• Small is Beautiful

    Small is Beautiful

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    Read as a Google Doc or PDF.

    Dear Friend,

    I wanted to share with you some thoughts that are on my mind:

    The first thing that came to mind: “small is beautiful.”

    So I have a problem; I am inflicted with this American obsession that “bigger is better.” We want bigger houses, we want bigger cars, we want bigger bank accounts (more money), we want cameras with bigger sensors (more megapixels), we want bigger houses, bigger closets (to put in more of our shit that we don’t really need), bigger screens on devices (think of the iPhone 6 plus), and a bigger circle of influence (everyone wants to be YouTube and social media famous).

    One of the things that I learned from my 3 months abroad is this; all the material possessions I really “need” can fit into a backpack. The only things I truly “need” to be productive and produce information is a camera and some sort of typing device (can either be a smartphone or a laptop/tablet). As for my clothes, you probably already know that I only travel with two shirts (Uniqlo Airism) and two pairs of boxers (Exofficio) which quickly dry, as I wash them with shampoo in the shower every night. I only have one pair of pants (Uniqlo stretchy denim), and two pairs of socks (also quick-dry), and my trusty Nike Flyknit 4.0 (seriously the most comfortable and lightweight pair of shoes I have ever owned).

    I don’t know if I told you this yet either, but I am moving to Vietnam next summer, and going to live there for a year with Cindy. I have a lot of shit in my house that I can’t take with me, so what am I going to do?

    I have a plan; I want to go to Vietnam with no excess baggage. I only want to bring what I can fit into a single backpack (the trusty Thinktank Perception 15 I picked up in Aix-en-provence after I got my backpack stolen in Paris).

    So what am I to do? I have a shitload of photo books that are just chilling in the closet, and haven’t been read for ages. I know that some of them are sold-out and quite rare and expensive. Rather than selling them on eBay or Amazon, I have a plan; I want to start giving them away to friends and other street photographers I know would love and appreciate them. I want to breathe new life into these books, rather than hoarding them. Perhaps I can throw a big party, invite all my friends, and let my friends take all the books they would like. Not only that, but for them to pay it forward, by continuing to give them to other photographers who might want to read them. I don’t want people to treat books like it “belongs” to them (or anybody for the matter). I want books to be “common property” — and to treat them almost like a public library.

    And the thing is, is there a photo book that I truly love so much that I want to lug it all the way to Vietnam, and waste space in my tiny little backpack? To be honest, I don’t think there are any books that I truly love that much. My plan is this; to just bring my iPad and enjoy one of my favorite photographer’s images (Richard Avedon) on the free Avedon iPad app. I love photography books with all of my heart; I love the texture, the three-dimensionality, the feeling of flipping pages, the matte of the paper, the smell, and the feel of a physical object in my hands.

    But honestly at the end of the day, to me, the image is the most important thing. I don’t care if I see an image as a print, in a book, or on a screen. As long as the image is able to evoke some sort of emotional response out of me, that is good enough.

    Furthermore, I am lucky and blessed that all of my favorite photobooks can be seen online on the magnumphotos.com website.

    I also very much like this idea of purging all of my physical things and starting afresh. In-fact, I try to apply this line of thinking everyday I wake up. I think to myself, “If today I was born anew, and was able to live this day without any baggage from the past, how would I live this day differently?”

    A funny idea I had when I had my backpack stolen in Paris: what if I got my Leica stolen? Would I end up buying a new one?

    The thought was actually quite exciting. In-fact, I wish I did infact get my Leica stolen, to see how I could start all over from scratch.

    So this is advice I would give myself if I started shooting street photography all over again; just buy a digital Ricoh GR, and take photos of anything that interests you, without any sort of self-editing, or pressure or need to share or publish the images on the internet. To truly shoot for myself, and perhaps print out a few photos of the images that are truly meaningful to me. And also not to “chimp” and look at the photos, and let them “marinate” for at least a week (or better yet, a month) before looking at them.

    I don’t know if I would tell myself to buy unnecessary hard drives or any other excess baggage. I’d probably shoot all the photos as JPEG+RAW, and have Google Photos Auto Uploader to store the 2000px wide photos to the cloud for free. And for my favorite images, I would save the full resolution images to Dropbox or Google Drive, (perhaps also Flickr). And for my absolute favorite images, I would print them out and hand them to friends, family, or anybody who would enjoy them.

    I have long aspired to publish a photography book of my series of images, but the funny thing is that I find my ambition dampening. And it has given me a lot of peace of mind. I would love to publish a book one day, but  I’m not in any hurry or rush. I will let the opportunity present itself to me naturally.

    But what if I die in some freak car accident before I ever have a book of my own published? Honestly, I will be dead (so I would have no regrets). Not only that, but most of the people who follow me have already seen my photos online. So how much of me publishing my photos in a book is a self-vanity thing (trying to show off and preserve my “legacy”), or bringing some sort of value to the lives of others?

    I thought something else of last night; I actually prefer prints over photobooks. Why? Well, a print is much easier (and affordable) to give away as a present, that brings so much happiness and joy to others. I’m not sure if you know, but all my images are free to download on Flickr (full-resolution) for people to print themselves. People can also download my entire portfolio (and do whatever they want with them) on Dropbox and Google Drive. Oh yeah by the way, while you’re reading this, don’t forget to download all the free e-books on street photography on Dropbox or Google Drive. In-fact, I have compiled all of my materials for free (and convenient) downloads on the new “Downloads” section of the blog.

    I have no interest in making money off my prints. What  do I prefer? Making a few extra hundred bucks selling prints, or spreading happiness and joy by giving it away with “no strings attached?”

    To get back to the point, a print can be hung on the wall, admired everyday– whereas a photobook can only be appreciated when taken off the shelf, and looked at (with a nice coffee or glass of wine).

    I also had another random idea; I want to start sharing more of my photos as prints, to make a small little collection of 10 photos and print them on some thick paper, and to send them to people who might appreciate them. I shot around 80 rolls of Tri-X black and white film (pushed to 1600) in Europe this summer, and that approach might be suitable. I need to remind myself; less is more. I would rather have 10 strong images from 80 rolls of film, rather than a mediocre book. I remember what I learned from Mary Ellen Mark; each photo should stand on its own, and I want to strive for every photo I share to be “iconic.”

    I apologize for straying off the original point; that small is beautiful.

    So let me share some other ways that I feel that small is beautiful in photography (and life):

    1. Small laptop:

    The benefit? It is portable, you can carry it with you everywhere, and you can do more writing anywhere you would like. I had an 11 inch Macbook Air as my only machine for about 3 years, and the smallness of the screen (and how light it was) was a huge benefit for me. Because the screen was so small, I couldn’t multi-task. This allowed me to be more focused on the thing at hand. Whereas in the past when I had two 24-inch monitors on my desktop computer, I would multi-task so much and never get anything done.

    Multi-tasking is the death; simplicity is to have constraints.

    Focusing is easy when you can only have one thing on the screen at a time. I think my next machine is the 12’’ Retina Macbook, as it is (even) lighter than my old 11’’ Macbook air, and I don’t need that much computing power. In-fact, I would imagine the benefit of getting an “underpowered” machine is that I won’t get tempted to buy any new digital cameras (with tons of megapixels that require a strong machine). It should be good enough to look at photos shot on a digital Ricoh (which I think is the only 1 camera I want to bring to Vietnam).

    2. Small home:

    I have long lamented that I wish I had a bigger apartment; to have more room for my photobooks, to have a private office to do my photography work, and more space to feel open, free, and inspired.

    But I am quite fascinated with the idea of the “tiny home” movement; especially with the “life edited” tiny houses.

    Cindy and I used to live in a 2-bedroom apartment in Berkeley, paying around $1,800 a month (before utilities). We had a spare bedroom that we thought “would be nice” to have guests over. But in reality, we rarely had guests (only one guest every few months)– and that extra room caused us a lot of stress. We wondered whether it was a good idea to rent it out, to host an AirBnb, or else it would go to “waste.”

    The best thing we ended up doing was moving into a smaller 1-bedroom apartment (only $1,300 a month, with utilities included!) There have been so many benefits; we use our space more mindfully, we don’t accumulate shit we don’t need, and other practical stuff– it is easier to clean (fewer floor space to clean), the distance from the kitchen to the living room is much smaller (it is pretty much the same space), we have an extra $500 a month (we can actually afford to eat in San Francisco on the weekends!) and less stress about finances and rent. Not only that, but if I want to experience a bigger space, I just visit Artis, the local cafe with huge floor-to-ceiling windows and 2-story high ceilings. Why aspire to buy my own bigass modern house, when I can go to a cafe and enjoy the same experience for $2? (price of an espresso).

    One of our dreams is in the future to buy our own home. If we do so, I want it to be smaller than we need it to be, and to enjoy every square inch of the house the fullest.

    3. Small group of friends and photographers

    Another realization I had in my life recently; I don’t want to “network” anymore. I only want to spend time with people that I love and care about. I don’t need any more money, power, fame, or influence. All my basic needs are met (food, water, shelter), and the only other things I “need” include love, companionship, and friendship. Was it Aristotle (or perhaps Socrates) who said that “friendship is the ultimate good”?

    I once read, “You are the average of the 5 closest people to you.” That is a quote that has stuck with me for a long time.

    Another quote from Seneca: “He who travels constantly has many acquaintances, but a few true friends.”

    I want to start subtracting more from my life; to spend more time with people I care about, and less time with negative people, time-wasting people, and people who are just like dark clouds, doom, and gloom.

    All I want in my life is 5 good friends, and to give them all my attention, love, and energy. Quality over quantity.

    Similarly, I want to reduce the amount of photographers in my life, and who I am inspired by. I’ve studied so many of the masters of street photography, but there are only 3 who I want to consider being part of my “inner-circle.” They include:

    1. Josef Koudelka
    2. Richard Avedon
    3. Bruce Gilden

    At first I tried to think of 5, but I honestly couldn’t think of another 2 off the top of my head. Perhaps “3” is a better number than 5. So to redact my previous point; perhaps all I need in life is 3 really good friends.

    I was reading “Letters from a Stoic” by Seneca earlier, and he taught me all these great things on the topic of his second letter: “On Discursiveness in Reading”:

    One of his words of wisdom:

    “You must linger among a limited number of master thinkers, and digest their works, if you would derive ideas which shall win firm hold in your mind.”

    So applied to photography, I should only linger among a few master photographers, revisit their work, and thoroughly digest their work.

    Going back to that point that I mentioned earlier, here is the actual quote:

    “When a person spends all his time in foreign travel, he ends up having many acquaintances, but no friends. And the same thing must hold true of men who seek intimate acquaintance with no single author, but visit them all in a hasty and hurried manner. Food does no good if it leaves the stomach as soon as it is eaten; a plant which is often moved can never grow strong.”

    So what I need to do is subtract the number of photographers I am inspired in life by, and just thoroughly chew, digest, and absorb the inspiration and wisdom from the few master photographers I admire.

    But what if I get bored of their photography, and crave something new? The master Seneca gave me some amazing advice:

    “When you crave a change, fall back upon those whom you read before.”

    I have been applying this philosophy to books in general; whenever I crave new books to read, I simply re-read the books that most influenced my life (Letters from a Stoic by Seneca, Tao Te Ching by Laozi, and Meditations by Marcus Aurelius).

    Another random quote I got from Seneca (via the philosopher Epicurus): “It is not the man who has too little, but the man who craves more, that is poor.” That is a nice reminder for me to be contented with what I already own and have in life, and not strive for more.

    I also have an endless thirst for money and “security.” I am lucky in the sense that I have some control over my income. For example, if I want more money, I just can teach more workshops.

    But I have been wondering, how much money do I truly need? At what point do I stop teaching workshops? I came up wit a good rule for myself: “Would I do this activity if I didn’t get paid; and would do it for free?” If the answer is “yes”, it is an honorable activity that is worth doing. I am so lucky that I love doing workshops with all of my heart; I love bringing people together, helping build their confidence, and bringing joy into their lives. And yes, I have taught many free workshops in the past, with equal amounts of enthusiasm (as if I were being paid). So in the future, I plan on doing more free community-oriented workshops (especially for those who cannot afford them), give out more free scholarships, and continue to do “paid” workshops to pay the bills.

    Seneca also gave me some good advice about money:

    “Do you ask what is the proper limit to wealth? It is first, to have what is necessary, and second, to have what is enough.”

    So what is really “necessary” in my life? Paying for food (cheap, I can survive off eggs), paying for water (cheap, I can drink tap water), paying for rent (not as cheap in the San Francisco Bay Area, but still do-able).

    And what is “enough” in my life? The things I already own. I don’t need new clothes (two pairs of clothes is sufficient), I don’t need a new camera, I don’t need a new laptop (although it would be nice, as the keyboard on this $300 Lenovo Windows 8 laptop I bought at the airport in Lisbon has an unresponsive keyboard).

    I don’t need a new smartphone, I don’t need any new photobooks, I don’t need any new philosophy books, I don’t need any new friends, I don’t need more money, I don’t need to travel to any new places, I don’t need a fancy espresso machine (tempting, but I prefer going to the cafe), I don’t need to try out any new restaurants (already had amazing food from all around the word, how much more variety does my tongue need?)

    I don’t need more followers on social media (currently deleted all the social media apps from my phone, wow, what a great sense of serenity this has brought me), I don’t need more information (the less “junk-food” media I get from TV, magazines, and the internet, the better. One of the reasons I don’t own a TV, surf the internet and blogs”, or subscribe to magazines which are 80% advertisements), I don’t need appreciation or admiration from others (I should be content with myself).

    I don’t need to leave a legacy (we’re all going to die and be forgotten anyways), I don’t need a gym membership (pushups, one-legged squats, and chin ups are sufficient), I don’t need bullshit, fear, and negativity.

    Wow, I didn’t realize that there was so few things that I really “needed” in my life.

    4. Small geographic area

    Another idea I have been meditating on a lot; I don’t need to see the world. The whole world is in my own backyard.

    One of my problems is this; I always crave and seek novelty. I am never happy where I am. Even when I was in Istanbul, I remember when I was on Facebook and was jealous of my friend sipping a Corona on the sandy beaches of the Caribbeans. I am an ungrateful bastard. After all, how many other people in the world would be jealous of me being in Istanbul? I always want what is out of my reach, and am never satisfied.

    Once again Seneca comes to the rescue; he gave me this advice (which was initially written to his friend Lucilius):

    “Judging by what you write me, and by what I hear, I am forming a good opinion regarding your future. You do not run hither and thither and distract yourself by hanging your abode, for such restlessness is a sign of a disordered spirit. The primary indication, to my thinking, of a well-ordered mind is a man’s ability to remain in one place and linger in his own company.”

    Once again, my problem is that I always seek novelty in terms of my environment. Even though my apartment in Berkeley is lovely (I have a nice light-wood birch table that I got at the clearance aisle of IKEA that is smooth to the touch, and faces the railroad from my window, where I can see lots of trees, grass) I always crave to get out of the house, and to go to hipster cafes and do work. But I need to enjoy spending more time at home.

