ERIC KIM ₿

After a lot of thinking and philosophizing, this is what I have gathered:

I think the ultimate privilege is simply to strive to make great photos, become a great photographer, and become an ever greater photographer.

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How?

The first thought to think and consider is this:

What does it mean to become a great photographer, and is it even a possible thing to become the “greatest“ photographer?

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Being inspired to make photos until you die at the age of 120

OK so let us assume that I could predict with you with 100% certainty that you will live to be 120 years old, in phenomenal health. If that were the case, how can you structure your life in such a way which allows you to stay inspired and motivated to make photos until you die at 122?

First things first, don’t own a home. At worst, just own a condo. A lot of my successful friends, like my friends Don Dillon and Tim Flangan have done this; the upside of owning a condo is that you can just travel, and travel the world, and ultimately you will still have somewhere to keep your stuff, and go back home to. And at least when you’re on the road, you don’t have to worry about maintaining your home or the outside of your house.

Second, structuring your life which allows maximum movement and independence. This means a life in which you spend a good amount of time on the road, traveling, in other foreign places. It could be as simple as wing road trips in America, or more complex like traveling internationally. The world is a big ass place. And this is what gives me great hope.

For example, there are still 1 trillion places that have not yet been to, which I am interested in. I’m interested in going to Lagos Nigeria, Morocco, South America, Eastern Europe, Hungary, etc. And before all of this Ukraine Putin stuff, I was very interested in going to Russia Moscow.

Making great photos

I hate to say it, but certainly there is a hierarchy in terms of great photos compared to not as great photos. What is the differentiating factor?

For myself, when I study the work of Henri Cartier Bresson, and look at his more advanced works, he is really good at the arabesque composition. The squiggly line composition, which adds elegance to his photos.

Also, a Dionysian aesthetic. This means a dark, hard aesthetic. Extremely high contrast black and white, extremely high grain. For example, lately I’ve been shooting on my Lumix G9 camera, after my Ricoh GR 3X broke. I was able to use the in camera JPEG setting of dynamic monochrome, adjusting the contrast to the max, the grain to the max, and I think I have discovered a new aesthetic which I might even prefer over the Ricoh GR 3X in camera high contrast black and white.

In terms of longevity, I believe black and white is more durable than color. Why is this?

First and foremost, we don’t see the world in black-and-white. This alone is the massive differentiating factor between black-and-white photography and color photography.

Secondly, color, color science, digital cameras, sensors, sensor technology is always changing in terms of color. Also JPEG, RAW settings. CMOS vs CCD sensors for color, etc. this alone is a massive headache; and there is also a quadrillion different types of ways to print color, display color, and also view monitors with different color profiles etc. Black and white makes your life 1 trillion times easier.

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The path to become a great photographer

How does one become a great photographer?

I think first of all, I think having an over stated ego, over inflated ego, over inflated self-confidence is a virtue and a good thing. First, I think you must have the desire, the audacity, and also the chutzpah to desire to become a great photographer.

I believe the 99.99% issue with modern day life is that it is considered immoral to desire to become great. That somehow, greatness, and striving to become great, is actually considered a vice.

Modern day life says one must be quiet, low-key, and ashamed of oneself. It is considered a vice to self promote, have self confidence in oneself etc.

I say, perhaps the best thing you could teach yourself, and also teach our kids is in fact to gain more self-confidence, to gain more audacity.

Great aesthetics?

In terms of making great photos, my simple thought is that making great photos is all about making photos which are strong, simple, and hard.

For example, some aesthetic thoughts:

1. Extremely high contrast black-and-white
2. Simple backgrounds
3. Some sort of strong character, subject, or happening or mood behind the photo

Making “objectively” great photos?

Something which I believe which is very unorthodox:

Personally speaking, I do believe that it is actually possible to make an objectively great photo.

But the question is, who decides?

First of all, you decide. Then maybe EK or arsbeta.com can decide.

Whose opinion matters?

In terms of photography, and your photos, whose opinion truly matters?

For example, do you want everyone to universally call you a great photographer, and bow down before you?

This is what I have discovered after having attended a magnum workshop, meeting Magnum Photographers, etc:

Nobody is happy.

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Becoming a happy photographer?

I had a funny idea, if I want to start a gym, I want to call it “happy gym”.

Why? Isn’t the point of going to the gym just be happy, become happier?

Even Joe Gold, the guy who started golds gym said “the point of going to the gym is to have fun!”

I think the same as in photography. Isn’t and shouldn’t the purpose of photography to be happy?

