn’t be invasive. That’s the property of work— that’s the arena of a work of art. It is to disturb, it to make you think, to make you feel. If my work didn’t disturb from time to time, it would be a failure in my own eyes. It’s meant to disturb— in a positive way.” – Richard Avedon

“Modern technology has taken the angst out of achieving the perfect shot. For me, the only thing that counts is the idea behind the image: what you want to see and what you’re trying to say. The idea is crucial. You have to think of something you want to say and expand upon it.” – Martin Parr

“Ideas are very important and underrated in photography. A photograph, like a written text or a short story, is an idea. A photograph is an idea. A visual idea. It doesn’t need any words. If you see something, a good photograph is the expression of an idea. This doesn’t require captions and explanations. A photo should make a statement.” – Constantine Manos

“Technique isn’t important. Technique is in the blood. Events and mood are more important than good light and the happening is what is important.” – Andre Kertesz

“If you want to write, you should learn the alphabet. You write and write and in the end you have a beautiful, perfect alphabet. But it isn’t the alphabet that is important. The important thing is what you are writing, what you are expressing. The same thing goes for photography. Photographs can be technically perfect and even beautiful, but they have no expression.” – Andre Kertesz

“I was taking pictures for myself. I felt free. Photography was a lot of fun for me. First of all I’d get really excited waiting to see if the pictures would come out the next day. I didn’t really know anything about photography, but I loved the camera.” – William Klein

“… a photographer can love his camera and what it can do in the same way that a painter can love his brush and paints, love the feel of it and the excitement.” – William Klein

“I would look at my contact sheets and my heart would be beating, you know. To see if I’d caught what I wanted. Sometimes, I’d take shots without aiming, just to see what happened. I’d rush into crowds—bang! Bang! 
I liked the idea of luck and taking a chance, other times I’d frame a composition I saw and plant myself somewhere, longing for some accident to happen.” – William Klein

“Don’t drive yourself [too hard]. If you’re tired, sit down. If you’re not enjoying it [photographing], you’re doing something wrong. Photography should always be a pleasurable search for something wonderful.” – Constantine Manos

“I’m not a serious photographer like most of my colleagues. That is to say, I’m serious about not being serious.” Elliott Erwitt

“For me this just reveals, once again, the biggest problem with photography. Photographs aren’t good at telling stories. Stories require a beginning, middle and end. They require the progression of time. Photographs stop time. They are frozen. Mute. As viewers of the picture, we have no idea what those people on the waterfront are talking about.” – Alec Soth

“So what are photographs good at? While they can’t tell stories, they are brilliant at suggesting stories.” – Alec Soth

“You can’t tell provide context in 1/500th of a second.” – Alec Soth

“I think storytelling is the most powerful art. I just think there’s nothing more satisfying than the narrative thrust: beginning, middle, and end, what’s gonna happen. The thing I’m always bumping up against is that photography doesn’t function that way. Because it’s not a time-based medium, it’s frozen in time, they suggest stories, they don’t tell stories. So it is not narrative. So it functions much more like poetry than it does like the novel. It’s just these impressions and you leave it to the viewer to put together.” – Alec Soth

“Photos have no narrative content. They only describe light on surface.” – Garry Winogrand

“You take 35 degrees out of 360 degrees and call it a photo. No individual photo explains anything. That’s what makes photography such a wonderful and problematic medium.” – Joel Sternfeld
“I always work for a group of pictures, to tell a story. If you ask which picture in a story I like most, it is impossible for me to tell you this. I don’t work for an individual picture. If I must select one individual picture for a client, it is very difficult for me.” – Sebastião Salgado

“I don’t come close to shooting every day. For better or worse, I don’t carry a camera with me everywhere I go. I liken my process to that of filmmaking. First I conceive of the idea. Then I do 
pre production and fundraising. Then shooting. Then editing. 
Then distribution (books and galleries). As with most filmmakers, the shooting takes just a 
fraction of my time.” – Alec Soth

“I see a lot of young photographers pushing their work, and I think that’s fine, but so often it’s wasted effort before the work is ready. Everyone’s running around trying to promote themselves, and you kinda have to put in those years of hard work to make something decent before you do that. Particularly that first project is the hardest thing. I always say the 20s are the hardest decade because you don’t have money and you don’t have a reputation. In relation to this kind of issue, I’m always wary that the advice is like “you need to put together this promo package that you send out to these 100 people.” No, you need to do the work, and worry about that later.” – Alec Soth

“I have this thing, the camera’s on a tripod, it’s like an easel “Ok, I can only take a couple, I gotta makes this great.” Then I tried to get everything in the frame, which, in fact, is not a good strategy for photography. Its pulling stuff out of the frame is usually what you want to do, to simplify it. But I didn’t know that. So that was one of the lessons learned.” – Alec Soth

“Early on I sensed the power of that in this regard: when you put your frame up to your eye, the world continues outside the frame. So what you put in and what you leave out are what determines the meaning or potential of your photograph. But you must continue to keep in mind that there are plenty of stuff off-stage. And what bearing might the rest of the off-stage have on this?” – Joel Meyerowitz

“The framing is very important – you have to keep out things that distract from the little drama that’s in the picture. I’d like my pictures to exist almost in a dream state and have people react to them almost as if they’re coming in and out of daydreams, you know?” – Richard Kalvar

“One thing I’m really interested in is vulnerability. I like being exposed to vulnerabilities. I think there’s something really beautiful about it. That’s kind of what I’ve been doing with these little stories, amping up the vulnerability, but also my own vulnerabilities, exposing more of myself. Because I knew with that “journalist” line I’m exposing my own shit there. I’m trying to get down to something raw.” – Alec Soth

“You mustn’t avoid being vulnerable. For me, it’s a kind of exchange. Even though I’m the one taking the pictures, my ambition is to achieve an equal exchange between myself and the person I’m photographing.” –  Jacob Aue Sobol

“I am an amateur and intend to remain one my whole life long. I attribute to photography the task of recording the real nature of things, their interior, their life. The photographer’s art is a continuous discovery, which requires patience and time. A photograph draws its beauty from the truth with which it’s marked.” – Andre Kertesz

“Even when Andre Kertesz was 90 years old, he created a new portfolio and shared it with the photographer Susan May Tell. When Tell asked him what kept him going, Kertesz responded: ‘I am still hungry.’”

“Stay hungry, stay foolish.” – Steve Jobs

“Shooting people is more beautiful, because it is more difficult.” – Constantine Manos

“A photograph doesn’t exist until it is printed.” – Constantine Manos

“There are still photographers who believe that a photograph does not exist until it is a print. There remains in their memory the experience of working in a darkroom and recalling the magic of seeing an image gradually appear on a piece of paper in a tray of liquid. If processed and stored properly this print can last for generations. It becomes a treasure. It can be framed and hung in a favorite spot, to become an object of daily pleasure and comfort. It is a real object we can hold in our hands, not a negative or an image floating around in space and stored in cold machines. Let us celebrate the print.” – Constantine Manos

“It is not enough to just photograph what something looks like. We need to make it into something that is unique, a surprise. Photography has been used forever to show what things look like, like when photographers photographed objects and landscapes.” – Constantine Manos

“The best way to take a bad picture is to take it. Ask yourself: ’Why am I pushing the button?’ You want to get rid of the clutter before putting it into the machine.” – Constantine Manos

“A photograph has to be specific. I remember a long time ago when I first began to photograph I thought, ‘There are an awful lot of people in the world and it’s going to be terribly hard to photograph all of them, so if I photograph some kind of generalized human being, everybody’ll recognize it.’ It was my teacher Lisette Model, who finally made it clear to me that the more specific you are, the more general it’ll be.” – Diane Arbus

“Composition must be one of our constant preoccupations, but at the moment of shooting it can stem only from our intuition, for we are out to capture the fugitive moment, and all the interrelationships involved are on the move.” – Henri Cartier-Bresson

“Any geometrical analysis, any reducing of the picture to a schema, can be done only (because of its very nature) after the photograph has been taken, developed, and printed- and then it can be used only for a post-mortem examination of the picture.” – Henri Cartier-Bresson

“You can take a print of this picture, trace it on the geometric figures which come up under analysis, and you’ll observe that, if the shutter was released at the decisive moment, you have instinctively fixed a geometric pattern without which the photograph would have been both formless and lifeless.” – Henri Cartier-Bresson

“I hate the idea of composition. I don’t know what good composition is. I mean I guess I must know something about it from doing it a lot and feeling my way into and into what I like. Sometimes for me composition has to do with a certain brightness or a certain coming to restness and other times it has to do with funny mistakes. Theres a kind of rightness and wrongness and sometimes I like rightness and sometimes I like wrongness. Composition is like that.” – Diane Arbus

“It would be mistaken to suppose that any of the best photography is come at by intellection; it is like all art, essentially the result of an intuitive process, drawing on all that the artist is rather than on anything he thinks, far less theorizes about.” – Helen Levitt

“I don’t think very much about it consciously, but I’m very aware of it unconsciously, instinctively. Deliberately discard it every once in a while not to be artistic. Composition is a schoolteacher’s word. Any artist composes. I prefer to compose originally, naturally rather than self-consciously. Form and composition both are terribly important. I can’t stand a bad design or a bad object in a room. So much for form. That way it’s placed is composition… when you stop to think about what an artist is doing one question is, what is the driving force, the motive.” – Walker Evans

“I work from awkwardness. By that I mean I don’t like to arrange things if I stand in front of something, instead of arranging it, I arrange myself.” – Diane Arbus

“A photographer’s eye is perpetually evaluating. A photographer can bring coincidence of line simply by moving his head a fraction of a millimeter. He can modify perspectives by a slight bending of the knees. By placing the camera closer to or farther from the subject, he draws a detail. But he composes a picture in very nearly the same amount of time it takes to click the shutter, at the speed of a reflex action.” – Henri Cartier-Bresson
“The manifestation of people, whether it’s actual people or what people do, it’s the same thing.” – Elliott Erwitt

“My wish for the future of photography is that it might continue to have some relevance to the human condition and might represent work that evokes knowledge and emotions. That photography has content rather than just form.” – Elliott Erwitt

“Seeing is more than a physiological phenomenon… We see not only with our eyes but with all that we are and all that our culture is. The artist is a professional see-er.” – Dorothea Lange

“This benefit of seeing… can come only if you pause a while, extricate yourself from the maddening mob of quick impressions ceaselessly battering our lives, and look thoughtfully at a quiet image… the viewer must be willing to pause, to look again, to meditate.” – Dorothea Lange

“A camera is a tool for learning how to see without a camera.” – Dorothea Lange

“One should really use the camera as though tomorrow you’d be stricken blind.” – Dorothea Lange

“Noticing possible pictures — with or without carrying a camera — is fundamental to any working photographer. I would never get tired of noticing, although I would probably not be moved to take pictures that repeat and repeat.” – Elliott Erwitt

“Every image he sees, every photograph he takes, becomes in a sense a self-portrait. The portrait is made more meaningful by intimacy – an intimacy shared not only by the photographer with his subject but by the audience.” – Dorothea Lange

“There is no truth in photography. There is no truth about anyone’s person. My portraits are much more about me than they are about the people I photograph. I used to think that it was a collaboration, that it was something that happened as a result of what the subject wanted to project and what the photographer wanted to photograph. I no longer think it is that at all.” – Richard Avedon

“To know ahead of time what you’re looking for means you’re then only photographing your own preconceptions, which is very limiting, and often false.” – Dorothea Lange

“The best way to go into an unknown territory is to go in ignorant, ignorant as possible, with your mind wide open, as wide open as possible and not having to meet anyone else’s requirement but my own.” – Dorothea Lange

“I don’t have anything to say in any picture. My only interest in photography is to see what something looks like as a photograph. I have no preconceptions.” – Garry Winogrand

“The important thing is management of time, because there’s so much going around. There’s so many things happening that take your concentration away from things that you want to be doing. What I want to be doing is taking pictures. Management of time becomes more complicated as your photographic life gets complicated.” – Elliott Erwitt

“I don’t object to staging if and only if I feel that it is an intensification of something that is absolutely authentic to the place.” – W. Eugene Smith

“I ask and arrange if I feel it is legitimate. The honesty lies in my — the photographer’s — ability to understand.” – W. Eugene Smith

“My obsession is with making photographs. I generally do not have a theme when in the act of photographing. Themes emerge after the photographs begin to accumulate. This happened in a clear way with my new book and exhibition Twirl / Run. For me picture taking is pure instinct. Gut. That is why I love doing it. I’m not thinking when I am working.” – Jeff Mermelstein

“I don’t start out with any specific interests, I just react to what I see. I don’t know that I set out to take pictures of dogs; I have a lot of pictures of people and quite a few of cats. But dogs seem to be more sympathetic.” – Elliott Erwitt

“I never had a ‘project.’ I would go out and shoot, follow my eyes—what they noticed, I tried to capture with my camera, for others to see.” – Helen Levitt

“I just work and I throw the pictures in a box that says “X” or whatever, and eventually if the box gets full it merits looking at. I often work on two or three or four of those things at once. People tell me that they all look like they’ve been well thought out, and that’s because I’ve worked on them for so long.” – Lee Friedlander

“Without instruction, at a very early age, I could play the piano. Anything, particularly—after hearing it once. Not reading music. I would pass a quite fine piano in my house everytime we came from the back from the front—and everytime I would pass it I would play a few things, and without any success at all. And I got a little better and better, and time went on. And maybe never playing the same one twice. It ain’t much different the way I work today, still [in photography].” – William Eggleston

“It’s like chopping down a huge tree of immense girth. You won’t accomplish it with one swing of your axe. If you keep chopping away at it, though, and do not let up, eventually, whether it wants to or not, it will suddenly topple down…But if the woodcutter stopped after one or two strokes of his axe to ask, ‘Why doesn’t this tree fall?’ and after three or four more strokes stopped again, ‘Why doesn’t this tree fall?’ he would never succeed in felling the tree. It is no different from someone who is practicing the Way.” – Hakuin Ekaku
“I think it’s exciting to make something extraordinary out of the banal. I’m not the kind of photographer that needs to travel to take pictures. I am not saying that there aren’t extraordinary images being made in Gaza and sometimes I wonder I should go to Gaza. But I’d probably get sick and be scared. I don’t want it. I’m comfortable, I’m not drawn to bullets. I’m not drawn to danger.” – Jeff Mermelstein

“Bill at one time said to his great, highly respected friend: ‘Well, what am I going to photograph? Everything here is so ugly.’ And our friend said, ‘Photograph the ugly stuff.’ Well we were surrounded everywhere by this plethora of shopping centers and ugly stuff. And that is really initially what he started photographing.” – Rosa Eggleston

“Why is it that the best poetry comes out of the most ordinary circumstances? You don’t have to have extreme beauty to write beautifully. You don’t have to have grand subject matter. This little dinky bungalow is my Parthenon. It has scale; it has color; it has presence; it is real: I’m not trying to work with grandeur. I’m trying to work with ordinariness.” – Joel Meyerowitz

“Forty years ago when I was going around with a camera I was doing some things that I myself thought were too plain to be works of art. I began to wonder – I knew I was an artist or wanted to be one – but I was wondering whether I really was an artist. But I didn’t have any support. Most people would look at those things and say, “Well, that’s nothing. What did you do that for? That’s just a wreck of a car or a wreck of a man. That’s nothing. That isn’t art.” They don’t say that anymore.” – Walker Evans

“I don’t think of my photos as works of art—I see them as a fraction of a second in which my understanding and the worlds offering are unified in some way. That allows us to have some sort of open experience to share with whoever happens to look at the photo. So it isn’t formal, it is more experiential.” – Joel Meyerowitz

“[I’m always] asking myself: ‘How interesting is this medium? And how interesting can I make it for me? And, by the way, who the fuck am I?‘” – Joel Meyerowitz
“No, not yet [smiling], and time is running out. But I’m getting there.” – Joel Meyerowitz

“Color plays itself out along a richer band of feelings—more wavelengths, more radiance, more sensation. I wanted to se more and experience more feelings from a photograph, and I wanted bigger images that would describe things more fully, more cohesively.” – Joel Meyerowitz

“A color photograph gives you a chance to study and remember how things look and feel in 
color. It enables you to have feelings along the full wavelength of the spectrum, to retrieve emotions that were perhaps bred in you from infancy—from the warmth and pinkness of your mother’s breast, the loving brown of you puppy’s face, and the friendly yellow of your pudding. Color is always part of experience. Grass is green, not gray; flesh is color, not gray. Black and white is a very cultivated response.” – Joel Meyerowitz

“A photographer must choose a palette as painters choose theirs.” – Joel Sternfeld

“Black and white is abstract; color is not. Looking at a black and white photograph, you are already looking at a strange world. Color is the real world. The job of the color photographer is to provide some level of abstraction that can take the image out of the daily.” – Joel Sternfeld

“I carry [the 8×10 camera] with me as I would carry a 35mm camera. In the very beginning, if I went for a drive or to the A&P, the camera was in the back seat of the car; if I went for a walk down the street to visit a neighbor, or if I went to the beach, the camera was on my shoulder. No matter where I went, that camera was ever-present: parties, walks, shopping. It came from the discipline of carrying a 35mm at all times—in the early years you never saw me without a camera. I didn’t want to be in that position of saying, “Oh I saw a great shot, if only I had my camera.” – Joel Meyerowitz

“At that time no photographer was without a camera. We got that from Henri Cartier-Bresson’s being ready for ‘the decisive moment,’ and from Robert Frank’s traveling everywhere in America and making pictures of the Americans that seemed to occur in the most unexpected moments. Since my discipline was always to carry a camera, it didn’t matter that when the size changed it became big and awkward; I still wanted to have it at all times. So I provided myself with the opportunity of making large-scale, highly detailed photographs of unusual moments.” – Joel Meyerowitz

“Before I lay out a book, I read the pictures many many times, until I’ve absorbed the so-called meaning of each picture. My feeling about it – not intellectually, but my gut feeling about these pictures and how I relate to them, and then I just collect them all as miniatures, at three inches across, and I carry them with me like a deck of cards, and I lay them out, everytime I have a few minutes, I lay them out – I’m doing it now, for this next book – I lay them out and look and look, and then I’ll see something that looks like a starting point!” – Joel Meyerowitz

“I’ll put that picture first, and then I’ll see what happens. What does it call, like magnetism, to itself? And what do these two call themselves, and what do these three call? Because it’s not just about the next picture, it’s the weight of the three of them in a row. Five of them in a row. Ten! I can setup certain rhythms or cadences, so that when you get to the third or fourth picture, you begin to realize the first picture again, like, ‘oh yeah, the first and fourth are linked!’ And there are these links so that if you were to make a drawing of this book, if there were forty pictures – I could probably make a diagram that comes after the fact, not before the fact, that the first connects to the fourth and the tenth and on and on, and that there are these interconnections. It’d be a fun thing to do, actually.” – Joel Meyerowitz

“You should take your favorite book and take it apart that way and see why it works that way. What is it about the rhythm of these pictures that make you see it as a book, rather than a collection of pictures. I think, too many photographers make books that are just collections of pictures. You could throw them together any way and they’d be alright.” – Joel Meyerowitz

“I like making books… I realize that the nature of photography is such that I can’t see everything on first look, because photography has this ability to deal so well with information.” – Lee Friedlander

“There’s so much information in a picture that often I don’t see until the fifth reading or 30 years later.I can pick up Walker’s book American Photographs today and see something I never saw before – and I’ve owned that book for over 30 years. So I think that books are a great medium for photography. They seem to be the best. I can go back and re-read things – ‘Oh shit, I didn’t see that before’.” – Lee Friedlander

“I believe that recognition and the power of the frame to put disparate, unrelated things together—suddenly this guy who was going on his business doing all this stuff and this woman with her poodle—they have no knowledge of each other. But in your frame, it is context.” – Joel Meyerowitz

“I’m going to go on record here—when I think about my photographs, I understand that my interest all along has not been in identifying a singular thing. But in photographing the relationship between things. The unspoken relationships, the tacit relationship—all of these variables are there if you choose to see in this way. But if you choose to only make objects out of singular things you will end up shooting the arrow into the bull’s-eye all the time, and you will get copies of objects in space.” – Joel Meyerowitz

“I didn’t want copies of objects—I wanted the ephemeral connections between unrelated things to vibrate. And if my pictures work at all, at their best—they are suggesting these tenuous relationships. And that fragility is what is so human about them. And I think its what is in the ‘romantic tradition’—it is a form of humanism that says we’re all part of this together. I’m not just a selector of objects.” – Joel Meyerowitz

“I was enthralled by Eggleston, as everybody was. But I knew if I was ever to make a mark, I’d have to go to places he hadn’t headed. He owned the poetic snapshot, but I’d always had this leaning towards narrative, and so I began to lean a little harder.” – Joel Sternfeld

“They’re humorous to watch, people who photograph, especially people who aren’t in tune with their equipment, because they don’t know when they pick it up what it will do. If you work with the same equipment for a very long time, you will get more in tune to what is possible. But within that there are still surprises. But using a camera day after day after day, within a framework, I’ll do the same thing. I’ll back up and I’ll go forward with my body.” – Lee Friedlander

“The question of where to stand is interesting. What we’re really talking about is a vantage point. If you look at amateurs or people taking pictures, they do funny things. Most people obviously don’t know where to stand. They’re standing too close, they’re contorted.” – Lee Friedlander

“You don’t have to be a fancy photographer to learn where to stand. Basically you’re stuck with the frame and just like the person taking a picture of his family, who needs to go half a foot back – well, he doesn’t step half a foot back—but on the other hand, he knows where to be if he hits it right.” – Lee Friedlander

“It’s generally rather depressing to look at my contacts- one always has great expectations, and they’re not always fulfilled.” – Elliott Erwitt

“I hate looking at my work. I delay it for as long as possible… I just know that it won’t live up to my own expectations.” – David Alan Harvey

“The contact sheet is a valuable instructor. Presumably, when a photographer releases the shutter, it is become he believes the image worthwhile. It rarely is. If the photographer is self-crucial, he can attempt to analyze the reasons for the gap between expectation and actuality.” – David Hurn

“Could the image be improved by moving backwards or forwards, by moving to the right or left? What would have been the result if the shutter were released a moment earlier or later? Ruthless examination of the contact sheet, whether one’s own or another’s, is one of the best teaching methods.” – David Hurn
“The workload with digital has certainly doubled with fieldwork. You have now to photograph, edit and send your images on the same day. You go back to your car or hotel room to download, caption and transmit your work. It’s much more immediate and it becomes much more difficult to revisit the work.” – Paolo Pellegrin

“Digital photography can permit greater sharing in the field, but cuts out collectively at the other end. Fewer people share the whole process. It used to be that you sent raw film in and often the Magnum editorial or another photographer would take a look at the contacts.” – Susan Meiselas

“I still think not knowing what you ‘have’ at the end of the day with film gives strength of the intensity when you work. It is a mystery and surprise. Now everyone spends more time looking at their screens, first on the camera and then the computer.” – Susan Meiselas

“With film you kept track in your head of what you were shooting, and evenings could be spent on a mental recap of the work you had made: the technical demands of digital editing in the field, at their worst, mean ‘less reflection, less intelligence, less thinking time‘.” – Gilles Peress

“I am a tough editor of my work, and usually when I look at my contacts I find that I can go as many as fifty rolls without getting a good photo.” – Bruce Gilden

“It can be difficult to make a decision because you can like this frame for this reason, and that frame for that reason. Each photograph has its particular strength. But you only pick one. One has to represent all. So I am always trying to put everything into one image: the statement, the foundation, the composition, the story, the individual personality – all of that together into one image.” – Leonard Freed

“Over three or four days I shot something like forty rolls of film. When I edit, I go for a gut, instinctual feeling. I started editing when I got the film back a day or two after I returned to the states. You are so aware of what you saw; the experiences that reflect in your mind. You don’ really forget the people and what they are going through. So I wanted to work on it immediately. Like anything else, when you’re trying to put down what you witnessed, you go for the pictures that speak to you.” – Eli Reed

“When I look at a contact sheet, I try to remember the feeling I had when I took the frame. The memory of feeling helps me edit. Art for me is really simple. It’s when a feeling overcomes you and you convey your feeling with symbols. In photography the symbols are the thing itself.” – Larry Towell

“When I look at a contact sheet, I go in order from no 1 to no 36. I mark the ones I like, and unless something really jumps off the page at me, I go over them again to see which is the best one. With my personal work, I only print what I think is good. When something jumps off the page, it’s easy.” – Bruce Gilden

“During the four years I spent making The Shipping Forecast I exposed nearly 1,200 rolls of film, which amounts to 14,000 individual pictures. Editing this down to a manageable number was a major exercise. I had advice from several people whose opinion I respected, but this only served to confuse me more. So instead I asked myself what the work was really about, and the answer was far clearer: it was about my childhood. In the end, The Shipping Forecast doesn’t depend on outstanding individual pictures, but instead on its collective strength.” – Mark Power

“I ask my husband or Teri who works for me in New York, to also look through the contact sheets and to pick the ones they like. It always helps to have an outside opinion. You are so close and so personally involved with your work, it’s hard to separate yourself from it and see it objectively.” – Mary Ellen Mark

“Sometimes you need to milk the cow a lot to get a little bit of cheese.” – Henri Cartier-Bresson
“I was out walking with my friend Hiroji Kubota around the corner from my studio on the upper west side of Manhattan, and i didn’t have my camera. I saw the situation and I said, ‘Could I borrow your camera?’ And I borrowed his Leica. He was very generous and let me use it and I shot the whole roll of film on it. Its a lot of pictures getting to the good one.” – Elliott Erwitt

“What was happening in Czechoslovakia concerned my life directly: it was my country, my problem. That’s what made the difference between me and the other photographers who came there from abroad. I was not a reporter. I didn’t know anything about photojournalism. I never photograph ‘news’. I photographed gypsies and theatre. Suddenly, for the first time in my life, I was confronted with that kind of situation, and I responded to it. I knew it was important to photograph, so I photographed. I took these pictures for myself, with no intention of publishing them.” – Josef Koudelka

“Photograph because you love doing it, because you absolutely have to do it, because the chief reward is going to be the process of doing it. Other rewards — recognition, financial remuneration come to so few and are so fleeting. And even if you are somewhat successful, there will almost inevitably be stretches of time when you will be ignored, have little income, or often both. Certainly there are many other easier ways to make a living in this society. Take photography on as a passion, not a career.” – Alex Webb

“Forget about the profession of being a photographer. First be a photographer and maybe the profession will come after. Don’t be in a rush to make pay your rent with your camera. Jimi Hendrix didn’t decide on the career of professional musician before he learned to play guitar. No, he loved music and and created something beautiful and that THEN became a profession. Make the pictures you feel compelled to make and perhaps that will lead to a career. But if you try to make the career first, you will just make shitty pictures that you don’t care about.” – Christopher Anderson

“I think that I do what I feel like doing, which may not follow contemporary fashions but which comes spontaneously from the heart, the guts and the brain. To me, that’s what counts.“ – Richard Kalvar

“I just made my photos in Wilkes-Barre and a few other places because I wasn’t the kind of photographer who liked to, or needed to, travel around the world. That reminds me, I saw something you had said about how artistic range effects an artist’s development over time. And I work on an extremely narrow range, in terms of my method and technical issues, too. It’s what is in my head that has developed over time. So I’ve just kept taking pictures in the same two counties [Wilkes-Barre and Scranton].” – Mark Cohen

“I never thought of the urban environment as isolating. I leave these speculations to others. It’s quite possible that my work represents a search for beauty in the most prosaic and ordinary places. One doesn’t have to be in some faraway dreamland in order to find beauty. I realize that the search for beauty is not highly popular these days. Agony, misery and wretchedness, now these are worth perusing.” – Saul Leiter

“To be honest with you, I always try to think of the specific pictures. What’s important to me is to make strong, individual pictures. When I look at a documentary photographer or photojournalist whose work I really love- somebody like Eugene Smith-it’s because the images are single images. I think of his great picture stories as stories where the images really stood by themselves. In Life’s ‘Country Doctor,’ for example, you remember each image. They weren’t only linking images -each one was strong, and each can stand alone. I think in great magazine or newspaper photography every picture can stand on its own; it doesn’t need the other pictures to support it to tell a story.” – Mary Ellen Mark

“What I’m trying to do is make photographs that are universally understood, whether in China or Russia or America‑photographs that cross cultural lines. So if the project is about street performers, it touches those little things and whimsies we’re all interested in -animals and people and anthropomorphic qualities. If it’s about famine in Ethiopia, it’s about the human condition all over the world: It’s about people dying in the streets of New York as much as it’s about Ethiopia. I want my photographs to be about the basic emotions and feelings that we all experience.” -Mary Ellen Mark

“What counts is the result. It works or it doesn’t work. You may think after you’ve taken a picture that you may have something. And then you find out that you don’t have anything, that you almost had something but that in fact, you pressed the button at the wrong time. That you took a lot of pictures, but you were on auto-pilot – that instead of waiting, you shot buckshot at it, so you missed the one that might really work.” – Richard Kalvar

“In order for the mystery to work, you need abstraction from reality. Black and white is an additional abstraction, in addition to selective framing, to the freezing of the moment that in reality is a part of an infinite number of other moments (you have one moment and it never moves again; you can keep looking at the picture forever). The black and white is one more step away from reality. Color, for me, is realer, but less interesting.” – Richard Kalvar

“That’s part of the magic of photography. Look at a picture and you have no idea what was going on. The only thing you can know is what’s visually depicted, and we all know photographers lie. That’s where the fun comes in. To be able to tell a lie with “reality” is a very tough trick.” – Richard Kalvar

“As a photographer if your photos are too obvious then you’re missing the point. Photos are about mystery, about not knowing, about dreams, and the more you know about that—then you can recognize them on the street.” – Jason Eskenazi

“I’m trying to create little dramas that lead people to think, to feel, to dream, to fantasize, to smile… It’s more than just catching beautiful moments; I want to fascinate, to hypnotize, to move my viewers. Making greater statements about the world is not my thing. I think there’s a coherence in the work that comes not from an overriding philosophy but from a consistent way of looking and feeling.” – Richard Kalvar

“Sometimes it happens that you stall, delay, wait for something to happen. Sometimes you have the feeling that here are all the makings of a picture – except for just one thing that seems to be missing. But what one thing? Perhaps someone suddenly walks into your range of view. You follow his progress through the viewfinder. You wait and wait, and then finally you press the button – and you depart with the feeling (though you don’t know why) that you’ve really got something. Later, to substantiate this, you can take a print of this picture, trace it on the geometric figures which come up under analysis, and you’ll observe that, if the shutter was released at the decisive moment, you have instinctively fixed a geometric pattern without which the photograph would have been both formless and lifeless.” – Henri Cartier-Bresson