    But I always make excuses; I always tell myself that I can only get writing done at a cafe, because I prefer the company of others. But in reality, I can get writing done anywhere, and shouldn’t seek to always change my abode.

    For example, the last two days I’ve been here in Stockholm, I’ve enjoyed staying at my friend Brian’s home, without the need to go outside. After all, I got peace, quiet, access to superfast wifi (without feeling guilty to ask the barista for it), a toilet (no worries about people stealing my stuff at a cafe when I need to piss), free coffee and tea, and power outlets (I seriously get anxiety when my battery runs low on my laptop and smartphone). And damn; I have been productive. I’ve been able to focus and write an epic article on Mary Ellen Mark, the freedom and space to think and meditate on my own, and also to do some yoga, stretches, and exercise.

    I think I have come up with a small epiphany: The best cafe is your own kitchen. And the best place to write is wherever you are sitting. And the best place to take photos is in your own backyard.

    You also know me; I am an extreme extrovert. According to the Myers-Briggs personality test, I am an “ESFP” — which means that I gain energy from being in the company of others. But at the same time, I don’t want to distill my entire personality and human soul into 4 arbitrary letters, as my friend Lara taught me at a recent workshop I had in London. I want to be able to “remain in one place, and linger in my own company” (while enjoying it).

    So perhaps the solution is to learn to spend more time by myself. I still love to see my friends, and enjoy a nice dinner with people I love and care about. So perhaps the solution is this; block off all my time in the morning, and only dedicate that time for myself. Then meet friends in the afternoon or evening, and don’t work for the rest of the day.

    One lesson I learned from Nassim Taleb from his excellent book: “Antifragile” is to never plan a meeting a day in advance. Otherwise, I will feel like a prisoner. What if I start writing in the morning, and I get into a deep “flow” state, and can go on writing for another 5 hours, but I have a “meeting” or lunch appointment? Then effectively, my entire day is ruined.

    So I just need to make more white space in my life; fewer appointments, only with people I truly love and want to see.

    But how can I best enjoy my time alone? I can use time to read more, to write more (the thing that brings me the most satisfaction in life), to daydream more (take more naps instead of just bombarding my system with more caffeine and espressos), and to just chill the fuck out without feeling that I need to “do” anything and be “productive.”

    I often preach that “the best photos to take are in your own backyard.” Unfortunately, even I have a hard time sticking to this rule. Living in Berkeley, I see San Francisco as so much more interesting. Fortunately I have done a lot of urban landscapes in Berkeley, which brought me a lot of pleasure– especially with the “zen” nature of shooting 6×6 on the Hasselblad. To be honest, none of the photos that came out really pleased me (ironically enough, many of the urban landscapes I shot on my smartphone, I preferred).

    Now that I have been on the road for about 3 months away from home, and looking at Berkeley from a distance– it is such a cool place, ripe with so many photo opportunities. Surprisingly, a lot of people from Europe actually know where Berkeley is. Not only that, but historically Berkeley is famous for being the epicenter of the “free speech movement” as well as other socio-political and civil issues — tackling issues like racism and same-sex marriage. It is always easy to get jaded by your own hometown; but I have a dedicated plan when I get back home: to only shoot street photography in Berkeley for the next month, without any desire to shoot in San Francisco.

    The thing too is that there are very few photographers who have done substantial bodies of work in Berkeley. San Francisco, LA, and New York have already been shot to death. I want to shoot my own city with as much vigor and energy as possible; from the perspective of an insider, not an outsider.

    I was talking with my buddy Brian Spark and he brought up a good point to me; there tend to be two different types of photographers. First, there is the type of photographer who travels to exotic locations, and takes ordinary photos of interesting things. Secondly, there are photographers who take photos in their own boring town, but make them extraordinary. I want to be the second type of photographer.

    5. Small books/prints

    Another thing I discovered is that I actually prefer small prints and small photo books. I hate huge photobooks which are huge, expensive, and difficult to hold, and read.

    The smaller photobooks are more beautiful, more personal, more affordable, and more manageable.

    One of my favorite photobooks is Jason Eskenazi’s “Wonderland” — which is the size of a small paperback book. The pages fold flat (workss well with the horizontal spreads), and it is easy to take with you everywhere you go.

    Similarly, if you aspire to make huge prints, you have lots of problems. First of all, they are really expensive, difficult to frame (also expensive to frame), and you need a huge wall or space to hang them. Smaller prints (4×6, 8×12’’, my favorite sizes) are easy to carry around, give to friends, and to edit series or sequence projects. Because they are smaller, they force the viewer to hold the images closer to their faces, which forces them to be more engaged with the images, and for the viewer to try hard to look at the details. This is much more “interactive” than a big ass print in a famous gallery, which looks down at you (rather than you looking at it).

    So moving forward, I don’t plan on publishing my work as huge, expensive, “art pieces.” Rather, I want them to be small, simple, inexpensive, humble, and easily accessible to the masses.

    To conclude, I will just ramble off some other ideas where “small is beautiful” and much more preferable to big, fancy, and expensive:

    Benefit of small cameras: inexpensive, light, easier to carry with you, always with you, chance to catch more “decisive moments.”

    Benefit of small cars: cheaper, more fun to drive, better on fuel economy, easier to park, easier to wash, and less pretentious.

    Benefit of small phones: easier to text with one hand, smaller battery is a benefit (you learn to use your phone less, and not be a slave to your phone), cheaper (iPhone 6 plus and Note 4 “phablets” are quite expensive), fits more easily in the pocket.

    Benefit of small bags: you carry less shit with you, you probably will only bring one camera and one lens (and a few rolls of film or batteries), less strain on the shoulders and back, less expensive than bigger bags, easier to put under the space under your feet in planes.

    Benefit of a small (yet well curated) library: you only own the photobooks you truly love, don’t need to buy more shelves, gives you the chance to re-read more of your books, helps save you money, and saves space (especially if you live in a small apartment).

    Benefit of a small closet: you have less “decision anxiety” when deciding what to wear in the morning, you spend less money on clothes (you have less space to fill your closet with). Apparently Steve Jobs only had one “uniform” (black turtleneck, blue jeans) so he didn’t have to stress what to wear. Similarly, Barack Obama only owns two suits (black and navy blue) so he can reserve his “decision-energy” on more important things (like world politics).

    Benefit of small kitchen: you don’t accumulate useless “labor-saving” devices from IKEA, like blenders, onion choppers, avocado peelers, and waffle irons (honestly, how often do we use these appliances?) Also you have fewer cups, pots, pans, and dishes– so there is less stress of having them fitting neatly in the cupboards.

    Benefit of small bank account: it sucks to have little money in the bank account (I grew up not knowing if we’d be homeless the next month), but it is true that “hunger breeds sophistication” — that the fewer options and choices we have, we are forced to be more creative. For example, the concept behind Airbnb was that two guys had a space living room and air mattress, and thought it would be a good idea to rent their living room (and air mattress) to make a few bucks on the side. Also in the beginning, the founders of Airbnb didn’t have enough money to advertise their startup, so they came up with ingenious ways; like giving away free cereal boxes. Now they are a multi-billion dollar company. Almost all great inventions and ideas are out of necessity. Rarely do great ideas come from mega-rich individuals or companies swimming in millions of dollars for their “R&D teams.”

    Don’t have enough money for a fancy camera in photography? Harness the creative potential of your smartphone. Don’t have money to travel? Shoot your own backyard. Don’t have money for photobooks? See them online for free at magnumphotos.com. Can’t afford to print your own photo book? Either make them available online for free, or print them on-demand (blurb.com) so there is no startup cost.

    Benefit of small notebooks: you only write down your best ideas, are more frugal with your space, improve your handwriting, and easier to carry around.

    Benefit of small ambitions: you are rarely disappointed (preferably never disappointed), and you live a life more true to yourself, rather than relying on the admiration of others for self-fulfillment.

    Benefit of small storage space/hard drive: you delete excess crap, which forces you to “edit down” and focus on what is truly essential. If you have a phone with limited storage, this means following the “via negativa” approach of uninstalling one app a day, rather than trying to add a new app everyday. And the funny thing, the fewer apps I have on my phone, the more productive and focused I am.

    Let me leave you off with one of my favorite Steve Jobs quotes:

    “That’s been one of my mantras– focus and simplicity. Simple can be harder than complex: you have to work hard to get your thinking clean to make it simple. But it’s worth it in the end because once you get there, you can move mountains.”

    Farewell my friend, and Godspeed,

    Eric

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    Written @ the home of Brian Sparks, with an espresso in the morning (damn Nespresso machine are convenient), an earl grey tea (with foamed almond milk), and another espresso (long) with some foamed almond milk on top. 12:15pm, 8/26/2015, before meeting up Brian and my friend Mattias for lunch :)

     

  • Conquer Your Fears (and Meet New Peers) in SF, New Orleans, and LA!

    Conquer Your Fears (and Meet New Peers) in SF, New Orleans, and LA!

    Group selfie from my Berlin Conquer Your Fear Street Photography Workshop!
    Group selfie from my Berlin Conquer Your Fear Street Photography Workshop!

    Dear streettogs,

    I am excited to share my new upcoming street photography workshops for the rest of the year! If you want to conquer your fears in street photography and meet new peers, don’t miss out on this chance to invest in your education!

    I know the workshop isn’t cheap, but I can guarantee you that it is an experience you will never forget, and something that will help inspire your photography for years to come. Not only that, but you will have a chance to pick my brain, get pushed outside of your comfort zone, and to connect with a community of other passionate street photographers in your own city!

    Below is my full upcoming schedule. If you have any questions, email my manager Neil at neil.ta@erickimphotography.com

    Excited to have you! :)

    August 7-9th

    Berlin –Introduction to Street Photography WorkshopSOLD OUT!

    August 14-16th

    London – Introduction to Street Photography Workshop – SOLD OUT!

    August 21-23rd

    London – Intermediate/Advanced Street Photography Workshop – SOLD OUT!

    August 28-30th

    Stockholm – Introduction to Street Photography WorkshopOPEN!

    September 16-18th 

    Seattle – Introduction to Street Photography Workshop in association with PopUp GPP Seattle  - SOLD OUT!

    October 2-4th

    San Francisco – Conquer Your Fears of Shooting Street Photography – OPEN!

    October 14-18th

    New OrleansWeek-Long Travel Street Photography Workshop - OPEN!

    November 6-8th

    San Francisco – Discover Your Unique Voice in Street Photography – OPEN!

    November 13-15th

    Downtown LA – Conquer Your Fears of Shooting Street PhotographyOPEN!

    November 20-22nd

    Downtown LA –Discover Your Unique Voice in Street PhotographyOPEN!

    You can learn more about my street photography workshops and see the before/after photos!

  • A Real and Unique Pleasure by Pierre Belhassen

    A Real and Unique Pleasure by Pierre Belhassen

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    (Words and Photos by Pierre Belhassen)

    I’m Pierre Belhassen. I started photography 10 years ago. After studying cinema, I was given a camera. I wanted to discover New York City. It became a revelation in my life. I realized that there are endless possibilities and different ways to reinvent reality. For me, there was no doubt. I felt this inner calling which gave sense to everything.

    (more…)

  • How to Love Your Haters

    How to Love Your Haters

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    Read as a Google Doc or download as PDF.

    Dear Ming,

    I wanted to write you this letter regarding all the trolls and “haters” you have been getting over on your blog. I have a lot of advice for you– advice that has helped me deal with all the negativity on the internet. None of this is meant to sound preachy at all. We both deal with the same issues, and this is advice that has helped me, and I wish to help you too, my brother.

    First of all, I know getting trolled sucks. It is really shitty. You put in all this effort, energy, love, sweat, blood, and tears into your posts, and people still have something negative to say.

    Out of all the photography blogs on the internet, there is none as comprehensive and in-depth as yours. Sometimes I read your articles, and I think to myself, “How the hell does he blog so prolifically, while still doing editorial work, flying all around the world, taking care of his family, answering 200+ emails a day, make powerful images, respond to every comment, without doing cocaine?”

    I say this as a compliment. There is no harder hustler in the photography blog-o-sphere than you. I truly admire you pursuing your passion in photography as well. Having worked in the corporate world of bullshit, office politics, and the chase of money — I know how difficult it is to hustle as an entrepreneur.

    First, I would take it as a badge of honor that you have all these trolls on your blog. It is a huge sign of your success, and honestly– most of this negativity comes from jealousy. Think about all the people in the world who would love to be in your shoes. You are artistically gifted, a shrewd businessman, a hustling entrepreneur, a prolific writer, and someone constantly pushing his boundaries. Most people are dissatisfied with their lives, being stuck in a cubicle. They are insecure about their lives and their photography, and they simply project their frustrations upon you. When you are such an influential person on the internet, it is easy for people to throw punches as you. As photography bloggers, we are easy punching bags (unfortunately).

    But also know that if you weren’t successful and doing such a good job, nobody would be trolling you. After all, at the end of the day, you only have two options in life: to either be judged (usually negatively) or ignored. I think it is much better to be ignored.

    Secondly, I know this is really fucking difficult, but think about the positive people who love and support what you do, rather than the trolls. Trust me, I’m the same– one negative comment can cancel out ten positive comments. But at the end of the day, if you can touch and inspire one individual, it is all worth it.

    I know that sometimes it is hard to visualize the positive impact you have on the world and society. You talk a lot about gear, but you do it from a unique standpoint that you emphasize that both the gear and your artistic vision is important. A painter can’t paint without knowledge of different brushes and different paint mediums such as acrylic, oil, or watercolor. Whoever think that you are a “gearhead” is obviously missing the point.

    I think at the same time, you are concerned and worried about having people getting the wrong idea; that photography is more about the gear, rather than the art of photography. Don’t get me wrong, you’re going to give people GAS whenever you write a camera review. That’s the nature of the beast though; you are going to help people who are curious about a new camera, but at the same time, you’re going to cause dissatisfaction with people who don’t have the newest and greatest equipment. That’s why I personally try not to blog about gear much anymore, as gear is constantly being outdated, and at the end of the day, all cameras are more similar than dissimilar.

    I think your best articles are the ones in which photographers 200 years from now will find value in. Your articles on creativity, inspiration, and travel are the ones which inspire me the most. I also feel that perhaps moving forward, focus more on these. You are a guy who has such limited time anyways; I also know that you’re more passionate about teaching and spreading the love of photography (not just the gear).

    Another tip that has helped me deal with negative people online (and offline); imagine them like barking dogs.

    Have you ever walked on the streets and a dog started to bark at you for no reason? Does that bother or piss you off? Of course not. Why not? The dog is just a dog; it doesn’t know any better.

    Similarly, have you been on a plane and there is an annoying baby crying? Does that bother you? Yeah definitely, it disturbs your sleep, and peace of mind. But do you blame the baby or get angry at the baby? Of course not. Why not? Because the baby doesn’t know any better.
    Similarly, some adult human beings are also like crying babies. Imagine all of these negative trolls online like little babies crying and pounding away at the keyboard. Visualize how hilarious that looks, and it will make you laugh at negative comments or emails, rather than make you feel frustrated, upset, or depressed.