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Resources to become a great photographer

1. STREET PHOTO STARTER KIT // HAPTIC SHOPPE
2. BOOKS
3. MASTERS // How to get started

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EK WORK

CONQUER:

1. CONQUER PHOTOGRAPHY AND LIFE IN DOWNTOWN LA June 17th
2. July 15-16th: SAIGON WORKSHOP (details to be announced)
3. OCT 14th— PHILLY WORKSHOP DETAILS TBA

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New directions

1. iPad is a brick? I insanely love the iPad Pro, but I’m starting to realize it is a brick. Why? I keep hitting the 2 TB family limit, and irregardless of how many times I go back and delete all of my old photos and videos etc., I still keep hitting the max. Perhaps it is a good time to just transition back into Adobe Lightroom or Lightroom classic, and just do it on my laptop, off the cloud.
2. Testosterone in photography? It is my personal theory that there is a connection between testosterone and photography. Perhaps when we see a beautiful woman, or we want to shoot a street photo, or we want to shoot a street portrait, this boosts and affects and influences our testosterone? As a consequence, perhaps the best thing you could do for your street photography and your photography and life in general is striving to naturally boost your testosterone, consuming more beef, organ meats, and hitting one rep maxes at the gym. 885 pounds atlas lift.
3. I’m over Tesla? Me and Seneca just checked out the new Tesla model S in ultra red, and it looks great. I think Tesla and Elon really nailed it here; the previous red colors were not vibrant nor bold enough. Now, I think the Tesla model S plaid in ultra red is probably a perfect car. Especially with the all black interior and the new yoke steering wheel; there is literally no flaws I see. Yet once I have discovered perfect, I no longer feel a strong desire or need to own it anymore? Therefore, maybe the most intelligent strategy then is to just buy Tesla stock, or invest in anything Elon Musk does. Maybe I’ll be the first person to own $1 million worth of Tesla stock, yet not actually own a Tesla car myself.

Photo

1. How can you gain critical feedback and constructive feedback to improve your photography? Upload your photos to arsbeta.com
2. I still think there is a very good opportunity to be had when it comes to websites and blogs for your photography. What I am personally curious about is how to design a website which is very conducive to this.

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What I’m shooting with

Currently speaking, because my Ricoh GR 3 and 3X broke, I’m just shooting with my old Lumix G9 camera with the Leica Lumix 12 mm F1.4 lens. I actually really like it!

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Future thoughts

1. Future thoughts vlog
2. NICE VLOG
3. Warmup
4. Everyone’s physiology is different: One of the funny biases I’ve discovered is that we purport certain notions like “everybody is different“, yet … we still desire everyone to become the same?

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Now what?

Time to start building!

EK

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Share the power

If this gave you even one interesting thought, feel free to forward to a friend!

EK NEWS

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START HERE // BOOKS // SHOP // WORKSHOPS

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After a lot of thinking and philosophizing, this is what I have gathered:

I think the ultimate privilege is simply to strive to make great photos, become a great photographer, and become an ever greater photographer.

---

How?

The first thought to think and consider is this:

What does it mean to become a great photographer, and is it even a possible thing to become the “greatest“ photographer?

---

Being inspired to make photos until you die at the age of 120

OK so let us assume that I could predict with you with 100% certainty that you will live to be 120 years old, in phenomenal health. If that were the case, how can you structure your life in such a way which allows you to stay inspired and motivated to make photos until you die at 122?

First things first, don’t own a home. At worst, just own a condo. A lot of my successful friends, like my friends Don Dillon and Tim Flangan have done this; the upside of owning a condo is that you can just travel, and travel the world, and ultimately you will still have somewhere to keep your stuff, and go back home to. And at least when you’re on the road, you don’t have to worry about maintaining your home or the outside of your house.

Second, structuring your life which allows maximum movement and independence. This means a life in which you spend a good amount of time on the road, traveling, in other foreign places. It could be as simple as wing road trips in America, or more complex like traveling internationally. The world is a big ass place. And this is what gives me great hope.

For example, there are still 1 trillion places that have not yet been to, which I am interested in. I’m interested in going to Lagos Nigeria, Morocco, South America, Eastern Europe, Hungary, etc. And before all of this Ukraine Putin stuff, I was very interested in going to Russia Moscow.

Making great photos

I hate to say it, but certainly there is a hierarchy in terms of great photos compared to not as great photos. What is the differentiating factor?

For myself, when I study the work of Henri Cartier Bresson, and look at his more advanced works, he is really good at the arabesque composition. The squiggly line composition, which adds elegance to his photos.

Also, a Dionysian aesthetic. This means a dark, hard aesthetic. Extremely high contrast black and white, extremely high grain. For example, lately I’ve been shooting on my Lumix G9 camera, after my Ricoh GR 3X broke. I was able to use the in camera JPEG setting of dynamic monochrome, adjusting the contrast to the max, the grain to the max, and I think I have discovered a new aesthetic which I might even prefer over the Ricoh GR 3X in camera high contrast black and white.