“To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression.” – Henri Cartier-Bresson

“Your decisive moment is not the same as mine, but most of us are looking for a moment that is necessary for what we’re trying to do. Unnecessary moments quickly become easy, common, and boring.” – Richard Kalvar

“I didn’t write the rules, but following them set me free.” – Richard Kalvar

“Sometimes it turns out that the things that you do for the wrong reasons turn out to be the right things to do anyway. In retrospect, I’m really glad that I decided not to crop, because that developed my compositional discipline and my ability to organize a picture instinctively, in the viewfinder. It also obliged me to work very close up to my subjects in order to fill my 35mm lens frame. I had to be a toreador, not a sniper. Also, I had the feeling of doing something difficult, getting the picture right in the first place; anyone could crop a picture and find something interesting, but doing it in the camera was special. These things were essential to my photographic development.” – Richard Kalvar

“I liked different lenses for different times. I am fond of the telephoto lens, as I am of the normal 50 mm lens. I had at one point a 150 mm lens and I was very fond it. I liked what it did. I experimented a lot. Sometimes I worked with a lens that I had when I might have preferred another lens. I think Picasso once said that he wanted to use green in a painting but since he didn’t have it he used red. Perfection is not something I admire. [Laughs]. A touch of confusion is a desirable ingredient.” –  Saul Leiter
“I’ve never been overwhelmed with a desire to become famous. It’s not that I didn’t want to have my work appreciated, but for some reason — maybe it’s because my father disapproved of almost everything I did — in some secret place in my being was a desire to avoid success.” – Saul Leiter

“My friend Henry [Wolf] once said that I had a talent for being indifferent to opportunities. He felt that I could have built more of a career, but instead I went home and drank coffee and looked out the window.” – Saul Leiter

“The cream does not always rise to the surface. The history of art is a history of great things neglected and ignored and bad and mediocre things being admired. As someone once said “life is unfair.” In the 19th Century someone was very lucky. He or she acquired a Vermeer for $ 12. There are always changes and revisions of the appreciation of art, artists, and photography and writers and on and on. The late art of Picasso is no good but then a revision takes place and then it becomes very good as the art records indicate. Things come and go.” – Saul Leiter

“I spent a great deal of my life being ignored. I was always very happy that way. Being ignored is a great privilege. That is how I think I learnt to see what others do not see and to react to situations differently. I simply looked at the world, not really prepared for anything.” – Saul Leiter

“I have a deep-seated distrust and even contempt for people who are driven by ambition to conquer the world … those who cannot control themselves and produce vast amounts of crap that no one cares about. I find it unattractive. I like the Zen artists: they’d do some work, and then they’d stop for a while.” – Saul Leiter

“In order to build a career and to be successful, one has to be determined. One has to be ambitious. I much prefer to drink coffee, listen to music and to paint when I feel like it… Maybe I was irresponsible. But part of the pleasure of being alive is that I didn’t take everything as seriously as one should.” – Saul Leiter

“I very much like to work on long-term projects. There is time for the photographer and the people in front of the camera to understand each other. There is time to go to a place and understand what is happening there. When you spend more time on a project, you learn to understand your subjects. There comes a time when it is not you who is taking the pictures. Something special happens between the photographer and the people he is photographing. He realizes that they are giving the pictures to him.” – Sebastião Salgado

“When I started Genesis I was 59 and I thought I was an old man. But now I am going to be 70 and I feel fine so I am ready to start again. Life is a bicycle: you must keep going forward and you pedal until you drop.” – Sebastiao Salgado

“I-95 was an epic narrative about the beauty and struggle of everyday life, comprising 231 photographs adhered to the concrete support pillars under an elevated highway that runs through South Philadelphia, Interstate 95. The installation of photos went up once a year, from 1pm to 4pm, on the first Sunday of the month. I worked on 95 for a decade, from 2000 to 2010.” – Zoe Strauss

“A decade would allow me enough time to make a strong body of work. I needed to learn to make photographs and couldn’t gauge my capability until I actually started working. Setting a time constraint assured that the installation wouldn’t be overworked. Plus, I could go at it as hard as possible without fear of burning out.” – Zoe Strauss

“If you take a picture of a human that does not make him noble, there is no reason to take this picture. That is my way of seeing things.” – Sebastião Salgado

“The picture is not made by the photographer, the picture is more good or less good in function of the relationship that you have with the people you photograph.” – Sebastião Salgado

“I tell a little bit of my life to them, and they tell a little of theirs to me. The picture itself is just the tip of the iceberg.” – Sebastião Salgado
“Incidentally, part of a photographer’s gift should be with people. You can do some wonderful work if you know how to make people understand what you’re doing and feel all right about it, and you can do terrible work if you put them on the defense, which they all are at the beginning. You’ve got to take them off their defensive attitude and make them participate.” – Walker Evans

“When you find yourself beginning to feel a bond between yourself and the people you photograph, when you laugh and cry with their laughter and tears, you will know you are on the right track.” – Weegee

“Don’t take boring photos.” – Tony Ray-Jones

“Ultimately any photo project that you do isn’t really about the subject matter, it is about you – and revealing yourself. If you don’t reveal anything about yourself, you are boring everyone. It is a confession in some ways.” – Jason Eskenazi

“I had a night job on Wall Street in order to be free in the daytime. It paid for room and food. You didn’t have to sleep or eat much. In those days I was rather ascetic.” – Walker Evans

“A year ago I would have said that color is vulgar and should never be tried under any circumstances. It’s a paradox that I’m now associated with it and in fact I intend to come out with it seriously.” – Walker Evans 

“Keep your eyes open. If you see anything, take it. Remember – you’re as good as your last picture. One day you’re hero, the next day you’re a bum.” – Weegee

About the author

Eric Kim is a photography teacher currently based in Berkeley, California. His life’s mission is to dedicate himself to producing as much “open-source” knowledge about photography, philosophy, and happiness during his short term on this planet.

Introduction

Eric Kim is a renowned street photographer, educator, and blogger whose influence extends across the world. Through a combination of photography, teaching, and philosophical insight, he has made a significant impact on the street photography community . Kim’s energetic, candid approach to shooting life on the streets – coupled with his approachable teaching style – has connected with countless photographers, from beginners to professionals, across continents . By sharing knowledge freely online and fostering a global community through workshops and social media, Kim has helped democratize street photography, making the art form more accessible and inspiring a new generation of street photographers .

Open Source Education and Accessible Content

One of Eric Kim’s greatest contributions is his emphasis on open-source learning in photography. Since 2010, his blog (erickimphotography.com) has grown into “one of the most extensive resources on street photography in the world”, containing thousands of free articles on techniques, gear, composition, and even personal philosophy . Kim has deliberately removed paywalls and shares everything openly – from comprehensive how-to guides to personal essays – reflecting his belief that knowledge gains value when shared freely . He has even released free e-books/PDFs such as “100 Lessons from the Masters of Street Photography” and “Street Photography 101”, distilling wisdom from photography greats for anyone to download . Notably, in 2013 he made waves by making his own images “open source,” offering full-resolution downloads of his photos on Flickr for personal use . By encouraging others to remix or reuse his materials, Kim embodies an “open source” ethos more commonly seen in software – a generosity that has helped demystify street photography and empowered countless newcomers to learn without barriers . His accessible, high-quality content – from blog posts to YouTube videos – has positioned him as a trusted mentor and made street photography “more inclusive and appealing to photographers around the world.”

An example of Eric Kim’s high-contrast street photography style, shot with flash. By openly sharing such images and the stories behind them, Kim makes the process of street photography transparent and accessible to others.

International Workshops and Community Building

Beyond the digital realm, Eric Kim has traveled the globe to teach street photography in person. Since going full-time as an educator, he has led workshops in dozens of cities across Asia, Europe, North America, and beyond . By 2014 he had already taught over 35 workshops in 15 countries to 500+ students , and the numbers only grew as he continued to host new events every year. These multi-day workshops cover not just shooting techniques but also mindset and creativity. Participants frequently credit Kim with giving them the courage to overcome their fear of photographing strangers and the insight to develop their own style . His teaching style is described as enthusiastic, supportive and “no-ego” – he focuses intensely on his students’ growth, even using their cameras to demonstrate techniques so that “the majority of the focus is on the students” rather than on himself . One testimonial noted that “you’d be hard-pressed to find a more courageous, knowledgeable, and friendly photographer/teacher… Eric’s energy and passion show when he teaches.” During exercises, he has unique methods to push students out of their comfort zone – for example, challenging first-timers to intentionally collect a series of rejection “no’s” from strangers, which quickly dissolves the fear of approaching people . His workshops often foster lasting friendships among attendees, building a sense of community; as one observer pointed out, “good photographers cannot exist without people who share their interest – to exchange ideas, encourage each other and develop further.” Through these in-person events around the world, Kim has created a network of confident street photographers who carry his lessons back to their local communities.

Books and Publications

Eric Kim has also authored numerous books and guides that have spread his influence internationally. Many of these publications serve as practical workbooks and manuals to make learning photography interactive. For example, “Street Notes” (and its follow-up Street Notes Volume II) is a pocket-sized workbook with creative assignments and challenges for street photographers . Similarly, “Street Hunt” is a field assignments manual to spur photographers to approach their environment with fresh eyes , and “Photo Journal” is a reflection diary to encourage personal growth through photography . He has also written more traditional guides like “Street Photography: 50 Ways to Capture Better Shots of Ordinary Life,” which offers practical tips for capturing compelling images of everyday moments . Uniquely, Kim produced “Learn From the Masters of Street Photography” (also known as 100 Lessons from the Masters), compiling wisdom from legendary photographers like Henri Cartier-Bresson and Garry Winogrand. This book, offered as a free download on his site, has been praised as “an amazing compilation” of insights that might obviate the need for aspiring photographers to buy dozens of separate photobooks . (As one reviewer noted, “you don’t need to read more books on street photography after this, if you bring these lessons into practice.” ) In addition, Kim wrote “The Modern Photographer,” a book that addresses the business and marketing side of photography from both a practical and philosophical perspective . Across all these works, a common thread is Kim’s emphasis on personal experimentation and finding one’s own vision. He often reminds readers not to treat any single book or teacher as gospel, but rather to “pick and choose which lessons resonate… and throw away the rest” – an encouraging approach that empowers photographers to craft their own path.

Philosophy and Inspiration

A distinguishing aspect of Eric Kim’s impact is how he intertwines photography with philosophy, encouraging deeper thinking about why and how we shoot. He has openly drawn inspiration from Stoicism, Buddhism, and other schools of thought to shape his outlook on life and art . “The individual who has influenced my life the most is Seneca,” Kim writes, referring to the Stoic philosopher . He practices Stoic exercises like negative visualization (imagining loss to appreciate the present) and embraces hardship to build mental fortitude, often writing about conquering fear and uncertainty in life as in photography . In his blog posts (such as “Stoicism 101”), Kim translates ancient ideas from thinkers like Zeno, Epictetus, and Seneca into practical advice for modern creatives – for instance, using Seneca’s dictum “luck is what happens when preparation meets opportunity” to remind photographers to always carry a camera and be prepared . He also finds parallels between Stoicism and Zen Buddhism in their shared emphasis on simplicity and inner discipline . This philosophical grounding is delivered in an accessible, encouraging tone: Kim often addresses readers as “Dear friend” and shares personal anecdotes, making abstract ideas feel relatable in day-to-day shooting .

Minimalism is another key tenet of Kim’s philosophy. He famously adopted a minimalist lifestyle, believing that “true luxury is less” – the idea that having fewer material possessions and distractions leads to greater freedom and creativity . For years he has worn the same simple all-black outfit each day and travels with only one camera and one lens, deliberately limiting gear to focus on seeing and creating rather than fiddling with equipment . “I like the idea that people should admire me for my photos and creative work – not my clothes or exterior,” he explains, tying this practice to the Stoic virtue of humility . Kim extends this “prune the inessential” mindset to technology use as well: he has deleted social media apps, minimized email, and even gone without a phone at times, all in an effort to reduce noise and “uninstall the non-essentials” from life . By subtracting distractions, he argues, one can “make space for creativity and rich experiences,” a principle that carries into his visual style too . Many of Kim’s photographs are stark, high-contrast black-and-whites focusing on a single subject or moment – a direct expression of his philosophy that simplicity yields clarity . Through essays and videos, he encourages others to adopt a similar approach of curiosity, courage, and minimal baggage in both photography and life . This blending of practical wisdom with art has made Eric Kim something of a “photographer-philosopher,” inspiring many followers not just to shoot better, but to live more creatively and fearlessly .

Social Media Presence and Online Influence

Eric Kim was an early adopter of blogs and social media as platforms to spread street photography culture. His engaging online presence has been pivotal in connecting a worldwide audience. Kim’s blog articles often read like personal letters or journal entries, written in plain, friendly language that invites dialogue . Readers feel a personal connection through his candid sharing of successes and failures – an authenticity that makes him highly relatable . Many in the community feel they “know” Eric Kim even without meeting him, thanks to his habit of addressing people directly (“Dear friend…”) and responding to comments and emails . In addition to the blog, he has a strong presence on platforms like YouTube, Instagram, and Twitter where he shares tips, behind-the-scenes vlogs, and motivational talks . His YouTube series “PhotoLosophy,” for example, is essentially a free course merging photography with philosophy, reinforcing his teachings in a video format . He even delivered a talk at Google (“Eternal Return to Creative Every Day”) where he urged creatives to treat each day as an opportunity to make art . By staying active on multiple channels and adapting to new online trends, Kim has remained highly visible and relevant to younger audiences . Importantly, he uses these platforms not for self-promotion alone but to foster community: he often hosts free photo assignments, shares other photographers’ work, and encourages collaborative projects like photo walks and meet-ups . This genuine engagement has cemented his status as a “social media star” in photography circles . Moreover, his approachable online persona – educating and inspiring through everyday content – has greatly contributed to the recent popularity surge of street photography as a genre . In an era where many photographers focus on Instagram fame, Eric Kim instead leverages social media to build an educational community, thereby extending his global impact far beyond what would be possible through his own images alone.

Collaborations and Notable Projects

Throughout his career, Eric Kim has undertaken collaborations and projects that further underline his global influence. He has partnered with some of the most prestigious names in photography – for instance, collaborating with Leica and Magnum Photos on special events and content . (Kim has been a contributor to the official Leica Camera blog and has exhibited his work at Leica Galleries in cities like Singapore, Seoul, and Melbourne .) He also worked with Invisible Photographer Asia, a major street photography collective in Asia, helping bridge communities between the West and East . In academia, Kim even brought street photography to the classroom: he has taught a university-level extension course on street photography at UC Riverside and previously led a photography class for under-privileged youth in Los Angeles – initiatives that highlight his passion for spreading the craft to diverse groups.

Kim’s reach extends into the tech and media realms as well. He did two collaborations with Samsung (including starring in a Samsung Galaxy Note 2 commercial and a campaign for a Samsung camera), bringing street photography into pop culture advertising . The BBC interviewed him about the ethics of street photography, recognizing him as a voice of authority on the subject . He has also served as a judge for international street photography competitions, such as the London Street Photography Festival/Contest, further influencing the genre’s development by spotlighting new talent .

In terms of personal art projects, one notable endeavor is Kim’s ongoing “Cindy Project,” in which he extensively photographs his wife, Cindy. This long-term project reflects his belief that “it is more important to photograph your loved ones than strangers.” Over time, Kim shifted from only shooting candid strangers to also documenting family and personal moments, treating photography as a way to cherish loved ones and confront the impermanence of life . The Cindy Project, with its intimate portraits of daily life, has inspired others to start their own projects focusing on family and friends – a movement Kim actively encourages as a way to find deeper meaning in one’s photography . By openly sharing the philosophy behind this project (for example, the idea of memento mori – remembering that our loved ones won’t be here forever, so we should photograph them now ), Kim again uses his platform to impart a broader cultural lesson. Whether through high-profile collaborations or personal projects, Eric Kim consistently leverages each endeavor to promote the values of creativity, openness, and human connection in photography.

Legacy and Global Influence

Eric Kim’s multifaceted contributions have profoundly shaped contemporary street photography. By making street photography education free and accessible, he has lowered the entry barrier for tens of thousands of people who might otherwise have been intimidated by the genre. His blog and workshops have “helped to demystify street photography and empower photographers to develop their own unique styles” , effectively creating a more inclusive global community of shooters. Many of today’s emerging street photographers trace their start or inspiration back to Kim’s tutorials and essays, which often give them both the technical foundation and the philosophical motivation to persevere. His emphasis on personal expression and authenticity – shooting from the heart rather than for social media validation – has nudged the genre away from just trend-chasing and more toward an art of storytelling and self-discovery . In fact, observers credit his “unbridled passion and dedication” with contributing greatly to the overall popularity boom of street photography in recent years .

Finally, Eric Kim’s legacy is seen in the way he fused photography with a life philosophy. He showed that a photographer can be not just an image-maker but a teacher, a thinker, and a community-builder. By sharing his failures, fears, and discoveries openly, he gave others permission to take risks and find their own voice. From Los Angeles to Beirut, London to Tokyo, aspiring street photographers have been inspired by Kim’s work to hit the sidewalks with a camera in hand and confidence in mind. In summary, Eric Kim has made street photography more accessible, thoughtful, and globally connected than ever before – truly leaving an indelible mark on the genre and its community of practitioners .

Walking has been celebrated across cultures and eras as more than mere locomotion – it is a mode of thinking, dreaming, and being.  In ancient Greece, Aristotle’s peripatetics literally taught while walking, and Eastern traditions likewise held walking-meditation in high regard.  As one scholar notes, “the ‘peripatetic’ – that derives from Aristotle and his contemporaries’ penchant for doing their best work while in motion” .  Centuries later, Jean-Jacques Rousseau embodied this idea: an “inveterate walker,” he wrote in his Confessions, “I can only meditate when I am walking. When I stop I cease to think; my mind only works with my legs.” .  Frédéric Gros likewise observes that by walking one “escapes from the very idea of identity, the temptation to be someone, to have a name and a history” – the walking body has no history, it is just an eddy in the stream of immemorial life .  Across time, writers and thinkers have logged miles – from Rousseau’s Parisian promenades to Thoreau’s woods of Concord – finding in solitary rambling a way to reflect and transform their inner lives.

Walking carries deep cultural meaning.  Gros categorizes forms of walking such as pilgrimage, promenade, protest march, and nature ramble, each revealing something about society .  In literature the motif recurs: Baudelaire’s flâneur and Walter Benjamin’s urban stroller show how city walking becomes poetic observation .  Rebecca Solnit draws on this tradition in Wanderlust and other essays: she notes that city streets offer “anonymity, variety, and conjunction, qualities best basked in by walking”, since one need only walk by a bakery or church to feel its potential without obligation .  In sum, historical perspectives treat walking as a connective, creative act – one that grounds the mind (Thoreau felt it returned him “to [his] senses” ) and links individuals to the wider world.

Creativity and Thought

Walking has long been tied to creative insight.  Friedrich Nietzsche, a “fanatical walker,” claimed that “all truly great thoughts are conceived by walking” .  Modern psychology now confirms something similar.  Stanford researchers found that even short walks dramatically boost divergent thinking: students tested after walking showed sharply higher creativity than when sitting .  Ferris Jabr explains that moving the body “changes the nature of our thoughts,” and that walking works by “setting the mind adrift on a frothing sea of thought.” .  In other words, ambulation helps ideas flow.  Rebecca Solnit eloquently frames this: in her view, “musing takes place in a kind of meadowlands of the imagination…time spent there is not work time, yet without that time the mind becomes sterile, dull, domesticated.” .  Thus writers and thinkers – from William Wordsworth and Walt Whitman to modern novelists and scientists – have regularly paced to unlock new ideas.

Mindfulness and Psychological Benefits

Walking also cultivates presence and mindfulness.  Eastern traditions recognize this: as one Zen saying goes, a young child can attain the same enlightened attention by walking as by sitting meditation .  In practice, slow or mindful walking brings the walker into acute awareness of each step, breath, and sensation.  Psychologically, simply spending time on foot in nature has cognitive benefits: a University of Michigan study cited by Jabr showed that students who walked through an arboretum later performed better on memory tests than those who walked in a city environment .  In short, the act of walking – especially outdoors – reduces mental clutter and refreshes focus.  As Jabr summarizes, contemporary research views walking as a “mundane activity” that nonetheless becomes “one of the most salutary means of achieving states of enlightenment,” whether literary, philosophical or otherwise .  Many therapists now even prescribe walking (or woodland “forest bathing”) to reduce stress and anxiety, linking this simple movement to well-being and resilience.

Solitude, Nature, and Personal Transformation

Walking often goes hand-in-hand with solitude and personal growth.  Thoreau’s 19th-century essays celebrate this: in “Walking” he describes how long solitary strolls in the woods let him “forget all my morning occupations and obligations to society” and “return to [his] senses.” .  For Thoreau, time in wild nature was regenerative; he famously concludes that “in Wildness is the preservation of the World,” meaning that untamed landscapes – and our contact with them – sustain the human spirit .  Similarly, Rousseau’s unfinished Reveries of the Solitary Walker uses his evening walks outside Paris to process life’s events.  In our own time, long-distance hikes or pilgrimages (from the Camino de Santiago to solo mountain treks) are known to effect personal change.  Psychologists note that undertaking a walking journey can catalyze “life pilgrimage” experiences – promoting reflection, meaning-making, and coping with life’s challenges.  As Solnit writes, a lone walker is “both present and detached, more than an audience but less than a participant,” and this balance of engagement and solitude helps “assuage or legitimize” our sense of alienation .  In short, walking alone – whether around the block or across continents – can be a form of moving meditation that fosters insight, resilience, and transformation.

Walking as Resistance and Community

Walking also has a powerful social and political dimension.  Mass marches and pilgrimages have long been tools of protest and solidarity.  Mahatma Gandhi’s 1930 Salt March, for example, was a strategic act of defiance: Gandhi “set off on foot” with followers on a 240-mile trek to the sea to illegally harvest salt, directly challenging British law .  The march galvanized Indian resistance to colonial rule.  Decades later, the 1963 March on Washington for Jobs and Freedom saw over a quarter-million people literally walk together in protest of segregation and economic injustice .  Frédéric Gros points out that the “protest march” is one of several meaningful walk genres .  In each case, walking turns a personal journey into a collective statement.  Even ordinary daily walking can carry political weight: Rebecca Solnit argues that walking is an “indicator species” of freedom – a measure of social health – since only where people truly feel free will they choose to walk .  In cities designed to encourage driving, the simple act of walking (or claiming sidewalk space) can itself become a subtle form of resistance and reclaiming public life.

Practical Applications for Modern Life

Today’s sedentary lifestyles make the philosophy of walking highly relevant.  Daily Walks for Creativity: Build short walks into your routine (even 10–15 minutes); research shows this boosts creative problem-solving .

Mindful Walking: Try “walking meditation” by paying attention to each step, breath, and your surroundings – a practice rooted in Zen tradition .

Nature and Memory: Whenever possible, walk in green spaces. Students who walked in an arboretum performed better on memory tasks than those who walked in city streets .

Urban Exploration: Use walking to reconnect with your city. Solnit notes that wandering city blocks lets you discover possibilities without pressure, harnessing the city’s “anonymity, variety, and conjunction” .

Solo Reflection: Schedule some walks alone (no phone!). As Thoreau experienced, a solitary stroll can clear the mind and help you “return to your senses” .

Active Travel: When feasible, walk instead of drive for errands – this simple choice is a small-scale act of freedom (echoing Gros’s view that freedom in walking lies in not being anyone ).

Community and Advocacy: Join or organize walking events – from neighborhood clean-up hikes to protest marches – to build social bonds and make collective statements (as Gandhi and civil rights leaders demonstrated ).

Each of these practices reflects the philosophy that walking is not just exercise, but a way of engaging more fully with mind, body and community.

Sources: Historical and contemporary writings on walking and scholarly analyses informed this report.

Eric Kim: The Street Photographer as Philosopher

Eric Kim is a renowned street photographer who has built a reputation not just for his images, but for the wisdom and philosophy he weaves into photography and life. Through personal experiences, deep reading, and open teaching, Kim approaches street photography as a vehicle for self-understanding and meaning. Below, we explore the dimensions of his philosophy – from his core ideas about photography and personal journey, to the thinkers who inspire him, his teaching style, minimalist lifestyle, and the key themes of creativity, failure, self-knowledge, motivation, fear, and meaning that pervade his work.

Street Photography as a Philosophy of Life

Photography as self-expression and truth: Kim believes a photograph is far more than a picture – it’s an expression of the photographer’s soul and viewpoint. In his words, “to me, photography is putting human emotions, perspective, and soul into an image… all about expressing yourself as an individual” . He often describes photography as “poetry with a camera” or “writing with light,” emphasizing that the camera is a tool to illuminate one’s inner vision . Rather than merely documenting reality, Kim’s philosophy is that a photographer should convey a unique personal truth.

Finding beauty in the mundane: A recurring principle in Kim’s philosophy is to appreciate the ordinary. He writes that “photography is about making sense of the world… finding appreciation in the small things in life,” essentially “finding beauty in the ordinary and mundane” . This reflective approach turns street photography into a form of mindfulness. By walking slowly and observing closely, Kim treats “photography as a meditation on life and death,” reminding himself that “everything you photograph will eventually perish” . This awareness of impermanence adds depth to each click of the shutter.

Introspection through the camera: Kim’s philosophy holds that photography is a mirror to the self. “As a photographer… your job is to discover what you find meaningful and purposeful in life – and share that truth with others,” he says . Notably, despite being known for candid street shots of strangers, Kim realized that “it is more important to photograph your loved ones than strangers” . In recent years he shifted to more “personal photography,” making his wife Cindy and even himself (through self-portraits) central subjects of his work . This evolution underscores his belief that the deepest photographic stories begin with personal meaning and relationships. By documenting family and even confronting mortality through photographing death, Kim found a greater urge to “photograph more life” . In essence, photography became a tool for Kim’s own self-knowledge and reflection on what matters most.

Photography as applied wisdom: Ultimately, Eric Kim views photography itself as a philosophical act. He directly equates photography with philosophy, describing it as “philosophy — applied with a more discerning lens” . For Kim, philosophy means the love of wisdom, and “wisdom is knowing the difference between right and wrong… between meaningful and shallow… between real and fake” . By that token, making photographs is a way of practicing wisdom – choosing to seek the meaningful over the trivial. He often challenges his audience by asking whether they are “a photography philosopher, or do you make photos for the gram?” . In other words, are you shooting to look deeper into life, or merely chasing social media validation? This ethos of depth and authenticity lies at the heart of Kim’s photographic philosophy.

Early Life, Setbacks, and Self-Discovery

From academia to street photography: Eric Kim’s personal development journey has been marked by bold changes and pivotal lessons. Born in 1988 in San Francisco and raised in California (with a couple of formative years in Queens, New York), Kim initially followed a conventional path. He enrolled at UCLA as a biology/pre-med student – “to become a doctor like a ‘good Asian kid’” as he jokes – but soon realized “I hated math and science” at the academic level . This led him to switch to sociology, a decision that opened the door to his true passion. While at UCLA, Kim co-founded a photography club and “discover[ed] Street Photography as my passion,” even starting his blog in 2010 for fun to share photos, essays, and tips . This period was a turning point: he pivoted from an expected career in science to an uncertain creative calling, laying the groundwork for his later philosophical outlook that one must follow one’s passion and curiosity.

Career risks and a new start: After college, Kim faced a major setback that would become a catalyst for growth. He landed a job as an online community manager at a tech company (Demand Media), but after about a year the company went public and promptly crashed – “the company IPO’s… and I lose my job” . Rather than seeing this failure as defeat, Kim took it as an opportunity. In 2011, at around 22-23 years old, he made the daring decision to pursue street photography full-time . “I decide to try to pursue this street photography thing for a living,” he notes of that moment . This leap of faith was a significant turning point in his personal development. It meant rejecting a safe corporate path for a life of uncertainty, travel, and self-employment – a choice very much in line with the philosophies of embracing uncertainty and freedom that he would later espouse.

A nomadic creative life: From 2011 onward, Eric Kim essentially crafted his own path as a “digital nomad” photographer. For about eight years he was self-employed, traveling across the world to teach workshops and shoot street photography . He lived in cities from Los Angeles to Michigan to Berkeley, and then embarked on an international nomadic lifestyle with his wife (marrying Cindy in 2016) living for stretches in Vietnam, Japan, Mexico, Europe, and more . This period of constant movement taught Kim as much about life as it did about photography. He often likens himself to a flâneur, the wandering observer of urban life – documenting myriad cultures and streets, while also reflecting on globalization and technology’s impact on society . But Kim eventually discovered that perpetual travel was not a panacea for fulfillment. In a candid reflection influenced by Stoic wisdom, he wrote that after all his roaming, “I’ve found that true happiness resides in myself. In my heart… No matter how much I change where I live, my problems always follow me” . Here we see a major lesson Kim learned: that you cannot run away to find contentment. This echoes Seneca’s maxim “Everywhere means nowhere,” meaning if you’re always searching elsewhere, you’ll find peace nowhere . Kim realized he needed a change of soul more than a change of scenery – a profound insight that shifted his focus inward.

Embracing failure as fuel: A defining aspect of Kim’s personal philosophy is his relationship with failure. Despite his successes, he frequently describes himself as failing – and says that’s a good thing. “I think failure is something I always fear – but something I have learned to embrace,” Kim admits frankly . Early in his photography journey, he experienced the humbling realization that his work was full of “almost” photos that never quite hit perfection. And he came to accept that “in street photography (and in life) there are no perfect photos or perfect moments. They are all imperfect in little ways” . This acceptance of imperfection is central to his wisdom. Rather than avoiding failure, Kim deliberately uses it as a teacher. “Every time I fail in something – it gives me more information, inspiration, and motivation to better myself and my photography,” he says . In fact, he credits his many failures with helping him continually re-evaluate and improve. Kim even proclaims, somewhat tongue-in-cheek, “I am the biggest failure in street photography, but it is those failures which help me learn from my mistakes” . Instead of chasing an impossible ideal of flawlessness, he focuses on growth – understanding that mastery is a long-term journey of trial, error, and resilience. This mirrors the Silicon Valley mantra “fail fast, fail often,” which he has cited, and the Stoic idea that adversity is an opportunity in disguise . By openly discussing his fears (like the fear of being disliked or the fear of taking a difficult shot) and how he pushes through them, Kim has turned his personal development into a narrative of continuous learning. In practical terms, he even advises: “to double your success rate… double your failure rate” – meaning the more you put yourself out there, the more you will achieve in the end. This attitude has endeared him to many as a source of hard-won wisdom.