    Another piece of advice that my friend Mijonju told me, who probably get 10x more trolls than I do on YouTube:

    Have you ever been on the bus or subway, and there is a random crazy homeless guy (or psychologically unstable person) who randomly comes up to you, and yells at you while waving his hands? If so, how does that make you feel? For me, I just look at him weird and not take it personally. Why don’t I take it personally? Because he is crazy, and probably does that to everybody. I just happened to be a random target. I then just try to ignore what happened, and carry on with my day.

    Similarly, I honestly think a lot of people have some serious psychological problems. You never know if this online troll is bipolar, just experienced a death in the family, had a partner or spouse leave (or cheat on them), or whatnot. If you think of your trolls as sad, lonely, depressed, angry, or frustrated brothers and sisters, you will pity them and feel bad for the instead of feeling anger or resentment towards them.

    Let me tell you a story. I’ve always wondered about the psychology of “haters” out there, and have discovered some interesting insights about humanity.

    This one time, I received a really negative comment on one of my articles. The user name was like something like “Eric Kim is a con artist” and the comment read: “Eric Kim is rubbish. His street photography fucking sucks, and he is a horrible human being. He is a con artist, and anybody who signs up for his workshop is getting ripped off.”

    At first my knee jerk reaction was, “What the fuck? Who the hell is this guy, and what did I ever do to him?”

    I was curious who this person was, and if they ever left any comments in the past. I use DISQUS to power my comments, and there is a feature which allows you to search comments based on ip address. Funny thing: this guy left 2 comments, one about two years ago, and one as this hateful message. Even funnier? His prior comment was very positive and supportive. Even funnier? He was a street photographer I hugely admired and respected, and even collaborated with in the past before.

    I was puzzled. Why would he be so negative and mean to me, when I was never mean or negative to him?

    I went to his blog to investigate if everything was okay on his end. Funny enough, I discovered that he started teaching street photography workshops too, and perhaps he saw the workshops I taught as a threat.

    So I emailed him, asking him what I ever did to insult or hurt him. I told him how much I respected him, and how much his comment hurt me.

    He then replied and profusely apologized, and let me know that he suffered a death in the family, how his girlfriend left him, and how he has been psychologically sick and depressed. He asked me to delete the comment, and please to forgive him.

    I did so, and realized an important truth; what others say about you is never about you. It is always about the other person.

    Don’t feed the trolls

    In a recent post, you wrote an article about your gear, and tried to reiterate how you’re just trying to carry less stuff in the field:

    “I am not a gearhead for the sake of it or because I’m obsessed with the gear: it’s because I know what I want/need, and you often don’t know which compromises are workable and which are not until you get the stuff in the field. I’d like to carry less and be more focused, but I don’t want to compromise on image quality or printability. I cannot help but think that like our current government, it’s time for yet another major cabinet reshuffle at MT HQ…I don’t know which direction it’s going to take yet, but there’s more than a niggling feeling there will be both a lot of casualties and some unexpected rationalisations at the end of it.”

    Not sure why, but it looked like you had a lot of negative emails and comments. You followed up by writing:

    “Coda: There will be one more change. After the number of incredibly rude emails, messages and comments following the recent post, I have decided I am going to stop pulling punches. If you want to troll, go join the rest of your breathen under the bridge at DPR. If you are immature enough that your camera is your religion and you cannot distinguish between objectivity and personal attack, or had parents who never taught the basics of civil interaction, you will be dispatched and banned. If you want to criticise, remember that your own work is also out there for evisceration – or if it isn’t, then you have zero credibility. It seems to be far too easy to forget that the internet does not absolve you of manners and you are a guest here. I do this for free, and I reserve the right to a) stop when this is no longer enjoyable, and b) kick out those who seem to delight in making life a pain for everybody else. That is all.”

    I read that follow up from you, and felt your pain. You’re putting in all this work and effort for free; what gives others the right to criticize you? Why don’t they just stop reading your blog, and just move on instead?

    But this is what the trolls want; they want you to be negatively hurt. They are like bullies on the playground, they want to see you cry.

    I honestly think the best way to deal with negative criticism is to just not acknowledge it, and to ignore it. Yeah I know, easier said than done. But here are some mental models I’ve learned from the master Stoic philosophers which helped me greatly (from my hero, Seneca, who wrote this nearly 2,000 years ago):

    Let’s do another thought experiment: if there was something that pissed you off, would you vent your frustrations and anger on a rock? Of course not. Why not? A rock wouldn’t respond, and it would not be worth your time.

    Similarly, if you don’t even acknowledge negative criticism, the trolls will eventually go away. Why? They will find it has no effect on you, and they will feel like idiots, and be embarrassed, and love on.

    Another tip: self-depreciating humor helps tremendously.

    I remember when I was in high school, the worst thing you could call another guy was “gay”, “faggot”, or “fag.” Most guys would be fucking pissed off or hurt when they heard that. I know I did, and I was bullied a fair amount growing up.

    But what was the antidote? The next time bullies (or my best friends) would call me a “fag”, I would take the piss out of myself by flicking my wrist (the politically incorrect way to imitate a “gay person”) and say, “So what if I love to suck big black cocks?” Then the bully would be shocked and follow up by saying, “What the fuck? You sick homo” and try to take another blow at me by saying, “Well, I fucked your mom last night!” Instead of getting pissed off, I would just give him a weird look and say,  “Dude, that’s pretty gross. If you like to fuck old women, good for you.” Then the bully would look like an idiot, feel embarrassed, and move on.

    So similarly, you have no need to “defend” yourself regarding being a gearhead or whatever. There is also no need for you to write a disclaimer and publicly state that you’re not a gearhead. Why not? Because you know you’re not.

    It’s almost like writing an article and saying at the end of the article, “By the way, I’m not black, I’m Asian.” Anyone who thinks that you’re black is either a) Colorblind, or b) Confused.

    Perhaps the next time someone insults you or calls you a “gear head” just try out self depreciating humor. Instead of defending yourself, just say something like, “I like to collect Ferrari’s too.” Or say, “But all of my cameras keep me warm at night.” Or if anyone insults your writing style, you can say, “I’m also a horrible cook” (I’ve used this one before).

    Don’t ruin your own self serenity

    At the end of the day, insults are nothing but words. And what are words? Simply vibrations in the air. How can vibrating air hurt you physically? Any sort of mental anguish you get is more of how you process that information and interpret it. Take away your interpretation of a negative criticism and the pain goes away.

    What is a negative criticism or hateful comment in reality? If people write you a hateful email, break it down into physical elements. The “hater” is nothing but an ape-like creature with these appendages called “fingers”. These fingers of his (or hers) will be moving through the air, and hitting little plastic squares called a “keyboard”. This keyboard will then interpret these keys into 1’s and 0’s and input them into the computer. The computer will then decipher this into words, and sentences. Then the email provider will once again interpret this data and relay it into your inbox. Then when you open up the email and read it know that the words you read are nothing but 1’s and 0’s. How can numbers hurt you or have any negative impact on you?

    Ultimately you can’t control whether or not people will say negative things about you. But what you can ultimately control is how you interpret what others say about you in either a positive or negative way.

    I also have another personal rule (that once again, I learned from Seneca). The rule in ancient times was this: wait at least 1 day before deciding to beat your slave. In modern times I interpret it is as this: wait at least 1 day before responding to a negative comment or email. This way, it helps me be more objective when responding, than emotional.

    Usually after waiting one day the sting from the negative comment goes away and there is no longer any need to respond. In the cases that I do want to respond, I try to treat the “hater” as a person as a benevolent teacher, and try to convert them from an enemy to a friend.

    So I’ll respond by telling them that I appreciate their message, and appreciate their love and consideration for trying to help me. I then say that I’ll try to incorporate their feedback into future articles I write, and for them to please continue giving me “constructive feedback.” I then end the email with a smile face and tell them to take care, to continue their passion in photography, and give their loved one a hug (no matter how nasty someone is, there is still people they love and care about).

    What usually happens? They either never respond or they respond and apologize for being harsh, and they end up being positive and supportive. When life gives you lemons, make lemonade.

    Another practical tip: wait at least a week before reading any of the comments on your blog. This is what I do. Why?

    When you write something immediately, you’re emotionally attached to what you wrote. Inevitably there will be at least 1 negative comment or critique. So by waiting at least a week before reading comments you can focus on future articles you want to write, while also considering your reader’s feedback. Not only that, but you can be more objective when considering reader feedback. The two comments you usually get on the blog are either people who say a) “You’re awesome!” or b) “You suck!”. Both are equally useless. So don’t be too overjoyed when getting a positive comment, yet don’t be too gloomy when getting a negative criticism.

    Getting elbowed

    Have you ever been walking somewhere, and someone accidentally elbowed you in the back of the head? Yeah it sucks. It hurts. But you don’t get angry at the person because it was an honest mistake or accident.

    I feel there are also a lot of people out there that “accidentally” hurt you from their feedback. Some people have asperger’s syndrome, or are slightly autistic and have a difficulty understanding the feelings of others, or “social tact.” But what if they are a “normally functioning” person, that isn’t diagnosed with any mental illness? It technically doesn’t matter, because they obviously have something wrong with their mind if they spew negative hate on you.

    That is all the advice I have at the moment. If I come up with more ideas, I’ll send them over.

    But yeah man, what you’re doing is fucking awesome. You’re living the dream life, a life that many envy and wish they lived. Be grateful for the privileged position you have. You’ll always have “haters” no matter what. Even the Beatles, Picasso, Andy Warhol, and all the great artists have had “haters.” Even the most noble people in history who had no malice towards anybody (Jesus, Socrates, Gandhi) had “haters” and we’re killed for their beliefs. Consider us lucky, we will never be killed for our beliefs (hopefully), the worse is that people might spit upon us or call us bad names. But how can the drool or barking of a dog hurt us? Treat the haters like dogs that need love, support, and rehabilitation. Haters are just sad and lost souls that need a hug. Because at the end of the day, no matter how negative a person is, they still desire two things in their life: a) To avoid pain and suffering and b) To be loved and appreciated.

    I wish I could wear a shirt that says, “I love my haters” and whenever someone said anyone negative about me, I could meet them up for a coffee and just “hug it out” with them. In fact I have met many “haters” of mine in real life, and after some fried chicken and beer, we became good friends. Not only that, but these once “enemies” have turned into my most loyal friends.

    So carry on and do the amazing work that you do. You are never going to please everybody. But as a fellow “blogger” to you, I highly admire you and what you do. You are an inspiration to me, and know that I am one of  your fans. And at the end of the day, even an audience of one is sufficient.

    Also know that I’m always here to love and support you. You are a fellow brother, and as much as we hate to admit it, all of our readers (the positive and negative ones) are also our brothers and sisters in this journey of life.

    So keep smiling, and whenever you get any more future negative criticisms, don’t forget to continue to smile and thank your haters.

    Let’s meet up the next time I visit Kuala Lumpur, let’s have some nasi lemak, a nice espresso, and I’ll tell you face-to-face how much of a “gear head” you are ;)

    Lots of love at 50,000 feet in the air (in transit from London to Stockholm),

    Eric

    P.S. next time try out Norwegian air, they have free wifi onboard! And the soy “flat white” from Pret-a-manger isn’t too bad either. 7:34am, 8/24/2015

    You might also like these other other articles I wrote as a form of self-therapy:

  • 7 Lessons Josh White Has Taught Me About Street Photography (and Life)

    7 Lessons Josh White Has Taught Me About Street Photography (and Life)

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    Read as a Google Doc or download as PDF.

    Hey Josh,

    I just wanted to write you this letter wishing you a happy (belated) birthday, and the lessons in life you’ve taught me, and how much I appreciate your love and friendship.

    Shit, I still kind of forget how we first met “virtually.” Was it on your wordpress, Flickr, or somewhere else? Regardless, I remember when I first saw your “bokeh-licious” photos, I was drawn less to the bokeh, and more to the emotions in your photo.

    As a Korean-American, I have always had this romantic view of Korea, especially Seoul. I have always felt like kind of an outsider– that I was never fully accepted as being “Korean”, because my accent sucked (I sounded like an American), and culturally I was a lot more American. I remember whenever I visited Korea, I would always feel massive amounts of shame not feeling “Korean enough”, and the sense of alienation I felt as a 2nd-generation Korean-American “gyopo”.

    Somehow your photos really spoke to me. I think you felt a similar way, as a Canadian outsider, living in Korea. You were probably enjoying a pretty comfortable living teaching English, getting a sweet free place to stay, but still– you know, Korea is one of the most xenophobic and nationalistic countries in the world. Even though you made good friends, you were never fully “accepted”, nor integrated into Korean society. That must have given you a lot of pain, stress, anxiety, and frustration.

    I also forget how we first met “IRL” (in real life). Was it in Seoul or Toronto? Think it was Seoul, when we did the Leica workshop together. Anyways, when we first met, you were really like a “brother from another mother.” Your views on life correlated with mine spot-on, and the sense of “realness” and down-to-earthness made my soul sing. We’ve also had so much fun that other time we did the workshop together in Toronto, and we hung out with Neil and would just talk about random shit. Good time man.

    But I wanted to let you know how many lessons you’ve personally taught me about photography, life, friendship, and more.

    First of all, you’ve taught me the most important thing in life is friendship, relationships, and connections– not photography.

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    I remember how difficult it was when your father passed away, and how tragic it was. Regardless, it gave you a huge revelation, which also gave me a huge revelation. You said something like:

    “Why is it that we use these $10,000 cameras to take photos of strangers, when we take photos of our loved ones with smartphones? It should be the other way around.”

    As shitty as it was that your father passed away before he should have, know that this realization you have had truly changed my life (as well as thousands all around the world). It taught me to truly not take any of my friends or family for granted, and it made a huge shift in my photography. I no longer took shitty snapshots of Cindy or my mom, friends or family anymore– but rather tried to take the best photos of them on my Leica. I learned to cherish every moment with them, knowing that sooner or later, death is going to take them all away from me.

    Secondly, you’ve also taught me that at the end of our lives, we’re not going to give a shit about the photos we’ve made, but the friendships we’ve made.

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    I remember us talking how we can both image one another being 80 years old, sitting at some cafe on the patio, drinking coffee, complaining and moaning about the world of photography and all the “new guns”, and throwing rocks at little kids outside, and reflecting on our life’s journey together. We will reflect on all the difficulties we endured in life, the heartbreaks, the deaths of loved ones, but also the fun times we taught together, had beer and fried chicken together, and the great conversations we’ve had about life while loitering for hours with just one coffee in Seoul.

    You’ve really taught me that the friends I’ve made through photography far outweighs any photos I will take in my life. After all, who gives a shit about photos? They are perishable, and after we die, nobody is going to care about them. But there is nothing more immortal than friendship. Love your post you wrote on it with shooting with Neil in Busan.