In terms of longevity, I believe black and white is more durable than color. Why is this?

First and foremost, we don’t see the world in black-and-white. This alone is the massive differentiating factor between black-and-white photography and color photography.

Secondly, color, color science, digital cameras, sensors, sensor technology is always changing in terms of color. Also JPEG, RAW settings. CMOS vs CCD sensors for color, etc. this alone is a massive headache; and there is also a quadrillion different types of ways to print color, display color, and also view monitors with different color profiles etc. Black and white makes your life 1 trillion times easier.

---

The path to become a great photographer

How does one become a great photographer?

I think first of all, I think having an over stated ego, over inflated ego, over inflated self-confidence is a virtue and a good thing. First, I think you must have the desire, the audacity, and also the chutzpah to desire to become a great photographer.

I believe the 99.99% issue with modern day life is that it is considered immoral to desire to become great. That somehow, greatness, and striving to become great, is actually considered a vice.

Modern day life says one must be quiet, low-key, and ashamed of oneself. It is considered a vice to self promote, have self confidence in oneself etc.

I say, perhaps the best thing you could teach yourself, and also teach our kids is in fact to gain more self-confidence, to gain more audacity.

Great aesthetics?

In terms of making great photos, my simple thought is that making great photos is all about making photos which are strong, simple, and hard.

For example, some aesthetic thoughts:

1. Extremely high contrast black-and-white
2. Simple backgrounds
3. Some sort of strong character, subject, or happening or mood behind the photo

Making “objectively” great photos?

Something which I believe which is very unorthodox:

Personally speaking, I do believe that it is actually possible to make an objectively great photo.

But the question is, who decides?

First of all, you decide. Then maybe EK or arsbeta.com can decide.

Whose opinion matters?

In terms of photography, and your photos, whose opinion truly matters?

For example, do you want everyone to universally call you a great photographer, and bow down before you?

This is what I have discovered after having attended a magnum workshop, meeting Magnum Photographers, etc:

Nobody is happy.

---

Becoming a happy photographer?

I had a funny idea, if I want to start a gym, I want to call it “happy gym”.

Why? Isn’t the point of going to the gym just be happy, become happier?

Even Joe Gold, the guy who started golds gym said “the point of going to the gym is to have fun!”

I think the same as in photography. Isn’t and shouldn’t the purpose of photography to be happy?

---

Resources to become a great photographer

1. STREET PHOTO STARTER KIT // HAPTIC SHOPPE
2. BOOKS
3. MASTERS // How to get started

Quick start to the Masters of Photography

If you’re new to the masters of photography, start with the articles below:

• Learn From the Masters of Photography
• 100 Lessons From the Masters of Street Photography

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Introduction to the Masters of Photography

Dear friend,

You’ve probably had this situation — when you’re at some fancy art show, and you hear another photographer “name drop” other famous photographers.

You nod your head in agreement, but you have no idea who these master photographers are.

Consider this guide as a way to de-mystify and de-elitize the masters of photography.

I never went to art school, or photo school. I had to self-teach myself all the masters of photography. And now that I know them, I want this guide to help you (assuming you don’t know any of the masters of photography).

This page is currently a work in progress. I will continue to make edits to this page, as there are a lot of masters to cover.

Let’s get started:

Chapter 1: “Old school” photographers

“He without a past has no future.”

To start off, let us start off chronologically.

I know a lot of these “old school” photographers might seem a bit boring. However, the reason their work still has lasted, because it is classic. They have paved the way for all of us in photography. They experimented with the medium of photography, and pushed it forward. They made photography an acceptable art form. We have a great deal of debt to pay them.

This period of time is roughly the 1920’s:

1. Andre Kertesz

I’d recommend first starting to learn about Andre Kertesz, who was one of the first photographers who inspired Henri Cartier-Bresson (essentially the “godfather” of street photography). Andre Kertesz harnessed the classic form of geometry to photography, and was prolific all the way until his death.

2. Henri Cartier-Bresson

Of course, you need to study the work of Henri Cartier-Bresson, who first took 35mm photography to the next level. He innovated the concept of the “decisive moment“, and saw photography as an “instant sketchbook.”

Henri Cartier-Bresson is a great starting point if you love black and white photography, geometry, and composition. Further resources on Henri Cartier-Bresson here:

• The Theory of Composition in Street Photography: 7 Lessons from Henri Cartier-Bresson
• Debunking the “Myth of the Decisive Moment”
• 10 Things Henri Cartier-Bresson Can Teach You About Street Photography

3. Alfred Stieglitz

Alfred Stieglitz was a photographer, who first pushed photography to be taken acceptably as “art.” Photography wouldn’t be where it is today without him.