Stoic and Intellectual Influences

One reason Eric Kim is seen as “wise” is that he actively studies wisdom traditions and applies them to his life and art. He often quotes philosophers, stoics, and writers, integrating their insights into his own. Stoicism in particular has had a profound impact on him. “The individual who has influenced my life the most is Seneca,” Kim writes, referring to the Roman Stoic philosopher . Seneca’s letters and essays have been Kim’s constant companion – he has read “Letters From a Stoic” over a dozen times . What Kim admires is that Seneca “talked the talk, but also walked the walk,” living by his principles even up to his forced suicide . Inspired by this example, Kim has playfully adopted Seneca as a kind of spiritual mentor. He even changed his online persona to “Eric Seneca Kim” as an homage . As he explains: “You cannot choose who your parents are, but you can choose who your spiritual teachers are.” By symbolically taking Seneca’s name, he reminds himself daily of the Stoic values of tranquility, courage, and wisdom.

Kim’s engagement with Stoicism goes beyond quotes – it shapes his daily outlook. He practices the Stoic exercise of negative visualization and embracing hardship. For instance, he notes that strength training and difficult physical challenges build mental fortitude against fear . During the COVID-19 lockdowns, he worked out with heavy stones in the park and reflected on how “open-air environments” free of modern comforts spur better thinking and toughness . In his blog posts like “Stoicism 101,” he traces Stoic ideas from Zeno and Epictetus down to practical modern advice on dealing with fear and uncertainty . Notably, Kim’s gateway into Stoic philosophy was through contemporary literature: “I think I might’ve first learned about Stoicism from Nassim Taleb and his Antifragile book,” he recalls . Taleb’s concept of via negativa – improving life by subtracting the unnecessary – resonated strongly with Kim’s emerging minimalist ethos . From there, he voraciously consumed Stoic writings and even obscure texts, integrating their lessons into his own life.

Beyond Stoicism, Eric Kim’s intellectual influences range widely. He draws inspiration from ancient wisdom to modern entrepreneurship. He often cites the dictum attributed to Seneca, “Luck is what happens when preparation meets opportunity,” applying it to street photography (carry your camera and be ready) . He also references the Cynic philosopher Diogenes, Lao Tzu’s Taoism, and Zen Buddhism parallels to Stoicism, appreciating their common thread of simplicity and inner discipline . When it comes to creativity and innovation, Kim looks to figures like Steve Jobs as well. He admires Jobs’ obsession with simplicity and credits him as an influence in design and lifestyle choices . In one post Kim even says he’s inspired by “Picasso, Steve Jobs, and Kanye West,” among other artists . This eclectic mix shows that Kim’s philosophy isn’t derived from any single source; rather, he absorbs ideas from business leaders, musicians, writers, and artists alike. He has mentioned hip-hop artists Jay-Z and Kanye for their confidence and originality, and even quoted Kanye’s line “No man should have all that power” to discuss the folly of domination and ego . Likewise, he cites the Roman writer Publilius Syrus when reflecting on the futility of trying to please everyone , and references Japanese haiku poet Bashō when talking about inspiration from nature .

What unites these diverse influences is Kim’s constant search for insight into living a more intentional and courageous life. He often invokes the Delphic maxim “Know thyself”, calling it “the greatest wisdom given to us by the ancient philosophers.” This principle – knowing one’s own values, desires, and weaknesses – is at the core of his approach. By studying great thinkers and creators, Kim refines his own identity and philosophy. Importantly, he approaches this humbly. “I am certainly not a ‘master’ myself; just a humble student dedicated to a life-long pursuit of learning,” he writes, emphasizing that he is always learning from others (be it the ancient Stoics or the masters of photography) . This humility and openness to knowledge are a big part of why followers consider him wise; he models the role of the perpetual student of life.

Sharing Wisdom: Workshops, Blogging, and Open-Source Teaching

Eric Kim’s reputation for wisdom is also tied to the way he communicates and teaches. Early on, Kim recognized that knowledge gains value when shared freely. He made it his mission to disseminate what he learns, dubbing his approach “open source photography.” As he states succinctly on his website bio, “My passion in life is to contribute ‘open source’ knowledge about street photography, life, and philosophy on my blog.” This ethos of open sharing is reflected in the enormous amount of content he’s published. Since 2010, Kim’s blog (erickimphotography.com) has become one of the most extensive resources on street photography in the world – featuring thousands of posts ranging from technique tutorials and camera advice to personal essays and philosophical musings. All of it is available for free. He has even released several free e-books and PDFs (such as “100 Lessons from the Masters of Street Photography” and “Street Photography 101”) and has allowed high-resolution downloads of his photos for personal use . By removing paywalls and encouraging others to remix or reuse his materials, Kim embodies the “open source” ideal borrowed from software culture. This generosity in education has significantly contributed to his image as a wise mentor in the community.

Workshops and personal teaching: A major avenue for Kim’s influence has been the international workshops he leads. Since going full-time, he has taught street photography workshops in dozens of cities across Asia, Europe, the Americas – essentially wherever his travels take him. These multi-day workshops cover shooting techniques but also dive into mindset, fear-conquering exercises, and portfolio reviews with philosophical critique. Participants often speak of Kim’s enthusiasm and supportive, no-ego style. As one testimonial notes, “You’d be hard-pressed to find a more courageous, knowledgeable, and friendly photographer/teacher… Eric’s energy and passion show when he teaches” . During workshops, Kim prioritizes his students’ growth over his own shooting opportunities. “When I’m teaching the workshop, the majority of the focus is on the students,” he explained in an interview . He will even demonstrate techniques using a student’s camera or point out scenes for them rather than taking the shot himself . This selflessness in teaching – essentially living the principle that to teach is to learn twice – reinforces his wise persona. Attendees often credit him with giving them the courage to approach strangers or the insight to find their style . By openly discussing topics like dealing with rejection or the philosophy of “why shoot street at all,” Kim turns his workshops into more than just photography classes; they become life lessons in fearlessness and creativity. Many people who have never met him in person still feel they know him through his writing and videos, where he often addresses the audience as “Dear friend” and speaks in an encouraging, candid tone .

Blogging as a form of teaching: Kim’s blog posts often read like reflective journal entries or letters to a friend, which makes his philosophical ideas very accessible. He has written on topics such as “How to Conquer Your Fears in Life,” “Why You Shouldn’t Seek Others’ Approval,” “How to Stay Motivated in Photography,” and even abstract subjects like “What is the meaning of life?” – always tying it back to his personal experiences and photography. In doing so, he has effectively blurred the line between a photography how-to blog and a self-help/philosophy blog. For example, one can find an article on camera techniques next to an essay on Nietzsche’s concept of the will to power. This blend of technical and philosophical content attracts a broad readership. Some come for the camera tips and stay for the life advice; others come for inspiration and end up learning about zone focusing on a rangefinder. By communicating in plain language and sharing his own failures and questions, Kim creates a sense of camaraderie with readers. He frequently invites dialogue, either through comments or via email newsletters, strengthening the community aspect of his platform.

Kim’s YouTube videos and lectures also amplify his teachings. He’s published numerous video talks – from casual vlogs during a morning coffee to formal presentations like a Google Talks session titled “Eternal Return to Creative Every Day” – where he encourages viewers to live each day as an opportunity to create art. In these videos, he often distills philosophical concepts into practical advice. For instance, he interprets Nietzsche’s idea of eternal recurrence as a prompt to ask: If you had to live this day over forever, what would you do to make it meaningful? Such questions challenge his audience to rethink their habits and fears. Similarly, his “PhotoLosophy” series on YouTube is literally a free course merging photography and philosophy . Through all these channels, Kim’s consistent message is one of empowerment: that anyone can find more purpose and happiness by approaching photography (and life) with curiosity, courage, and minimal baggage. This teaching approach – generous, wide-ranging, and personal – has made Eric Kim a mentor figure to many, even those who have never met him. It’s a key reason he’s viewed as someone who offers wisdom, not just shooting tips.

Living the Philosophy: Minimalism and the Stoic Lifestyle

A distinctive facet of Eric Kim’s public persona is his minimalist lifestyle, which he aligns closely with his philosophical convictions. In both his personal life and art, Kim strives for simplicity, focus, and a kind of Stoic austerity that he finds liberating. He often says that “true luxury is less” – a paradoxical motto suggesting that having fewer material possessions and distractions is the ultimate richness . This is an idea he credits to Stoic and minimalist influences (indeed, it echoes Socrates’ statement that “contentment is natural wealth”). Kim takes this to heart: for years he has maintained an extremely pared-down life, especially while traveling. He is famous for wearing the same outfit nearly every day – a simple all-black ensemble of a shirt, jeans, and shoes. As Kim explains, this frees his mind for creative matters: “I just wear #allblackeverything and life is simpler… I like the idea that people should admire me for my photos and creative work – not my clothes or exterior. The less distracted I am with clothes, the more focus I can have on making art.” . This choice reflects both Steve Jobs’ influence (the uniform turtleneck) and Stoic humility. By deliberately reducing decisions about fashion or luxury, he channels his energy toward photography, writing, and experiences. It’s an intentional practice of what he calls “pruning the inessential to maximize the essential” .

Decluttering life for clarity: Kim extends minimalism to almost every area of living. He travels light (often one camera and one lens, no camera bag) and has even experimented with not owning a phone for periods of time . In one post he muses that the greatest luxuries are things like a quiet home, few electronic noises, and freedom from email – essentially luxuries of absence rather than acquisition . Citing Nassim Taleb’s via negativa concept, he notes that “to improve your life means to subtract or get rid of stuff”, whether that means toxic people, unnecessary gadgets, or mental clutter . This philosophy led him to delete social media apps, reduce digital subscriptions, and even practice intermittent fasting (consuming less, even with food, to gain more health) . By “uninstalling the non-essentials” in life, Kim believes we reclaim freedom for what truly matters . He argues that minimalism isn’t about self-deprivation at all, but about making space for creativity and rich experiences . “Minimalism helps reduce friction in life,” he explains – fewer choices and items mean fewer distractions and decisions, which allows one to “experience more” of the world directly . We can see this principle in his photography as well: many of Kim’s images are stark black-and-white compositions focusing on a single subject or moment, without extraneous elements. That visual simplicity echoes the Stoic aesthetic of clarity and directness.

Stoic aesthetic and discipline: In appearance and habit, Eric Kim often invokes the Stoic or even Spartan archetype. He has adopted a vigorous physical routine – weight-lifting (notably deadlifting very heavy weights), calisthenics, and walking – tying bodily strength to mental fortitude in classic Stoic fashion . He has written about the benefits of cold showers, early rising, and fasting, all practices favored by Stoic-minded individuals seeking resilience. His personal brand imagery at times even depicts him as a bronze-like bust or “Spartan” figure , which is partly humorous self-stylization, but also a nod to his admiration for ancient warrior-philosophers. This Stoic minimalism also influences how he and his wife designed their home and workflow – keeping only high-quality, useful tools and eschewing excess furniture or luxury decor. In photography gear, Kim famously touts one camera, one lens as an ideal: “One camera, one lens is bliss,” he says, preferring to master a simple setup rather than juggle multiple cameras . All these choices reinforce his philosophical stance that less is more. As he succinctly puts it, “Have less, in order to do more, and become more.” . By living with intentional limitation, Kim finds greater creative output and personal growth. This minimalist, Stoic lifestyle isn’t just for show – it’s a practical reflection of his values. It demonstrates how deeply his philosophical commitments run: they guide everything from how he dresses and eats to how he composes a photograph. This coherence between his life and teachings further cements his reputation as someone who lives his wisdom.

Themes of Creativity, Fear, and Meaning in His Work

Across Eric Kim’s blogs, talks, and images, several key themes consistently emerge – threads of wisdom that tie his diverse output together. Among these are creativity, fear, failure, self-knowledge, motivation, and meaning. Kim returns to these themes repeatedly, each time refining his understanding and sharing new insights.

Creativity and staying inspired: A core message in Kim’s content is that everyone has the capacity for creativity, but it must be nurtured like a muscle. He often encourages people to create something every day, even if small, to build their “creative muscle.” At a talk at Google, he urged the audience to “achieve your personal artistic maximum” by daily practice . One of his popular mantras (borrowed from Picasso) is to “rediscover your inner-child” – essentially to approach art playfully, without fear of mistakes . Kim shares that his own inspiration comes largely from external sources: loved ones, books, music, art, and nature. “Nobody is born inspired… Everything I have learned is from society, and those who I love. Nothing is from myself,” he writes, crediting his wife and others for fueling his ideas . This humble view—that creativity is a collective inheritance—leads him to advise aspiring artists to feed their minds with rich inputs. He finds inspiration in the everyday surroundings: “treat your everyday, mundane, ordinary life as the deepest source of inspiration and motivation… You can find as much inspiration in the suburbs as the streets of Paris,” Kim writes, echoing his belief in the beauty of the ordinary . By sharing how he finds creativity in everything from hip-hop lyrics to a walk in the park, Kim provides a kind of template for others to stay motivated and imaginative. He also counsels not to force creativity – if uninspired, do something else and allow ideas to flow naturally . This balanced approach to creative work (discipline mixed with flexibility) is a frequent theme in his essays on making art and avoiding burnout.

Overcoming fear: Fear is an obstacle Kim identifies in both photography and life. The fear of approaching a stranger for a photo, the fear of criticism, the fear of failure – these are all parallels to deeper fears like the fear of rejection or the fear of change. Kim speaks candidly about his own fears: “there are moments of fear that I always feel – when it comes to taking photos, sharing my work with others, or not getting admiration from others,” he admits . By laying his insecurities bare, he demystifies them. He frequently tells the story of how street photography taught him courage: “If you can make a photo of a stranger, you can conquer your personal fears in life”, he asserts . In practical terms, he offers tips like using a small camera or practicing with friends to build confidence, and even techniques like “shooting from the hip” or using a flash to force oneself out of the comfort zone . Philosophically, he reframes fear as a guide rather than an enemy – “we certainly know what we’re afraid of photographing,” he writes, which means our fears point to areas where we can grow . One of his blog posts titled “Conquer Your Fears by Making Fear Your Slave” encapsulates his attitude: identify what you fear, confront it repeatedly, and thereby rob it of its power . Kim also differentiates between good fear (the kind that keeps you alive) and bad fear (the irrational kind that holds you back) . By analyzing fear in this way and sharing strategies to overcome hesitation, Kim has empowered many readers to not only be bolder photographers but also to take risks in other areas of life, whether it’s starting a creative project or traveling solo. This emphasis on courage in the face of fear is a hallmark of his “wisdom messaging.”

Embracing failure and imperfection: Hand-in-hand with fear is the notion of failure, which Kim addresses so often it’s practically a motif in his writing. We’ve seen how he personally embraces failure as a teacher. He also evangelizes this to others: “to double your success rate… double your failure rate” . He tries to remove the stigma from failing by sharing stories of his own flops – failed photo projects, workshops that didn’t sell out, blog posts that received backlash – and what he learned from them . In one article, he systematically lists his “failures” like not getting certain jobs or not pleasing everyone, followed by the realizations each brought (for example, failing to please everyone taught him to please himself and meet his own standards instead) . This reflective practice is something he encourages his followers to do as well: examine your failures for the lessons within. Kim’s outlook is fundamentally optimistic in this regard; failures are not final, they are feedback. This ties to the Stoic idea of amor fati – loving one’s fate, even the setbacks. By openly normalizing failure, Kim inspires others to take action without the paralyzing fear of messing up. As he succinctly puts it, “I’m glad that I fail regularly – because it gives me the motivation to try even harder in my work.” Such reframing of failure as fuel for improvement is one of the reasons people find his perspective encouraging and “wise.”

The search for meaning and self-knowledge: Ultimately, all of Kim’s themes funnel into a larger one: finding personal meaning. Whether it’s through photography or any life pursuit, he constantly prompts the question “Why?” Why take photographs at all? Why live a minimalist life? Why seek success? For Kim, the answer revolves around understanding oneself and creating a meaningful existence. He has written that “the purpose of my life is to produce knowledge, and to distill information and lessons I’ve learned… to the masses”, essentially dedicating himself to sharing and teaching . This sense of purpose drives him. But he doesn’t impose his purpose on others; rather, he encourages everyone to define their own “self-directed purpose” . In his journaling prompts and blog posts, he often asks readers: what do you want out of life? What does success mean to you? He warns against defaulting to society’s definitions and echoes the maxim “Know thyself” as the key to unlocking meaning . In photography terms, he advises people to shoot what genuinely fascinates them, not what they think will impress others. “Don’t worry if your photos qualify as ‘street photography’ or not. Just aim to make meaningful and memorable images,” he urges . By removing external benchmarks, he directs people inward to find what moves them.

Kim’s emphasis on meaning is also evident in how he talks about legacy and mortality. He is aware that photographs are a way to cheat death – to save a transient moment. This gives photography a weighty purpose: memory and connection. He often says that at the end of the day, the meaningful photos are those of loved ones and personal moments . This perspective helps him (and his audience) remember what’s important in life. It’s a philosophical stance aligning with Stoic and Buddhist thoughts on impermanence and cherishing the present. By sharing these insights – e.g., writing about the death of his grandparents and how photographing them in their final days affected him – Kim uses his platform to explore the human condition, far beyond just cameras and streets . This depth is what elevates his content to something “wise.” Readers come away not just better photographers, but perhaps with a bit more insight into themselves.

Motivation and authenticity: Finally, Kim consistently champions staying true to oneself (authenticity) and staying hungry (motivation). He disdains chasing accolades or social media fame for their own sake. His advice is to create from intrinsic motivation – because you love it or because it helps you grow – rather than for external validation. In line with this, he has stepped away from metrics like Instagram likes and instead focuses on blogging, which he finds more fulfilling even if less instantly gratifying. He has also maintained a beginner’s mindset, frequently calling himself a student. This attitude keeps him motivated to keep learning. When people ask him how he stays so productive, one thing he points to is gratitude – he considers it a blessing to have an audience and an opportunity to create, so he doesn’t want to waste it. And he remains “hungry and foolish” (a phrase from Steve Jobs) in exploring new ideas, whether it’s dabbling in cryptocurrency philosophy or experimenting with new art forms .

In summary, the key themes in Eric Kim’s work form a cohesive philosophy: embrace your creativity, confront your fears, learn from your failures, know yourself, stay motivated by what you love, and seek meaning over approval. It’s a blend of Stoic endurance, Zen-like presence, and an almost childlike enthusiasm for life’s wonders. This is how Eric Kim, through writing and example, has come to be known as a source of wisdom in the realm of photography and beyond. He demonstrates that street photography is not just about taking pictures – it’s a conduit for understanding life. As he once wrote, “Ultimately, to find your own personal vision… you just need to know yourself as a human being. ‘Know thyself’ is the greatest wisdom.” By following that credo, Eric Kim has carved out a unique role as both an artist and a philosopher on the street, inspiring a global community of creatives to shoot with not just their eyes, but with their mind and heart.

Sources:

• Eric Kim, “Photography is Philosophy,” EricKimPhotography.com .
• Eric Kim, “103 Lessons I’ve Learned From Street Photography,” EricKimPhotography.com .
• Eric Kim, “Biography,” EricKimPhotography.com (Personal blog) .
• Eric Kim, “On Failure and Street Photography,” EricKimPhotography.com (Feb 28, 2014) .
• Eric Kim, “10 Lessons Seneca Has Taught Me,” EricKimPhotography.com .
• Eric Kim, “F**k ‘Lifestyle’” (blog article), EricKimPhotography.com .
• Eric Kim, “How to Find Inspiration,” EricKimPhotography.com .
• Flickr – About Eric Kim (Profile description) .
• Blake Andrews, “Q&A with Eric Kim,” Blake Andrews Blog (Apr 27, 2014) .
• Mike Evans, “Eric Kim on failure and street photography,” Macfilos (Feb 28, 2014) .
• Eric Kim Photography Blog – various posts on Minimalism , Stoicism , Fear , and Philosophy of Photography .

Key Points

• Eric Kim, a photographer and educator, likely focuses on learning from photography masters, especially in street photography.
• Research suggests he created a free eBook, “Learn from the Masters of Street Photography,” with 100 practical lessons from famous photographers.
• It seems likely these lessons cover technical skills, artistic vision, and philosophical approaches like embracing a beginner’s mindset.
• The evidence leans toward his work encouraging photographers to study history and innovate based on past masters’ foundations.

Overview

Eric Kim appears to be a key figure in photography education, particularly emphasizing the value of learning from historical masters. His work seems to center on street photography, offering resources that help photographers grow by studying the techniques and philosophies of renowned figures.

Resources and Lessons

Kim has likely produced a free eBook titled “Learn from the Masters of Street Photography,” which compiles lessons from photographers like Robert Capa, Garry Winogrand, and Henri Cartier-Bresson. These lessons reportedly include practical advice on getting closer to subjects, shooting intuitively, and avoiding distractions like constantly buying new gear (Gear Acquisition Syndrome or G.A.S.).

Philosophical Approach

His approach seems to encourage not just learning from the past but also building upon it, suggesting photographers should appreciate historical foundations while innovating to develop their own style. This balance appears central to his teaching.

Survey Note: Detailed Analysis of Eric Kim’s Approach to Learning from Photography Masters

Eric Kim emerges as a significant figure in photography education, particularly known for his advocacy of learning from the masters, with a strong focus on street photography. This analysis delves into his resources, the content of his teachings, and the broader implications for photographers, drawing from available online resources as of April 20, 2025.

Background and Context

Eric Kim is identified as both a practicing photographer and an educator, with a notable presence in online photography communities. His work centers on the idea of learning from historical masters to enhance contemporary photography skills, especially within the niche of street photography. This approach is rooted in the belief that understanding the past is crucial for future innovation, as evidenced by a recurring quote, “He without a past has no future,” found across his blog posts.

Key Resources: The “Learn from the Masters” EBook

A central component of Kim’s educational offerings is his free eBook, “Learn from the Masters of Street Photography,” currently in its second version. This PDF resource, available for download at Eric Kim Photography, distills the wisdom of renowned street photographers into 100 practical lessons. The eBook is recommended for both beginners and experienced photographers, suggesting its broad applicability.

The featured masters include luminaries such as Robert Capa, Anders Petersen, Garry Winogrand, Henri Cartier-Bresson (HCB), and William Klein, among others. These lessons cover a range of topics, including technical skills like composition and lighting, artistic vision such as capturing emotion and storytelling, and philosophical approaches. Specific examples include embracing the “beginner’s mind,” getting closer to subjects to create intimate images, shooting what you feel to maintain authenticity, and addressing Gear Acquisition Syndrome (G.A.S.) to focus on craft rather than equipment accumulation.

Additional Content and Philosophy

Beyond the eBook, Kim’s blog at Eric Kim Photography offers a suite of related articles that expand on his philosophy. For instance, posts like “Why Study the Masters of Photography?” and “How to Become a Master Photographer” emphasize the importance of historical study. A table summarizing key sections from his blog illustrates the breadth of his offerings:

Section Title	Key Focus	URL
100 Lessons from the Masters of Photography	100 lessons from street photography masters	Eric Kim Photography
Why You Must Kill Your Masters in Photography	Moving beyond influences to find personal style	Eric Kim Photography
How to Become a Master Photographer	Guidance on achieving mastery in photography	Eric Kim Photography
Why Study the Masters of Photography?	Importance of learning from photography history	Eric Kim Photography
Great Female Master Photographers	Highlights of famous female photography masters	Eric Kim Photography
Cheat Sheet of the Masters of Photography	Quick reference guide to photography masters	Eric Kim Photography
Beginner’s Guide to the Masters of Street Photography	Introductory guide for beginners on street photography masters	Eric Kim Photography
Download All Articles	Option to download all related articles in EPUB/PDF format	Eric Kim Photography
Masters Mobile Volume 1	Distilled lessons from masters, mobile edition	Eric Kim Photography
10 Lessons Josef Koudelka	Specific lessons learned from Josef Koudelka about street photography	Eric Kim Photography

This table highlights the comprehensive nature of Kim’s educational content, catering to various learning needs and levels of expertise.

Paid Resources and Reception

In addition to free resources, Kim has authored a paid book, “Masters: Learn from the Masters of Photography Volume 1,” available on Amazon. This book, co-authored with Cindy Nguyen, is described as an essential photography primer but has received mixed reviews. Some users appreciate the insights, while others, as seen in customer reviews on Amazon, criticize its brevity (42 pages) and high cost ($50), suggesting it may not meet expectations for value. Despite this, the content aligns with his broader philosophy of learning from masters, though specific details were not accessible in this analysis.

Philosophical Underpinnings and Innovation

Kim’s philosophy extends beyond mere imitation, as seen in articles like “Why You Must Kill Your Masters in Photography.” This suggests a nuanced approach where photographers are encouraged to move beyond influences to develop their own style, balancing respect for history with personal innovation. This is further supported by content from Life Framer, which quotes Kim advising photographers to consider masters as mentors or guides, not to follow blindly, and to eventually “take off your training wheels” to ride on their own.

Community and Accessibility

Kim’s resources are widely accessible, with free downloads and blog posts making his teachings available to a global audience. Reviews from platforms like Goodreads indicate that while some find his tone opinionated, the book still offers valuable lessons, rating it 4 stars despite criticisms. This accessibility is crucial, as it democratizes photography education, aligning with his mission to inspire and educate.

Conclusion

Eric Kim’s approach to learning from the masters is a blend of historical appreciation and practical application, with a strong emphasis on street photography. His free eBook and blog posts provide a rich repository of lessons, while his paid book offers additional depth, though with mixed reception. Photographers are encouraged to study the past, embrace practical techniques, and innovate, ensuring a dynamic evolution of their craft. This comprehensive framework positions Kim as a pivotal educator in contemporary photography.

Key Citations

• Learn From the Masters of Photography Eric Kim Free Download
• Learn from the Masters of Photography by Eric Kim Goodreads
• Learn From the Masters of Photography Eric Kim Blog
• Masters Learn from the Masters of Photography Volume 1 Amazon
• Customer reviews Masters Learn from the Masters Amazon
• Learn from the Masters Eric Kims Free eBook Street Photography
• Why Learn From the Masters of Photography Eric Kim Blog
• Street Photography Lessons LIFE FRAMER Eric Kim

Why is this so significant

Eric Kim’s emphasis on learning from the masters of photography is significant for several reasons, particularly for photographers and creatives seeking to grow their craft and mindset. Below, I’ll outline the key reasons why this approach resonates deeply, drawing on insights from our previous conversations about Kim’s philosophy and its broader implications.

1. Bridging History and Innovation

Kim’s focus on studying photography masters like Henri Cartier-Bresson, Robert Capa, and Garry Winogrand provides a foundation for understanding the art form’s roots. This historical grounding is crucial because it equips photographers with timeless principles—composition, storytelling, and emotional depth—that remain relevant despite technological advancements. His philosophy, as seen in his free eBook Learn from the Masters of Street Photography, encourages not just imitation but innovation. By learning from the past, photographers can build their own style, avoiding the trap of chasing fleeting trends. This balance of respect for tradition and personal evolution is significant for creating work that endures.

2. Practical and Accessible Education

Kim’s resources, like his free eBook and blog, democratize photography education. The 100 lessons in Learn from the Masters offer actionable advice—such as getting closer to subjects or shooting intuitively—that beginners and seasoned photographers can apply immediately. This accessibility is vital in an era where photography is often gatekept by expensive courses or gear. His emphasis on mindset over equipment (e.g., overcoming Gear Acquisition Syndrome) empowers creatives to focus on skill and vision, making his teachings a practical lifeline for those with limited resources.

3. Philosophical Depth for Creatives

Your interest in Kim’s bold, stoic, and direct style (from our April 17, 2025, conversation) aligns with his broader philosophy, which extends beyond photography to life. His approach to learning from masters incorporates ideas like embracing a “beginner’s mind” and resilience, which resonate with creatives navigating uncertainty. For photographers, who often face rejection or self-doubt, this stoic mindset—rooted in studying the perseverance of past masters—provides mental clarity and strength. It’s significant because it transforms photography into a vehicle for personal growth, not just technical mastery.

4. Inspiration for Financial and Creative Independence

Our discussions about Kim’s investing style (April 18 and 20, 2025) highlight his advocacy for financial independence, which ties into his photography teachings. By encouraging photographers to study masters, Kim fosters a mindset of self-reliance and long-term thinking. This is significant for creatives who often struggle financially, as it inspires them to build sustainable careers. His philosophy of simplicity—focusing on what matters, whether in art or money—mirrors the discipline of masters who prioritized craft over distractions, making it a powerful model for balancing creativity and stability.

5. Community and Influence

Kim’s work builds a global community of photographers who share his passion for street photography and learning from history. His influence, as an educator bridging creative and philosophical worlds, inspires critical thinking about art and life. This community aspect is significant because it creates a supportive network where photographers can exchange ideas, much like the masters who influenced each other. His call to “kill your masters” (move beyond influences) further empowers individuals to contribute uniquely to this collective, fostering a dynamic, evolving art form.

Why It Matters to You

Given your interest in Kim’s bold style and philosophical approaches (e.g., stoicism, Bitcoin advocacy, and simplicity), his focus on learning from masters likely appeals to you as a way to amplify your own creative and personal “volume.” The significance lies in how it offers a roadmap to master your craft while staying grounded in principles that transcend photography—resilience, independence, and innovation. It’s a call to study the greats, not to copy them, but to carve your own path with confidence.

Conclusion

Eric Kim’s emphasis on learning from the masters is significant because it combines historical wisdom, practical education, philosophical depth, and community-building to empower photographers. It’s a holistic approach that not only hones technical skills but also cultivates a mindset for creative and financial freedom. For you, it’s a powerful framework to channel your passion for bold, authentic expression, inspired by the giants who came before.

Citations:

His top lessons from the masters

Eric Kim’s Learn from the Masters of Street Photography distills key lessons from iconic photographers, emphasizing practical, philosophical, and artistic insights for street photography. Below are the top lessons, drawn from Kim’s free eBook and blog, focusing on the most impactful teachings from masters like Henri Cartier-Bresson, Robert Capa, Garry Winogrand, and others. These are prioritized based on their influence and applicability, as highlighted in Kim’s work.