    Thirdly, you taught me that at the end of the day, it doesn’t matter if you shoot film or digital, as long as you shoot with heart, passion, soul, and that you enjoy the process.

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    I know we both are massively afflicted with GAS, and we always switch from film to digital, and back and forth. We have this strange love-hate relationship with our cameras, and the other physical possessions we own. We are both suckers to advertising and fancy shit, like our strange obsession with leather backpacks and other “artisanal” goods.

    We know that material stuff doesn’t make us happy, yet we are both afflicted. Yet, talking to you has always helped ease some of the mental suffering I have inside. We both jump from Ricoh, to Leica, from black and white to color, from digital to film, and even fucking around with medium-format. But at the end of the day, nobody even can tell whether our shots are film or digital, and neither should we care. Regardless if your photos were shot on film or digital, they still have a signature “Josh White” look; they exude emotion, soul, and empathy for your subjects.

    Honestly, we’ve never going to find the “perfect” camera, lens, or setup for our gear. But we’re both going to continue to enjoy the process, and try to temper one another’s “GASSINESS” as we grow older together.

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    Fourth, you taught me to photograph my “muse” (aka Cindy) with more intensity, love, and care. Seeing the photos you take of Areum really inspire me so much. You’ve taught me that I don’t need to only shoot “street photography”, but that the best subject to photograph is my own life– and those closest to me. “Personal documentary” as Anders Petersen calls it (someone who we both love). After all, at the end of our lives, the photos we shoot of Areum and Cindy are much more close and personal than any photos we’ve taken of strangers. I think ultimately the photos we take of Areum and Cindy will be the best “project” or “body of work” at the end of our lives.

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    Fifth, you’ve taught me and inspired me to bleed more onto the page when writing, and to make my writing (and photography) more personal.

    Whenever I read your blog (the only photography blog, or blog in general I read), you really pour your emotion, heart, and soul into whatever you write. I feel like I’m having a conversation for you. It feels so real, so genuine– so you. You really wear your heart on your sleeve, and your viewers feel like they are a part of your life. Through your blog, I have followed you through your ups-and-downs in your life; death, love, heartbreak, depression, joy, and self-seeking fulfillment.

    Whenever I write an article for the blog, I try to think of you– and treat it almost like a letter that will also help and benefit you. And recently I’ve been thinking of making the blog more personal, and it seems that others have really responded well to this. So I will continue to follow in your footsteps, and to continue to bare my soul on this blog, and through my photography.

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    Sixth, you’ve taught me that I need to first enjoy my life, and then secondly be a photographer.

    I remember that whenever I would go out with a camera, it would be like a hunt, and I had to go “take” photos. But you taught me that it is much better to just enjoy myself; to hang out at cafes, at bars, meet up with friends, eat Korean BBQ, and just take snapshots of my life. You’ve taught me the secret to making better photos is to just enjoy my life more, and to just document what I experience.

    I remember you said something like, “I don’t ‘do’ taking photos anymore” — and that really struck a bell with me.

    Ironically enough, ever since I’ve followed your advice, I have been getting better shots. I no longer force myself to go out for hours at a time, and endlessly wander trying to capture “the decisive moment.” I am much more relaxed now, and let the shots come to me, wherever I am. I just am diligent about carrying my camera on my neck, so I can take that shot if the moment arises.

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    Seventh, you’ve taught me how to “kill my babies.” I love how we randomly chat with one another on Kakaotalk and message each other shots, and we can just be brutally honest with one another, without any concern of hurting one another’s feelings. I respect your opinions so much, and you have really helped shape my style and vision in my photography. I love it when you told me how you liked my color work, and how you think I should proceed shooting more color “street portraits”, as well as more portraits of Cindy. I respect you as a human being and a photographer, so getting advice from you in terms of what direction to take my photography gives me a lot of confidence, solace, and happiness.

    I was going to write 10 things you have taught me about street photography and life, but I ran out of ideas, haha. But honestly, 7 is more than enough, in-fact, I  heard that it is easier to remember 7 digits than 10 (that is why in America phone numbers are only 7 digits long).

    But anyways, this is a personal letter to you (that thousands of random people on the internet are also going to read haha). No but seriously, thank you for all the love, support, guidance, and friendship you’ve given to me the past few years.

    Whenever I get a message from you, you always brighten up my day. It is so funny, I’ll be with Cindy and checking my phone and she will say, “Eric, why are you suddenly smiling so much?” I then feel embarrassed for a second, and will tell her that I got a message from you. She then goes, “Oh, you and Josh are so cute together!” She also was so happy to see how much fun we had together in Korea together. And also a nice memory (to boost your ego), remember whenuj I told you that she looked at your Flickr randomly and said, “Hmmm, Josh is actually really good!” And trust me, she doesn’t give false compliments at all, and she has a great eye.

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    So never doubt yourself and your photography. Remember to enjoy the process. Fuck whether you shoot film or digital. Just enjoy yourself and have fun. Who cares what others think of your photography, know that I’m always your biggest fan. And in terms of having an “audience” for our work, I honestly feel that as long as we are friends, we will be enough of an “audience” for one another. If I can make photos that please myself and please you, that is enough for me.

    Farewell my friend, have a kickass day, hope you get more hits on your blog (haha) and more followers on your Flickr and Instagram (don’t know if you have notifications on your iPhone turned on, but hope it buzzes nonstop! haha).

    This sounds totally douchey, but maybe you can do a similar post on your blog about what I’ve taught you about street photography and life? Might be an interesting comparison.

    Anyways, excited to collaborate more brother. Take care of Areum, your mom, and know that whenever you are feeling sad, lonely, or lost– I’m always here to support you and share my heart with you.

    Here are some fun snapshots and memories, haha– good times:

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    Love always,

    Eric

    Written @ my friend Liz’s house in Leeds, Friday, Aug 21, 10:33am, 2015, with an espresso (I’ve found as long as I limit my coffee to just one a day, I don’t get that weird throat swelling acid reflux shit). Let’s chat soon bro, peace out.

    Make sure to check out Josh’s work:

  • Streettogs Academy Assignment No. 14

    Streettogs Academy Assignment No. 14

    SA14ANNOUNCEMENT

    Cheers to another assignment wrapped and here’s a new one to keep everyone in Streettogs Academy moving, shooting, and perhaps for this assignment, following the beat!

    (more…)

  • On the Emptiness of Social Media Fame

    On the Emptiness of Social Media Fame

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    Read as a Google Doc or download the PDF.

    Dear friend and fellow streettog,

    I went to sleep last night, and woke up this morning in beautiful Leeds, England, and suddenly this story came to mind. I would like to share you this story if you don’t mind.

    I forgot where I first heard the story– it is definitely from one of the Stoic philosophers. Unfortunately can’t figure out whether it was from Seneca, Epictetus, or Marcus Aurelius. But anyways, here goes the story:

    There was once a very skilled artist, who made the most beautiful paintings, that amazed whoever saw them. However he was quite obscure, and nobody really knew who he was. One day, a man approached him and said to him something along the lines of:

    “Master, aren’t you sad or frustrated that you possess this amazing skill, yet people from other countries, continents, and nations cannot see or appreciate your work?”

    Upon this, the master artist says this in response:

    “I am happy with some, I am happy with one, and I am happy with none.”

    (Drops the microphone)

    To translate this, the master artist said he was happy with some people liking his work, one person liking his work, or none liking his work (besides himself).

    My start in photography

    When I started photography, I started off in “social media” in 2006, before Facebook, Flickr, and certainly before Instagram was around. The only type of “social media” were “photo blogs”, where you would upload a photograph a day for people to admire and comment on.

    This was before “likes” or “favorites” were mainstream, so the amount of love you would get were to get a lot of comments.

    At first, I shot to please myself. I had a little Canon point-and-shoot digital camera, and I loved just taking random snapshots of whatever I found interesting.

    Soon as time went on, I discovered all these other photographers on the internet who created these amazing “bokeh” shots, with really high image quality. I wanted to create similar images, so I got a Canon 350D (Rebel XT), and eventually a 50mm 1.8 lens.

    Once I started to get more “serious” with my photography, I wanted to share my photos with the world. I wanted them to be loved and appreciated, as I saw them like my children.

    My start in “social media”

    So when I started off in social media, I had no idea what I was doing. The first obvious thing was to make a photo blog, and to aim to get lots of people to see my work (page views), and to get lots of comments (to feel loved and appreciated).

    So after I setup my photo blog, I wondered to myself: “How can I get more pageviews and comments?”

    I first started off visiting lots of other photoblogs I admired, and started to leave them meaningful and in-depth comments (with the hidden hope that they would also go back to my photo blog, and comment on my photos as well).

    In the beginning, this was brilliant. I made a handful of good (virtual) friends in the photoblog community, and their constructive criticisms and feedback really helped me grow and develop as a photographer.

    Chasing fame

    But after a while, I started to crave fame. There were tons of “top photoblog lists” on the internet, and I became massively jealous and envious of how many followers and comments they got on a daily basis.

    In the beginning, getting even 1 or 2 comments brought me extreme joy (wow some people actually care about my photos!) However once I saw others having 20, 30, or even 50 (!)+ comments, I felt like a loser by comparison.

    So my next step was that I really wanted to be on one of these “top photoblogger” lists. A shallow goal I know, but my goal nonetheless.

    So I started to visit as many other photo blogs on a daily basis, giving them comments only to hope that they would comment back to me. I was quite sly, I tried to give them enough of a decent comment (3-4 sentences), so it would look like I showed interest in their world, whereas in reality I just wanted them to “follow me back.”

    I was lucky that I worked in IT as a student in college at the time (I was around 19 years old) and had several hours to browse the internet when nothing was going on in the office (most of the time).

    So I started to go down this rabbit hole, chasing fame. It was damn shallow, and never really brought  me any real joy.

    I started to also have higher expectations. For example, my new baseline for my happiness would be 5 comments on a photo I uploaded. If I got any less than 5 comments, I would feel depressed (why doesn’t anyone love me?) If I got more than 5 coments, I would be overjoyed and then seek to get 10 comments as a new baseline.

    During this period in my life, I never made any top photoblog lists, but it taught me an important lesson in life: chasing fame is so damn shallow, exhausting, and never brings you any real satisfaction or happiness in life. I was so much happier when I was shooting for myself, and just enjoying myself, rather than seeking external means of happiness and recognition.

    Killing the Facebook news feed

    About 2 years ago, I was in Istanbul with my buddy Charlie Kirk. We were chilling at his flat, and about to sleep, I was bored and surfing Facebook on my phone. I was mindlessly scrolling through my Facebook news feed, and saw all of my friends living their amazing lives. Some of them were buying new BMW’s, some of them buying new homes, and one of them was sipping a Corona in the Caribbeans.

    I saw the selfie of him drinking the Corona, and I felt jealous. I’ve never been to the Caribbeans, and the weather there looked so lovely. I felt the negative sting of envy pervade my body.

    At that moment, I mentally slapped myself and told myself, “Wait hold up Eric, why are you jealous? You are in Istanbul, you unappreciative bastard. Don’t you know how many people would die to be in your shoes? Why are you jealous of your friend in the Caribbeans?”

    At that moment I knew I had to change something, and that social media was kind of fucking up my perception of reality, and wasn’t good for my mental health.

    The next morning, I installed the “Facebook News Feed Eradicator” plugin for Google Chrome. I would have to say, this is the single thing I have done in my life which has made me 80% happier in life (by cutting my feelings of envy from my friends on Facebook).

    Think about it: social media is a distorted view of reality. People only upload the highlights of their life, and Facebook curates those highlights. 99% of the time, people have boring and mundane things happening. But through your Facebook news feed, you assume everyone else is having the time of their lives, while you sit at home, eating ice cream, alone and depressed, watching another episode of “Game of Thrones” on Netflix.

    Not only that, but I hate seeing “pity parties” or people bitching or moaning about negative things on Facebook. It ends up negatively coloring my thoughts, and I let other people’s drama negatively influence my life and thoughts. I have enough problems and mental stresses and anxieties in my life, why should I take on even more drama from others– especially when my life has so many problems already?

    So anyways, going back to this Facebook news feed eradicator. It is quite brilliant. Instead of showing you the Facebook news feed (which is a distraction and horrible for your mental health and well-being, it will show you an inspirational quote. Such as:

    “Rule your mind, or it will rule you.” – Horace

    You can still use all the functions of Facebook to keep in touch, without the drama of the news feed.

    “But what if I still want to keep in touch with friends?”

    You still can. Now if I want to cyber-stalk my friends on Facebook, I will go directly to their personal page and see their updates. Better yet; I will send them a message on Whatsapp or Facebook messenger and just say hello. Better yet (if I live close to them), I will ask them for a coffee or dinner.

    I think ultimately social media is only useful for one thing: for bridging people from the online to the offline. Some of my best friends I have met online, and ended up spending time with them in “real life”. You can never replace face-to-face communication (Facetime and Skype video come close, but not close enough).

    Why I am following 0 people on Instagram

    Another experiment I started 3 months ago: I unfollowed everybody on Instagram.

    To be honest, I never spent much time on Instagram on the “news feed” as well. I found it to be a massive distraction, and the addictiveness of Instagram is worse than crack cocaine. I would be working on something “important”, somehow fall into Instagram, and for the next hour or so, mindlessly scrolling through images, and liking photos. I felt like a rat pulling a lever to get a hit of dopamine, hundreds (if not) thousands of times.

    Another problem: I was following close to 600 people, many of them random people I didn’t know. The problem I made was when I first joined Instagram, I automatically followed people based on who was a contact on my phone or Twitter. Of course I followed a ton of people in the beginning to show them I was also on Instagram, and with the hope they would follow me back.

    But once again, there was too much clutter. I was sick of seeing dog photos, cappuccino photos, and what people were having for breakfast. Sure a few decent street photos here and there, but I started to get the feeling that people would upload photos on Instagram on a daily basis (for the sake of uploading and getting lots of likes), rather than sharing their best work. Instagram was the McDonalds of social media; quantity over quality.

    So I wondered to myself, “What would happen if I followed everyone on Instagram, similarly to how I installed the Facebook News Feed Eradicator? Would I be less distracted? Would I be happier? What if people thought I was a douchebag (like Kanye West who only follows 1 person on Twitter)? What if people get offended that I unfollow them? What would people think? Would people suddenly start unfollowing me? What kind of explanation could I make?”

    In the spirit of being a sociologist (and enjoying “social experiments”) I decided to make myself a test subject. So I thought “Fuck it, I’ll just try it out and see what happens.”

    At first, it took forever to unfollow everybody. I wish Instagram installed a massive “unfollow all” option (but of course this is against their financial and advertising ideals). Anyways, after I unfollowed everybody, I did end up pissing off a few people (some of them really good friends). I felt massively guilty, because they asked me– “Why would you unfollow me? I thought we were friends.” And I thought they would understand, after all, weren’t we still friends in “real life?” I apologized massively, and genuinely did feel guilty. I tried to explain that I was trying this “experiment” — and they told me, “Well, I hope your experiment went well, because it cost you a friend.” Ouch.