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Chapter 2: “New school” photographers

I consider this “new school” of photographers the next wave of photographers who innovated in photography, from around the 1950’s onwards to the 1980’s:

4. Garry Winogrand

Garry Winogrand was probably one of the most prolific street photographers to have ever lived. He shot because he loved it, and he was one of the innovators of the 28mm lens, getting close to his subjects, and creating “edgy”, dynamic, and off-kilter compositions. Not all his photos are pretty, but his work ethic, distaste for the art world, and his down-to-earth humor makes him a master to study.

5. William Klein

William Klein is one of the most badass street photographers in history. He said what was on his mind, and said it the way he wanted. He was a “director on the streets” — he would often interact with his subjects, engage them, and this puts his soul in his photos.

Klein also was innovative with fashion photography, film, and inspired many other photographers, including the highly influential Japanese street photographer Daido Moriyama. In turn, Daido Moriyama inspired other master photographers such as Anders Petersen, and Jacob Aue Sobol.

Klein innovated using blur in his photos, high-contrast and grain, and multi-layered photos.

6. Diane Arbus

Diane Arbus is famous for photographing people on the fringes of society. Many of her portraits are a bit unsettling to look at, yet they show deep humanity and empathy. If you love shooting portraits, definitely check out Diane Arbus.

7. Lee Friedlander

Lee Friedlander is a funny photographer with a great wry sense of humor. He innovated in urban landscapes, creating complex scenes (without overlapping figures). Not only that, but his self-portraits have great humor and are quite introspective.

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Chapter 3: Contemporary photographers

This section of photographers are personal friends of mine — photographers who I have gained a lot of inspiration from:

8. Josh White

Josh White is one of my best friends, and shoots with his soul. His body of work includes personal photos, as well as street photos. He is the one who inspired me to shoot more personal photos of my loved ones, and family.

9. Blake Andrews

Blake Andrews is a prolific blogger and passionate photographer. He has a no-nonsense approach to photography, and his knowledge on the history of photography (as well as his daily practice of photography) is a massive inspiration to me.

10. Jacob Aue Sobol

Jacob Aue Sobol is probably one of the hardest working photographers around. He has taken ‘personal photography’ to the next level– by getting both physically and emotionally close to his subjects. He constantly inspires me to push myself, photographically, and spiritually.

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All the masters of street photography

If you’re ready to get your hands wet, see all the lessons from the masters of street photography below:

• 100 Lessons From the Masters of Street Photography

The Masters

Here is a full list of the masters:

• Alfred Stieglitz 
• Alec Soth
• Alex Webb
• Anders Petersen
• Andre Kertesz
• Ansel Adams
• Araki
• Blake Andrews
• Bruce Davidson
• Bruce Gilden
• Constantine Manos
• Daido Moriyama
• Dan Winters
• David Alan Harvey
• David Hurn
• Diane Arbus
• Dorothea Lange
• Elliott Erwitt
• Eugene Atget
• Eugene Smith
• Garry Winogrand
• Helen Levitt
• Henri Cartier-Bresson
• Irving Penn
• Jacob Aue Sobol
• Jeff Mermelstein
• Joel Meyerowitz
• Joel Sternfeld
• Josef Koudelka / Part 2
• Josh White
• Lee Friedlander
• Magnum Contact Sheets
• Magnum Photographers
• Mark Cohen
• Martin Parr
• Mary Ellen Mark
• Rene Burri
• Richard Avedon
• Richard Kalvar
• Robert Capa
• Robert Frank
• Saul Leiter
• Sergio Larrain
• Sebastião Salgado
• Shomei Tomatsu
• Stephen Shore
• The History of Street Photography
• Todd Hido
• Tony Ray-Jones
• Trent Parke
• Vivian Maier
• Walker Evans
• Weegee
• William Eggleston
• William Klein
• Zoe Strauss

To learn more, see Street Photography 101 >

First, don’t call it a cult, call it a “club“.

Second, have some sort of charismatic leader.

Third, some sort of physical place of activity or congregation. Some sort of temple.

Fourth, some sort of rituals, lingo, or verbiage.

Some good examples include The Cult of powerlifting, The Cult of coffee, The Cult of yoga, The Cult of Apple (Apple store as the temple), the cult of Leica, the cult of Tesla, the cult of Elon musk, etc.

Also the cult of bitcoin, crypto, cryptocurrency, crypto technology, and Satoshi.

Fight club, the movie fight club is a synopsis on building a cult.