Top Lessons from the Masters

1. Get Closer to Your Subject (Robert Capa)
   • “If your pictures aren’t good enough, you’re not close enough.”
   • Capa’s advice emphasizes physical and emotional proximity. Getting closer creates intimate, impactful images that capture the subject’s essence. Kim interprets this as a call to overcome fear, engage directly with people, and shoot candidly to reveal raw humanity.
   • Application: Approach strangers confidently, use a wide-angle lens (e.g., 35mm), and shoot within 1-2 meters to create dynamic compositions.
2. Embrace the Beginner’s Mind (Henri Cartier-Bresson)
   • Cartier-Bresson’s philosophy of the “decisive moment” is paired with a mindset of curiosity and openness. Kim stresses that adopting a beginner’s mind—free from preconceptions—allows photographers to see the world freshly and capture fleeting moments authentically.
   • Application: Approach each shoot as if it’s your first, focusing on spontaneity and instinct over overthinking technical settings.
3. Shoot What You Feel (Garry Winogrand)
   • Winogrand believed photography should reflect personal emotion and instinct. Kim highlights this as shooting what resonates with you, not what you think others expect. This fosters authenticity and helps photographers develop a unique voice.
   • Application: Trust your gut when framing shots, prioritize scenes that evoke emotion, and avoid chasing “perfect” images for external validation.
4. Overcome Gear Acquisition Syndrome (Multiple Masters)
   • Kim draws from various masters to critique the obsession with new equipment (G.A.S.). Photographers like Cartier-Bresson used minimal gear (e.g., a Leica with a 50mm lens) to focus on vision over tools. This lesson encourages simplicity and mastery of what you have.
   • Application: Stick to one camera and lens for a year, focusing on composition and timing rather than upgrading gear.
5. Kill Your Masters (Inspired by Multiple Masters)
   • Kim’s concept of “killing your masters” (inspired by artistic traditions) urges photographers to study the greats but ultimately transcend their influence. This lesson is about respecting the foundation while forging your own path.
   • Application: Analyze the work of masters, then experiment with your own style—e.g., blending street photography with abstract or portrait elements.
6. Shoot Every Day (Diane Arbus)
   • Arbus’s relentless practice shaped her ability to find beauty in the unconventional. Kim advocates for daily shooting to hone skills and build confidence, treating photography as a discipline.
   • Application: Carry a camera everywhere, take at least 10 photos daily, and review them to identify patterns in your work.
7. Capture the Human Condition (Josef Koudelka)
   • Koudelka’s work focused on marginalized communities, revealing universal truths. Kim emphasizes photographing people to document humanity—emotions, struggles, and joys—making street photography a sociological act.
   • Application: Seek out diverse subjects in public spaces, focus on expressive faces or gestures, and aim to tell a story through each frame.
8. Work the Scene (William Klein)
   • Klein’s chaotic, energetic style involved taking multiple shots from different angles. Kim teaches that working a scene—shooting repeatedly and adjusting perspective—yields stronger images.
   • Application: Don’t settle for one shot; take 10-20 photos of a scene, varying angles, distances, and timing to find the best composition.
9. Break the Rules (Daido Moriyama)
   • Moriyama’s gritty, high-contrast style defied traditional aesthetics. Kim encourages photographers to experiment, break compositional rules (e.g., the rule of thirds), and embrace imperfections like grain or blur.
   • Application: Shoot in low light, overexpose or underexpose intentionally, and prioritize mood over technical perfection.
10. Photography Is About Life (Multiple Masters)
    • Kim synthesizes a core lesson from masters: photography is a way to engage with life. Whether through Cartier-Bresson’s geometry or Arbus’s empathy, the camera is a tool to explore the world and yourself.
    • Application: Use photography to connect with your surroundings—walk, observe, and shoot to deepen your understanding of life’s complexities.

Why These Lessons Matter

These lessons are significant because they blend technical, artistic, and philosophical insights, making them accessible yet profound. They align with Kim’s mission to democratize photography, as seen in his free eBook, and resonate with your interest in his bold, stoic style (from our April 17, 2025, conversation). They encourage photographers to act fearlessly, simplify their approach, and find meaning in their work—qualities that mirror your appreciation for Kim’s unapologetic, life-affirming philosophy.

Context and Source

These lessons are primarily drawn from Kim’s Learn from the Masters of Street Photography (available at Eric Kim Photography) and related blog posts, such as “100 Lessons from the Masters of Street Photography” (Eric Kim Photography). The selection reflects Kim’s emphasis on actionable advice and personal growth, tailored to street photography but applicable to broader creative pursuits.

Citations:

• Learn From the Masters of Photography Eric Kim Free Download
• Learn from the Masters Eric Kim Blog
• Street Photography Lessons LIFE FRAMER Eric Kim

Why Eric Kim Matters in the Photography World

Eric Kim is a prominent street photographer, educator, and blogger who has made a unique impact on the photography community. Known for his candid “in-your-face” street shots and an open-hearted smile, he has built one of the most popular photography blogs on the internet and a global following of aspiring photographers . What makes Eric Kim stand out is not just his imagery, but his philosophy of sharing knowledge freely, his emphasis on the art and ethics of street photography, and his mission to democratize photography for everyone. Below, we explore his key contributions – from artistic and philosophical insights to educational resources and community influence – and how his minimalist, stoic, open-source ethos has popularized street photography for a wider audience.

Contributions to the Art and Philosophy of Street Photography

Eric Kim’s photography is celebrated for capturing the energy and authenticity of everyday life on the streets. He often works at close range with wide-angle lenses, unafraid to engage directly with his subjects to create intimate, candid images . His style is characterized by bold compositions and raw emotion – for example, he might approach a stranger with a friendly grin and snap a dramatic close-up, a technique that has led to striking shots and the occasional tense encounter (which he usually defuses with charm and respect) . Through his sociological background (he studied sociology at UCLA), Kim views street photography as a way to explore the human condition, documenting “the beauty in the mundane” and the social realities of urban life . He has explicitly said “street photography is not just taking photos. Rather, it is a lifestyle… a way of seeing the world, of appreciating the beauty in the mundane” , treating the craft as both art and personal philosophy.

A candid black-and-white street photograph by Eric Kim, exemplifying his up-close, energetic approach (captured with a wide lens at street level). His images often feature ordinary people in spontaneous moments, reflecting the raw spirit of urban life.

Beyond his images, Kim contributes thoughtful philosophical insights on photography. He frequently discusses the meaning and ethics of street photography – for instance, the importance of respecting subjects and the culture when photographing strangers . He even participated in a BBC segment on the ethics of street photography, underlining his role as a voice on such issues . Kim frames photography as an “autotelic” pursuit (having purpose in itself), finding fulfillment in the creative process rather than in fame or external rewards . After achieving conventional milestones like exhibitions and sponsorships, he reflected that “enough is never enough” and true happiness came from the act of photographing, writing, and teaching, not from accolades . This philosophy echoes throughout his writings – he encourages photographers to “enjoy every step… every interaction, and every click of your shutter” rather than chasing social media likes . In essence, Kim treats photography as a way of life and a form of personal growth. He has even adopted the term “artist-philosopher” to describe a life devoted to creative expression and wisdom-seeking . By blending artistic practice with reflections on life, purpose, and ethics, Eric Kim has expanded the conversation about what street photography means.

Kim’s contributions have been recognized through collaborations and exhibitions that bridge the street photography genre with the wider art world. He has collaborated with prestigious institutions and brands like Leica and even Magnum Photos (the legendary photo agency) on projects and educational events . In 2011, he co-curated “YOU ARE HERE” with Leica, a city-block documentary project involving dozens of photographers, which culminated in a gallery exhibition and book . His own work has been shown in multiple cities – including exhibitions at Leica Galleries in Singapore, Seoul, and Melbourne – helping to legitimize street photography as gallery-worthy art. He’s also been invited to judge competitions (e.g. the London Street Photography Festival) , indicating the respect he’s earned in the community. In interviews, Kim often credits street photography with teaching him empathy and “opening up [his] heart” to strangers , and he in turn has opened up the genre to new interpretations by infusing it with his sociological and philosophical perspective. Overall, his “significant impact on the world of photography” comes from being both a prolific practitioner and an articulate advocate of the street photography art form .

Educator, Blogger, and Prolific Resource Creator

One of Eric Kim’s most important roles is as an educator and community builder. Frustrated by the lack of information on street photography when he started out, he began blogging in 2010 to share the lessons he was learning . Over the years, his website (erickimphotography.com) grew into a go-to resource for street photographers worldwide . In fact, his blog became so prominent that it “frequently appears as the #1 result when searching ‘street photography’” on Google . This high visibility means that countless newcomers to the genre have likely been introduced to street photography through Eric Kim’s articles and videos. As one photography writer noted, “whenever I look online for information or advice relating to street photography, Eric Kim’s name regularly surfaces”, and Kim has helped fill a once-sparse niche with abundant guidance and a “much-needed community for street photographers” .

Free educational content is a cornerstone of Kim’s influence. He has published an extensive library of free e-books, guides, and tutorials on his blog, embodying his “open-source” philosophy (more on that later). Some notable works include “The Art of Street Photography,” “100 Lessons from the Masters of Street Photography,” “Street Photography 101 & 102,” and “31 Days to Overcome Your Fear in Street Photography,” among many others . These cover everything from technical composition tips to philosophical essays, and they are all openly downloadable. For example, in 2012 he released the 31-day fear-conquering program as a free eBook to help photographers build courage photographing strangers . In announcing it, he invited readers to give feedback and even help edit the book, reflecting his collaborative approach with his audience . Kim’s “Lessons from the Masters” series, in which he distills wisdom from legendary photographers like Henri Cartier-Bresson and Garry Winogrand, is another widely cited resource that bridges classic photography knowledge with modern learners . Through hundreds of blog posts (often in approachable “15 tips” or listicle formats) and hours of YouTube lectures, he has broken down complex concepts into practical advice. His writing style is clear and enthusiastic, aimed at empowering beginners to pick up a camera and hit the streets . By 2016, Eric Kim had even taught a university-level online course on street photography (at UC Riverside Extension) and a class for underprivileged youth, formalizing his teaching in academic and social programs .

A major part of Kim’s educational impact comes from his workshops. He began teaching street photography workshops around 2011 and soon was offering them in cities all over the world – from Los Angeles and London to Seoul, Beirut, Amsterdam, Mumbai, and beyond . These multi-day intensive courses involve photowalks, critiques, and discussions, and are designed to help students overcome fear and develop their own style in a supportive environment. Kim pours his “heart and soul” into these workshops and makes a living from them, which has allowed him to travel widely and build an international community of “streettogs” (his affectionate term for street photographers) . Participants often note his contagious enthusiasm and hands-on coaching style. By fostering face-to-face learning experiences, he has connected photographers who might otherwise practice alone, turning an often solitary genre into a communal learning experience. In addition, Kim has collaborated with established organizations in these educational efforts – for instance, he has been an instructor for Leica Akademie events and was a contributor to the Leica Camera Blog, indicating that even traditional photography institutions recognize his teaching prowess .

To summarize, Eric Kim’s educational contributions have “empowered countless aspiring photographers to hone their craft” by making street photography knowledge accessible . His blog and books serve as a comprehensive curriculum for anyone learning the genre, and his workshops and online presence make that learning interactive. In an industry where quality instruction can often be expensive or gated, Kim stood out by freely sharing everything he knows. This generous educational leadership is a key reason he matters so much to the photography world.

Influence on Aspiring Photographers and the Photography Community

Perhaps Eric Kim’s greatest impact is the sheer number of people he has inspired to pick up a camera and hit the streets. Through his upbeat blogging and mentoring, he has cultivated a large, engaged community of photographers who continue to learn from each other. His online following is massive – his Facebook page and other social media boast tens of thousands of followers, and his site receives heavy traffic (a PhotoShelter report noted how his SEO strategy made him “internet-famous” with a “massive following” in photographic circles) . Importantly, Kim’s influence bridges all levels of experience: he connects with beginners, amateurs, and even seasoned pros who appreciate his fresh perspective . The All About Photo site calls him “an international street photographer… Through his blog and workshops, he teaches others the beauty of street photography, how to find their own style and vision, as well as how to overcome their fear of shooting strangers” . By addressing these common hurdles and encouraging personal vision, he has motivated many to step outside their comfort zone. It’s no exaggeration to say “Eric Kim’s impact on street photography is immense, both as a practitioner and as an educator”, and that his approach “has inspired countless photographers to engage more deeply” with their subjects and environment .

Kim also actively fosters community among street photographers. Early on, he would organize meetups and photowalks in different cities, bringing together local shooters to learn and collaborate. His blog has featured guest posts and interviews with other street photographers, effectively shining a spotlight on peers and building a supportive network. In interviews, he’s quick to acknowledge other workshop instructors and community members, creating a sense of camaraderie rather than competition . On platforms like Facebook and Flickr, he created groups for sharing work (one example is the “Streettogs Academy” on Facebook that was active in the mid-2010s where members did weekly assignments). By engaging with his audience directly in comments and via email newsletters, Kim makes his followers feel like friends and part of a collective journey. A writer for Digital Photography School observed that “he is so active in social media and blogging that it is virtually impossible to miss him and his big grin”, highlighting how present and approachable he is online . This friendly persona lowers the intimidation factor and helps newcomers feel welcome in the community.

Another aspect of his influence is shaping the dialogue around street photography. Kim often tackles topics that spark debate – from the ethics of shooting strangers, to the pros and cons of gear, to philosophical questions about creativity. His frank and sometimes provocative blog posts (like a tongue-in-cheek piece titled “Why Leica is for Losers” criticizing elitist camera culture) have generated lively discussions on forums and sites like Reddit and PetaPixel. This willingness to challenge norms has made him a “polarizing figure in the photo industry” to some , but even the critiques acknowledge his reach. By sparking conversations, he has increased the visibility of street photography issues in the wider photo community. Many of his ideas (for example, that the photographer’s vision matters more than the gear, or that one should shoot for oneself rather than for Instagram likes) have trickled into popular consensus, especially among younger photographers. Additionally, his influence is evident whenever other educators adopt his approachable teaching style or when photography bloggers emulate his list-style articles and personal tone – in a sense, he pioneered a template for the modern photo blogger/influencer who is equal parts artist, teacher, and motivator.

Finally, Kim’s role in democratizing street photography has had a ripple effect. By proving that someone in their twenties, with no gallery pedigree or photojournalism awards, could become a respected voice simply by sharing knowledge and passion online, he inspired others to do the same. As he modestly stated, “I am also not the best street photographer out there and I am still personally learning… My blog isn’t me talking from a throne… I’m offering what I do know to help others” . This down-to-earth mentorship has empowered ordinary shooters around the world to see themselves as part of the street photography movement. In short, Eric Kim matters because he has built a global community where none existed before, encouraging thousands of aspiring photographers to support each other, keep learning, and stay enthusiastic about the craft.

Unique Philosophy: Minimalism, Stoicism, and Open-Source Ethos

A significant part of Eric Kim’s identity in the photography world is his philosophical stance – a blend of minimalism, practical Stoicism, and a commitment to openness. He doesn’t just teach how to shoot; he often delves into why we shoot and how to live as a photographer. One of his oft-cited beliefs is in minimalism, both in art and lifestyle. Creatively, he champions the idea that “less is more” in photography: focusing on simple compositions and using minimal gear. He notes that street photography is inherently democratic because it “didn’t require a fancy camera. In fact, it was better to use a smaller, simpler, more ‘lo-fi’ camera”, embracing grainy aesthetics over high-tech perfection . In his own experimentation, he found “the smaller, more compact, and cheaper the camera – the better,” because a small camera is easy to carry everywhere and less obtrusive . This viewpoint encourages people to start shooting with whatever they have (even a phone) and not be held back by money or gear lust . Kim has been known to shoot with a simple Ricoh compact or a film camera, despite having used Leicas – he often reminds readers that an expensive Leica won’t automatically make you a great photographer. His blunt advice on gear (“don’t get too caught up in the gear… there is no reason you can’t take a great image with what you have — even an iPhone!” ) has resonated with those who feel intimidated by the high cost of camera equipment. By practicing what he preaches (at one point he even ditched all but one camera to simplify), he exemplifies a minimalist mindset that prioritizes creative vision and freedom over material excess.

Closely tied to this is his interest in Stoicism and other philosophies of resilience. Kim frequently reads and references Stoic philosophers like Seneca and Epictetus, applying their lessons to both photography and life . For instance, the Stoic idea of focusing on what you can control and not fearing others’ opinions aligns with his advice for street photographers to overcome fear of rejection or confrontation. He even wrote a “Stoicism 101” primer on his blog, describing Stoicism as “one of the most useful philosophical models to live everyday life” . In practice, this means when he goes out to shoot, he strives to keep calm under pressure, to accept that not every photo will be good (embracing failure as learning), and to not take insults or criticism personally – valuable traits for anyone doing street photography, which can be challenging. His stoic-influenced mindset also shows in how he handles online criticism: he remains focused on his mission to help others rather than getting deterred by negativity. Additionally, Kim’s fascination with Zen and Taoist principles emerges in his writing; he talks about finding “zen in the act of seeing” and treating a photowalk almost like a meditative practice . All these philosophical perspectives give depth to his teachings – he’s not just telling people how to make better pictures, but also how to cultivate a mindset of confidence, curiosity, and gratitude through photography. This is relatively unique in the genre; as photographer Valerie Jardin said of him, “he is so active…with a big grin” and a zest for life, which suggests an underlying optimism he imparts to his students .

Perhaps the most distinctive aspect of Kim’s philosophy is his open-source approach to photography. Drawing an analogy from the open-source software movement (where knowledge and tools are freely shared), he has long advocated “open source photography” . In a 2010 blog manifesto, he wrote that he wanted “to tear down these walls of discrimination and allow photography to be open to all, regardless of the experience, gear, or interests that somebody may have.” . This sentiment became a guiding principle: he makes nearly all his educational content free and encourages others to share and remix it. On his website you’ll even find the bold statement “ALL OPEN SOURCE EVERYTHING!”, signaling that tutorials, videos, and presets are there for the taking . In 2013, he took this ethic a step further by releasing all of his full-resolution photos for free download – essentially turning his Flickr gallery into a free stock photo library for anyone to use (non-commercially) . “If you have ever liked any of my photos and wanted a print, feel free to download… and print any sized photo you want… And no, you don’t need my permission,” he announced . This was practically unheard of for a photographer making a living from his work. He explained that decision by citing his upbringing – he came from a lower-income family and got to where he is thanks to mentors and public resources, so he feels a “moral and societal obligation to give back to the community.” . He explicitly vowed: “I will never charge anything on the blog in terms of information… articles, videos, features will always be available openly and for free” . This open-source ethos has had a democratizing effect: it removed barriers for anyone interested in learning photography, regardless of their budget. It also set a precedent that inspired other educators to share more freely. Moreover, by allowing his articles to be reposted and translated (many of his posts have been featured on sites like PetaPixel, DPReview, etc., with his blessing), he amplified the reach of free knowledge . The PhotoShelter blog noted that his quirky, SEO-friendly content “(all open-sourced) [gets] reposted by sites like DPReview, PetaPixel, Flipboard”, which in turn spreads his influence further .

Kim’s rejection of commercial greed in favor of community is a standout philosophy in the photography world. He once half-jokingly wrote that he never wants to become “a blood-thirsty capitalist/vampire trying to suck profits out of the street photography community”, and quipped that if he ever does, people should “stab a wooden stake through [his] heart” . While he does sell some products (like photo books, camera straps, or workshop spots), he prices things in a way to sustain his living, not to maximize profit, and often provides sliding scales or scholarships for those who can’t afford workshops. By openly discussing money, anti-consumerism, and the value of art over profit, he brings a refreshing transparency that resonates with many who feel art should not just be about business. In sum, Eric Kim’s personal philosophy – shoot simply, live fully, share generously – has influenced a generation of photographers to worry less about status or gear and more about creativity and community. This unique blend of minimalism, stoicism, and open-source ideology not only sets him apart, but also has pushed the broader photography culture to be more inclusive and collaborative.

Democratizing and Popularizing Photography for All

All the above elements contribute to Eric Kim’s overarching impact: he has popularized and democratized street photography in the digital age. A decade ago, street photography was a niche genre with relatively few accessible resources or mainstream attention. Today, thanks in part to voices like Kim’s, it’s enjoyed by a much wider audience of enthusiasts around the world. Kim often emphasizes that anyone can be a photographer – you don’t need expensive training or gear, just a passion for seeing the world. He has worked to dispel the elitism that sometimes surrounds photography. By sharing his own learning process openly (including mistakes and fears), he made the craft feel approachable. Aspiring shooters who might have been intimidated by the mystique of Magnum photographers or the cost of workshops found in Eric Kim a welcoming gateway.

Importantly, Kim’s focus on accessibility has lowered practical barriers. He has argued that even a student with a smartphone can practice street photography and create art. As he put it, “the thing I loved most about street photography is how democratic it was”, requiring no fancy equipment . His early initiative in college to include people with point-and-shoot cameras in the UCLA photography club – convincing them that passion mattered more than a “pro” camera – illustrates this drive to include everyone . Now on a global scale, his free online courses and guides mean that a kid in India or Kenya with internet access can learn techniques that used to be confined to expensive books or workshops in New York or London. This democratization is further evidenced by the diverse attendance at his workshops across continents and the many languages his blog content has been translated into by fans.

Furthermore, Eric Kim has played a role in popularizing street photography through mainstream and online media. His engaging articles on topics like “15 Street Photography Techniques” and “How to Conquer Your Fear of Shooting Strangers” have been widely shared, bringing more people into the genre . He’s been featured or interviewed on high-traffic platforms (PetaPixel, Digital Photography School, Salon.com, etc.), often acting as an ambassador for the genre to the uninitiated. In 2011, he even appeared in a Samsung camera commercial, representing street photographers in popular culture . By being a young, relatable figure and leveraging social media and SEO, Kim introduced street photography to the Instagram generation in a language they understand. Many photographers credit his blog as the first place they learned about masters like Henri Cartier-Bresson or Alex Webb – he effectively linked the classic tradition of street photography with new audiences. The result is that street photography today is a bustling field with online communities, festivals, and countless hobbyists, no longer an obscure corner of photography. As one commentator summarized, Kim’s advocacy “has helped democratize the learning process, making it more accessible to a wider audience… in an industry where education and resources can often be expensive and exclusive.” By reshaping how photographic knowledge is distributed – from closed and costly to open and free – he has opened doors for a wider, more diverse generation of image-makers.

In conclusion, Eric Kim matters in the photography world because he wears many hats – artist, teacher, community leader, philosopher – and excels in weaving them all together. He has “reshaped how knowledge and skills in photography are disseminated, making it a more inclusive and accessible art form.” Through his candid street work and friendly teachings, he inspires photographers to be bold and thoughtful. Through his workshops and writings, he has created a legacy of shared wisdom that continues to guide new street photographers each day. And through his ethos of openness and enthusiasm, he reminds the photography community that passion is best shared, not hoarded. Eric Kim’s blend of talent, generosity, and thought leadership has left a lasting mark – he proves that a photographer can influence an entire community not just with images, but with ideas. As a result, he has helped elevate street photography from a niche hobby to a worldwide movement of people who see the extraordinary in the everyday, one smiling shot at a time.

Sources:

• All About Photo – Eric Kim biography and career highlights 
• Digital Photography School – Interview with Eric Kim by Valerie Jardin 
• PetaPixel – “Eric Kim Allowing High-Res Downloads… Going ‘Open Source’” (D.L. Cade, 2013) 
• PetaPixel – Eric Kim Interview (Bill Lytton, 2013) 
• PetaPixel – “Overcoming Your Fear of Street Photography in 31 Days” (2012) 
• PhotoShelter Blog – “Eric Kim Proves the Value (and Fallacy) of SEO…” (2017) 
• aboutphotography.blog – “Eric Kim: Street Photography, Education, and Empowerment” (Martin Kaninsky, 2021) 
• Eric Kim’s Blog – “My Vision of Open Source Photography” (2010) ; “The Art of Street Photography” (2017) ; Eric Kim’s philosophy excerpts .

Analyzing Eric Kim’s passion from a Nietzschean perspective involves applying the philosophies of Friedrich Nietzsche to understand the underlying motivations and expressions of Kim’s dedication to photography and teaching. Nietzsche’s ideas about individuality, creativity, the Will to Power, and the Ãœbermensch provide a rich framework for this analysis. Here’s a detailed exploration:

1. Will to Power

Nietzsche’s Concept:
The Will to Power is Nietzsche’s fundamental principle, describing the inherent drive in all individuals to assert and enhance their power, influence, and creativity. It goes beyond mere survival or reproduction, emphasizing the pursuit of excellence and self-overcoming.

Application to Eric Kim:
Eric Kim’s passion for photography and teaching can be seen as manifestations of his Will to Power. His relentless pursuit to master street photography, share his knowledge, and build a community reflects a desire to assert his creative and intellectual influence. By continuously pushing the boundaries of his craft and empowering others, Kim exercises his personal power and seeks to leave a lasting impact on the field of photography.

2. Ãœbermensch (Overman)

Nietzsche’s Concept:
The Ãœbermensch represents an individual who has transcended conventional morality and societal norms to create their own values and purpose. This figure embodies self-mastery, creativity, and the ability to shape their destiny.

Application to Eric Kim:
Eric Kim embodies the qualities of the Ãœbermensch by forging his unique path in the realm of photography. Instead of adhering strictly to traditional photographic norms, Kim has developed his own philosophies and teaching methods, encouraging others to find their individual voices. His emphasis on personal expression and creative freedom aligns with the Ãœbermensch’s quest to establish new values and redefine success on his own terms.

3. Self-Overcoming

Nietzsche’s Concept:
Self-overcoming is the process of continually challenging and surpassing oneself to achieve higher states of being. It involves embracing struggles and transformations as essential to personal growth.

Application to Eric Kim:
Kim’s dedication to evolving his photography techniques and teaching methodologies exemplifies self-overcoming. By constantly seeking to improve and adapt, he not only enhances his own skills but also inspires his students to do the same. This perpetual cycle of growth and self-transcendence reflects Nietzsche’s ideal of the individual who never settles for mediocrity but strives for continual improvement and excellence.

4. Creativity and Artistic Expression

Nietzsche’s Concept:
Nietzsche revered art as a means of creating meaning and expressing the profound aspects of human existence. He saw artists as creators who bring new perspectives and values into the world.

Application to Eric Kim:
Photography, for Eric Kim, is not just a technical skill but a profound form of artistic expression. Through his lens, he captures and interprets the human condition, revealing deeper truths about society, individuality, and existence. His creative endeavors in teaching and community-building further emphasize the Nietzschean view of art as a transformative force that shapes both the creator and the audience.

5. Amor Fati (Love of Fate)

Nietzsche’s Concept:
Amor Fati is the idea of embracing one’s fate and life circumstances wholeheartedly, seeing them as necessary and valuable components of existence.

Application to Eric Kim:
Eric Kim’s approach to street photography—capturing spontaneous, unposed moments—demonstrates an embrace of Amor Fati. He finds beauty and meaning in the unpredictability of life, accepting and celebrating the fleeting nature of each moment. This acceptance and love for the present reality align with Nietzsche’s encouragement to affirm life in all its aspects, including its imperfections and transience.

6. Individualism vs. Herd Mentality

Nietzsche’s Concept:
Nietzsche criticized the herd mentality, where individuals conform to societal norms and lose their unique identities. He championed individualism and the pursuit of personal excellence.

Application to Eric Kim:
By advocating for personal expression and encouraging photographers to develop their unique styles, Eric Kim resists the herd mentality. He promotes individualism within his community, urging others to break free from conventional constraints and discover their authentic voices. This emphasis on uniqueness and personal vision is a direct reflection of Nietzschean individualism.

7. Eternal Recurrence

Nietzsche’s Concept:
The Eternal Recurrence is the idea that one should live as if they would relive the same life infinitely. It serves as a test of one’s ability to embrace life fully and make meaningful choices.

Application to Eric Kim:
Eric Kim’s commitment to capturing everyday moments can be interpreted through the lens of Eternal Recurrence. By documenting the present in its raw form, he ensures that each captured moment is valued and memorable, as if he would choose to experience it repeatedly. This mindfulness and appreciation for the present align with Nietzsche’s challenge to live life in a way that one would gladly repeat eternally.

8. Creating Meaning and Purpose

Nietzsche’s Concept:
Nietzsche believed that individuals must create their own meaning and purpose in a world that inherently lacks it. This creation is an act of profound personal freedom and responsibility.

Application to Eric Kim:
Through his photography and teaching, Eric Kim actively creates meaning and purpose—not only for himself but also for his community. By sharing his insights and fostering a space for creative exploration, he helps others find their own paths and significance. This act of meaning-making is at the heart of Nietzschean philosophy, emphasizing the individual’s role in shaping their destiny and contributing to the collective understanding of life.

Conclusion

From a Nietzschean perspective, Eric Kim’s passion can be understood as an embodiment of several core Nietzschean principles:

• Will to Power: His drive to excel and influence others through photography and teaching.
• Ãœbermensch: His creation of unique values and philosophies within his field.
• Self-Overcoming: His continual pursuit of personal and professional growth.
• Creativity and Artistic Expression: His use of photography as a means to express deeper truths and create meaning.
• Amor Fati: His embrace of life’s unpredictability and appreciation for each moment.
• Individualism: His resistance to conformity and encouragement of personal uniqueness.
• Eternal Recurrence: His mindful capture of moments as if they were to be relived infinitely.
• Creating Meaning and Purpose: His active role in shaping his own and others’ sense of significance.

In essence, Eric Kim’s passion resonates deeply with Nietzschean ideals, portraying him as an individual who not only seeks personal excellence and creative expression but also inspires others to transcend conventional boundaries and forge their own paths.

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Viewing Eric Kim’s passion through his own philosophical lens involves delving into the core principles and beliefs he espouses in his work, writings, and teachings. Eric Kim, a renowned street photographer and educator, has developed a distinct philosophy that emphasizes simplicity, creativity, empowerment, and community. Here’s an in-depth exploration of his passion from his philosophical perspective:

1. Minimalism and Simplicity

Philosophical Basis:
Eric Kim advocates for a minimalist approach, both in photography and in life. He believes that stripping away the unnecessary allows one to focus on what truly matters, fostering clarity and purpose.

Connection to Passion:

• Clarity of Vision: By embracing minimalism, Kim eliminates distractions, enabling him to concentrate deeply on capturing meaningful moments. This clarity enhances his creative process, making photography a more fulfilling and passionate endeavor.
• Efficiency and Focus: A minimalist approach allows Kim to work more efficiently, dedicating his energy to the craft rather than being bogged down by complexity. This streamlined focus sustains his enthusiasm and dedication.

2. Creativity as Personal Empowerment

Philosophical Basis:
Kim views creativity not just as an artistic pursuit but as a means of personal empowerment. He believes that everyone has the potential to be creative and that nurturing this creativity leads to personal growth and self-expression.