    I then really started to question myself: was this really a good idea? I decided to carry on, because I do believe that you can still be real friends with someone (even though you unfollow them on social media). Even scarier: some people have applications on their phone which notify you once someone “unfollows” you on Instagram. I’m not sure why people would have this application, as it would cause massive depression every time someone unfollows you.

    Interestingly enough, I did read one study that “unfriending” someone on Facebook is equivalent to telling them in real life that you are no longer friends. It is one of the worst social “faux pas” you can make.

    But going back to unfollowing everyone on Instagram: it was probably one of the (second) best things I did for my mental health. I suddenly felt much more focused, in-control of my own life, and felt like I was able to get off the social media rat race and treadmill.

    I wrote in another article that one of the things I try to do is uninstall one application from my smartphone a day. This also means that I try to be active on one fewer social media platform a day. There are loads of social media platforms out there for photography: Facebook, Instagram, Google+, 500px, EyeEm, Tumblr, Flickr, and probably hundreds I don’t even know of. People always ask me which ones they should be on. Now I’m starting to realize that less is more; the fewer social networks you are active on, the better.

    In-fact, the only social media I am still “kind of” active on is Instagram. I like sharing photo book recommendations on it (using the #buybooksnotgear hashtag), as well as random life updates or street photography tips. But at the same time, I’m thinking of also trying to cut Instagram out of my life.

    The irony of social media is that no matter how many likes/favorite you get, it is never enough. I remember when my goal on social media was to get 100 likes. Then it became 200 likes. Then 500 likes.

    Now I get (on popular posts) 1000+ likes. The funny thing is now whenever I get anything less than 1000 likes, I feel like shit. For example I recently shared something on Instagram that got (only) 500 likes. I felt like a failure by comparison.

    And what is really a “like” anyways? It is just someone tapping a little heart icon on your photo. It doesn’t mean anything. When you die, you can’t take your “likes” with you. Your “likes” won’t keep you warm at night, or pay your electric bills. Does anyone really want etched on their gravestone: “Here lies John, he had 1,000,000 followers on Instagram.”

    Not only that, but there will always be a “new” social media platform. Remember when Myspace was going to conquer the world? Then Facebook took over? Now Facebook is for old people, and now everyone is flocking to Instagram and Snapchat. And after Instagram and Snapchat, there will be something else.

    Will anybody care about how many social media follower you had in 200 years? Is the “internet” still going to be around as we know it? It might be Google brain telepathy integrated into people’s minds or whatever. But all the stress, effort, and ass-kissing we do in social media would have been a massive waste of time.

    The solution

    The solution to all this social media bullshit and obsession with likes,  favorites, comments, and followers?

    Disconnect.

    Take a break from social media. Start “fasting” from social media.

    Apparently “intermittent fasting” is proven to provide a lot of health benefits to people (rather than regularly consuming food, it is better to remove some meals at random). So now, I never eat breakfast (only coffee), have a small lunch (preferably only vegetables), and then splurge on meat in the evenings. And on some days, I will also skip lunch (and deal with mild hunger pangs until dinner). Other days I will try to go vegan the entire day. Other days I will eat massive fatty steaks for the entire day.

    But anyways, I give you a challenge: try to go 30 days and abstain from social media. Completely cut it out of your diet. Uninstall Facebook from your phone, and install the “Facebook news feed eradicator” on your browser (if you use Google Chrome). Or find some other sort of website blocker plugin (“StayFocusd” for Chrome, or “Wastenotime” for Safari). Try unfollowing everyone on Instagram, and after 30 days, re-follow those who you really care about. Also try to go without uploading any photos to social media (refrain from uploading to Flickr).

    I can guarantee that if you take a break from social media for 30 days, you will be much mentally healthier and happier. You will have less stress, anxiety, jealousy, envy, and dissatisfaction in your life. Not only that, but you will learn to not become distracted with your photography projects, and learn how to make photos that please you, not others.

    I will do this with you. I won’t upload anything to Instagram for the next 30 days as well (I just uninstalled it from my phone). I am lucky enough that I shoot film, so I have nothing to show anyways (until I get my film processed and scanned, which might take me another few months). I hope to print more photography books or zines, and not feel rushed to always upload stuff on social media to feel loved and appreciated.

    Remember, happiness in life is about subtraction, not addition. So take out social media from your diet, enjoy your fast, and see what benefits it brings you.

    I know this will be tough friend, but be strong. Life is all about experimentation, so make a pledge and let’s all do this together!

    Love,

    Eric

    Written @ my friend Liz’s house in Leeds, England. 10:25am, with a nice Americano (abstained from coffee yesterday, I feel much better). Thursday, Aug 20, 2015.

    My workspace
    My workspace

     

    I had a brilliant fish and chips in Whitby yesterday, at “Magpie cafe” (the haddock was bigger than my head) and enjoyed a beautiful drive through the seaside. I highly recommend those visiting England to check out places outside London, and enjoy the countryside. Great for the soul.

    Best fish and chips ever, with Liz at "Magpie Cafe" in Whitby, England.
    Best fish and chips ever, with Liz at “Magpie Cafe” in Whitby, England.
    Drive through the countryside
    Drive through the countryside

     

    Currently reading: “Dialogues: the complete collection of Seneca” on the Kindle — brilliant, and only 99 cents.

    Also two of my favorite black and white photo books: “Gypsies” and “Love on the West Bank”:

    Two must-own black and white photoboks
    Two must-own black and white photoboks
  • Kill Your Babies

    Kill Your Babies

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    Read this as a Google Doc or download a PDF.

    I have a problem. I often get too attached to my photos, especially my bad photos. I look at all of my photos like my children, and I have a hard time deciding which to keep and which to ditch.

    One mantra I have always tried to remind myself is: “Kill your babies.”

    The problem is that our photos are like our babies, and the idea of getting rid of them (especially “killing them”) is emotionally painful. And if the phrase “kill your babies” is too graphic for you, I recommend the British saying, “Kill your darlings.”

    The problem in today’s society is that we have an overabundance of stuff, information, and especially images. Every minute there are hundreds and thousands of being uploaded to the internet. And 99% of these images are just junk or noise.

    The solution? Before you decide to upload an image, think of why you are uploading the image. Is it because you are trying to show a beautiful masterpiece that will bring value to someone else’s word? Or because you are trying to get more “favorites” and likes?

    Killing my own babies

    I recently went through my own baby-killing session. I went to my website splash page and edited down my splash page to my 5 favorite images, all of which I felt had some sort of consistency and emotion to them.

    I also edited down my portfolio from 6 projects down to 3. It was really difficult to do, but my good friend Diarmuid McDonald helped me be brutally honest over some nice Turkish food. I once told him to edit down his entire Flickr down to 5 images, so I had to practice what I preached.

    I then went home, took out the axe, and started to remove tons of my photos from my website portfolio and Flickr. At first it was very painful, but by the end, it was insanely refreshing. It felt almost if a huge weight was taken off my shoulders, and I looked at all of my images with admiration. They were all strong and had a good cohesion and style to them.

    It is rare you make a good photograph

    The photographer I am trying to imitate the most at the moment is Josef Koudelka. He is a photographer who has been shooting for over 50 years, and has dedicated his life to 3 main projects: his “Gypsies” project, his “Exiles” project, and his new panoramic landscape work. All 3 of these projects are powerful, emotional, memorable, and iconic.

    I want to be like Koudelka. I want to aim to create at least 1 strong body of work before I die. Less is more.

    Remember, street photography is hard. Damn hard. The most difficult genre of photography out there. It is very rare that you make a good photograph. If you can even get 1 good street photo a month, 12 decent shots in a year, and 1 truly great image in a year, you’re doing really well. Bruce Gilden even admits only taking 1 photo he really likes for every 50 rolls of film.

    Keeping photos for yourself

    Just because you “kill your babies” doesn’t mean you have to delete the photos or throw away the negatives. Rather, what I encourage is to kill your photos that are public and not very strong.

    I have some images that have personal significance to me, but I know that they aren’t necessarily good photos. So I keep them on my hard drive for myself, print them out and put them into photo albums (for myself and family), and not share them in public.

    Even another practical tip: when I recently edited down my Flickr down to my best 20 images (from 9 years of shooting street photography), I simply marked the weaker shots to “private.” So I still have the images just in-case, but I don’t need to clutter my site.

    “But what if I want to get feedback on my photos? Isn’t sharing them on social media a good idea?”

    That is a good idea if you don’t know anybody in-person you can share them with. But I have even a better method I like to do with my buddy Josh White, Neil Ta, and Charlie Kirk: I will send them a photograph that I am not sure about, and simply ask them: “Keep or ditch?” I will also encourage them to be “brutally honest” and help me “kill my babies.” They then have no problem taking out the axe and doing the dirty work for me.

    Apparently even Steve McCurry didn’t really like his “Afghan Girl” photograph. He shot several of her, and actually preferred another shot. But his editor told him that the (now) iconic image was the best. The editor knew better than McCurry, and now it is one of the most famous images in the world.

    Oftentimes I don’t know what my best images are, because I am too emotionally attached to them. I know too much of the backstory behind my images, and sometimes I had a very engaging conversation with the person. This confuses me, and impairs my judgement.

    This is one thing I love about shooting film: I am an impatient bastard (I’m the guy who complains when Google Maps takes longer than 2 seconds to load), and shooting film forces me to be more patient and let my images “marinate” and sit for a long time (before I  judge them).

    Recently my last big batch of film I developed was 164 rolls of film. I waited an entire year (not out of discipline but out of pure laziness and business of my travel schedule). What it taught me was that I was able to “kill my babies” more brutally, because I forgot shooting the majority of the images. So it was almost like I was editing someone else’s images.

    It is always easier to kill someone else’s babies than your own. Furthermore, it is actually easier to work on longer-term projects, without being disappointed on a daily basis with digital photography.

    I have nothing against digital photography. In-fact, I prefer the convenience and the cost (film is damn expensive). But the thing is that shooting digital makes me miserable. Why? Whenever I go out and shoot for an entire day, it is very unlikely I will get a good shot in a day. So when I look through all the images, I am massively disappointed. But with film, I only see my photos one every 6 months or once a year. And over that period of time, I am bound to at least get 1-2 shots I’m really proud of.

    This is another philosophical issue I am dealing with: I technically know that shooting digital will make me a better photographer. Also all of my recent shots I like are shot from a digital Ricoh GR.

    However, shooting film gives me more peace of mind, zen, less disappointment, and therefore more happiness.

    So what do I do? Do I am to become a better photographer, or to just be happier?

    Granted these things aren’t mutually exclusive. I can do both at the same time. Perhaps in the future I can try not to “chimp” as much when shooting digital, or to treat digital like film (not look at my photos often, maybe only one a month).

    Removing your ego from your photos

    Another practical tip when it comes down to “killing your babies” or editing down your portfolio: remember, you are not your photos. Not only that, but your photos have no feelings. If you decide to “ditch” a shot, your photos don’t care. If anything, they are happy to be released once again into the ether or the digital cyberspace they came from.

    So when people critique or criticize your photos, they aren’t criticizing you. They are criticizing your photos.

    I often get criticized for the writing on the blog, but I also try to remind myself: people are criticizing my writing, not me as a human being. They are different.

    Even when people criticize my actions, I try not to get offended. I remind myself: I am not my actions. I therefore try to change my actions in the future.

    Killing your ego is one of the most difficult things, something that take a lifetime. Your ego is that little voice in your head that never shuts the fuck up, and is always criticizing you. This is why studying meditation and Zen Buddhism can be so useful. If you’re interested in learning more about Zen and Street Photography, download my free e-book: “Zen in the Art of Street Photography.”

    Moving forward

    So moving forward, I am still trying to figure out my life and my photography.

    Currently, the only camera I own is a film Leica and 35mm lens. Everyday I need to fight the urges of GAS (Gear Acquisition Syndrome). Everyday I don’t feel inspired, I think buying a new camera will magically make me more inspired. That is bullshit, it never does.

    What I always try to do is whenever I crave a new camera, I buy a new book instead. Some books on my radar currently include Sergio Larrain, “Songbook” by Alec Soth, and a new personal favorite: “For every minute you are angry you lose sixty seconds of happiness” (you can see the project online here). Remember: Buy books,  not gear.

    Another thing I’ve been thinking about: there is so much depressing photos online of people and society. I want to start taking happier photos. Photos that are positive and encourage people, rather than capturing alienation and confusion.

    Anyways, I don’t have anything left to say. I started to get another weird reaction from drinking coffee again (throat swelling). Instead today I got an Almond milk Chai Latte which was lovely too.

    Godspeed,

    Eric

    Written @ ExMouth Coffee in London, 11:26am, 8/18/2015

  • Streettogs Academy 13: “Darkness” Results and Analysis

    Streettogs Academy 13: “Darkness” Results and Analysis

    SA 13RA

    (Cover Photo by Community’s Choice, Jomel Bartolome)

    In order for a photograph to exist, it has to have light but for this assignment, we are going to focus on the other side of the spectrum which is darkness. Darkness is not just the absence of light but it also connotes certain meanings. That is why assignment no. 12 Editor’s Choice Sasha Cherny picked this as the assignment theme. Let us see how the rest of the group interpreted the theme with these selections:

    (more…)

  • Photography (and Life) is About Subtraction, Not Addition

    Photography (and Life) is About Subtraction, Not Addition

    Provincetown, 2015
    Provincetown, 2015

    Read this article on Google Docs or download as a PDF.

    I believe photography (and life) is more about subtraction (instead of addition).

    I’m re-reading “Antifragile” by Nassim Taleb, and his chapter on “Via Negativa” is absolutely golden.

    The concept is that in modern life, we think the secret to happiness, success, and health is “via positiva” (adding things to our life). But true wisdom in life is “via negativa” (by subtraction).

    Taleb brings up great examples how subtraction is what creates beauty and art.

    For example, the idea that statues are created by subtraction. Even when Michelangelo carved the famous “David”, he said it was quite simple– he just let David “free” by carving him out of the stone.

    Similarly, happiness is best dealt as a negative concept– meaning that avoiding unhappiness bring us more happiness than “seeking happiness”.

    For example, removing 1 negative person from your life will bring you more happiness than adding 10 positive people to your life. 1 rotten egg can ruin the whole basket of eggs. One red sweater thrown into the washing machine full of white clothes will turn all the other clothes pink.

    To take another example, roman philosopher Seneca also shares the importance of keeping your distance from negative people. Imagine this: if you walked through a sewer, you would smell like shit and piss. Similarly, when you spend time around negative people who gossip about others, seek shallow things (fame, money), or constantly complain about life, their negative views on life will taint us.

    So the solution? Subtract, don’t add to your life.

    One of the books that has most influenced my life is the “Tao Te Ching” — a classic book on Taoism and how to live life happily without stress and anxiety. I recommend most the version by Stephen Mitchell.

    One of the quotes in the book says something like this: The fool tries to do 1 more thing everyday, but the master tries to remove 1 thing everyday.

    I have tried to apply this philosophy of removing 1 thing from my life everyday.

    For example, I believe in the concept of 1 camera, 1 lens. For all the cameras I didn’t use, I gave them to friends or those in need. In the past I have given away a Ricoh GR1v (my friend Josh White), a Fujifilm x100s (my friend Vu in Vietnam), x100t (surprised a kid named Lance who is autistic), XT-1 (my friend Joe Aguirre), Canon 5D (my friend Michelle’s younger brother who went to photography school), Canon 350D (one of my best friends Justin), Ricoh GR (Cindy), Pentax K3 (my friend Mehdi), Contax T3 (my friend Marlon whose camera broke), Leica M6 (friend Bill Reeves).

    Giving away cameras has brought me infinitely more joy than hoarding them myself. After all, you can only ever use one camera or one lens at a time. I read an ancient Greek saying that no matter how rich you are or how many mansions you have, you can only ever sleep in 1 bed at a time.

    Not only that, but having fewer choices is less anxiety and stress. So in a sense, giving away these cameras has been a selfish thing– because it brings me joy, less stress and anxiety, and the “feel good” emotion. But I do believe that if a tool (camera) can empower people, why not give it away and help others in need, or those who can use it to create art? I am just now left with the Leica MP and 35mm lens, which is all I need (until I get my next episode of GAS, Gear Acquisition Syndrome).

    How do you make better street photos? Subtract from the frame, don’t add.

    If you shot everything with a fisheye lens, your photos would be boring. Why? You are too general. By photographing everything, you photograph nothing.

    What you want to do instead is be like a surgeon, and slice out very specific pieces of reality. You want your lens to be like a magnifying glass and to highlight what exactly in the world you find interesting.

    Albert Einstein has a quote that says something like: “Make it simple as possible, but not simpler.”

    So applied in street photography, constantly try to cut and subtract from the frame. Protip: subtract from distracting elements from the background by looking at the edges of the frame.

    One of my favorite photographers of all-time is Richard Avedon, who made a career of shooting powerful and emotional portraits of people against white backgrounds. Why did he do this? It helped prevent the viewer from being distracted, and to only focus on the essential of his subjects: their face, body language, and soul.

    Another idea: try to travel less, and try to see less of your own city. Cut out a specific slice of a city, and get to know that area very well, rather than trying to see everything. This is also a good strategy for traveling. See less of the city, but get to know it better.

    Also with photography projects: a tight edit is preferable over a loose edit. Meaning, I would rather look at 10 amazing photographs than 50 “okay” photos in a book. Borrowed from photographer Todd Hido, aim for your photography series to be “all killer, no filler.”

    One strategy I try to employ on my Flickr is to constantly subtract from it, not to add to it. Every few months I go back and mark photos that I no longer think is good to “private.” My dream is that by the end of my life, I will only be remembered for one photograph (currently my photo of the laughing woman in New York City).

    In-fact, I think a noble goal of a photographer is to just be remembered for 1 meaningful photograph. Even the most famous photographers in history like Henri Cartier-Bresson are known for only 1 famous shot (Bicycle shot by Cartier-Bresson), the “Kid with Gun” photo by William Klein, “Napalm girl” by Nick Ut, or “Twins” by Diane Arbus.

    So the secret to becoming a memorable photographer? Make at least 1 memorable photograph in your lifetime– a difficult yet attainable goal.

    In terms of finding your style in photography, it is all about figuring out what you don’t like to photograph.

    For example, I discovered “street photography” because I realized I didn’t like to shoot landscapes, HDR, macro photos, baby photos, wedding photos, product photos, etc. My first love of black and white came out of the reason that I despised the way that digital color photos looked. So by process of elimination and subtraction, I discovered I loved street photography.

    When I first started street photography, I hated “posed” looking photographs. So I discovered my “style” of candid street photographs. However as time has gone on, I discovered that I am starting to dislike taking random candid photos of people. I prefer interacting with my subjects, so I am now focusing more on shooting “street portraits”, in which I ask for permission and engage with my subjects.

    Also if you want to build a stronger vision as a photographer, it is quite easy– don’t look at “shitty” photos. I avoid photos of cats, food, and HDR photos like the plague. While there is also great photos on social media and Instagram, I am trying to “fast” from social media. The only photos I trust are from the “masters” of street photography, in which their work has stood the test of time. If a photographer’s work has been around for 20 years, it will probably still be relevant 20 years from now. But a photographer whose work has only been around for 2 years only has a good likelihood of being around 2 years from now. So avoid fads in photography, stick with the classics and what has been around for a long time.

    Even in books, I trust 2000+ old philosophy texts from Stoicism, Zen Buddhism, Taoism, and Christianity, rather than read self-help books published just a year or two ago.

    You know that I always preach: “Buy books, not gear.” But at the end of the day, I don’t want you to own 1000+ photography books. At the end of the day, I want you to have a well-curated library of books that you really love and are inspired by. It is better to have 5 photography books in your library that you read over and over again, than having 500 books that you only read once or twice.

    Seneca gives sound advice in his book: “Letters From a Stoic” in which he says something like, “Whenever you are bored with your books and seeking to read something new, don’t try to read new books. Rather, return to the books you have already read, and re-read and re-discover them. It is better to know a few authors very well, than to know many authors superficially.”

    Also with social media, try to focus on the bare essentials. Subtract from your social media diet, don’t add. In many ways, I think social media is like fast food or McDonalds. Sure you have a burger and fries one and a while and you will be fine. Eat chicken nuggets every day, and your health will be shitty.

    I have a personal rule: I try to uninstall one application from my smartphone everyday. If I haven’t used an application for a week, I uninstall it. Same with social media, I try to be less active on social media. At the moment I am down to just Facebook, Twitter, Instagram, Tumblr, and Google+. If I could just choose one it would be Instagram (the most popular one at the moment). But if I could really choose just one, it would be none of them, and the only “social media” I would use is the blog.

    So in terms of your influences in photography, just choose 3 photographers or so who inspire you the most, and stick with them. It is better to have 3 best friends than 100 acquaintances. So rather than trying to constantly learn more about different photographers and seeking novelty, seek depth over breadth. Practical suggestion: browse the “Learn From the Masters” series, and once you stumble upon a photographer you like, buy all of their books, watch all their interviews on YouTube, see all their exhibitions, learn about their life and biography, and try to imitate their style for a year.

    The photographers I have imitated in the past and considered my personal tutors and “masters” (in order) include: Henri Cartier-Bresson, Bruce Gilden, Martin Parr, and (currently) Richard Avedon.

    If you want to become great, you need a mentor or tutor. And we are so blessed with the internet, we have access to any of these great masters of photography in history. When you go out and shoot or edit your images, think to yourself: What would “Photographer X” do, say, or encourage me to do? And one again, less is more– try not to choose more than 1 tutor at a time. As humans we can only do 1 thing very well at a time.

    Subtraction in photography is also perfectly mirrored in the idea of “creative constraints.” Having limits in our photography gives us true freedom.

    So subtract your options in photography: subtract the cameras and lenses you own, subtract the areas in which you shoot, subtract the number of photographers you look at, subtract the number of photographers you meet with, subtract the subject-matter in your projects (focus on just one type of subject matter), subtract distractions from the backgrounds of your photos, subtract the amount of electronic gadgets from your life, subtract negative people, subtract unhealthy food, and subtract negative self-thoughts (I am not good enough in photography, my photos suck, I will never be good enough).

    Less is more.

    Show fewer photos online, upload fewer photos, and remember, you’re only as good as your weakest photo.

    One of the main reasons I’m (currently) switching back to black and white is because sometimes color can be a distraction. Ultimately I am more interested to show emotions and the soul of people, not the color of their clothes. So by removing color from my images, I can add more to the emotion and soul of my subjects.

    So fellow streettog, I encourage you to subtract more in your life and photography. Ultimately, I want you to be happy. Subtract negative thoughts, shitty people, and stress from your life. Edit down your images, remember less is more, and simplify as much as possible (but not simpler).

    I want to leave you with these quote from Steve Jobs (one of my heroes in my life):

    Focus is all about saying “no” and subtraction:

    “People think focus means saying yes to the thing you’ve got to focus on. But that’s not what it means at all. It means saying no to the hundred other good ideas that there are. You have to pick carefully. I’m actually as proud of the things we haven’t done as the things I have done. Innovation is saying “no” to 1,000 things.”

    Subtract the opinions of others from your life:

    “Don’t let the noise of others’ opinions drown out your own inner voice. And most important, have the courage to follow your heart and intuition.”

    Subtract doing extraneous bullshit from your life, and focus on what’s important for you in your life:

    “For the past 33 years, I have looked in the mirror every morning and asked myself: ‘If today were the last day of my life, would I want to do what I am about to do today?’ And whenever the answer has been ‘No’ for too many days in a row, I know I need to change something.”

    Farewell, and Godspeed my friend!

    Love,

    Eric

    Written @ Exmouth Coffee, London, 9:06am, after 1 doppio espresso and 1 almond milk cappuccino (good coffee is proof that God exists)

  • How to Be Happy in All Circumstances in Photography

    How to Be Happy in All Circumstances in Photography

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    (You can also read this as a Google Doc, or PDF)

    Dear friend,

    I just finished reading a book by Roman philosopher Epictetus, titled “Of Human Freedom.” It got me thinking a lot about my own freedom in life, how to be happy in all situations, and how to treat some of the “diseases of my mind.”

    One of the things that I found the most interesting was how one can be happy despite his/her circumstances.

    For example, let’s say that we wish that we had more time to shoot, we wish we had more money (to travel, buy gear, books), that we wished we lived in a different city, that we were younger or picked up photography earlier, that we were more famous, had more Instagram followers, got more “likes” and meaningful comments on our photos, if we were more inspired, or if we knew more interesting photographers in our own home city.

    What is the problem with all of these things I just mentioned? They are all thing that are out of our control. Sure we do have some control of these things, but complete control? Not at all.

    How do we be happy, undisturbed, and grateful in all circumstances in life regardless of our situation in life?

    One of the secrets is to find the hidden benefit of every “negative” in our life.

    For example, let’s say that you don’t have that much free time to shoot. Rather than complaining or feeling frustrated that your day job doesn’t allow you more time and flexibility for your photography, you can see this as a benefit. By having limited time, you don’t waste your time when you actually do have time to shoot. You are more grateful for your time, and you end up shooting with more focus, intensity, and drive.

    In-fact, the common mistake I see photographers make is hoping that they had unlimited time to shoot. In reality, too much free time makes us lethargic, lazy, unmotivated, and uninspired. Sometimes the constraints of a day job in terms of time helps us to be more inspired.

    Let’s say you wish you picked up photography at a younger age. You might have traveled a lot in your life, and regretted not having taken photos at that time.

    But picking up photography at a later time in your life can be a benefit. Why? When you’re older, you have more wisdom, life experiences, time, and money to pursue your passion.

    “But what if I am really old and don’t have many years of my life to live, I will probably pass away in 10 years, if I’m lucky!”

    Well, remember; it doesn’t matter how long you photograph, but how well you photograph. Life is like a play, if we are an actor, it doesn’t matter how long we perform on stage. What matters is the quality of our acting. I would rather be a photographer who shot for only 5-10 years and created 1 great body of work, rather than a photographer who shot mediocre landscape and HDR photos for 50 years.

    Let’s say that you own a “shitty” camera, and that you wish that you had the newest and flashiest camera. You might be frustrated by the poor image quality, the low-ISO performance, or how soft your lens is.

    But remember, this can be a benefit.

    How so?

    Well, if your camera doesn’t have good image quality, then you really have to find good light to shoot in. Any camera, regardless of how poor, will perform well if you have good light. So now you will begin to pursue to shoot only in conditions and situations where the light is actually good. This ends up being a benefit.

    Let’s say that your lens isn’t sharp. Well, isn’t it Henri Cartier-Bresson who said: “Sharpness is a bourgeois concept”? In-fact, I dislike photos that are too sharp. Sometimes I prefer softer lenses, which evoke more of a dreamy look and feel.

    For example, Junku Nishimura, a talented Japanese street photographer, shoots with a Leica M5 (commonly called the “ugliest” Leica camera ever made) and an old 50mm Summaron lens (known to be very soft and unsharp). But this helps him create a unique look in his work, that evokes the past. If he shot with a high-end digital camera with super sharp lenses, his images wouldn’t have the same emotion and feel.

    Another common complaint a lot of photographers have: that they wish they lived somewhere else; that their own hometown is “boring.”

    But know that “boring” is just an opinion. You can live in New York City or Tokyo and still call it “boring.” It is all a state of mind, and how you see things.

    If you were an alien that just landed on earth, imagine how interested you would be in your own neighborhood. Consider all the interesting people, buildings, and sights.

    Another benefit of living in a “boring” city; it hasn’t been photographed as much, which means you have a greater opportunity to make a unique body of work. Mark Cohen photographed in a very “boring” town for his entire life, and still was able to make a strong body of work.

    Also the benefit of photographing your own city is this: you know your own town better than any tourist. You know what shots are “cliche” and not, and you also know the paths off the beaten path.

    Let’s say that you don’t have any followers on social media, and that you are a “nobody.” That can’t possibly be a benefit, can it?

    Well, sometimes it is a blessing to be unknown. Saul Leiter shot his entire life in obscurity, and only enjoyed fame later in his life in his 70’s and onwards. But he found this to be a true blessing, because he wasn’t bothered by anybody. He could simply shoot how he wanted, without feeling constrained by the expectations of anybody else. I’m sure even if Saul Leiter wasn’t “discovered” before he died, he would still be supremely happy.

    Let me bring in a personal example; I recently got my 11 Macbook Air laptop stolen in Paris. Instead, I bought a cheap Lenovo Windows 8 tablet/laptop device for 300 euros, which isn’t the fastest or most capable machine. I missed all of my Apple software (Pages, iBooks author) which I was using to produce my new free e-books on street photography.

    But the benefit of getting my laptop stolen and using a weaker machine is this: I discovered the joy of working on the Google cloud, and have enjoyed using Google Slides (see my free presentation: “7 Lessons From the Masters of Street Photography”), and Google Docs (which I am currently using this to write). Not only that, but I know that even if I fell into poverty and could only afford a cheap laptop, I wouldn’t be encumbered or held back by lack of technology. Whenever I think that my computer, smartphone, or camera isn’t capable enough, that is just me making excuses. My mind is always the ultimate limit.

    When I am traveling, I am limited by the stuff I am able to carry. I don’t have access to my photography books, to my scanner, or other digital equipment. All I literally have with me at the moment is my laptop, smartphone, film Leica camera, film, ThinkTank Perception 15 backpack (brilliant, bought it after my backpack got stolen), Kindle, Moleskine notebook, extra Uniqlo Airism shirt and Exofficio boxers, and that’s it.

    But having limited space while traveling ends up being a benefit, I learn how to cut the extraneous things from my life, and only focus on the essentials.