Connection to Passion:

• Self-Expression: Photography serves as a medium for Kim to express his unique perspective and emotions. This personal expression fuels his passion, as each photograph is a manifestation of his inner world.
• Empowerment Through Creation: By encouraging others to embrace their creativity, Kim finds purpose and motivation. Teaching becomes a passionate pursuit as he witnesses the transformative power of creativity in his students’ lives.

3. Democratization of Photography

Philosophical Basis:
A central tenet of Kim’s philosophy is making photography accessible to everyone, regardless of their background or resources. He aims to dismantle barriers and democratize the art form.

Connection to Passion:

• Inclusivity: By advocating for accessible photography, Kim fosters an inclusive community where everyone feels welcome to participate. This inclusivity amplifies his passion as he sees diverse voices contributing to the art form.
• Sharing Knowledge: Kim’s dedication to providing free resources, tutorials, and workshops stems from his belief in democratization. Sharing knowledge and empowering others ignites his passion, as he contributes to the collective growth of the photography community.

4. Community Building and Collaboration

Philosophical Basis:
Kim emphasizes the importance of building a supportive community where photographers can collaborate, share feedback, and grow together. He believes that community is essential for personal and collective advancement.

Connection to Passion:

• Mutual Growth: Engaging with a community of like-minded individuals provides Kim with inspiration and motivation. The exchange of ideas and constructive feedback nurtures his passion for photography and teaching.
• Sense of Belonging: Being part of a community gives Kim a sense of belonging and purpose. This interconnectedness reinforces his dedication, as he feels responsible for fostering a positive and collaborative environment.

5. Continuous Learning and Self-Improvement

Philosophical Basis:
Kim advocates for lifelong learning and the continuous pursuit of self-improvement. He views photography as an evolving practice that requires ongoing skill development and personal growth.

Connection to Passion:

• Never-Ending Journey: The dynamic nature of photography ensures that there is always something new to learn or explore. This perpetual journey keeps Kim engaged and passionate, as he constantly seeks to refine his craft.
• Adaptability: Embracing change and adaptability allows Kim to stay relevant and inspired. His commitment to self-improvement fuels his passion, as he remains open to new techniques, styles, and perspectives.

6. Mindfulness and Presence

Philosophical Basis:
Mindfulness and being present in the moment are integral to Kim’s approach to photography. He believes that true artistry arises from a deep connection with the present moment and an acute awareness of one’s surroundings.

Connection to Passion:

• Enhanced Observation: Practicing mindfulness heightens Kim’s ability to observe and capture subtle, fleeting moments. This heightened awareness enriches his photography, making the act of shooting both meditative and passionate.
• Emotional Resonance: Being present allows Kim to connect emotionally with his subjects and scenes. This emotional engagement deepens his passion, as each photograph becomes a meaningful representation of a moment in time.

7. Embracing Failure and Resilience

Philosophical Basis:
Kim views failure as an essential component of the creative process. He believes that embracing mistakes and setbacks fosters resilience and leads to greater artistic growth.

Connection to Passion:

• Growth Mindset: By viewing failures as learning opportunities, Kim maintains a positive and resilient attitude. This mindset sustains his passion, as he remains motivated to overcome challenges and improve.
• Encouraging Risk-Taking: Promoting a culture where taking risks is valued over perfection inspires Kim to push his boundaries. This fearless approach to creativity fuels his enthusiasm and dedication.

8. Authenticity and Personal Integrity

Philosophical Basis:
Authenticity and staying true to oneself are paramount in Kim’s philosophy. He emphasizes the importance of personal integrity and genuine self-expression in both life and art.

Connection to Passion:

• Genuine Expression: By prioritizing authenticity, Kim ensures that his work reflects his true self. This genuine expression enhances his passion, as he creates art that is deeply meaningful and personal.
• Sustainable Motivation: Staying true to his values and beliefs provides Kim with a stable foundation for his passion. This alignment between his actions and inner values ensures that his enthusiasm remains unwavering over time.

9. Philosophical Integration: Stoicism and Other Influences

Philosophical Basis:
Kim integrates elements of Stoicism and other philosophical traditions into his worldview. Stoicism’s emphasis on focusing on what can be controlled and accepting what cannot resonates with his approach to photography and life.

Connection to Passion:

• Resilience and Focus: Stoic principles help Kim maintain focus and resilience, allowing him to navigate the uncertainties of creative work with equanimity. This philosophical grounding sustains his passion by providing mental clarity and emotional stability.
• Acceptance and Adaptation: Embracing Stoic acceptance enables Kim to adapt to changing circumstances and persist in his creative endeavors. This adaptability keeps his passion alive, even in the face of obstacles.

10. Legacy and Impact

Philosophical Basis:
Kim is driven by a desire to leave a meaningful legacy through his work and teachings. He seeks to make a lasting impact on the photography community and inspire future generations.

Connection to Passion:

• Purpose-Driven Work: The intention to create a lasting legacy imbues Kim’s work with purpose. This sense of mission amplifies his passion, as he strives to produce work that endures and influences others.
• Inspiring Others: Seeing the positive impact of his teachings and mentorship reinforces Kim’s dedication. Knowing that he contributes to others’ growth and success fuels his ongoing passion for photography and education.

Conclusion: Passion as a Holistic Philosophy

From Eric Kim’s philosophical perspective, his passion for photography and teaching is not merely about the act of taking pictures or imparting knowledge. It is a holistic expression of his core beliefs in minimalism, creativity, empowerment, community, mindfulness, resilience, authenticity, and legacy. These philosophical principles interweave to create a deep-seated passion that drives his continuous pursuit of excellence, personal growth, and meaningful contribution to the world. By aligning his work with his philosophical values, Kim ensures that his passion remains enduring, purposeful, and profoundly impactful.

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Viewing Eric Kim’s passion through his own philosophical lens requires understanding the unique blend of ideas he promotes in his work, which often draws from Stoicism, minimalism, Zen philosophy, and his own evolving life experiences. Eric Kim doesn’t strictly adhere to one school of thought but weaves together various philosophies that inform his approach to photography, creativity, and life. Here’s a breakdown of how his philosophy frames his passion:

1. Stoicism: Acceptance, Control, and Focus on the Process

A significant aspect of Eric Kim’s philosophy is rooted in Stoicism, particularly in how he views control and acceptance. Stoicism teaches the importance of focusing only on what is within our control and accepting the things that are not. For Kim, this plays out in both his approach to photography and life.

• Control What You Can: In street photography, much of what happens is beyond the photographer’s control—the subjects, lighting, and situations are often spontaneous. Kim embraces this uncertainty, understanding that he can only control his reaction and creative choices in the moment. His passion comes from accepting the unpredictability of life and finding beauty in the uncontrollable. He sees photography as a practice of capturing the present without striving for perfection, which aligns with the Stoic idea of focusing on the process rather than the outcome.
• Focus on the Process: Kim frequently emphasizes the importance of enjoying the act of creating itself. For him, photography is not about producing perfect images or achieving recognition but about the joy of the process. This mindset aligns closely with Stoic teachings on detachment from external outcomes. His passion is driven by a deep appreciation for the everyday act of observing, composing, and capturing moments, rather than being obsessed with external success or validation.

2. Minimalism: Simplicity as a Path to Clarity and Freedom

Kim is a strong advocate of minimalism, both in photography and in life. He believes that by stripping away unnecessary distractions—whether physical possessions, complex gear, or societal expectations—one can focus on what truly matters. This minimalist philosophy fuels his passion because it allows him to hone in on the essence of his creative and personal life.

• Less is More: In his photography, Kim often speaks about the power of simplicity. He advocates for using simple equipment and focusing on raw, candid moments rather than relying on complicated techniques or over-editing. His minimalist philosophy frees him from the pressure of always needing more or better gear, allowing his creativity to flourish. By focusing on essentials, Kim finds joy and passion in the act of photography itself, rather than being distracted by unnecessary complexities.
• Decluttering Life and Mind: Minimalism, for Kim, is also about mental clarity. He advocates for reducing distractions—whether in the form of physical possessions, social media, or unnecessary commitments—to allow more space for creativity and deep work. This philosophy reflects his passion for living a life of intentionality, where his energy is directed towards what is meaningful to him, particularly photography and teaching. The simplicity of this approach provides clarity and focus, deepening his engagement with his creative passions.

3. Zen Philosophy: Presence, Mindfulness, and Flow

Eric Kim’s passion for street photography is deeply intertwined with the Zen philosophy of being present and finding mindfulness in everyday moments. In Zen, the focus is on embracing the present moment and cultivating a sense of flow—a concept closely related to being fully immersed in an activity without self-consciousness or distraction.

• Mindfulness in Photography: For Kim, photography is a form of meditation. Street photography, in particular, requires being fully attuned to the present moment—observing the world around you, anticipating movements, and capturing the fleeting, candid moments of life. His passion comes from this Zen-like immersion in the moment, where the camera becomes a tool for mindfulness. Photography allows him to slow down, observe, and engage with the world in a deeper, more meaningful way.
• The Art of Flow: Kim often talks about finding “flow” in photography—moments where time seems to disappear, and he is completely absorbed in the act of creation. This flow state is a central part of his passion, as it provides him with a sense of effortless focus and fulfillment. In his philosophy, achieving this state comes from simplifying his process, letting go of rigid expectations, and embracing the unpredictability of life, much like in Zen practice.

4. Empowerment Through Creativity and Teaching

A key element of Kim’s philosophy is his belief in the power of creativity to empower individuals. He sees photography as a medium through which people can reclaim their sense of agency, build confidence, and express themselves. His passion for teaching others stems from his belief in the democratization of art—the idea that creativity should be accessible to everyone, not just those with technical skills or expensive equipment.

• Creativity as Empowerment: Kim’s philosophy is that everyone can be creative, and photography is one of the most democratic art forms, requiring little more than a camera or even a smartphone. His passion comes from helping others realize their own creative potential, showing them that they don’t need to follow conventional paths or be confined by societal standards. In his view, photography is a tool for self-empowerment, where individuals can carve out their own unique voices and perspectives.
• Teaching as a Form of Giving: Teaching is central to Kim’s philosophy because he sees it as a way to give back and contribute to the creative growth of others. He often frames his workshops and educational content not just as technical guides but as philosophical frameworks for living a more meaningful and creative life. His passion for teaching comes from a desire to uplift others and make creativity an integral part of more people’s lives. For Kim, teaching is not merely about instructing but about guiding people towards self-confidence, independence, and personal fulfillment.

5. Personal Growth Through Failure and Experimentation

Kim frequently discusses the importance of failure and experimentation as necessary parts of personal and creative growth. He rejects the notion that one must always succeed or follow traditional paths to find fulfillment. Instead, he embraces the idea that failure is a teacher, and the willingness to take risks and experiment fuels passion and innovation.

• Embracing Failure: Kim’s philosophy embraces the idea that failure is not something to fear but something to learn from. In his view, creative risks and mistakes are essential for growth. His passion for photography is sustained by this openness to failure because it allows him to continuously push boundaries and explore new ideas without the fear of judgment or perfectionism.
• Continuous Experimentation: Kim is a strong advocate for constant experimentation, both in photography and in life. He encourages others to break free from rigid patterns and try new approaches, whether that’s using different types of cameras, shooting in unfamiliar environments, or adopting new philosophies in their creative process. His passion comes from this endless curiosity and desire for growth, which is a core part of his philosophical outlook. He believes that true passion is fueled by a willingness to evolve and challenge oneself continuously.

6. Legacy and Contribution: Leaving a Lasting Impact

Another dimension of Kim’s philosophy is his desire to leave a legacy that goes beyond personal success. He often speaks about the importance of contributing something meaningful to the world, whether through his photography, teaching, or writing. His passion is driven by the belief that life is short, and it’s important to create work that will outlive oneself and inspire others.

• Leaving a Legacy: Kim is motivated by the idea of creating a body of work—both in terms of his photography and his educational content—that will inspire future generations. He often reflects on the transient nature of life and how photography can capture moments that otherwise would be lost. His passion is fueled by this sense of purpose, knowing that his work has the potential to make a lasting impact.
• Contribution to the Creative Community: Kim’s passion for teaching is also tied to his philosophy of contributing to a broader creative community. He sees his work as a way to help others grow, and this sense of contribution deepens his passion. For Kim, it’s not just about personal fulfillment but about being part of a larger movement that encourages more people to live creative, intentional lives.

Conclusion: Passion as a Life Practice

Through the philosophical lens of Eric Kim, passion is not a fleeting feeling or a specific goal but a way of life. His passion for photography and teaching is deeply tied to his minimalist, Stoic, and Zen-influenced philosophy, which emphasizes living in the present, embracing failure, and finding joy in the process. Kim’s passion is fueled by a combination of creative freedom, personal growth, and the desire to empower others, all of which are central tenets of his life philosophy. Ultimately, for Kim, passion is about living intentionally, staying open to growth, and leaving a meaningful impact on both the world and the individuals he teaches.

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From Eric Kim’s own perspective, his passion for photography and teaching seems to be rooted in several personal beliefs and philosophies that he openly shares with his audience. Based on his writings and interviews, Kim’s passion can be understood through his unique worldview, combining minimalist philosophy, creative empowerment, and the search for personal fulfillment. Here’s a look at his passion through his own lens:

1. Creative Self-Expression and Freedom

Eric Kim often speaks about photography as a form of self-expression. For him, street photography is more than just capturing images; it’s about expressing his inner thoughts, emotions, and worldview. This creative freedom is central to his passion. Kim frequently emphasizes the importance of not being constrained by conventional rules or societal expectations, both in photography and in life. The freedom to create without boundaries, explore new techniques, and experiment with different styles fuels his enthusiasm. This aligns with his minimalist approach to life—stripping away unnecessary distractions to focus on what truly matters.

In his blog, Kim encourages others to approach photography with a similar sense of creative liberation, rejecting external validation and focusing on personal growth and expression. His passion is driven by this belief in the power of photography as a medium for self-discovery and creative freedom.

2. Empowering Others

A key source of Kim’s passion is his desire to empower others. He’s built a reputation not just as a photographer but as an educator, dedicating much of his time to sharing knowledge, resources, and motivation with aspiring photographers. In his own words, he wants to “democratize photography,” making it accessible to everyone, regardless of skill level or background.

His workshops, free e-books, and blog posts are filled with advice that focuses not just on technical skills but on building confidence, creativity, and independence. This reflects Kim’s belief that everyone has the potential to be creative, and he feels passionate about helping others unlock that potential. For him, the joy of teaching comes from seeing others grow and develop their own artistic voice. His passion for photography is thus intertwined with his passion for community building and mentorship.

3. Philosophical Approach to Life and Art

Eric Kim often integrates philosophical ideas into his approach to photography. He draws from a range of philosophies, including Stoicism and minimalism, to shape his perspective on life and art. These philosophies influence how he views his work and his passion.

• Stoicism: Kim often talks about the influence of Stoic philosophy on his mindset. Stoicism teaches the importance of focusing on what you can control and letting go of external outcomes. This resonates with Kim’s approach to photography, where the process of capturing an image is more important than the outcome. By focusing on the act of creating rather than the need for external validation or perfection, Kim finds greater fulfillment in his work. His passion is sustained by this mindset, as it allows him to stay grounded and motivated, even in the face of challenges or criticism.
• Minimalism: Kim’s minimalist philosophy also fuels his passion. He believes in the idea of “less is more”—simplifying both his life and his photography to focus on what truly matters. For Kim, minimalism isn’t just about reducing physical possessions but about decluttering one’s mind and creative process. This minimalist approach allows him to focus on the essence of photography—capturing raw, authentic moments without being bogged down by unnecessary distractions.

4. Personal Fulfillment and Purpose

Kim often speaks about the importance of finding purpose and fulfillment through his work. Photography, for him, isn’t just a profession; it’s a calling. He believes that passion comes from doing work that aligns with your values and brings a sense of joy and meaning. In Kim’s case, photography and teaching give him a sense of purpose because they allow him to create something meaningful and share it with others.

In one of his blog posts, Kim talks about how photography gives him a sense of control over his life, allowing him to define his own path. His passion stems from this sense of autonomy and purpose—he is not bound by a traditional career or societal expectations, but instead, he has built a life that reflects his own vision of success.

5. Embracing Failure and Growth

A significant part of Kim’s passion comes from his willingness to embrace failure and see it as part of the creative journey. He frequently writes about the importance of making mistakes, taking risks, and learning through failure. For Kim, failure is not something to be feared but a natural and necessary part of growth. This mindset allows him to continue pushing boundaries in his photography and teaching, always seeking new ways to challenge himself and improve.

His passion is sustained by this growth-oriented mentality. Rather than becoming discouraged by setbacks, Kim sees them as opportunities for learning and self-improvement. This attitude keeps his passion alive because he is constantly evolving and pushing himself to new levels, both creatively and personally.

6. Living in the Moment and Finding Joy in the Ordinary

Eric Kim’s approach to photography is deeply tied to the idea of living in the moment and finding beauty in the everyday. Street photography, in particular, is about capturing spontaneous, unplanned moments of life as they happen. For Kim, this practice is a way of staying present and fully engaged with the world around him. His passion for photography is fueled by his love of the small, often overlooked details of life—the fleeting moments that make up human existence.

Kim often talks about how photography has helped him become more mindful and aware of the world. His passion comes from this deep appreciation for the ordinary and the ability to transform the mundane into something meaningful through his lens. This connection to the present moment gives him a sense of joy and fulfillment, which keeps him passionate about his work.

7. Legacy and Contribution

Finally, Eric Kim’s passion for photography is driven by a desire to leave a lasting legacy. He often talks about the importance of creating work that will outlive you—whether through his images, his teachings, or the community he has built. Kim’s passion is not just about personal fulfillment; it’s about contributing something meaningful to the world.

By sharing his photography and knowledge, Kim hopes to inspire future generations of photographers and creatives. This sense of contribution fuels his passion, as he knows his work has a lasting impact on others. For Kim, passion is not just about personal satisfaction but about leaving behind something that can inspire and empower others long after he is gone.

Conclusion: Passion as a Life Philosophy

From Eric Kim’s perspective, passion is not just about photography itself but about how photography fits into his broader life philosophy. His passion is fueled by the freedom to express himself creatively, the joy of empowering others, and the philosophical mindset that guides his approach to both life and art. By focusing on personal growth, living in the moment, and finding fulfillment through his work, Kim’s passion is sustained over time. His minimalist, growth-oriented approach to photography and teaching allows him to continually evolve and find deeper meaning in his work, ensuring that his passion remains a driving force in his life.

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From a Nietzschean perspective, Eric Kim’s passion for photography and teaching can be understood through key concepts from Friedrich Nietzsche’s philosophy, such as will to power, self-overcoming, and the creation of values. Let’s explore how Nietzsche’s ideas might explain why someone like Kim could be so passionate.

1. Will to Power: The Drive for Creation and Expression

Nietzsche’s concept of the will to power is central to understanding human motivation. For Nietzsche, the will to power is not just a drive for dominance or control, but more fundamentally, the desire to assert oneself creatively and impose one’s own interpretation of the world. It is the drive to grow, transform, and express one’s individuality.

In this sense, Eric Kim’s passion for photography can be seen as an expression of his will to power. Through photography, he asserts his unique perspective on life, capturing fleeting moments and presenting the world through his personal lens. His passion for teaching further reflects this will to power, as he influences others and helps shape their creative journeys. By sharing his knowledge and philosophy, he spreads his own values and creative vision to the world, leaving a lasting impact.

In a Nietzschean sense, this creative assertion is life-affirming because it is an act of creation rather than submission to pre-existing norms or values. Kim’s photography is not merely passive observation; it is an active interpretation of reality. His passion comes from this intrinsic drive to impose his own meaning and style upon the world.

2. Self-Overcoming: Constantly Pushing Beyond Limits

Another key Nietzschean concept is self-overcoming (Selbstüberwindung), which refers to the process of continuously challenging and transcending oneself to achieve greater heights of personal and creative power. For Nietzsche, true greatness comes from a person’s ability to go beyond their own limits and evolve beyond who they are at any given moment.

Eric Kim’s passion likely comes from a similar process of self-overcoming. His desire to continually improve his photography, explore new techniques, and push the boundaries of his creativity can be seen as a form of self-overcoming. Rather than becoming complacent or settling into a routine, Kim is constantly striving to become better, more expressive, and more impactful.

In teaching others, Kim also fosters self-overcoming in his students. He encourages them to break free from societal conventions, to develop their own voices, and to challenge themselves creatively. For Nietzsche, this process of guiding others toward self-overcoming is itself an expression of a higher form of power and mastery.

3. Creation of Values: Rejecting Conventional Paths

Nietzsche famously criticized conventional moral values and societal norms, encouraging individuals to create their own values. He believed that most people simply accept the values handed down to them by society, religion, or tradition. In contrast, truly passionate and powerful individuals—whom he called Übermenschen (overmen or supermen)—forge their own paths and create new values based on their personal vision and creative potential.

Eric Kim’s rejection of conventional career paths and his minimalist, creative lifestyle embody this Nietzschean ideal of value creation. Instead of adhering to traditional notions of success (such as wealth, status, or conformity), Kim has crafted his own philosophy around creativity, simplicity, and personal growth. His passion for photography and teaching comes from his commitment to these self-created values, which guide his life’s work.

Nietzsche would likely see this as an act of individual empowerment and authenticity. By living according to his own values, Kim resists the pressures of societal conformity and instead follows his inner drive, which fuels his passion. His teachings also encourage others to question societal norms and pursue their own paths, embodying the Nietzschean ideal of value creation.

4. Affirmation of Life: Embracing the Chaos of Existence

For Nietzsche, true passion arises from an affirmation of life, including all its chaos, unpredictability, and suffering. He believed that rather than fleeing from life’s challenges, one should embrace them as essential parts of the human experience. Nietzsche’s concept of amor fati—the love of fate—suggests that one should embrace everything in life, even the hardships, as part of one’s growth and self-realization.

Eric Kim’s passion for street photography can be seen as a form of life affirmation. Street photography, in its essence, captures the unscripted, often chaotic moments of everyday life. By photographing these fleeting and unpredictable moments, Kim is engaging with the world in its raw, unfiltered state. This reflects Nietzsche’s idea of saying “yes” to life, in all its complexity and imperfection.

Kim’s ability to find beauty and meaning in the mundane aspects of life shows an acceptance and celebration of life as it is, rather than seeking to escape or idealize it. His passion comes from this affirmative stance, where he embraces the randomness and unpredictability of human experience, much like Nietzsche’s ideal of embracing life in its totality.

5. The Artist as the Higher Man

Nietzsche often exalted the artist as a figure who can transcend ordinary existence and create new realities through their work. The artist, in Nietzsche’s view, is capable of shaping new worlds through their imagination and creativity, and thus represents the highest form of human potential.

Eric Kim, as a photographer and teacher, fits into this Nietzschean vision of the artist as the “higher man.” His passion for photography is more than just an appreciation of aesthetics; it’s a way of engaging with the world, shaping it through his unique perspective, and inspiring others to do the same. Nietzsche believed that the artist creates meaning in a meaningless world, and Kim’s photography can be seen as an attempt to impose meaning on the chaos of everyday life.

In teaching others, Kim also assumes the role of a guide, helping others awaken their own creative potential. Nietzsche would see this as a form of artistic leadership, where the passionate individual leads others to transcend their limitations and become creators in their own right.

6. Dionysian Passion: The Embrace of Instinct and Intuition

Nietzsche contrasts the Apollonian (order, reason, structure) with the Dionysian (chaos, instinct, passion). The Dionysian represents a primal, raw, and intuitive connection to life that transcends rationality and embraces the instinctual, emotional, and chaotic aspects of existence.

Eric Kim’s street photography, with its emphasis on spontaneity and capturing unplanned moments, has a Dionysian quality. His passion for the art form may arise from the instinctual and intuitive nature of this work. Street photography requires a deep connection to one’s environment, a heightened awareness of the present moment, and the ability to embrace unpredictability—qualities that align with Nietzsche’s concept of the Dionysian spirit.

This embrace of instinct over rigid structure may be what fuels Kim’s passion. Nietzsche saw the Dionysian as essential for tapping into the deeper, creative energies of life, and Kim’s work seems to resonate with this vision of passionate, instinctual engagement with the world.

Conclusion: Passion as Life-Affirming, Creative Power

From a Nietzschean perspective, Eric Kim’s passion can be understood as an expression of his will to power, his constant process of self-overcoming, and his rejection of conventional values in favor of creating his own. His photography and teaching reflect an affirmative, life-embracing philosophy, where he engages with the world in its raw, chaotic state and imposes his own meaning on it. His passion, in this light, is not just a personal drive but a reflection of deeper existential values—creativity, self-transcendence, and the affirmation of life’s complexities.

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To truly understand why someone like Eric Kim is so passionate, we can delve into more fundamental psychological, emotional, and even philosophical layers that contribute to passion. Here’s a deeper exploration of the potential factors driving his passion:

1. Sense of Identity and Self-Actualization

At a deeper level, passion often comes from an alignment between one’s actions and a core sense of identity. For Eric Kim, photography and teaching likely form a significant part of his identity. His passion can be seen as an extension of his pursuit of self-actualization, a concept popularized by psychologist Abraham Maslow. Self-actualization is the process of realizing and expressing one’s potential and creativity. In Kim’s case, photography and teaching are means through which he becomes his truest self. When work resonates this deeply with someone’s sense of who they are, passion becomes a natural byproduct.

2. Existential Purpose

Passion can be tied to a person’s search for meaning or existential purpose. Many philosophers, like Viktor Frankl, have written about how humans need to find meaning in their lives to thrive. Photography might serve as Eric Kim’s way of exploring and making sense of the world around him. Through capturing fleeting moments in street photography, he’s not just taking pictures but engaging in a dialogue with the universe, trying to find his place in it. The deeper the sense of purpose one finds in their work, the more passionate they become.

3. Catharsis and Emotional Release

Artistic endeavors often function as a form of catharsis—an emotional release. Photography, especially the raw, unfiltered kind that Kim engages in, could serve as a way to channel and process his emotions, thoughts, and perceptions of the world. Passion arises because, through his art, he can explore his internal landscape, releasing frustrations, capturing beauty, and processing human complexity. This emotional connection with his work provides a deep source of energy and motivation.

4. Transcendence and Flow States

Eric Kim likely experiences regular flow states while engaging in photography. In a flow state, a person is completely absorbed in an activity, losing all sense of time and self-consciousness. These experiences are deeply fulfilling and almost meditative, creating a feeling of transcendence. The philosopher Mihaly Csikszentmihalyi, who coined the term “flow,” explains that people who experience this state regularly are often the most passionate and fulfilled. Photography is complex enough to require skill but open enough for creative expression, which likely allows Kim to frequently enter this flow state.

5. Overcoming Mortality and Leaving a Legacy

Passion can also stem from a desire to overcome mortality. Humans have an innate fear of death, and many seek to leave a legacy or something lasting beyond their physical existence. Photography allows Kim to immortalize moments in time and leave a permanent mark on the world. His images and teachings will live on after him, creating a sense of continuity. This gives his work more depth and meaning, heightening his passion as he contributes something enduring to society.

6. Personal Healing and Growth

Creative work often becomes a pathway for personal healing and transformation. Photography may have helped Eric Kim deal with personal struggles or internal conflicts over the years, offering him a way to work through them visually and creatively. This therapeutic aspect of his art can create a deep emotional connection to the practice. Passion often grows when an activity helps a person evolve emotionally and psychologically, creating both growth and healing.

7. Connection to Humanity and Shared Experience

Street photography, in particular, offers a unique window into the shared human experience. By capturing candid moments of life, Kim is engaging with the raw and universal aspects of human existence: joy, sorrow, love, struggle, and the mundane. Through his lens, he is constantly connecting with the essence of being human. Passion arises because he is engaging in something that transcends his individual experience and taps into something universal, fostering a sense of connection to the broader human condition.

8. Rebellion Against Conformity

Kim’s approach to photography and life often emphasizes simplicity, minimalism, and a rejection of conventional materialism. His passion could also be fueled by a rebellion against societal norms. For many passionate people, their work becomes a way to resist or critique the conventional pathways that others follow. By choosing to dedicate his life to a creative pursuit rather than a more traditional career path, Kim might be expressing his desire for autonomy and freedom. This rebellion against conformity fuels passion because it offers a sense of personal liberation and authenticity.

9. A Sense of Contribution to Collective Growth

Kim’s passion for teaching and sharing photography resources stems from a desire to contribute to collective growth. By empowering others, he finds his own growth and fulfillment. Passion can often be sustained when an individual sees how their actions positively affect others. The joy of watching his students or followers succeed, improve, and grow because of his guidance provides him with a sense of significance and purpose beyond personal gain.

10. Existential Angst and Search for Meaning

Lastly, passion can often come from a place of existential angst or dissatisfaction with the status quo. People who are intensely passionate often feel a deeper restlessness or dissatisfaction with the conventional paths that society offers. For Kim, street photography and his philosophical approach to life might be his way of confronting and transcending existential questions. He may be searching for meaning in the fleeting, transient moments of life, which photography captures so well. This ongoing search gives him a mission, a reason to remain passionate, as the journey for understanding never truly ends.

Conclusion

Eric Kim’s passion for photography and teaching can be seen as a deeply layered phenomenon rooted in identity, purpose, emotional release, connection to humanity, and a search for meaning. His work allows him to express his authentic self, explore existential questions, find flow, leave a lasting legacy, and contribute to the growth of others. The combination of these psychological, emotional, and philosophical elements creates a powerful drive that fuels his passion on multiple levels.

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Go deeper

At its core, passion often arises from deeper psychological and emotional needs being fulfilled. Here’s why Eric Kim, or anyone for that matter, might feel so passionate about their work:

1. Intrinsic Motivation: Passion often stems from activities that provide intrinsic rewards—meaning they are enjoyable and satisfying in themselves, not just for external rewards. Kim likely finds the act of photography and teaching inherently rewarding, giving him joy and fulfillment regardless of external validation.
2. Self-Expression: People tend to be passionate about activities that allow them to express their true selves. Photography allows Kim to showcase his unique perspective on the world and reflect his values and identity. When an activity feels authentic and personal, it naturally fuels passion.
3. Fulfillment of Personal Values: Passion often comes from doing things that align with a person’s core values. For example, if Kim values creativity, human connection, and growth, photography and teaching allow him to live out these values in a tangible way. When there’s alignment between what you do and what you believe in, passion follows.
4. Sense of Impact: Kim’s teaching and community-building likely give him a sense of making a difference in the lives of others. Knowing that his work helps people grow in their photography or find their own creative voice can provide a deep sense of satisfaction and drive. People often feel more passionate when they see that their work has a positive impact on others.
5. Flow State: Passionate people often enter a “flow state,” where they become so immersed in an activity that they lose track of time and feel deeply focused. Photography, with its combination of creativity, technical skill, and real-world engagement, might be an activity that frequently brings Kim into this state of flow, reinforcing his love for it.