    Let’s say that you wish you had more photography books in your library. I had a phase in which I bought 1-2 photo books a week, but the problem was that I only looked at them once or twice, never to be seen again.

    The benefit of only owning a few photobooks is that you get to know them really well. In-fact, I think it is better to just own 3 photography books you really really like than have a library of hundreds of books that you barely look at. For those of you who are curious what 3 books I would keep it would be “Exiles” and “Gypsies” by Josef Koudelka, and “Chromes” by William Eggleston.

    Ultimately I think the goal in our photography shouldn’t be to become rich, famous, influential, to publish a lot of books, have a lot of exhibitions, own a lot of Leica’s, or to be written in the history books. Our goal should be to seek happiness, self-contentment, and peace of mind in our photography.

    Taken a step further, photography isn’t the most important thing in our lives. It is to live a happy life. Photography is just a hobby which supplements our life.

    As my friend Josh White says, the goal isn’t to be a photographer and make interesting photos. The goal is to live an interesting and meaningful life, and happen to take photos along the way– of your loved ones, family, friends, and moments which give you purpose and make you feel alive.

    As a parting thought remember: You can be happy in all circumstances in your life, regardless of the external situations. Also remember, you can turn all negatives into a positive. It is all a matter of how you perceive and interpret reality.

    Think to yourself: “What are some frustrations or restrictions that I have in my photography or life that I can turn into benefits?” How can limited time, limited money, and limited camera equipment help me be more creative, happy, and grateful in my life?

    Fellow streettog, I wish you good luck, happiness, prosperity, and inner-freedom and tranquility. Now go seize the day!

    Love,

    Eric

    Written at Exmouth coffee roasters, London, 12:39pm, with a lovely drip coffee (low acidity blend over some ice cubes)

    Share some of your thoughts of how a negative an be a positive by leaving a comment below!

  • Free Sample Chapters: “Learn From the Masters of Street Photography”

    Free Sample Chapters: “Learn From the Masters of Street Photography”

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    I am currently working on a new book: “Learn From the Masters of Street Photography”, which is a distillation of all of the lessons that I’ve learned from the masters of street photography.

    You can get a free sneak peak by downloading the PDF of the sample chapters here.

    If you want to learn more, read all of the in-depth articles from the “Learn From the Masters” series on the blog here.

  • Jack Simon Explains What Makes Great Street Photography

    Jack Simon Explains What Makes Great Street Photography

    Jack Simon, a good friend and a street photographer I greatly admire shares what he thinks makes great street photography in the 2 minute video above.

    Check out my video where I shoot with him in San Francisco here.

  • Desire the Life You Already Have

    Desire the Life You Already Have

    Vienna, 2015
    Vienna, 2015

    “One should not spoil what is present by desiring what is absent. Rather, realize that what we have were among the things we might have prayed for.” – Epicurus (via the “Epicurus reader“)

    I’m never satisfied. I always want more. Nothing is ever good enough. My lifestyle isn’t fancy enough, I lust after different cameras, cars, more money in the bank, more security, more fame, more recognition, and more impact in the world.

    We’re always striving for what we don’t have, rather than appreciating what we already have.

    I’m a pretty happy guy, but there’s still moments of dissatisfaction in my life. Even though I have a “perfect” life in terms of my flexibility to travel, to do what I love (teach, write, photograph), and meet amazing people from all around the world, I always want more.

    The shortcut to happiness in life, photography, whatever is this: Desire the things and the life you already have.

    So there are many different ways we can apply this philosophy to our lives.

    First of all, desire the cameras you already own.

    Even though I own my “dream camera” (film Leica MP and 35mm f2 Summicron lens) there are still random moments where I think, “What if I had camera ‘X’?” These are often moments when I’m feeling uncreative and dissatisfied with my life.

    So whenever I have an urge to buy a new camera, I think about how much I dreamed of owning my film Leica. I try to remember myself 3 years ago when I read all these reviews of the Leica on forums, blogs, and from my friends. I try to relive the happiness I had when I first got my camera. This helps me be more grateful for what I have, and figure out how I can make photos with the camera I already own, rather than trying to make excuses why my camera or gear is insufficient.

    Another idea: desire the life you already live.

    I live in Berkeley, California, which is a mini paradise for hipster cafes, organic food, quinoa, almond milk cappuccinos, and other hippy yuppie stuff.

    But I still daydream of living in San Francisco, where all the “cool” things are happening.

    But I always try to remind myself: rather than daydreaming what I can do on the other side of the bridge, try to cultivate my own city and garden in Berkeley.

    Also I try to remind myself of how many hipsters from all around the world would love to live in Berkeley. This helps me open up my eyes to the opportunities and possibilities in Berkeley.

    Usually all the art events and photography exhibitions happen in San Francisco. But I partnered with my buddy Walter Margerison and curated a street photography group show at a local Berkeley cafe called “Artis Coffee”, which was a big hit. Keeping it local is key.

    Another idea: desire the job you already have.

    No matter how “shitty” your job is, there are always benefits. Let’s say you work crazy hours, but at least you make good money which allows you to buy photography books, plane tickets for traveling, and photography education and workshops. Sure you might not have that much time, but at least you can make the fullest potential of the little free time you have.

    Let’s say you’re dead broke and working at a coffee shop. But at least you have more time and freedom to do what you love, rather than wasting precious brain energy on trying to get a promotion at a bit corporation, staying extra hours, and kissing ass. You might not have money for a fancy camera or to travel, but at least you have freedom of mind to shoot and flexibility of schedule.

    You can be a billionaire and still be miserable, because you’re so busy you can’t take a nap or go a day without answering 300+ emails.

    You can be living in poverty but still be happy because you have friends and family who love and support your creative endeavors.

    Rather than focusing on the negatives of our lives, jobs, or circumstances, let us be grateful for what we have.

    Let us desire the life we already have. Let us desire the camera we already have, the job we already have, and the mind we have.

    Your life is perfect just the way it is.

  • Should You Shoot if You Don’t Want To?

    Should You Shoot if You Don’t Want To?

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    Dear friend,

    I want to share with you something that has been on my mind for a while: whether a photographer should take a photograph everyday, or only when he/she feels like it.

    I know I often espouse the benefits of always having your camera with you and taking photos everyday. But what’s the point of forcing yourself to take photos if you don’t feel like it?

    Although there are a lot of great photographers who make it a habit to shoot everyday, I have realized there are also many great photographers who don’t shoot everyday, nor do they carry a camera with them everywhere they go.

    For example, Bruce Gilden doesn’t bring his camera with him wherever he goes. Rather, he only has it with him when he’s seriously working on his projects, and when he’s shooting he gives his 100% attention to shooting.

    William Klein is another example: he hasn’t actually spent that much time in his life taking photos in the stress. For his seminal book: “Life is Good & Good for You in New York“, he only shot it for two weeks, but shot like a madman. His other books on Tokyo and Rome were also shot in similarly short time spans.

    So bringing us back to the question: is it advantageous to shoot everyday, or only when you feel like it?

    For me, I rarely have the inspiration to pick up the camera. This makes me feel unmotivated, and I become jaded and uninterested in life.

    But the funny thing is when I pick up a camera, I suddenly start seeing interesting things. The camera is a tool that helps me see the world more clearly.

    But if you genuinely don’t feel like shooting, don’t force yourself to shoot. You have enough stress in your life from your family, work, and other obligations. Why add to that stress if you’re not enjoying your photography?

    Also if you don’t feel like bringing your camera with you everywhere you go, that’s fine too. Sometimes it is more important to enjoy an experience (watching fireworks, enjoying a nice dinner) rather than frantically trying to document everything. There is even a psychological study out there that shows if you take a photo of something, you’re actually less likely to remember it.

    Ultimately follow your gut.

    If you’re the type of photographer where you feel anxious if you don’t shoot everyday, always have your camera with you, and force yourself to be creative and see the world as interesting. Then your efforts will pay off.

    However if you’re the type of photographer in which photography only brings you joy when you don’t force yourself, don’t feel like you need to shoot all the time. Only take photos when you feel inspired.

    The secret to happiness in your photography? Remember the saying: “Know thyself.” Discover your style in photography by following what makes you feel energized, excited, and what helps you flourish.

  • Presentation: 7 Lessons from the Masters of Street Photography

    Presentation: 7 Lessons from the Masters of Street Photography

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    Hey streettogs, just gave a free talk at EyeEm in Berlin last night titled: “7 Lessons from the Masters of Street Photography.”

    You can see and download the slides for free here.

  • The Beauty of “Creative Constraints” in Photography

    The Beauty of “Creative Constraints” in Photography

    Amsterdam, 2015
    Amsterdam, 2015

    My friend Josh White made a great point to me about cameras in photography: why is it that we as photographers always talk about the camera we want (that will apparently make us more “creative”) rather than using the cameras we already own to create art?

    I’m currently re-reading “Letters From A Stoic” by Seneca in which he tells a story of a sculptor who was able to make a beautiful statue regardless of the material; marble, stone, wood, or gold.

    I think this is a beautiful analogy for our photography. I think we can make beautiful art regardless of the tools or instruments we have. Rather than goading for what we don’t have, let us try to make the best with what we have.

    I know a lot of photographers who wish that they had expensive digital Leicas or some other camera. But these photographers are better off using the cameras they already own and going off and making images, rather than wasting valuable time, attention, and energy into wanting what they can’t have.

    The best example I think in street photography is the emergence of “mobile street photography”, in which photographers from all around the world are only using smartphones to make beautiful images.

    But some people say: “Oh, but a smartphone isn’t a ‘real’ camera and that it has limitations. It has shitty low iso capability, you can’t print it big, and it isn’t as responsive as a ‘real” camera.”

    But these limitations can actually help our creativity. They call it “creative constraints.” If your smartphone has poor image quality, then it forces you to only shoot in good light. If your smartphone has a slow autofocus, you can focus on just shooting people who aren’t moving.

    Let me take this analogy further; let’s say your camera has a long minimum focusing distance (a Leica can only focus up to 70 centimeters). Sure it would be nice if it could focus closer, but that constraint forces you to be more creative with your compositions.

    The prime example of creative constraints in street photography are prime lenses (sorry for the bad pun). By limiting your field of view, you are forced to capture reality into your limited frame in an interesting and novel way.

    Also if you think about it, the art of photography itself is about constraining reality into a single frame. What you keep out of the frame is more important than what you decide to leave in the frame.

    I recently got my laptop stolen in Paris, and I first was upset. But it is probably the best thing that happened to me, as now I’m restrained to doing most of my writing on my smartphone (I’m typing this on my smartphone as we speak). I’ve found the restriction of not having a laptop has helped me be more creative to use my smartphone in novel ways.

    Let’s take this idea further: restricting yourself to either color or black and white is another great “creative constraint”. By only shooting in color, it forces you to try to make images that have good color combinations. By focusing only in black and white, it forces you not to be distracted by colors.

    Another great creative restraint is by restraining the area in which you shoot. Very rarely are world travelers the best photographers. All of their photos end up being touristy “National Geographic” shots of landmarks in Asia and other “exotic” countries. A photographer who is doing a long term documentary project in his or her hometown generally ends up making more interesting photos, as they are forced to create more interesting images out of “boring” subject matter.

    Creative constraints will set you free in your photography and life.

    See what other constraints you can create for yourself, like only shooting one type of subject matter, or focusing only on one project. Strip away the superfluous and extraneous, and you will create beautiful art.

  • Learn From the Masters: Lesson #7 Don’t Be a Slave to Your Camera

    Learn From the Masters: Lesson #7 Don’t Be a Slave to Your Camera

    Copyright: Anders Petersen
    Copyright: Anders Petersen

    “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. It afflicts thousands (if not millions) of photographers globally, and it costs people hundreds and thousands of dollars. This disease breeds insecurity amongst photographers, and causes photographers to make tons of excuses about their photography.

    The disease? It is called “G.A.S.” (gear acquisition syndrome). The concept is that you become addicted to getting new cameras, new gear, new lenses, and new gadgets in photography (rather than focusing on just becoming a better photographer). You make excuses about your gear, and that your camera and equipment is holding you back. You tell yourself, “Oh if I just had camera ‘X’ I would be more inspired in my photography, and take better photos.

    I personally still suffer from G.A.S. Whenever I am dissatisfied with my photography, I always think that buying a new camera or lens will help inspire me to become a better photographer. It never does.

    The only real way that I have improved my photography is by traveling, attending photography workshops, buying books (not gear), and by just shooting.

    I have discovered that when you are actually out shooting, you become very unaware of your camera. You get caught in the “flow” of shooting— and all the excuses about your camera or lens disappear. You become one with your camera, and it is almost as if the photos take themselves.

    I always lust for gear when I spend too much time online and on gear forums or review sites. Beware: 99.9% of the photography sites online are just dedicated to gear (as advertising and affiliate sales of cameras drive the photography industry).

    How can you cure yourself of “G.A.S”? Unsubscribe (or block) all gear review websites, and whenever you have the urge to buy a new gear just buy a photography book. Realize that your camera is just a tool to create images.

    As photographer Anders Petersen tells us, just try to get a small camera that is unobtrusive and focus on making images. He shoots with a simple Contax T3 (a point-and-shoot 35mm camera), and focuses on the emotion in his photos. Focus less on the camera, focus more on shooting, telling stories, and use your cash to travel.

  • “Letters from a Recovering Camera Addict” Step 2: The Pact

    “Letters from a Recovering Camera Addict” Step 2: The Pact

    Iksan, South Korea. M5.
    Iksan, South Korea. M5.

    This article is written by Josh White, originally posted here. The views posted here are his and his alone and may or may not be shared by the website as a whole ;)

    Disclaimer: Sarcasm doesn’t always transfer into written word. 

    Well, “tomorrow” turned into a week. Thank you for those who worried that I may have relapsed. Not the case! Once an addict, always an addict is what I guess they say. Well, I have honestly been “sober” for quite a while and just now have decided to write down my thoughts. I feel like this, at least in my brain, makes what I’m doing and going through more legitimate.

    The real reason for my taking so long to post step 2 was that I recently took a trip to the small town in Korea where I had lived for the first four years of being here. An interesting experience. While of course I’m not Korean, that small town feels more like a hometown than anything else to me anymore.

    Iksan, South Korea.
    Iksan, South Korea. M5.

    During the trip, I had a lot of time to think about what I would write here. Step 2 (of overcoming GAS) is probably the hardest for me. I’ve entitled it, “The Pact”, because this step is a self contract to limit the equipment I’ll use for the immediate future.

    Myeongdong, Seoul, South Korea. Xpro1.
    Myeongdong, Seoul, South Korea. Xpro1.

    Basically, the pact I made with myself is as follows:

    I, for the foreseeable future will use just two cameras. One film, and one digital. One lens on each. I didn’t limit this to a year, not because I don’t think I can last a year, but, because I want it to last longer than that. I don’t “need” anything else and therefore have no reason to buy anything else.

    Myeongdong, Seoul, South Korea. Xpro1.
    Myeongdong, Seoul, South Korea. Xpro1.