In summary, Eric Kim’s passion is likely rooted in the intrinsic rewards of his work, its alignment with his personal values, the ability to express himself, and the impact he has on others. These elements combine to create a powerful sense of fulfillment that sustains his passion.

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Eric Kim’s passion likely stems from fundamental human motivations that many people experience when they feel deeply connected to their work. Here’s why these motivations can ignite such strong passion:

1. Sense of Purpose: When someone finds work that aligns with their core values and life purpose, it feels meaningful. For Eric Kim, photography and teaching are not just activities but a way to explore the world, express his creativity, and contribute to others’ growth. This strong sense of purpose can generate intense passion because the work feels deeply fulfilling and impactful.
2. Mastery and Growth: People often become passionate about things they can improve at and master over time. Photography offers endless opportunities for learning and development. Kim’s continual pursuit of growth—whether it’s improving his craft or deepening his understanding of life through photography—likely fuels his passion, as it keeps him engaged and excited.
3. Connection to Others: Human beings are inherently social, and building meaningful connections often fuels passion. Kim’s work allows him to connect with others on a deep level, whether through his teaching or his photography, which captures intimate moments of human life. These connections give his work additional value, beyond the personal, and make it more emotionally rewarding.
4. Creative Expression: Creativity is a powerful motivator. For Kim, photography is a medium of self-expression and storytelling, allowing him to share his perspective with the world. The joy and satisfaction that come from creating something unique can spark a strong, enduring passion.
5. Autonomy: Passion often flourishes in environments where there is freedom and autonomy. Kim has the freedom to create, teach, and shape his career in ways that align with his vision. This autonomy allows him to pursue what genuinely excites him, further deepening his engagement with his work.

In summary, Kim’s passion likely stems from a combination of having a strong sense of purpose, the joy of mastering a craft, meaningful connections with others, the freedom to create, and the ability to grow continuously. These elements tap into fundamental human desires for fulfillment, making his passion both natural and sustainable.

Why?

Eric Kim’s passion likely comes from a deep alignment between his personal values, interests, and what he gets out of his work. Here’s why he might be so passionate:

1. Personal Fulfillment: Kim finds personal fulfillment in street photography and teaching. For many people, passion comes from doing something that resonates with their core identity and purpose. For Kim, photography isn’t just a job; it’s a way of life, a way to express himself, and to connect with the world around him.
2. Creative Freedom: Photography, especially street photography, allows for immense creative freedom. It gives Kim the opportunity to experiment, evolve, and constantly push his boundaries. This sense of exploration and personal growth is often a driving force behind passion.
3. Helping Others: Kim’s passion is amplified by his desire to make a positive impact on others. When someone feels they are contributing to the growth or success of others, it often ignites a stronger sense of purpose and motivation. His focus on teaching and sharing knowledge feeds his passion because he sees how his work helps others succeed.
4. Philosophical Depth: Kim approaches his work with a philosophical mindset, often connecting his photography to larger themes of meaning, purpose, and personal growth. This deeper connection to his work likely sustains his passion over time, as it’s not just about creating photos but exploring life’s bigger questions.
5. Sense of Community: Building a community around his work also fuels his passion. Being surrounded by like-minded individuals who share your interests creates a feedback loop of enthusiasm, inspiration, and support. The interactions with his audience and their appreciation likely reinforce his drive to continue and grow in his craft.

In essence, Kim’s passion is rooted in the personal fulfillment he gains from photography, the freedom to explore creatively, the joy of helping others, and the philosophical and community-based meaning he attaches to his work.

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Eric Kim is passionate about his work, particularly in photography and teaching, for several key reasons:

1. Love for Street Photography: Eric Kim is deeply passionate about street photography, which captures candid, everyday moments in public spaces. This genre allows him to express himself creatively and document human life in its rawest form, giving meaning to his work.
2. Desire to Empower Others: Kim is highly focused on educating and empowering others. He regularly shares resources, tutorials, and guides for aspiring photographers, aiming to make photography more accessible. His passion for teaching is evident in his workshops, blog posts, and videos, where he encourages people to pursue their own creative journeys.
3. Philosophical Approach to Art: Kim’s passion stems from his belief that photography is more than just a technical skill; it’s a means of personal expression and philosophical inquiry. His writings often delve into deeper concepts like creativity, self-confidence, and living a fulfilling life. This perspective fuels his drive to constantly push boundaries and challenge others to do the same.
4. Community Building: Kim is passionate about creating a sense of community among photographers. He is known for engaging with his audience, building strong relationships, and encouraging collaboration and feedback. This community-driven approach adds meaning to his work, making him more enthusiastic about sharing his knowledge and experiences.

His passion is a combination of his love for the art form, a strong desire to help others grow, and his philosophical outlook on life and creativity.

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Eric Kim is a highly respected figure in the world of photography, particularly known for his contributions to street photography and his role as an educator. His passion stems from several interrelated factors:

1. Love for Street Photography: Eric has a deep appreciation for capturing candid moments in everyday life. Street photography allows him to document the spontaneity and diversity of urban environments, which he finds both challenging and rewarding.
2. Commitment to Teaching and Sharing Knowledge: Beyond his own photographic pursuits, Eric is dedicated to educating others. Through his blog, workshops, and online courses, he shares his insights, techniques, and philosophies on photography. This desire to mentor and inspire upcoming photographers fuels his passion.
3. Philosophical Approach to Creativity: Eric emphasizes the importance of creativity, authenticity, and personal expression in photography. His belief that anyone can become a great photographer with the right mindset encourages both himself and others to continually explore and innovate.
4. Community Building: He actively fosters a sense of community among photographers. By creating platforms for discussion, critique, and collaboration, Eric nurtures an environment where creativity can thrive, which in turn sustains his own enthusiasm.
5. Continuous Learning and Adaptation: Eric embraces the ever-evolving nature of photography, staying updated with new techniques, technologies, and trends. This commitment to lifelong learning keeps his work fresh and his passion alive.
6. Personal Fulfillment: Ultimately, photography serves as a medium for Eric to express himself, tell stories, and connect with the world around him. The personal satisfaction he derives from creating meaningful images and helping others develop their skills is a significant driver of his passion.

In summary, Eric Kim’s passion is a combination of his love for the art of photography, his dedication to teaching and community-building, his philosophical approach to creativity, and the personal fulfillment he gains from his work. These elements intertwine to make him a passionate and influential figure in the photography landscape.

Training as a street photographer with the precision, discipline, and strategic mindset of a SWAT team can significantly enhance your ability to navigate urban environments, anticipate moments, and capture compelling images efficiently and effectively. While SWAT teams and street photographers operate in vastly different realms, several core principles from SWAT training can be adapted to elevate your photography practice. Below is a comprehensive guide on how street photographers can train like a SWAT team, integrating tactical strategies, disciplined routines, and situational awareness into their workflow.

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1. Comprehensive Planning and Preparation

SWAT Team Approach:

• Mission Briefings: Detailed planning before operations, including objectives, roles, and contingencies.
• Reconnaissance: Gathering intelligence about the environment and potential challenges.

Street Photographer Application:

• Scouting Locations: Research and visit potential shooting spots in advance to understand lighting, foot traffic, and unique features.
• Setting Goals: Define specific objectives for each photography session, such as capturing a particular theme, type of subjects, or experimenting with new techniques.
• Equipment Checklist: Prepare and inspect your gear before heading out to ensure all necessary equipment is ready and functional.

Actionable Steps:

• Create a Shooting Plan: Outline where and when you intend to shoot, considering factors like time of day and anticipated activities.
• Backup Gear: Always carry backup batteries, memory cards, and essential equipment to prevent disruptions during shoots.
• Study the Environment: Familiarize yourself with the area’s layout, including entry and exit points, to navigate efficiently.

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2. Situational Awareness and Observation Skills

SWAT Team Approach:

• Constant Vigilance: Maintaining a high level of awareness of the surroundings to detect threats or changes.
• Environmental Scanning: Continuously assessing the environment for potential risks and opportunities.

Street Photographer Application:

• Awareness of Surroundings: Stay alert to your environment to spot interesting subjects, interactions, and fleeting moments.
• Anticipating Movements: Predict where and when compelling scenes might unfold based on human behavior patterns.
• Discreet Observation: Blend into the environment to observe without drawing attention, allowing for more natural and candid shots.

Actionable Steps:

• 360-Degree Awareness: Practice scanning your environment in all directions, not just focusing on a single area.
• Mindful Walking: Move through spaces slowly and deliberately, taking in details that might otherwise be missed.
• Identify Hotspots: Recognize areas with high activity or unique characteristics that frequently yield interesting photographs.

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3. Tactical Movement and Positioning

SWAT Team Approach:

• Efficient Navigation: Moving swiftly and purposefully through environments to reach objectives.
• Strategic Positioning: Taking advantageous positions to maximize operational effectiveness and safety.

Street Photographer Application:

• Mobility: Move quickly and efficiently to capture moments before they pass, adjusting your position as scenes develop.
• Optimal Angles: Position yourself to get the best possible perspective, considering light, composition, and background elements.
• Cover and Concealment: Use environmental elements like buildings, crowds, or natural features to hide your presence, allowing for unobtrusive shooting.

Actionable Steps:

• Practice Quick Relocation: Develop the habit of changing locations rapidly to follow dynamic scenes without missing key moments.
• Use Vertical Spaces: Incorporate different heights and vantage points by shooting from elevated or low angles to add variety to your compositions.
• Leverage Natural Cover: Utilize shadows, obstacles, and crowds to remain inconspicuous while photographing sensitive or candid subjects.

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4. Teamwork and Communication

SWAT Team Approach:

• Clear Communication: Using precise and effective communication to coordinate actions and ensure team cohesion.
• Role Specialization: Each team member has specific roles and responsibilities that contribute to the mission’s success.

Street Photographer Application:

• Collaborative Projects: Work with fellow photographers to cover different angles, share insights, and provide mutual support during shoots.
• Effective Communication: Clearly convey ideas, plans, and feedback when collaborating with others to enhance the collective output.
• Role Allocation: Assign specific tasks within a team, such as one photographer focusing on candid shots while another handles environmental portraits.

Actionable Steps:

• Join Photography Groups: Engage with local or online photography communities to collaborate on projects and learn from others.
• Participate in Joint Shoots: Organize or join group photography sessions to benefit from diverse perspectives and skills.
• Develop Communication Protocols: Establish clear methods for sharing information and coordinating actions during collaborative shoots.

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5. Physical and Mental Conditioning

SWAT Team Approach:

• Physical Fitness: Maintaining high levels of strength, endurance, and agility to handle demanding operations.
• Mental Resilience: Developing the ability to stay focused, make quick decisions, and remain calm under pressure.

Street Photographer Application:

• Stamina Building: Enhance your physical endurance to handle long days of walking, standing, and carrying equipment.
• Mental Focus: Cultivate the ability to concentrate intensely on your surroundings and photography tasks, even in distracting environments.
• Stress Management: Learn to remain calm and composed in challenging situations, such as dealing with difficult subjects or unpredictable weather.

Actionable Steps:

• Regular Exercise: Incorporate cardiovascular workouts, strength training, and flexibility exercises into your routine to stay physically fit.
• Mindfulness Practices: Engage in meditation, deep-breathing exercises, or yoga to improve focus and reduce stress.
• Simulate High-Stress Shoots: Challenge yourself with photography sessions in hectic environments to build resilience and adaptability.

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6. Strategic Planning and Adaptability

SWAT Team Approach:

• Contingency Planning: Preparing for unexpected scenarios and having backup plans in place.
• Adaptive Strategies: Adjusting tactics in real-time based on changing circumstances during operations.

Street Photographer Application:

• Flexible Plans: While having a shooting plan is essential, remain open to deviating based on real-time opportunities and challenges.
• Problem-Solving: Quickly address issues such as sudden changes in weather, lighting conditions, or access to locations.
• Resource Management: Efficiently use your equipment and time to maximize productivity during shoots.

Actionable Steps:

• Develop Backup Plans: Anticipate potential obstacles and have alternative strategies ready for different shooting scenarios.
• Enhance Flexibility: Practice adjusting your shooting approach on the fly to adapt to unexpected changes in your environment.
• Optimize Equipment Use: Learn to efficiently switch settings, lenses, and accessories to respond swiftly to diverse shooting needs.

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7. Tactical Training Drills

SWAT Team Approach:

• Regular Drills: Conducting frequent practice exercises to refine skills and ensure readiness.
• Scenario-Based Training: Engaging in simulated operations to prepare for real-life challenges.

Street Photographer Application:

• Daily Practice: Commit to photographing daily to build consistency, improve skills, and develop an instinct for capturing moments.
• Themed Challenges: Set specific themes or constraints for each session to push your creative boundaries and enhance versatility.
• Simulation Exercises: Create scenarios that mimic real-world shooting conditions, such as photographing during peak traffic hours or in low-light environments.

Actionable Steps:

• Set Daily Goals: Define a specific number of photos or a particular theme to focus on each day.
• Participate in Photo Walks: Join or organize regular photography walks to practice shooting in varied environments and scenarios.
• Engage in Skill-Specific Drills: Focus on particular aspects of photography, such as motion capture, low-light shooting, or rapid composition, to refine specialized skills.

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8. Post-Mission Analysis and Continuous Improvement

SWAT Team Approach:

• Debriefings: Reviewing operations to evaluate performance, identify successes, and learn from mistakes.
• Continuous Training: Ongoing education and practice to maintain and enhance skills.

Street Photographer Application:

• Photo Review: Critically assess your images to understand what worked well and what can be improved.
• Feedback Seeking: Share your work with peers or mentors to gain constructive criticism and new perspectives.
• Skill Enhancement: Continuously learn new techniques, explore different styles, and stay updated with photography trends to evolve your craft.

Actionable Steps:

• Conduct Regular Reviews: Schedule time after each shooting session to evaluate your photos and note areas for improvement.
• Seek Constructive Feedback: Participate in photography forums, workshops, or critique groups to receive diverse feedback on your work.
• Invest in Learning: Take online courses, attend workshops, or read books to expand your knowledge and refine your skills.

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9. Discipline and Routine

SWAT Team Approach:

• Structured Training: Following a consistent and disciplined training regimen to maintain peak performance.
• Attention to Detail: Ensuring every aspect of preparation and execution is meticulously handled.

Street Photographer Application:

• Consistent Practice: Maintain a regular shooting schedule to build habits and steadily improve your abilities.
• Organized Workflow: Develop a systematic approach to organizing, editing, and archiving your photos to enhance efficiency.
• Attention to Detail: Pay close attention to elements like composition, lighting, and timing to elevate the quality of your images.

Actionable Steps:

• Establish a Shooting Routine: Dedicate specific times each week for photography sessions to ensure consistent practice.
• Develop an Organizational System: Use tools like digital folders, metadata tagging, and editing workflows to manage your photos effectively.
• Focus on Precision: Strive for meticulousness in every aspect of your photography, from framing shots to post-processing edits.

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10. Ethical Standards and Respect

SWAT Team Approach:

• Professional Conduct: Upholding high ethical standards and showing respect in all operations.
• Integrity: Maintaining honesty and accountability in every action.

Street Photographer Application:

• Respect for Subjects: Honor the privacy and dignity of individuals you photograph, especially in sensitive situations.
• Ethical Storytelling: Portray subjects and scenes truthfully without manipulation or misrepresentation.
• Legal Compliance: Adhere to local laws and regulations regarding photography in public spaces to avoid legal issues.

Actionable Steps:

• Obtain Consent When Necessary: Ask for permission before photographing individuals in identifiable ways, especially in private or sensitive contexts.
• Maintain Integrity: Avoid altering scenes or subjects in ways that distort the truth or mislead viewers.
• Stay Informed: Educate yourself about the legal aspects of street photography in your area to ensure compliance and respect for local regulations.

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Sample Weekly Training Schedule Inspired by SWAT Team Training

Monday: Mission Planning and Preparation

• Morning: Research and scout a new location for upcoming shoots.
• Afternoon: Prepare and organize photography gear, ensuring all equipment is functional.
• Evening: Set specific goals and themes for the week’s photography missions.

Tuesday: Situational Awareness and Observation

• Morning: Practice environmental scanning in a busy area, noting potential photo opportunities.
• Afternoon: Engage in a photo walk, focusing on anticipating and capturing candid moments.
• Evening: Review and analyze photos taken, assessing awareness and timing.

Wednesday: Tactical Movement and Positioning

• Morning: Conduct agility drills by navigating through crowded or tight spaces while maintaining camera readiness.
• Afternoon: Experiment with different angles and vantage points in a chosen location.
• Evening: Select and critique images based on composition and strategic positioning.

Thursday: Teamwork and Collaboration

• Morning: Participate in a group photo shoot with fellow photographers, focusing on collaboration.
• Afternoon: Share feedback and insights with peers, discussing strategies and techniques.
• Evening: Review collaborative photos, noting strengths and areas for improvement.

Friday: Physical and Mental Conditioning

• Morning: Engage in a cardiovascular workout to build stamina for extended shooting sessions.
• Afternoon: Practice mindfulness or meditation to enhance focus and reduce stress.
• Evening: Reflect on the day’s activities and prepare mentally for upcoming shoots.

Saturday: Field Practice and Simulation

• All Day: Conduct an extensive street photography session in a dynamic environment, simulating high-pressure scenarios.
• Evening: Select standout images from the day’s shoot and seek feedback from the photography community.

Sunday: Recovery and Debriefing

• Morning: Perform light physical activities like yoga or stretching to aid recovery.
• Afternoon: Backup and organize all photos taken during the week.
• Evening: Conduct a debriefing session by reviewing successes and identifying areas for improvement, setting goals for the next week.

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Final Tips: Adopting a SWAT Team Mindset in Street Photography

• Discipline and Consistency: Commit to regular practice and adhere to your training schedule to build and maintain your skills.
• Strategic Thinking: Approach each photography session with a clear plan, but remain flexible to adapt to changing circumstances.
• Resilience and Adaptability: Embrace challenges and setbacks as opportunities to learn and grow, maintaining a positive and persistent attitude.
• Attention to Detail: Focus on the nuances of your environment and subjects to capture nuanced and impactful images.
• Continuous Learning: Stay dedicated to expanding your knowledge and refining your techniques through ongoing education and practice.
• Professionalism and Ethics: Uphold high ethical standards, respecting your subjects and the environments you photograph to build a reputable and responsible practice.

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By integrating the disciplined, strategic, and adaptive training principles of a SWAT team into your street photography practice, you can enhance your ability to navigate complex urban environments, anticipate and capture compelling moments, and maintain a high level of professionalism and ethical standards. Embrace the rigorous training regimen, strategic planning, and resilient mindset to elevate your street photography to new heights.

ChatGPT is really good at creative cross pollinating!

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Mental toughness *IS* physical toughness!

You cannot be mentally strong without being physically strong! Duh!

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Training in street photography, much like training to be an effective linebacker in football, requires a blend of physical readiness, technical proficiency, strategic thinking, and mental resilience. By adopting the disciplined and multifaceted training approaches used by linebackers, street photographers can enhance their ability to capture spontaneous, impactful moments in dynamic urban environments. Below is a comprehensive guide on how street photographers can train like linebackers, drawing parallels between the two disciplines to improve performance and achieve excellence.

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1. Understanding the Role and Environment

Linebacker Role vs. Street Photographer Role

• Linebacker:
• Positioned strategically on the field.
• Responsible for both defending against the run and the pass.
• Must read the offense, anticipate plays, and react swiftly.
• Street Photographer:
• Navigates through diverse urban settings.
• Captures candid moments and tells stories through images.
• Must observe environments, anticipate interactions, and act quickly to seize opportunities.

Actionable Steps:

• Define Your Niche: Just as linebackers may specialize as middle or outside linebackers, street photographers can focus on specific aspects like portraits, architecture, or street events.
• Study the Environment: Familiarize yourself with the areas you frequent, understanding the flow of people, common events, and unique locations that can serve as compelling backdrops.

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2. Physical Conditioning and Mobility

Linebacker Training:

• Strength Training: Builds power to engage effectively.
• Speed and Agility: Enhances quick movements and direction changes.
• Endurance: Maintains high performance throughout the game.

Street Photographer Application:

• Physical Fitness: Enhances stamina for long shooting sessions and extensive walking or standing.
• Agility: Improves ability to navigate crowded or tight spaces swiftly to capture fleeting moments.
• Endurance: Supports prolonged periods of observation and shooting without fatigue.

Actionable Steps:

• Regular Exercise: Incorporate cardiovascular workouts (e.g., running, cycling) and strength training to maintain overall fitness.
• Agility Drills: Practice moving quickly and efficiently through different terrains, simulating the need to pivot or change direction to capture subjects.
• Endurance Building: Engage in activities that boost stamina, such as hiking or participating in long photography walks.

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3. Technical Proficiency and Equipment Mastery

Linebacker Skills:

• Tackling Technique: Mastering form and execution.
• Coverage and Blitzing: Understanding different defensive strategies.

Street Photographer Skills:

• Camera Settings Mastery: Understanding aperture, shutter speed, ISO, and how to adjust them swiftly based on lighting and movement.
• Lens Selection: Choosing the right lens for different scenarios, much like a linebacker selecting the right technique for various plays.

Actionable Steps:

• Hands-On Practice: Regularly practice changing settings on your camera quickly to adapt to varying conditions, similar to how linebackers adjust to offensive plays.
• Gear Familiarity: Know your equipment inside out. Just as linebackers rely on their gear, photographers should ensure their cameras and lenses are always ready and well-maintained.
• Simulation Drills: Create scenarios where you must adjust settings rapidly to capture moving subjects, mimicking the split-second decisions linebackers make during a game.

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4. Strategic Thinking and Anticipation

Linebacker Strategy:

• Reading the Offense: Anticipating plays based on offensive formations and movements.
• Positioning: Maintaining optimal placement to respond effectively.

Street Photographer Strategy:

• Anticipating Moments: Predicting where and when compelling interactions will occur.
• Optimal Positioning: Finding vantage points that offer the best perspectives for capturing stories.

Actionable Steps:

• Observation Skills: Spend time observing human behavior and movement patterns in various settings to better predict where interesting moments may unfold.
• Scout Locations: Visit locations in advance to understand lighting conditions, foot traffic patterns, and potential hotspots for engaging subjects.
• Mind Mapping: Plan your shoots by mapping out areas and times where dynamic interactions are likely, similar to how linebackers study the offensive playbook.

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5. Mental Resilience and Focus

Linebacker Mentality:

• Focus Under Pressure: Maintaining composure in high-stakes situations.
• Resilience: Bouncing back from setbacks, such as missed tackles or plays.

Street Photographer Mentality:

• Concentration: Staying attentive amidst distractions and chaos to capture the perfect shot.
• Persistence: Continuing to shoot despite challenges like bad weather, uncooperative subjects, or fluctuating light.

Actionable Steps:

• Mindfulness Practices: Engage in activities like meditation or deep-breathing exercises to enhance focus and reduce stress.
• Simulated Pressure: Challenge yourself with timed photo sessions or limited resource scenarios to build composure under pressure.
• Reflective Practices: After each shoot, assess what went well and what didn’t, fostering a resilient mindset geared toward continuous improvement.

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6. Tactical Training and Drills

Linebacker Drills:

• Tackling Drills: Practicing form and execution.
• Agility Drills: Enhancing quick movement and direction changes.

Street Photographer Drills:

• Timed Shoots: Set time limits to capture as many candid moments as possible, improving speed and decision-making.
• Composition Challenges: Focus on specific compositional rules (e.g., rule of thirds, leading lines) within a set timeframe.
• Scenario-Based Shooting: Create specific scenarios or themes to shoot, such as “rush hour” or “nightlife,” to simulate real-world conditions.

Actionable Steps:

• Daily Challenges: Assign yourself daily photography challenges that require quick thinking and adaptability, akin to a linebacker’s need to respond rapidly to plays.
• Skill-Specific Drills: Focus on one technical aspect at a time, such as mastering low-light photography or capturing motion, paralleling how linebackers might focus on tackling or coverage techniques.
• Review and Iterate: After each drill, review your work to identify strengths and areas for improvement, fostering a habit of continuous learning.

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7. Teamwork and Community Engagement

Linebacker Team Dynamics:

• Communication: Coordinating with teammates to execute defensive strategies.
• Collaboration: Working together to cover different aspects of the game.

Street Photographer Community:

• Networking: Engaging with other photographers to share insights and techniques.
• Collaborative Projects: Participating in group shoots or exhibitions to enhance skills through collective experience.

Actionable Steps:

• Join Photography Groups: Engage with local or online photography communities to exchange feedback, tips, and support, much like a linebacker relies on teammates.
• Mentorship: Seek guidance from experienced photographers who can provide strategic advice and constructive criticism.
• Collaborative Projects: Work on joint projects with other photographers to broaden your perspectives and challenge your creative boundaries.

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8. Film Study and Continuous Learning

Linebacker Preparation:

• Studying Game Footage: Analyzing past games to understand opponents and improve strategies.
• Learning from Mistakes: Identifying errors and developing corrective measures.

Street Photographer Preparation:

• Reviewing Photos: Analyzing your own work to understand what works and what doesn’t.
• Learning from Others: Studying the work of renowned street photographers to gain inspiration and insights.

Actionable Steps:

• Photo Analysis: Regularly review your photos to assess composition, timing, and storytelling effectiveness, similar to how linebackers review game footage.
• Incorporate Feedback: Actively seek and implement feedback from peers and mentors to refine your techniques.
• Stay Educated: Continuously learn new techniques and stay updated with photography trends by reading books, attending workshops, and following industry leaders.

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9. Nutrition and Recovery for Peak Performance

Linebacker Health:

• Balanced Diet: Ensuring proper nutrition to fuel intense training and performance.
• Recovery Protocols: Incorporating rest and recovery to prevent burnout and injuries.

Street Photographer Health:

• Physical Well-being: Maintaining good health to endure long shoots and navigate diverse environments.
• Mental Rest: Taking breaks to prevent creative fatigue and maintain inspiration.

Actionable Steps:

• Healthy Lifestyle: Adopt a balanced diet and regular exercise regimen to sustain energy levels during extensive photography sessions.
• Adequate Rest: Ensure you get sufficient sleep and rest to keep your mind sharp and creativity flowing.
• Stress Management: Practice relaxation techniques to manage stress, especially after challenging shoots or long days on the field.

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10. Ethical Considerations and Respect

Linebacker Ethics:

• Fair Play: Adhering to the rules and maintaining sportsmanship.
• Respect for Opponents: Showing respect regardless of the competition outcome.

Street Photographer Ethics:

• Respecting Subjects: Honoring the privacy and dignity of the individuals you photograph.
• Integrity in Representation: Portraying subjects and scenes truthfully without manipulation or misrepresentation.

Actionable Steps:

• Obtain Consent: When appropriate, seek permission before photographing individuals, especially in sensitive situations.
• Cultural Sensitivity: Be aware of and respect cultural norms and practices to avoid offending or misrepresenting your subjects.
• Responsible Sharing: Share your images ethically, ensuring they are presented in context and with respect for the subjects’ privacy.

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Sample Weekly Training Schedule Inspired by Linebacker Training

Monday: Physical Conditioning

• Morning: Cardiovascular workout (e.g., running or cycling) to build endurance.
• Afternoon: Strength training focusing on core and lower body.
• Evening: Light stretching and mobility exercises to prevent injury.

Tuesday: Technical Skills and Equipment Mastery

• Morning: Practice manual camera settings in different lighting conditions.
• Afternoon: Lens switching drills to enhance versatility and speed.
• Evening: Review and organize photos taken, focusing on technical aspects like exposure and focus.

Wednesday: Strategic Observation and Anticipation

• Morning: Walk through a busy area, observing and predicting potential photo opportunities.
• Afternoon: Set up in a chosen location to capture anticipated moments.
• Evening: Analyze captured images for timing and strategic placement.

Thursday: Agility and Mobility Training

• Morning: Agility drills such as ladder exercises or quick direction changes.
• Afternoon: Urban exploration, navigating through tight spaces and crowded environments.
• Evening: Review photos focusing on movement and agility in composition.

Friday: Tactical Drills and Thematic Shooting

• Morning: Choose a theme (e.g., motion, reflections) and plan your shooting strategy.
• Afternoon: Execute thematic photo sessions, applying strategic thinking.
• Evening: Critique and select the best thematic shots for feedback.

Saturday: Field Practice and Live Simulation

• All Day: Engage in extensive street photography sessions in various locations, simulating game-day scenarios.
• Evening: Select standout images and seek feedback from peers or online communities.

Sunday: Recovery and Reflection

• Morning: Light physical activity such as yoga or a leisurely walk to aid recovery.
• Afternoon: Backup and organize all photos from the week.
• Evening: Reflect on the week’s progress, identify areas for improvement, and set goals for the upcoming week.

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Final Tips: Emulating a Linebacker’s Mindset in Street Photography

• Discipline and Consistency: Maintain a regular shooting schedule and adhere to your training regimen to steadily improve your skills.
• Adaptability: Be prepared to adjust your strategies based on changing environments, similar to how linebackers adapt to different offensive plays.
• Mental Toughness: Develop resilience to handle missed shots, unfavorable conditions, and creative blocks without losing motivation.
• Continuous Improvement: Always seek ways to enhance your techniques, whether through learning, practice, or seeking feedback, much like athletes striving for peak performance.
• Team Support: Leverage the support and knowledge of your photography community, akin to how linebackers rely on their teammates for success on the field.

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By integrating the structured, disciplined, and strategic training approaches of linebackers into your street photography practice, you can enhance your ability to capture compelling, spontaneous moments with precision and creativity. Embrace the physical and mental rigor, strategic planning, and continuous improvement mindset to excel in the dynamic and ever-evolving field of street photography.

Eric Kim, recognized for his work in photography and entrepreneurship, offers an insightful perspective on fiat currency, focusing particularly on the US Dollar and its comparison to cryptocurrencies like Bitcoin. His thoughts on fiat currency can be summarized through several key points:

1. Trust in American Currency: Kim acknowledges the influence of America’s military and cultural power (including its technology companies and entertainment industry) in establishing global trust in the US Dollar. He also remarks on the inherent value of gold, citing its scarcity and historical significance as factors that will always render it valuable oai_citation:1,Eric Kim on Fiat Currency – ERIC KIM.
2. Fiat Currency as Faith-Based: He describes fiat currency, especially the US Dollar, as a system based on faith with no intrinsic worth. According to Kim, the value of these currencies is generated through trust in the state or government, highlighting the social and political aspects that underpin modern economic systems oai_citation:2,Eric Kim on Fiat Currency – ERIC KIM.
3. Devaluation of Fiat Currency and Bitcoin’s Potential: Kim discusses the devaluation of fiat currency, attributed to actions like the US Federal Reserve printing more money. He suggests using hard cash for smaller, everyday purchases while considering Bitcoin for larger transactions, such as buying homes or cars, due to its capped upper limit and perceived stability oai_citation:3,Eric Kim on Fiat Currency – ERIC KIM.
4. Bearish View on Fiat Currency and Emphasis on Cryptocurrency: Expressing a bearish stance on the future of fiat currency in America, Kim advises channeling salaries into cryptocurrency for those in regular jobs, showing his belief in the long-term value of cryptocurrencies over traditional fiat currency oai_citation:4,Eric Kim on Fiat Currency – ERIC KIM.

In summary, Eric Kim’s views on fiat currency center around the concepts of faith and trust in government-backed currencies, the impact of a country’s global standing on its currency’s value, and a potential shift towards cryptocurrencies for significant financial transactions. His opinions are a mix of economic, political, and social factors influencing the dynamics of modern currency systems oai_citation:5,Eric Kim on Fiat Currency – ERIC KIM. Additionally, he expresses a personal preference for cryptocurrencies like Bitcoin and Chain-link over fiat currency, particularly the US Dollar, which he finds almost worthless except for necessary transactions like grocery shopping oai_citation:6,Eric Kim on Fiat Currency – ERIC KIM.

Eric Kim, known for his photography, has shared his thoughts on fiat currency and its dynamics in the contemporary world. He discusses the devaluation of fiat currency, particularly highlighting the impact of actions like the U.S. Federal Reserve printing more money. He suggests that using hard cash for smaller, everyday transactions might be wiser, as fiat currency is likely to maintain its role in such exchanges oai_citation:1,Eric Kim on Fiat Currency – ERIC KIM.

Kim also expresses a fascination with the aesthetic aspects of money, noting how the designs on various currencies can be quite beautiful and reflective of a country’s historical and political values. He observes that many designs follow mathematical patterns like Fibonacci sequences, spirals, and curves. This leads him to conclude that money is essentially a socially-constructed concept, with its value derived from collective belief rather than intrinsic worth oai_citation:2,FIAT CURRENCY – ERIC KIM – EK.

Furthermore, Kim comments on the faith-based nature of fiat currency, particularly the U.S. Dollar. He notes that the dollar, technically, has no intrinsic value. However, due to the United States’ dominant military presence and the country’s global economic influence, the U.S. Dollar maintains its status as the primary global currency. This perspective indicates an understanding of the geopolitical and economic factors that underpin the value and stability of fiat currencies like the U.S. Dollar oai_citation:3,The Future of Fiat Currency – ERIC KIM.

Through these insights, Kim provides a multifaceted view of fiat currency, encompassing its aesthetic, social, and geopolitical aspects.

Nostos (home)+algos (pain)— home pain, sickness?

Longing for home?

The history of the word “nostalgia” reflects the evolving understanding of human emotions and cultural changes over time.

1. 17th Century Origin: The term “nostalgia” originated in the 17th century, coined by a Swiss medical student, Johannes Hofer. He used it to describe a medical condition of extreme homesickness. Hofer combined the Greek words “nostos” (return home) and “algos” (pain) to articulate this condition, primarily observed in Swiss mercenaries fighting abroad who longed for their homeland.
2. 18th and 19th Centuries: During these centuries, nostalgia continued to be seen largely as a medical or psychiatric condition. It was believed to cause actual physical ailments and mental distress, particularly among soldiers and students living away from their native place.
3. Shift to Romantic Notion: By the late 18th and early 19th centuries, with the rise of Romanticism, the concept of nostalgia began to shift. It became less about a pathological condition and more about a sentimental longing for the past. This change reflected the Romantic era’s emphasis on emotion, individualism, and the glorification of the past.
4. 20th Century and Beyond: In the 20th century, the understanding of nostalgia evolved further. It became recognized as a common emotional experience rather than a disorder. The term expanded to include a sentimental or wistful yearning for past experiences or bygone times, often idealized or romanticized.
5. Contemporary View: In contemporary times, nostalgia is often seen as a bittersweet emotion that involves both positive and negative feelings. It’s understood as a natural response to change and loss, and as a way of connecting with our personal and collective past. Additionally, nostalgia has been recognized for its psychological benefits, like creating a sense of continuity and belonging.

In the context of philosophy and innovation, this evolution of ‘nostalgia’ from a medical condition to a complex emotional experience reflects the dynamic nature of language and human emotions. It illustrates how our understanding of ourselves and our experiences deepens over time, often leading to more nuanced and multifaceted interpretations.

History change of word

The term “nostalgia” has an interesting etymology that reflects its deep emotional resonance. It originates from two Greek words: “nostos” meaning “return home” and “algos” meaning “pain” or “ache.” Initially, it described a kind of homesickness experienced by soldiers away from home.

Over time, its meaning evolved to a broader sense of longing for the past, not just a physical place but also a time or experience that is gone. This shift reflects a philosophical depth, resonating with the human condition and our intrinsic yearning for times past, which we often idealize or romanticize.

In the context of innovation and entrepreneurship, nostalgia can be a powerful force. It not only evokes emotions but can also inspire creativity and new ideas by looking back to what once was, to reimagine and recreate it in a contemporary context. This blending of the old and the new can lead to unique and meaningful innovations.

Why I Bought Chainlink

A simple heuristic that I learned from Nassim TALEB; don’t ask people what you should invest in, ask them… What did you invest in? 

For example, I recently swapped a bunch of my bitcoin for chainlink. Why did I do it? My thoughts: 

What is chainlink?

Essentially it is a platform built upon Ethereum, the blockchain… that strives to solve real world problems.

The first critical issue at hand is the notion of the “Oracle problem”, and cryptographic proof and truth.

The general gist of the Oracle problem is that you have all these people purporting to say something… How do you know if someone is really telling the truth or not?

Also, they’re great innovation of a decentralized oracle network. I think anything that is decentralized and can be done offline is a good idea; anything that has to be done when you’re connected to the web is fragile.

For example, the “internet of things”, which includes all of your home devices, your home stuff etc. I think this includes your home speaker things, your Amazon echo or echo dot, your Apple HomePod thing, your ring Amazon nest devices etc. 

Enabling transactional value?

TVE — transactional value enabled?

Chainlink staking?

What is the purpose of technology and these things? A very basic idea is that the point is to help enable commerce and other things. Money makes the world go round, Publilius Syrus.

What is money anyways? Money is movement. Anything that literally physiologically moves human beings in time and space is money.

For example, if you promise somebody $30 an hour, they will walk around, move their bodies to clean toilets, etc.

Also, money movement. The whole global economy to me is so fascinating; because we process and move information so quickly and so globally… how do you link it all together?  

Chain – Link

I find chainlink to be an interesting concept because wherever you go in real life, there are physical chain links everywhere.

Also, technically the internet, the World Wide Web, is a bunch of hyperlinks which link websites together.

My personal thought and prediction is that chainlink could become the next Google; Google indexes the whole internet, and made it easy for you to find any sort of website. What I think chainlink will do is link all of this information on the internet and computers and make them accessible, trustworthy, tamperproof.

Just read it

Only read stuff that you find interesting, skip over stuff you find boring.

About a week or two ago, I reread the original bitcoin white paper, and I was so impressed with how short it was, how minimalistic it was, and how to the point it was. But… reading it… this time around… felt a bit boring.

And this is the big thing: if something bores you, you gotta get out of it.

Therefore, I sold or transferred or converted nine of my bitcoin and put it all into chainlink, at the time it was valued at ~20,800 LINK (CHAINLINK), with bitcoin at around $35,000 a bitcoin.

I think what I try to do is think at least 30 years into the future. 20 or 30 years. It is funny, as I write this at the age of 35, 30 years from now Seneca is only going to be 32 years old, still a few years younger than me. My personal aspiration is to hold onto chainlink for at least 30 years, and then maybe transfer it to Seneca when he grows up. Or I just help him build some sort of company or entrepreneurial venture etc.

Investing in things actually do something?

I love bitcoin but maybe one of the big issues here is that bitcoin is like digital money and gold; most people just hold onto it, and I don’t think actually aspire to use it to actually pay for your latte at Starbucks or whatever. I think because bitcoin and cryptocurrency is so volatile; Everybody’s hope and dream and ambition is that their coin will rise value astronomically and they will become rich, buy the Lamborghini or whatever… and be happy.

Trust nobody who drives a Lamborghini — only trust people who drive Toyota Priuses, in white. 

Why? If you drive a Toyota Prius, in white… it is a signal that you really don’t care for appearances.

How do you know if somebody is unsuccessful? 

If they drive a Range Rover, a Mercedes AMG G wagon, murdered out, all matte black, a baselevel Mercedes car, a baselevel Audi car, like an A3 or a Q3, drive some sort of Audi electric car which is just the same as the Porsche Taycan, don’t forget that the Volkswagen group owns Lamborghini Audi Volkswagen Porsche etc. same thing goes with anybody who drives a BMW car.

Foreign cars are bad.  

It is just a game! 

I think crypto, cryptocurrency speculation is an interesting game; prediction, prediction markets, trying to predict the future… is just a luxury and a fun thing.

Some predictions are pretty obvious

When I was in college, my sophomore year, and I was starting to get into trading stocks, daytrading… I had a pretty certain thought that Blockbuster was going to go under. I tried to figure out how to short stocks, but I really couldn’t figure out how to do it.

Also I remember when the prime mortgage meltdown happened, and the value of Ford went to almost 2 dollars a year. I wanted to buy some Ford stock but I had no money, no capital.

It is interesting to think about this in hindsight because when I was incorrectly trading pennystock, for some sort of oil producer company which was actually running at a loss… I had no idea because I misread the financials… I lost my whole life savings which was maybe $3500 USD or something. It was insanely tragic. But now that I am playing with higher sums more like $300,000 USD, I realize that it was just a valuable lesson at the time.

Therefore, with any sort of financial speculation, think about it at the 30 year span. Even when you are 70 or 80 years old, I met this lady at the park who looked phenomenal and she told me she was 82… she looked like a very fit 45-year-old!

My personal aspiration is when I’m 82 years old, to still be able to lift 1000 pounds. Google or YouTube “ERIC KIM thousand pound atlas lift”

It seems that the way things are going, I don’t think it’s that ridiculous to think that we can live to be 120 years old. Try to think that far. 

---

What is the use of money anyways? 

I think actually the big thing is that everyone now aspires to buy a house or home or property. It is getting pretty ridiculous, even in Los Angeles, even buying a single-family home in Inglewood… you’re looking easily at around $1.5 million for a whatever house.

My prediction is that the prices of homes  will continue to soar astronomically high. I think a lot of these $1.5 million homes can easily balloon two $3 million, $5 million, 10 and $15 million, $150 million or whatever. Why? The biggest issue at hand is runaway inflation, which means the value of the US dollar and currency is continually going lower and lower, because the US is what, currently speaking $30 trillion in debt? And what America thinks the smart idea is to just keep printing money ad infinitum, into infinity, in order to “stimulate” the economy.

But does this work? No.

For example talking to my friend Noel who works in hygiene, he says that a lot of these young guys, around 25 to 30 years old, are so lazy. Why? After Covid and people started giving away these free checks… and from unemployment you could literally make $5000 USD a month by sitting on your butt and doing nothing… people lost the motivation to work. A lot of people moved back home, live with their parents, and are essentially living for free. As a consequence you have a huge generation of unmotivated people, unwilling to do any sort of manual labor, which is bad because having manual and physical labor is critical.

For example, being in Beverly Hills a lot; and Holby Hills,  there is this new funny caste systems; really rich people getting mansions built, and the army of construction labor people, mostly from Mexico doing the labor to build these mansions.

Also, think about Amazon prime delivery drivers, people who bag your food at Whole Foods, Erwhon etc, all these contractors electricians plumbers etc.… the truly critical labor. Doesn’t matter if you pay them $30 $40 $50 or even $60 an hour, it seems at this point money doesn’t really motivate them anymore. Therefore what do you do? It seems that America we are just importing more people from Mexico to do labor for us, because they are motivated. Americans are no longer motivated.

Crypto, crypto technology and cryptocurrency is optimistic

I am obsessed with the future. Future thinking, future technologies, new brave worlds to discover.

Why? I have always been into technology ever since I was a kid, getting my first Acer aspire Pentium one processor computer when I was around 11 years old. Even teaching myself how to program visual basic 3.0 in the early days, creating my own AOL “punter“ etc.

Also, I still will never forget when I read the Maddox article on why you should beat your kids, in computer class in Bayside Queens at PS 169 when I was in the fifth grade, and all of me and our friends, a bunch of 11-year-old laughing and saying “It is true!”

Even I remember as a kid, when I first moved to New York, maybe it was I had some sort of school in the Bronx, when kids in the hallway would “the South Park movies “blame Canada, blame Canada”…

Anyways the generalized thought is I love media information, and also I have a passion to innovate, write and to think, to motivate and to also disprove nonsense.

Ever since I was young I was always bred with an insanely huge ego; the eldest son of the eldest son of the eldest son, (jang-son), being raised with the “prince disease“, was unusually good for me. Always getting the finest cuts of meat and galbi from my grandmother, always showered with praise love and attention and how smart tall and good-looking I was. Very good for me.

The US dollar is static

Anybody who is a wage slave, which means anybody who is paid a biweekly or monthly salary… doesn’t matter if you’re being paid $10 million a year from Apple… You’re still a wage slave.

A simple heuristic:

Can you go two years without checking or responding to any of your emails or not?

If you have to use email for a living, you’re not free. 

---

Once you’re a crypto trillionaire, then what?

Let us say that your cryptocurrency goes to the value of $1 trillion USD. Then what? Then do you just dissolve it all into US dollars, buy a mansion and a yacht somewhere, and live indefinitely into the horizon for infinite bliss?

This doesn’t seem to be the goal. For me, I think a more interesting life trajectory is to then to no longer care for money, and use your power mind and soul and body for more interesting things which can include philosophy, writing, thinking, doing research, reading, making art, publishing art, etc.

Money as it means to creative leisure and production.

Seeking immortal fame and glory?

One thing I am very happy about is ChatGPT knows exactly who I am, why I am so significant and influential, etc. As a consequence, I already feel like my legacy is secure, and I don’t have anything left to prove to nobody else.

As a consequence, at this point life is all upside no downside. Even one of the happiest moments of my life, Cindy and I begetting our first son Seneca, at this point life is all upside no downside.

As a man, as long as you have one male heir, you can die happy. 

---

Now what?

Things that I find interesting use cases of chainlink:

1. Real estate, homebuying, escrow: even NASSIM TALEB has said that traditionally, most wealth generation in human society is through land, land ownership land property etc. For example let us say that you buy that 1.5 million dollar home, and 20 years from now it’ll be worth $3.2 million. And then let us assume that 30 or 40 years from now it is worth $5.7 million, and your kid inherits it. And when your kid is 57 years old it is worth $22 million, and he will able to pass it on to his son or daughter, and maybe that will be worth $120 million into their future. The whole escrow process and verification process is quite fragmented, unreliable. I think chainlink can be a technology which motivates and enables more streamlined home buying processes.
2. Identity verification: it is so easy for people to just steal your social security number, and pretend it is you. Imagine a future in which you could use chainlink or some sort of blockchain enabled identification, which can essentially be your global citizen passport to all of the world and the internet? This seems especially useful in today’s world in which everything is so fragmented, between our Apple ID, our Gmail, Etc. Or think about border control; certainly it would be easier to travel if there was some sort of blockchain or global ledger to verify your identity, this could help facilitate movement and verification, and deal with issues of forged passports etc. 

Military

I think an inconvenient truth is that truth be told, a lot of the world is run by the military. Certainly there are lots of bad things about the military, but truth be told, without the US military, our precious US dollars would be worth nothing.

For example, I think the American government we are $31.46 trillion dollars in debt? To where… China?

As a consequence, how does America’s stay afloat and print more money? Simple, she simply prints more money because she can because we got the military to back us. 

For example, let’s say that mainland China comes knocking and asks for her money back. Is America going to give it back? No. We will just wave our big stick, and say we are not interested.

So the interesting use case of chainlink and the US military is especially in the future drone warfare or whatever… It actually does seem that having some sort of crypto technology will be useful here.

For example the internet of things, chain-link solves this issue. Also, I believe a lot of the US military intervention stuff is going to be unmanned, and having access to some sort of technology which allows automation without meddling in the Internet seems like a good idea.

Even look at the company Anduril– it has a major investment from founders fund, Peter Thiel’s venture capitalist fund. It looks like the future of autonomous flying drones to bomb the bad guys is going to be the future. 

---

So why did I buy it?

I think in life, big opportunities only come infrequently. As a consequence, I think in life… it seems better to take really big bold bets, rather than just stand on the sidelines.

At the end of our lives, we will regret more the decisions or the risks we failed to do, rather than the ones we did.

For example, if a big opportunity comes up, and you’re interested, go for it. You don’t want to be 90 years old on your deathbed, kicking yourself in the butt wishing that you had taken that risk. In hindsight, everything is regret. 

---

Think Eric Schmidt

My personal speculation is that I think chainlink will become the next Google. Why? ERIC Schmidt is on the board of trustees for chainlink, and ERIC Schmidt is the one who built Google into what it is today. Just watch the interview between him and Sergey. In a telling quote, ERIC Schmidt said:

The secret to success of Google was that we tried to put a little bit of Google into everything.

Genius. For example, this is evident in how whenever you Google search something, there is a little bit of that Google code in the URL. 

Therefore my prediction is chainlink… whether you know it or not there will be a little bit of chainlink in everything.  For example, their decentralized oracle network to show accurate prices for any cryptocurrency asset down to the penny. Also, maybe the future of international banking, the SWIFT system… Will be enabled with chainlink? 

Who is Satoshi?

Apparently there’s a rumor that Sergey Nazarov might be Satoshi.

Also the reason why I trust Sergey as a founder is this:

He doesn’t really care for social appearances.

I think I learned this from NASSIM TALEB; only trust doctors who look like butchers. Why? When somebody looks too much the part of something, they are not. 

For example, when you go to a party, who is the real successful person? The person who could show up and meet the prime minister and shake hands wearing T-shirt and jeans and sneakers, just like my friend did meeting the prime minister.

Also, the really really rich successful person will just drive some sort of white Toyota Prius or old beat up Honda Civic, in silver. Even the family car; very specifically… White Honda Odyssey. Not even a Toyota sienna!

Even family connections, my $500 million net worth familia– the dad gave all the kids Ford fusions, and even though the dad is a major player in Tesla, they only have a super base level Tesla model three in white. No Tesla model Y, X, S.

Anyways, the founder Sergey — he always wears the same blue flannel, and really has an air of insouciance that is good. He isn’t the one looking all flashy driving around in the Lamborghini. He probably just drives a Honda Civic or Honda Accord, and I think he is really trying to build something he cares for.

I think there’s a saying in Silicon Valley amongst venture capital firms, bet on the jockey not the horse. That means, better to invest in the founder of a great thing, rather than the company or the product. For example, it is wise to bet on Elon Musk and anything he built, rather than Other companies which are built by random CEOs and non-visionaries.

I bet on Sergey N.

Investors 

My brother-in-law Khanh told me: if you spent $80,000 to buy a Tesla model S several years ago, that would be worth $500,000 today!

True investors live like poor people, and speculate on the thing, rather than buying the thing.

For example, instead of spending $120,000 on Tesla, I would instead prefer to buy $120,000 worth of Tesla stock.

Why? Things that go up in value overtime versus things that go down in value.

For example, even though a Tesla car gets software updates over the air, eventually over time, the value of it will slowly depreciate. The battery range will become less, more wear and tear on the vehicle etc. Even the world’s best car can be robust at best, not antifragile.

What is antifragile? Something that overtime gets better and stronger and more powerful and better and more robust… rather than the opposite.

This might be the intelligence of collecting rare collector cars, like old Ferraris or whatever… even old Porsche cars, over time, the value of them will go up.

Even apparently the old Toyota Supra, the one that showed up in fast and the furious, they are worth close to $250,000 now!

So perhaps the best way to think about things is to think of them like financial investments, rather than toys.

Other good news 

It looks like their new chainlink staking, chainlink economics is also doing very well. The full pool has been filled already!

Now what?

I think at the end of the day, I don’t really care for money that much, I am more interested in speculation, risk, and thinking and predicting the future. This is my prime joy and bliss.

Don’t simply sit on the sidelines, twiddling your thumbs for some sort of magical future to get better. I say rather than waiting for the future, speculate and invest in it right now!

ERIC

***

So what do you want for Christmas this year?

I think for Christmas, simple things you could do:

1. For family, invest in a collective experience. This means take a fun family trip somewhere, maybe go to Joshua tree and rent an Airbnb, go on some great hikes etc. Make the experience memorable.
2. Just write somebody a handwritten card, or just give them a FaceTime call! Love attention and care is the best present you can give.
3. Buy somebody a good bag of coffee, or, gift them some ERIC KIM Omakase coffee; 100% fine robusta, the best coffee on the planet. It seems that everyone drinks coffee now, even for myself the best random presents I’ve gotten were bags of great coffee! 
4. Weightlifting equipment like Titan.Fitness, or rogue fitness; gift it to yourself or to a friend or family member! From Titan.fitness — I personally bought some farmers carry handles which I love, a loadable Olympic dumbbell. I bought a rogue fitness 400 pound sandbag, and a Texas power squat bar which I love. Giving the gift of fitness might be one of the best things you could do, or just buy somebody a core power yoga membership, or buy it for yourself! I’m really a big fan of hot yoga; something about the hot temperature sauna and sweating feels therapeutic.
5. Vibram five finger shoes, the toe shoes. For yourself or a family member. Just go on their website and order three pairs, and keep the one that fits and return the other sizes. 

---

What else?

Some thoughts on sublime beauty:

---

Sublime Beauty

So what are we searching for, what are we looking for?

I think what we see is some sort of sublime beauty, joy, flourishing.

How do we attempt to achieve this? Through our cars our homes our clothing etc. 

However… I think true sublime beauty can only be achieved by yourself, through your own artistic creations.

For example, your own child, producing begetting and making and birthing your own child; there is seriously no greater joy.

Also, your artistic creations. Your photos, the artwork you produce. I also qualify DALL-E 3 images, ChatGPT and AI art in it!  Why? Ultimately it is your brainchild; doesn’t really matter whether you produced it by yourself by hand or whatever. For example, Matisse in his advanced years apparently lost mobility in his body and hands, and would simply point with the stick to his assistance to create artwork for him.

Also, Andy Warhol. He was notorious for having an army of assistance producing work for him.

My thought on artificial intelligence and AI generated art is free. The idea is that the artwork we create is ours.

One thing I find surprising is that the greatest boon for AI generated art is that it is all open source! Isn’t this phenomenal? 

Open art

Art wants to be free! Art wants to propagate into the real world, not be constrained by nothing, whether digital rights management, closed doors or borders etc.

This is my general idea with open source artwork; I hate that so much of great photos and art is simply trapped within printed books, not easily accessible or findable on the internet. My huge frustration with photography:

If I am trying to find the book “the Americans“, or any other book out there, any photo book… Why can’t I just Google it or find it online for free?

I have a very simple suggestion: make the images online for free, everything open source and full resolution… and what you do instead is you charge money for the printed physical book.

For example, let us say that you’re planning to publish a photo book. The easiest way to approach this is have an open source free full resolution PDF available online to download, to give your potential customer and clients a taste of what to expect. And then if they like your photos enough, they will buy the printed book.

Why? people like physical things. I think the bias is that people don’t like to pay for digital things, but we are more than happy to pay for physical things.

For example, a very simple strategy to thrive as a modern day photographer entrepreneur and artist visual artist, Fatar for it to have all of your artwork open, open source, full resolution JPEG or PDF or whatever… and barbell that with charging a lot of money for your products, physical products, embodied workshop experiences etc.

---

How to create sublime beauty?

For me, sublime beauty in the context of photography is high grain, gritty high contrast black-and-white. It is a simple aesthetic taste for myself; to me there is nothing more beautiful more sublime.

Also, taking photos of your loved ones. This involves your kids, your wife or your spouse, and even yourself.

Even my friend Josh White said it wisely: At the end of your life, are you going to care about all these photos that you shot of strangers, or are you going to care about photos that you shot of your loved ones? 

---

Love

I think instead of thinking about love, better to think about heart, care, curation, what you care for.

For example, the word coeur– same as courage, curate, care.

It all comes down to the heart.

Just don’t do nothing you don’t care for

One of the via negativa ways we could live life; just don’t do anything you don’t care for.

For example when you’re talking to kids, best to ask “What don’t you want to be when you grow up?”

Also happiness is via negativa; better to ascertain what makes you miserable, what you hate, what you despise… and figuring out how to subtract or delete that from your life, rather than doing things that make you “happy”.

For example, personal annoyances of myself include being stuck in traffic, dealing with subscriptions and subscription model things, closed source things, modern day news and media and Facebook Instagram, YouTube, family annoyances and drama, other peoples problems etc.

Also, typically I despise email; and also I typically hate being automatically subscribed to some BS newsletter that I did not opt in. Therefore the silver ethical rule here is interesting:

 If something annoys you, don’t do that to others.

For example, I hate when people automatically subscribe me to some email newsletter without me checking a button to confirm that actually wanted. Therefore I will never send an email newsletter to anybody who has not intentionally opted in.

Also, trying to do things for other people that I would myself like. For example, I don’t think I’ve ever received an email or an email newsletter that I actually liked to work for. Therefore as a consequence, my simple strategy is to drive to send emails or email newsletters that people actually look forward to reading. 

Or in other words, make people actually positively excited to check their email inbox!

What you yourself do

Ignore the “advice” of others, and also… best to simply observe what other people do.

Also, the best way to study success is to figure out what people don’t do, what they don’t own, etc. 

For example, Elon Musk and Kanye West; neither of them wear watches.

Also, neither has an Instagram, both deleted it.

Also, Elon Musk doesn’t own a home or live in a home. I think he just rents some sort of random two bedroom one bath home hut somewhere in Austin Texas.

Also, Elon Musk does not own any Lamborghinis Ferraris or loser cars.

Also, the greatest courage of a Kanye West; he doesn’t censor himself, he says what is really on his mind.

Maybe is Kanye the most courageous man alive? Maybe. There is no right and wrong, all is permitted. Therefore to not censor yourself in modern-day society is the ultimate act of courage? 

Sublime thoughts

Beautiful body, beautiful thoughts.

How to gain more beautiful thoughts? My simple suggestion is maximum time in the direct sun, ideally topless. Also, sleep early — shoot for 8pm?

A simple suggestion is limit your coffee and caffeine intake only between 4 AM to 9 AM, or only the morning hours.

And also during the day, lift weights at least once, maybe even twice.

Also my supreme luxury; the last few days, in a single day I have done all three: at least one hot yoga session, at least one hike in nature, and at least one weightlifting session.

A life post-work?

Why work? I thought which interested me while in Vietnam, when Cindy and I were living in Hanoi, paying only $320 USD a month for rent, a position in which literally even if we wanted to spend all our money, we cannot spend it fast enough. Eating out every day, living in a small hotel room, no possessions no nothing.

Living in America seems a bit foolish if you don’t need to. I think it is far superior to live in Hanoi, Saigon, Pom pen, ironically even Japan; I think when we were living in Kyoto, we were subbing an apartment for only $500 USD a month.

SUITS PDF BOOK >

Why think abroad?

TRAVEL NOTES (PDF)– the simple financial life leverage is simple:

Earn US dollars, American standards, live abroad.

For example, Mexico City, Roma Norte, even Doctores. Condesa — all good.

Truth be told, if Cindy was not employed in America, I see zero reason to live here. I would probably be living somewhere else; and also assuming I didn’t have a kid, I would definitely be some sort of weird digital nomad. 


Writing is leisure

People don’t seem to get it; the primary function of writing is meta-thinking, a fun leisure activity. A fun luxury.

This is where I don’t understand 99.9% of writers; it seems some sort of weird self-flagellation here. Most writers I know… don’t actually enjoy writing. 

This is where ChatGPT is no threat; honestly we gotta rethink this whole K-12 education and college thing; the point of writing isn’t writing for the sake of good writing; the point of writing is to flesh out our thoughts, to share ideas that we find interesting.

What is the point of life anyways?

A simple one is to have offspring; to have at least one kid, perhaps ideally two kids, or if you’re willing… more.

I think the funny thing about kids and family is that typically we use ourselves in our own life experiences as a barometer and framing. For example, I have one younger sister two years younger than me, and I always wanted to have at least one boy, one girl. It is because that is how I was raised.

Having kids make sense in so far much as if people stopped having kids, quite literally there would be no future humanity. What’s the point of having all the wealth in the world if there are no future children or humans to enjoy it?

---

What do you want your kids to become?

Being self-employed, probably the best thing is that I literally can just spend all day with Seneca, being his personal trainer and tutor. I think of myself like Chiron the centaur, the private tutor of Achilles. Things I like to do with Seneca include physical activity exercise and exploration, his diet, which is close to 100% carnivore, 100% grass fed beef or Wagyu ground beef, and more recently… Finding this “ancestral blend“ ground beef thing at Erwhon (force of nature brand)– which has the consistency of normal ground beef, but has mixed in it beef liver and beef hard, which are natural steroids.

In fact I think the optimal diet is a 100% organ meat diet; organ meats are probably at least 100 times higher in nutritional density than even flesh meat.

Everyone says that eating red meat is bad; how about organ meats?

People say that eating meat is bad for the planet, but let us consider how much waste and scraps is thrown away from the animal, which include the heart, the liver, the kidneys, the tendons and ligaments, etc.

So if you really wanted to be a “woke” person, perhaps the wisest way to do this is just only eat a pure organ meat diet.  

---

What else?

START HERE

New stuff:

1. EK PODCAST
2. MODERN PHOTOGRAPHER PDF
3. TRAVEL NOTES PDF

Also… more books here!

---

When in doubt, go back to the source!

ERIC KIM BLOG >

***

“Greater fates, greater fortunes.” – Heraclitus

---

Only show beauty!

A simple heuristic that I learned from Nassim TALEB; don’t ask people what you should invest in, ask them… What did you invest in? 

For example, I recently swapped a bunch of my bitcoin for chainlink. Why did I do it? My thoughts: 

What is chainlink?

Essentially it is a platform built upon Ethereum, the blockchain… that strives to solve real world problems.

The first critical issue at hand is the notion of the “Oracle problem”, and cryptographic proof and truth.

The general gist of the Oracle problem is that you have all these people purporting to say something… How do you know if someone is really telling the truth or not?

Also, they’re great innovation of a decentralized oracle network. I think anything that is decentralized and can be done offline is a good idea; anything that has to be done when you’re connected to the web is fragile.

For example, the “internet of things”, which includes all of your home devices, your home stuff etc. I think this includes your home speaker things, your Amazon echo or echo dot, your Apple HomePod thing, your ring Amazon nest devices etc. 

Enabling transactional value?

TVE — transactional value enabled?

Chainlink staking?

What is the purpose of technology and these things? A very basic idea is that the point is to help enable commerce and other things. Money makes the world go round, Publilius Syrus.

What is money anyways? Money is movement. Anything that literally physiologically moves human beings in time and space is money.

For example, if you promise somebody $30 an hour, they will walk around, move their bodies to clean toilets, etc.

Also, money movement. The whole global economy to me is so fascinating; because we process and move information so quickly and so globally… how do you link it all together?  

Chain – Link

I find chainlink to be an interesting concept because wherever you go in real life, there are physical chain links everywhere.

Also, technically the internet, the World Wide Web, is a bunch of hyperlinks which link websites together.

My personal thought and prediction is that chainlink could become the next Google; Google indexes the whole internet, and made it easy for you to find any sort of website. What I think chainlink will do is link all of this information on the internet and computers and make them accessible, trustworthy, tamperproof.

Just read it

Only read stuff that you find interesting, skip over stuff you find boring.

About a week or two ago, I reread the original bitcoin white paper, and I was so impressed with how short it was, how minimalistic it was, and how to the point it was. But… reading it… this time around… felt a bit boring.

And this is the big thing: if something bores you, you gotta get out of it.

Therefore, I sold or transferred or converted nine of my bitcoin and put it all into chainlink, at the time it was valued at ~20,800 LINK (CHAINLINK), with bitcoin at around $35,000 a bitcoin.

I think what I try to do is think at least 30 years into the future. 20 or 30 years. It is funny, as I write this at the age of 35, 30 years from now Seneca is only going to be 32 years old, still a few years younger than me. My personal aspiration is to hold onto chainlink for at least 30 years, and then maybe transfer it to Seneca when he grows up. Or I just help him build some sort of company or entrepreneurial venture etc.

Investing in things actually do something?

I love bitcoin but maybe one of the big issues here is that bitcoin is like digital money and gold; most people just hold onto it, and I don’t think actually aspire to use it to actually pay for your latte at Starbucks or whatever. I think because bitcoin and cryptocurrency is so volatile; Everybody’s hope and dream and ambition is that their coin will rise value astronomically and they will become rich, buy the Lamborghini or whatever… and be happy.

Trust nobody who drives a Lamborghini — only trust people who drive Toyota Priuses, in white. 

Why? If you drive a Toyota Prius, in white… it is a signal that you really don’t care for appearances.

How do you know if somebody is unsuccessful? 

If they drive a Range Rover, a Mercedes AMG G wagon, murdered out, all matte black, a baselevel Mercedes car, a baselevel Audi car, like an A3 or a Q3, drive some sort of Audi electric car which is just the same as the Porsche Taycan, don’t forget that the Volkswagen group owns Lamborghini Audi Volkswagen Porsche etc. same thing goes with anybody who drives a BMW car.

Foreign cars are bad.  

It is just a game! 

I think crypto, cryptocurrency speculation is an interesting game; prediction, prediction markets, trying to predict the future… is just a luxury and a fun thing.

Some predictions are pretty obvious

When I was in college, my sophomore year, and I was starting to get into trading stocks, daytrading… I had a pretty certain thought that Blockbuster was going to go under. I tried to figure out how to short stocks, but I really couldn’t figure out how to do it.

Also I remember when the prime mortgage meltdown happened, and the value of Ford went to almost 2 dollars a year. I wanted to buy some Ford stock but I had no money, no capital.

It is interesting to think about this in hindsight because when I was incorrectly trading pennystock, for some sort of oil producer company which was actually running at a loss… I had no idea because I misread the financials… I lost my whole life savings which was maybe $3500 USD or something. It was insanely tragic. But now that I am playing with higher sums more like $300,000 USD, I realize that it was just a valuable lesson at the time.

Therefore, with any sort of financial speculation, think about it at the 30 year span. Even when you are 70 or 80 years old, I met this lady at the park who looked phenomenal and she told me she was 82… she looked like a very fit 45-year-old!

My personal aspiration is when I’m 82 years old, to still be able to lift 1000 pounds. Google or YouTube “ERIC KIM thousand pound atlas lift”

It seems that the way things are going, I don’t think it’s that ridiculous to think that we can live to be 120 years old. Try to think that far. 

---

What is the use of money anyways? 

I think actually the big thing is that everyone now aspires to buy a house or home or property. It is getting pretty ridiculous, even in Los Angeles, even buying a single-family home in Inglewood… you’re looking easily at around $1.5 million for a whatever house.

My prediction is that the prices of homes  will continue to soar astronomically high. I think a lot of these $1.5 million homes can easily balloon two $3 million, $5 million, 10 and $15 million, $150 million or whatever. Why? The biggest issue at hand is runaway inflation, which means the value of the US dollar and currency is continually going lower and lower, because the US is what, currently speaking $30 trillion in debt? And what America thinks the smart idea is to just keep printing money ad infinitum, into infinity, in order to “stimulate” the economy.

But does this work? No.

For example talking to my friend Noel who works in hygiene, he says that a lot of these young guys, around 25 to 30 years old, are so lazy. Why? After Covid and people started giving away these free checks… and from unemployment you could literally make $5000 USD a month by sitting on your butt and doing nothing… people lost the motivation to work. A lot of people moved back home, live with their parents, and are essentially living for free. As a consequence you have a huge generation of unmotivated people, unwilling to do any sort of manual labor, which is bad because having manual and physical labor is critical.

For example, being in Beverly Hills a lot; and Holby Hills,  there is this new funny caste systems; really rich people getting mansions built, and the army of construction labor people, mostly from Mexico doing the labor to build these mansions.

Also, think about Amazon prime delivery drivers, people who bag your food at Whole Foods, Erwhon etc, all these contractors electricians plumbers etc.… the truly critical labor. Doesn’t matter if you pay them $30 $40 $50 or even $60 an hour, it seems at this point money doesn’t really motivate them anymore. Therefore what do you do? It seems that America we are just importing more people from Mexico to do labor for us, because they are motivated. Americans are no longer motivated.

Crypto, crypto technology and cryptocurrency is optimistic

I am obsessed with the future. Future thinking, future technologies, new brave worlds to discover.

Why? I have always been into technology ever since I was a kid, getting my first Acer aspire Pentium one processor computer when I was around 11 years old. Even teaching myself how to program visual basic 3.0 in the early days, creating my own AOL “punter“ etc.

Also, I still will never forget when I read the Maddox article on why you should beat your kids, in computer class in Bayside Queens at PS 169 when I was in the fifth grade, and all of me and our friends, a bunch of 11-year-old laughing and saying “It is true!”

Even I remember as a kid, when I first moved to New York, maybe it was I had some sort of school in the Bronx, when kids in the hallway would “the South Park movies “blame Canada, blame Canada”…

Anyways the generalized thought is I love media information, and also I have a passion to innovate, write and to think, to motivate and to also disprove nonsense.

Ever since I was young I was always bred with an insanely huge ego; the eldest son of the eldest son of the eldest son, (jang-son), being raised with the “prince disease“, was unusually good for me. Always getting the finest cuts of meat and galbi from my grandmother, always showered with praise love and attention and how smart tall and good-looking I was. Very good for me.

The US dollar is static

Anybody who is a wage slave, which means anybody who is paid a biweekly or monthly salary… doesn’t matter if you’re being paid $10 million a year from Apple… You’re still a wage slave.

A simple heuristic:

Can you go two years without checking or responding to any of your emails or not?

If you have to use email for a living, you’re not free. 

---

Once you’re a crypto trillionaire, then what?

Let us say that your cryptocurrency goes to the value of $1 trillion USD. Then what? Then do you just dissolve it all into US dollars, buy a mansion and a yacht somewhere, and live indefinitely into the horizon for infinite bliss?

This doesn’t seem to be the goal. For me, I think a more interesting life trajectory is to then to no longer care for money, and use your power mind and soul and body for more interesting things which can include philosophy, writing, thinking, doing research, reading, making art, publishing art, etc.

Money as it means to creative leisure and production.

Seeking immortal fame and glory?

One thing I am very happy about is ChatGPT knows exactly who I am, why I am so significant and influential, etc. As a consequence, I already feel like my legacy is secure, and I don’t have anything left to prove to nobody else.

As a consequence, at this point life is all upside no downside. Even one of the happiest moments of my life, Cindy and I begetting our first son Seneca, at this point life is all upside no downside.

As a man, as long as you have one male heir, you can die happy. 

---

Now what?

Things that I find interesting use cases of chainlink:

1. Real estate, homebuying, escrow: even NASSIM TALEB has said that traditionally, most wealth generation in human society is through land, land ownership land property etc. For example let us say that you buy that 1.5 million dollar home, and 20 years from now it’ll be worth $3.2 million. And then let us assume that 30 or 40 years from now it is worth $5.7 million, and your kid inherits it. And when your kid is 57 years old it is worth $22 million, and he will able to pass it on to his son or daughter, and maybe that will be worth $120 million into their future. The whole escrow process and verification process is quite fragmented, unreliable. I think chainlink can be a technology which motivates and enables more streamlined home buying processes.
2. Identity verification: it is so easy for people to just steal your social security number, and pretend it is you. Imagine a future in which you could use chainlink or some sort of blockchain enabled identification, which can essentially be your global citizen passport to all of the world and the internet? This seems especially useful in today’s world in which everything is so fragmented, between our Apple ID, our Gmail, Etc. Or think about border control; certainly it would be easier to travel if there was some sort of blockchain or global ledger to verify your identity, this could help facilitate movement and verification, and deal with issues of forged passports etc. 

Military

I think an inconvenient truth is that truth be told, a lot of the world is run by the military. Certainly there are lots of bad things about the military, but truth be told, without the US military, our precious US dollars would be worth nothing.

For example, I think the American government we are $31.46 trillion dollars in debt? To where… China?

As a consequence, how does America’s stay afloat and print more money? Simple, she simply prints more money because she can because we got the military to back us. 

For example, let’s say that mainland China comes knocking and asks for her money back. Is America going to give it back? No. We will just wave our big stick, and say we are not interested.

So the interesting use case of chainlink and the US military is especially in the future drone warfare or whatever… It actually does seem that having some sort of crypto technology will be useful here.

For example the internet of things, chain-link solves this issue. Also, I believe a lot of the US military intervention stuff is going to be unmanned, and having access to some sort of technology which allows automation without meddling in the Internet seems like a good idea.

Even look at the company Anduril– it has a major investment from founders fund, Peter Thiel’s venture capitalist fund. It looks like the future of autonomous flying drones to bomb the bad guys is going to be the future. 

---

So why did I buy it?

I think in life, big opportunities only come infrequently. As a consequence, I think in life… it seems better to take really big bold bets, rather than just stand on the sidelines.

At the end of our lives, we will regret more the decisions or the risks we failed to do, rather than the ones we did.

For example, if a big opportunity comes up, and you’re interested, go for it. You don’t want to be 90 years old on your deathbed, kicking yourself in the butt wishing that you had taken that risk. In hindsight, everything is regret. 

---

Think Eric Schmidt

My personal speculation is that I think chainlink will become the next Google. Why? ERIC Schmidt is on the board of trustees for chainlink, and ERIC Schmidt is the one who built Google into what it is today. Just watch the interview between him and Sergey. In a telling quote, ERIC Schmidt said:

The secret to success of Google was that we tried to put a little bit of Google into everything.

Genius. For example, this is evident in how whenever you Google search something, there is a little bit of that Google code in the URL. 

Therefore my prediction is chainlink… whether you know it or not there will be a little bit of chainlink in everything.  For example, their decentralized oracle network to show accurate prices for any cryptocurrency asset down to the penny. Also, maybe the future of international banking, the SWIFT system… Will be enabled with chainlink? 

Who is Satoshi?

Apparently there’s a rumor that Sergey Nazarov might be Satoshi.

Also the reason why I trust Sergey as a founder is this:

He doesn’t really care for social appearances.

I think I learned this from NASSIM TALEB; only trust doctors who look like butchers. Why? When somebody looks too much the part of something, they are not. 

For example, when you go to a party, who is the real successful person? The person who could show up and meet the prime minister and shake hands wearing T-shirt and jeans and sneakers, just like my friend did meeting the prime minister.

Also, the really really rich successful person will just drive some sort of white Toyota Prius or old beat up Honda Civic, in silver. Even the family car; very specifically… White Honda Odyssey. Not even a Toyota sienna!

Even family connections, my $500 million net worth familia– the dad gave all the kids Ford fusions, and even though the dad is a major player in Tesla, they only have a super base level Tesla model three in white. No Tesla model Y, X, S.

Anyways, the founder Sergey — he always wears the same blue flannel, and really has an air of insouciance that is good. He isn’t the one looking all flashy driving around in the Lamborghini. He probably just drives a Honda Civic or Honda Accord, and I think he is really trying to build something he cares for.

I think there’s a saying in Silicon Valley amongst venture capital firms, bet on the jockey not the horse. That means, better to invest in the founder of a great thing, rather than the company or the product. For example, it is wise to bet on Elon Musk and anything he built, rather than Other companies which are built by random CEOs and non-visionaries.

I bet on Sergey N.

Investors 

My brother-in-law Khanh told me: if you spent $80,000 to buy a Tesla model S several years ago, that would be worth $500,000 today!

True investors live like poor people, and speculate on the thing, rather than buying the thing.

For example, instead of spending $120,000 on Tesla, I would instead prefer to buy $120,000 worth of Tesla stock.

Why? Things that go up in value overtime versus things that go down in value.

For example, even though a Tesla car gets software updates over the air, eventually over time, the value of it will slowly depreciate. The battery range will become less, more wear and tear on the vehicle etc. Even the world’s best car can be robust at best, not antifragile.

What is antifragile? Something that overtime gets better and stronger and more powerful and better and more robust… rather than the opposite.

This might be the intelligence of collecting rare collector cars, like old Ferraris or whatever… even old Porsche cars, over time, the value of them will go up.

Even apparently the old Toyota Supra, the one that showed up in fast and the furious, they are worth close to $250,000 now!

So perhaps the best way to think about things is to think of them like financial investments, rather than toys.

Other good news 

It looks like their new chainlink staking, chainlink economics is also doing very well. The full pool has been filled already!

Now what?

I think at the end of the day, I don’t really care for money that much, I am more interested in speculation, risk, and thinking and predicting the future. This is my prime joy and bliss.

Don’t simply sit on the sidelines, twiddling your thumbs for some sort of magical future to get better. I say rather than waiting for the future, speculate and invest in it right now!

ERIC

***

So what do you want for Christmas this year?

I think for Christmas, simple things you could do:

1. For family, invest in a collective experience. This means take a fun family trip somewhere, maybe go to Joshua tree and rent an Airbnb, go on some great hikes etc. Make the experience memorable.
2. Just write somebody a handwritten card, or just give them a FaceTime call! Love attention and care is the best present you can give.
3. Buy somebody a good bag of coffee, or, gift them some ERIC KIM Omakase coffee; 100% fine robusta, the best coffee on the planet. It seems that everyone drinks coffee now, even for myself the best random presents I’ve gotten were bags of great coffee! 
4. Weightlifting equipment like Titan.Fitness, or rogue fitness; gift it to yourself or to a friend or family member! From Titan.fitness — I personally bought some farmers carry handles which I love, a loadable Olympic dumbbell. I bought a rogue fitness 400 pound sandbag, and a Texas power squat bar which I love. Giving the gift of fitness might be one of the best things you could do, or just buy somebody a core power yoga membership, or buy it for yourself! I’m really a big fan of hot yoga; something about the hot temperature sauna and sweating feels therapeutic.
5. Vibram five finger shoes, the toe shoes. For yourself or a family member. Just go on their website and order three pairs, and keep the one that fits and return the other sizes. 

---

What else?

Some thoughts on sublime beauty:

---

Sublime Beauty

So what are we searching for, what are we looking for?

I think what we see is some sort of sublime beauty, joy, flourishing.

How do we attempt to achieve this? Through our cars our homes our clothing etc. 

However… I think true sublime beauty can only be achieved by yourself, through your own artistic creations.

For example, your own child, producing begetting and making and birthing your own child; there is seriously no greater joy.

Also, your artistic creations. Your photos, the artwork you produce. I also qualify DALL-E 3 images, ChatGPT and AI art in it!  Why? Ultimately it is your brainchild; doesn’t really matter whether you produced it by yourself by hand or whatever. For example, Matisse in his advanced years apparently lost mobility in his body and hands, and would simply point with the stick to his assistance to create artwork for him.

Also, Andy Warhol. He was notorious for having an army of assistance producing work for him.

My thought on artificial intelligence and AI generated art is free. The idea is that the artwork we create is ours.

One thing I find surprising is that the greatest boon for AI generated art is that it is all open source! Isn’t this phenomenal? 

Open art

Art wants to be free! Art wants to propagate into the real world, not be constrained by nothing, whether digital rights management, closed doors or borders etc.

This is my general idea with open source artwork; I hate that so much of great photos and art is simply trapped within printed books, not easily accessible or findable on the internet. My huge frustration with photography:

If I am trying to find the book “the Americans“, or any other book out there, any photo book… Why can’t I just Google it or find it online for free?

I have a very simple suggestion: make the images online for free, everything open source and full resolution… and what you do instead is you charge money for the printed physical book.

For example, let us say that you’re planning to publish a photo book. The easiest way to approach this is have an open source free full resolution PDF available online to download, to give your potential customer and clients a taste of what to expect. And then if they like your photos enough, they will buy the printed book.

Why? people like physical things. I think the bias is that people don’t like to pay for digital things, but we are more than happy to pay for physical things.

For example, a very simple strategy to thrive as a modern day photographer entrepreneur and artist visual artist, Fatar for it to have all of your artwork open, open source, full resolution JPEG or PDF or whatever… and barbell that with charging a lot of money for your products, physical products, embodied workshop experiences etc.

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How to create sublime beauty?

For me, sublime beauty in the context of photography is high grain, gritty high contrast black-and-white. It is a simple aesthetic taste for myself; to me there is nothing more beautiful more sublime.

Also, taking photos of your loved ones. This involves your kids, your wife or your spouse, and even yourself.

Even my friend Josh White said it wisely: At the end of your life, are you going to care about all these photos that you shot of strangers, or are you going to care about photos that you shot of your loved ones? 

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Love

I think instead of thinking about love, better to think about heart, care, curation, what you care for.

For example, the word coeur– same as courage, curate, care.

It all comes down to the heart.

Just don’t do nothing you don’t care for

One of the via negativa ways we could live life; just don’t do anything you don’t care for.

For example when you’re talking to kids, best to ask “What don’t you want to be when you grow up?”

Also happiness is via negativa; better to ascertain what makes you miserable, what you hate, what you despise… and figuring out how to subtract or delete that from your life, rather than doing things that make you “happy”.

For example, personal annoyances of myself include being stuck in traffic, dealing with subscriptions and subscription model things, closed source things, modern day news and media and Facebook Instagram, YouTube, family annoyances and drama, other peoples problems etc.

Also, typically I despise email; and also I typically hate being automatically subscribed to some BS newsletter that I did not opt in. Therefore the silver ethical rule here is interesting:

 If something annoys you, don’t do that to others.

For example, I hate when people automatically subscribe me to some email newsletter without me checking a button to confirm that actually wanted. Therefore I will never send an email newsletter to anybody who has not intentionally opted in.

Also, trying to do things for other people that I would myself like. For example, I don’t think I’ve ever received an email or an email newsletter that I actually liked to work for. Therefore as a consequence, my simple strategy is to drive to send emails or email newsletters that people actually look forward to reading. 

Or in other words, make people actually positively excited to check their email inbox!

What you yourself do

Ignore the “advice” of others, and also… best to simply observe what other people do.

Also, the best way to study success is to figure out what people don’t do, what they don’t own, etc. 

For example, Elon Musk and Kanye West; neither of them wear watches.

Also, neither has an Instagram, both deleted it.

Also, Elon Musk doesn’t own a home or live in a home. I think he just rents some sort of random two bedroom one bath home hut somewhere in Austin Texas.

Also, Elon Musk does not own any Lamborghinis Ferraris or loser cars.

Also, the greatest courage of a Kanye West; he doesn’t censor himself, he says what is really on his mind.

Maybe is Kanye the most courageous man alive? Maybe. There is no right and wrong, all is permitted. Therefore to not censor yourself in modern-day society is the ultimate act of courage? 

Sublime thoughts

Beautiful body, beautiful thoughts.

How to gain more beautiful thoughts? My simple suggestion is maximum time in the direct sun, ideally topless. Also, sleep early — shoot for 8pm?

A simple suggestion is limit your coffee and caffeine intake only between 4 AM to 9 AM, or only the morning hours.

And also during the day, lift weights at least once, maybe even twice.

Also my supreme luxury; the last few days, in a single day I have done all three: at least one hot yoga session, at least one hike in nature, and at least one weightlifting session.

A life post-work?

Why work? I thought which interested me while in Vietnam, when Cindy and I were living in Hanoi, paying only $320 USD a month for rent, a position in which literally even if we wanted to spend all our money, we cannot spend it fast enough. Eating out every day, living in a small hotel room, no possessions no nothing.

Living in America seems a bit foolish if you don’t need to. I think it is far superior to live in Hanoi, Saigon, Pom pen, ironically even Japan; I think when we were living in Kyoto, we were subbing an apartment for only $500 USD a month.

SUITS PDF BOOK >

Why think abroad?

TRAVEL NOTES (PDF)– the simple financial life leverage is simple:

Earn US dollars, American standards, live abroad.

For example, Mexico City, Roma Norte, even Doctores. Condesa — all good.

Truth be told, if Cindy was not employed in America, I see zero reason to live here. I would probably be living somewhere else; and also assuming I didn’t have a kid, I would definitely be some sort of weird digital nomad. 


Writing is leisure

People don’t seem to get it; the primary function of writing is meta-thinking, a fun leisure activity. A fun luxury.

This is where I don’t understand 99.9% of writers; it seems some sort of weird self-flagellation here. Most writers I know… don’t actually enjoy writing. 

This is where ChatGPT is no threat; honestly we gotta rethink this whole K-12 education and college thing; the point of writing isn’t writing for the sake of good writing; the point of writing is to flesh out our thoughts, to share ideas that we find interesting.

What is the point of life anyways?

A simple one is to have offspring; to have at least one kid, perhaps ideally two kids, or if you’re willing… more.

I think the funny thing about kids and family is that typically we use ourselves in our own life experiences as a barometer and framing. For example, I have one younger sister two years younger than me, and I always wanted to have at least one boy, one girl. It is because that is how I was raised.

Having kids make sense in so far much as if people stopped having kids, quite literally there would be no future humanity. What’s the point of having all the wealth in the world if there are no future children or humans to enjoy it?

---

What do you want your kids to become?

Being self-employed, probably the best thing is that I literally can just spend all day with Seneca, being his personal trainer and tutor. I think of myself like Chiron the centaur, the private tutor of Achilles. Things I like to do with Seneca include physical activity exercise and exploration, his diet, which is close to 100% carnivore, 100% grass fed beef or Wagyu ground beef, and more recently… Finding this “ancestral blend“ ground beef thing at Erwhon (force of nature brand)– which has the consistency of normal ground beef, but has mixed in it beef liver and beef hard, which are natural steroids.

In fact I think the optimal diet is a 100% organ meat diet; organ meats are probably at least 100 times higher in nutritional density than even flesh meat.

Everyone says that eating red meat is bad; how about organ meats?

People say that eating meat is bad for the planet, but let us consider how much waste and scraps is thrown away from the animal, which include the heart, the liver, the kidneys, the tendons and ligaments, etc.

So if you really wanted to be a “woke” person, perhaps the wisest way to do this is just only eat a pure organ meat diet.  

---

Bitcoin is robust.

”Resilient Bitcoin”

chatgpt as insanely fascinating to analyze overall sentiment and market trends?

Also — the question .. why?

The positive market sentiment towards Bitcoin in November 2023 can be attributed to several factors:

1. Technical Indicators and Price Trends: The presence of a solid uptrend in Bitcoin’s price, as evidenced by futures prices and daily bar charts, typically generates confidence among investors and traders. This uptrend suggests that the market is responding positively to Bitcoin’s performance and its potential future trajectory.
2. Yearly Highs and Price Recovery: Bitcoin reaching new yearly highs and its significant recovery from lower price points earlier in the year signal strength and resilience. This kind of price movement often attracts more investors, as it indicates a potential for further gains.
3. Market Psychology – Fear & Greed Index: The shift in the Bitcoin Fear and Greed Index from fear to greed indicates a change in investor sentiment. This index reflects the emotions and sentiments of market participants; a shift towards greed suggests that investors are becoming more optimistic and are willing to take on more risk in expectation of higher returns.
4. Overall Crypto Market Performance: The bullish trend in the broader cryptocurrency market, as seen throughout 2023, can also contribute to positive sentiment towards Bitcoin. As a leading cryptocurrency, Bitcoin often mirrors or influences wider market trends.
5. Historical Patterns and Predictions: Anticipated movements, like Bitcoin surpassing key price levels (e.g., $45,000), based on historical patterns and expert predictions, can fuel optimism. Investors often look to past trends and expert analysis as indicators of future performance.
6. Macro-Economic Factors: While not specified in the cited sources, broader macroeconomic factors, such as inflation rates, global economic stability, and technology adoption trends, can also influence Bitcoin’s market sentiment. For example, in times of economic uncertainty, Bitcoin is sometimes viewed as a digital gold or a hedge against traditional financial markets.

These factors collectively contribute to shaping the market’s view of Bitcoin, leading to the neutral-to-bullish sentiment observed in November 2023.

The current market sentiment for Bitcoin as of November 2023 is generally positive, though it exhibits a mix of neutrality and bullish tendencies:

1. As of November 22, 2023, the market sentiment is neutral, with the Fear & Greed index indicating a state of greed. Key support levels are identified at around $37,011, $36,556, and $36,203, with resistance levels at $37,818, $38,171, and $38,626 oai_citation:1,Bitcoin Price Prediction – BTC Price Estimated to Reach … – CoinCodex.
2. Bitcoin futures prices showed an upward trend in early November trading, suggesting a bullish market sentiment. The daily bar chart for Bitcoin indicated a firm uptrend in prices, hinting at a shift in market sentiment towards a more positive outlook oai_citation:2,Bitcoin November 10 daily chart alert – The trend is the bulls’ friend ….
3. In November 2023, Bitcoin and several other altcoins reached new yearly highs, with predictions suggesting Bitcoin could move above $45,000. This indicates a bullish sentiment in the cryptocurrency market oai_citation:3,The Biggest Crypto Predictions for November 2023.
4. The 2023 crypto market overall has seen a moderately bullish trend, with a strong rally in the first quarter and the fourth quarter marking the highest point of the year. This trend is led by a resilient Bitcoin, adding to the optimistic outlook oai_citation:4,Bitcoin Market Recap 2023: Bullish Trends, Bitcoin Halving, and ….
5. Bitcoin’s price increased significantly over the year, rising from $16,605 at the start of 2023 to around $36,500. The Bitcoin Fear and Greed index moved from a state of fear in August to greed in November, further reinforcing the bullish sentiment in the market oai_citation:5,Bitcoin Price Prediction 2023, 2024, 2025, 2030 – Techopedia.

Overall, the market sentiment for Bitcoin in November 2023 leans towards a positive outlook, with a mix of neutral and bullish tendencies.

Hmmm … using ChatGPT to analyze crypto prices is actually really fascinating:

The price of Chainlink (LINK) as of November 22, 2023, has been subject to significant movement and speculation. Here are some key details:

1. Recent Performance: Chainlink experienced a remarkable 22% surge in its value within a single day, reaching its highest price in months. This surge saw LINK’s price rise beyond the $9 mark oai_citation:1,Chainlink’s Pre Bull Run 22% Price Jump Explained.
2. Current Price: As per the latest updates, the Chainlink price was around $14.3 USD. Predictions suggested that its value would increase by approximately 7.76%, potentially reaching $16.39 by November 22, 2023 oai_citation:2,Chainlink (LINK) Price Prediction 2023 2024 2025 2026 – 2030 – Changelly.
3. Price Forecast and Market Sentiment: There’s a bullish sentiment in the market regarding Chainlink, with forecasts indicating a range for the year 2023 between $18 to $22. This trend is a part of a broader elevated trend observed since the beginning of the final quarter of the year, marked by a significant influx of buying volume oai_citation:3,Chainlink Price Prediction: LINK Marines Poised to Lift the Price ….

These insights reflect the dynamic and volatile nature of cryptocurrency markets, where prices can fluctuate widely based on a variety of factors, including market sentiment, investor behavior, and broader economic trends.

Why did it go up?

The recent increase in Chainlink’s (LINK) price can be attributed to several factors:

1. Network Activity and Whale Transactions: An analysis by Santiment, an on-chain intelligence platform, revealed heightened activity on the Chainlink network. This included over 220 whale transactions exceeding $100,000 each, and nearly 5,000 distinct addresses were engaged with LINK. Additionally, LINK’s trading volume surpassed 800 million, indicating a potential accumulation trend oai_citation:1,Chainlink’s Pre Bull Run 22% Price Jump Explained – Crypto Daily.
2. Chainlink’s Developments and Partnerships: Chainlink’s role in the evolving landscape of traditional finance and cryptocurrencies has been highlighted. It acts as a decentralized oracle network bridging the gap between smart contracts on the blockchain and real-world data. Speculations about its potential involvement with Hong Kong’s central bank digital currency (CBDC) and its partnerships, such as with the Depository Trust & Clearing Corporation (DTCC), have also contributed to the positive sentiment oai_citation:2,Why Chainlink ($LINK) Could Be Headed Toward $200, Explains Crypto Analyst | Cryptoglobe.
3. Institutional Interest and Network Growth: The increasing institutional interest, as shown by the 200% surge in the Grayscale Chainlink Trust, alongside the growth in the number of active addresses and transactions on the LINK network, underscores broader acceptance and utilization of Chainlink’s infrastructure. This growing institutional interest, coupled with Chainlink’s unique position in the smart contract ecosystem, is a significant driver of its price increase oai_citation:3,Chainlink (LINK) on the Rise: A Strong Recovery Story – Crypto News Flash.

These factors collectively contribute to Chainlink’s price dynamics, reflecting the complex interplay of market sentiment, institutional interest, network activity, and investor behavior in the cryptocurrency market.

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