    Okay, so, the two cameras. First, the main camera I have used and will continue to use is a Leica M5 in black. I should start by saying I received this camera from a friend after having to sell a bunch of cameras to pay some bills while back in Canada. I’m sure some people reading this will go out and buy one. I recently wrote about the camera on instagram and the immediate response from some people was something like “it is the one camera I really want.” I thought this to be funny, considering it is the same thought I had about every camera I ever bought. I have this camera because a friend happened to give it to me. IT has been my friend ever since and will continue to be. Any camera is good enough and any camera is one we can use and love. In fact, the longer you own one the more you will love it as is the case with this one. And don’t get me wrong, I wasn’t mocking the person for saying they wanted to buy one, just commenting on the fact I would have one time felt the same way.

    Suwon, South Korea. M5.
    Suwon, South Korea. M5.

    Anyway..

    I say unabashedly that I love film. It is stupid, I know. Sometimes I say film has a “look” and everyone laughs. I get it, it is like a hipster saying tight jeans and big glasses give them a “look.” Honestly though, I’m sure that in 30 years when I look back at my photos it will be the film ones I remember and still have. I don’t have any explanation for this. Maybe the negatives will be the only thing I would have kept.

    Suwon, South Korea. M5.
    Suwon, South Korea. M5.

    The lens? Well, I use the 35mm Voigtlander 1.4 SC. Yep, nothing fancy and most people say this lens sucks. I don’t particularly care a whole lot as they are generally the type of people that comment on the photos I took with the Sony 9 year old digital point and shoot and ask me what type of film I used ;)

    For me, the lens was cheap, and just about wide enough. Works for me.

    Myeongdong, Seoul, South Korea. Xpro1.
    Myeongdong, Seoul, South Korea. Xpro1.

    I know, I know… Why TWO cameras. People are going to say this is an excuse for me to not commit to one. Well, I believe it is a necessity. Let me explain.

    I don’t always have film. I don’t always want to buy film. I don’t always want to pay to process film if I can’t do it.

    Yes, not very “artist-y” of me. Well, it is what it is. I sometimes want to shoot but don’t have the time, money, or willpower to do so on film.

    Suwon Station, South Korea. Xpro1.
    Suwon Station, South Korea. Xpro1.

    Thus, enter the digital camera. Honestly, I chose the Fujifilm Xpro1 for a couple of pretty boring reasons.

    First, I had it already so it wasn’t a matter of acquiring one which would be counter productive as I have rid myself of everything else. Second, in practice, it is the most affordable way to get a digital camera to work similarly to the M5 for those times when I’m not shooting film. Part of the reason I came to the conclusion that this process was necessary was that I was disappointed looking at my photos as I felt like they lacked cohesion. While the photos from both will never be exactly the same, because I can use the same lens (albeit as a 50mm lens) on the Fuji, it maintains similar characteristics and sort of a similar look. A big deal for me.

    Third and finally, my girlfriend loves the Xpro1. This is kind of a big deal, ha. Probably could have just skipped to this part.

    Suwon Station, South Korea. M5.
    Suwon Station, South Korea. M5.

    Too much choice is never a good thing. Paralysis by analysis as they say. I remember being on a trip to Japan and having four cameras with me (M9P, M8, GR1V, Leica X1) and a bunch of lenses and honestly having a hard time deciding what to take out in the morning. I would always end up taking two or three cameras “just in case” all the while telling myself I might need one of them for a certain kind of photograph. Stupid as fuck. The trip became about photography, not about being on a trip. I am not a professional photographer, I should enjoy myself on a trip for the sake of enjoying myself. Enjoy the company I’m with and the places I see. Even in everyday life this should be the case.

    Not to mention, I can’t tell you how many photos I missed trying to figure out which camera to use and how many times I pissed off the people I was with trying to decide which camera was best. It isn’t worth it. Not to mention the amount of travel I could do with the proceeds of selling off all of those cameras and lenses. Money is always better spent on experience. In 50 years, I can guarantee the fact that I won’t look back at the cameras I owned, but, the experiences I had.

    Suwon, South Korea. M5.
    Suwon, South Korea. M5.

    And hopefully I’ve taken some okay photos of those experiences.

    Why else take photos in the first place.

    So, thus ends step 2. A pact with myself to keep a couple of cameras and be happy with them. Something that is necessary and needs to be done. If I don’t stick to it, you’ll all know and hopefully call me out. You know how addicts like to justify “needs” ha.

    Also, I want to thank everyone for the amazing comments both here and at Eric’s blog (if you didn’t know, I have written for my friend Eric Kim‘s blog for years and often post in both places). I appreciate them so much, and always like hearing from people about this stuff. Talking about photography is one of the best ways to get over GAS, haha. Step 3, should come soon and will cover the giving away of cameras instead of selling them as a way to “purge” yourself and atone for having lived a GAS filled life. Stay tuned ;)

    Josh’s blog.

    Josh’s flickr.

    Josh’s twitter.

    Josh’s instagram.

  • Learn From the Masters: Lesson #6 Provoke Your Subjects

    Learn From the Masters: Lesson #6 Provoke Your Subjects

    Copyright: William Klein
    Copyright: William Klein

    “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. On the other extreme of Henri Cartier-Bresson (who covered his silver Leica with black tape to be more discrete) is William Klein; a street photographer who gave a middle-finger to all of the “rules” in photography, and acted like a director on the streets. He would provoke his subjects, and interact with them.

    Even for his most 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.

    I often take this approach in street photography (similar to Klein). While I do enjoy shooting a lot of candid street photographs, I also like to engage and provoke my subjects. Sometimes I will tell them to just look into the lens and not smile. Other times I will ask them to explicitly do things for me (look the other direction, cross your arms, take a puff of your cigarette, look down).

    But once you engage your subjects and ask them to do something for you, doesn’t it make the photograph less legitimate? Doesn’t the photograph become less about the subject, and more about you?

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

    “Can you do that again for me?”

    7536778624_8208853edb_b

    Sometimes you see things happen in the street; certain gestures, facial expressions, or actions by your subjects. A tip? I approach the subject and ask them: “Oh, I just saw you blowing your nose. Can you blow your nose again for me?” This is what I did in the photograph above.

    Believe it or not, most people are quite happy to repeat certain gestures for you.

    Another thing you can do: if you see an interesting scene approach the subject and tell them: “Excuse me, I think you look really cool smoking on this corner here. Do you mind if I take a few photographs, and you just pretend like I’m not here?’ The majority of people will laugh, and comply, and literally ignore you.

    If your subjects don’t ignore you, simply linger around. The longer you wait, the more people begin to ignore you, and just continue their business. Once they drop their guard, start shooting.

  • Learn From the Masters: Lesson #5 Emotionally Detach Yourself From Your Photos

    Learn From the Masters: Lesson #5 Emotionally Detach Yourself From Your Photos

    Copyright:
    Copyright:Estate of Garry Winogrand

    “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 haven’t got any good shots all day, despite the fact that you left your warm (and dry) house to take some street photos. 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. You hold up your camera, and wait patiently. The girl then jumps, and you click. You quickly look at your LCD screen and you realize: “voila!” You just captured the “decisive moment.” You are excited.

    You then rush home, quickly download your photos to your computer, post-process the photo, and then upload the photograph to your social media website of choice. 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: “Hey, this image isn’t quite as good as I remembered it to be.”

    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.

    But 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).

    So what is the solution? Try to 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.

    Another tip: don’t refer to the photos you take as “my photos.” Refer to them as “the photos.” The difference? Calling them “the photos” detaches you emotionally from them, so you can be more critical and objective when editing your shots.

    Stories don’t exist outside of the frame

    14799923850_8c9f90a3a0_b

    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 (like this environmental portrait I shot of a man in San Diego).

    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 started to take a bunch of images. Afterwards, I asked him what he did and what he was up to. 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. But regardless, 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 TV shows (Madmen) or any other films they have seen in the past.

    Morale of the story? 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. The funniest jokes don’t need to be “explained” (or else it isn’t a good joke). A good photograph shouldn’t need an intricate backstory or explanation in the caption.

  • Learn From the Masters: Lesson #4 Don’t Crop

    Learn From the Masters: Lesson #4 Don’t Crop

    hcb_seville

    “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

    Another common mistake a lot of photographers make is that they over-crop their shots. They are “crop-a-holics,” in which you crop every single photograph you take.

    I am also a recovering “crop-a-holic.” When I shot on the streets, I would be sloppy. I disregarded framing, as I told myself, “Eh, if I don’t get the shot right, I can always crop it later.”

    However when I learned this lesson from Henri Cartier-Bresson (the master street photographer on composition), I decided to give it a try. At first, it was difficult not to crop my shots. But when I gave myself the “creative constraint” of not cropping, it forced me to improve my framing in-camera.

    Over the course of a year, I discovered that my framing and composition got much better. I worked harder to get the shots right in-camera, and this caused my photography to improve drastically.

    Now 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). Also the irony is that one of Henri Cartier-Bresson’s most famous photos (guy jumping over a puddle) is cropped.

    gare

    Cartier-Bresson’s explanation for cropping the shot:

    “There was a plank fence around some repairs behind the Gare Saint Lazare train station. I happened to be peeking through a gap in the fence with my camera at the moment the man jumped. The space between the planks was not entirely wide enough for my lens, which is the reason why the picture is cut off on the left.”

    If you are trying to improve your composition and intuitive sense of framing: give yourself the assignment of going an entire year without cropping. I can guarantee you that a year later, your photography will improve dramatically. And if in the future you do decide to start cropping again, always do it in moderation. Very rarely does a poorly-framed photo look better when cropped.

    A practical tip for framing better without cropping? Look at the edges of the frame while you’re shooting. Avoid suffering from “tunnel-vision” (only looking in the center of the frame).

    At the end of the day, cropping is no evil. I would say crop in moderation, and if you’re going to crop, try to keep the aspect ratio consistent. 

  • Street Photography Quick Links: July 2015

    Street Photography Quick Links: July 2015

    FOR SPQL JUL copy

    Street Photography Quick Links is a compilation of Links, Projects, News, Videos, Events, or anything that is related to street photography or photography in particular that I have personally consumed. Perhaps these might interest you or make you think. If you want to send some links my way, details will be at the post below.

    (more…)

  • Learn From the Masters: Lesson #3 Don’t Shoot From the Hip

    Learn From the Masters: Lesson #3 Don’t Shoot From the Hip

    Copyright: Estate of Garry Winogrand
    Copyright: Estate of Garry Winogrand

    “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.” 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.

    Why not shoot from the hip?

    “[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.

    Remember 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.

    Getting “caught in the act” 

    So what happens when you’re shooting street photography (with your viewfinder), and you get “caught in the act?”

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

    The benefit of having your subjects see you while shooting them5993173792_382b5d5f53_z

    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”).

    Now if I shot from the hip, she might have not noticed me about to take a photograph. Therefore she would have never posed for me, and this photo would never had been created.

    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.

    Hungry to learn more? Check out the full series here: “Learn from the Masters of Street Photography.”

  • Join Me at PopUp GPP Seattle for a Special “Conquer Your Fear of Shooting in the Streets” Workshop (September 16-18th, 2015)

    Join Me at PopUp GPP Seattle for a Special “Conquer Your Fear of Shooting in the Streets” Workshop (September 16-18th, 2015)

    popup_banner_july5_04

    Hey streettogs,

    I am excited to announce I will be teaching my popular “Introduction to Street Photography Workshop” in Seattle (September 16-18, 2015) hosted by Gulf Photo Plus as part of their PopUp GPP Seattle event!

    For those of you who have never heard of “Gulf Photo Plus”, it is the most happening photography educational center in Dubai. Their annual “GPP” event is also the most exciting, fun, and informative photography event that I have personally attended. You certainly don’t want to miss out on this event, and have lots of great coffee in Seattle as well!

    About the workshop

    In this action packed 3-day weekend workshop, you will learn the fundamentals of street photography, how to create visually compelling images, how to conquer your fear of shooting street photography, as well as tips & tricks how to capture “the decisive moment.”

    The workshop is limited to an intimate class of 12 passionate individuals who want to take their street photography to new heights. The workshop will be an intimate experience in which you will learn solid fundamentals, get honest & constructive criticism on how to improve your photos, and meet other enthusiastic street photographers. This workshop is ideal for beginner or intermediate street photographers.

    Who is Gulf Photo Plus?

    Chio Gonzalez, Manila 2013 workshop
    Chio Gonzalez, Manila 2013 workshop

    GPP (Gulf Photo Plus) believes in the art and science of photography as a medium of creative expression, and exists to inform, educate and inspire photographers of all levels. The Dubai-based company organises year-round photography workshops, inspirational talks, exhibitions and events for the local photography community, and is famed the world over for its biannual photofests. March 2015 was the 11th edition of the annual GPP event in Dubai.

    The annual GPP event draws participants from around the world with their impressive line-up of photography educators. Past educators include Magnum’s David Alan Harvey, Zack Arias, Joe McNally, Steve Simon, David Hobby (Strobist), Greg Heisler, and Joey Lawrence to name a few! I was fortunate enough to be an instructor at GPP2014 and it was one of the most rewarding teaching experiences of my career.

    What is PopUp GPP Seattle?

    Jill McGuire, Seattle 2014 workshop
    Jill McGuire, Seattle 2014 workshop

    Following the success of PopUP GPP in London and Singapore, GPP is continuing with their winning formula – the best instructors, exceptional organisation and a passion for photography…next stop, Seattle September 19th and 20th, 2015.

    Participants of my workshop September 16-18th will receive free admission to the weekend’s event, which will feature sessions from Zack Arias, Joe McNally, David Hobby, and Greg Heisler! These are all masters of their respective genres and photographers whom I have great respect and admiration for.

    How Can I Register for PopUp GPP Seattle?

    Shay Allen, San Francisco 2013 workshop
    Shay Allen, San Francisco 2013 workshop

    There are two ways you can register for the PopUp GPP Seattle event:

    1) Register for my workshop Conquer Your Fear of Shooting the Streets (September 16-18th), which includes admission to the September 19-20th sessions!

    2) Register for the main PopUp GPP Seattle event (September 19-20th) featuring Zack Arias, Joe McNally, David Hobby, and Greg Heisler!

    For more information on the two PopUp GPP Seattle events, contact Gulf Photo Plus at hello@popupgpp.com. They promise to get back to you within 24 hours except on weekends – weekends are Friday and Saturday in Dubai so bear with us if you send an email on the weekend. You can also reach them by phone at  +971 4 380 8545.

    Excited to see you in Seattle :)

    Ximena Echague, London 2014 workshop
    Ximena Echague, London 2014 workshop

    Other Upcoming Street Photography Workshops

    If you can’t make the GPP event in Seattle, join me at one of my other upcoming street photography workshops!

  • “Letters from a Recovering Camera Addict” Step 1: Admission

    “Letters from a Recovering Camera Addict” Step 1: Admission

    Seoul, South Korea.
    Seoul, South Korea. Last week.

    This article is written by Josh White, originally posted here. The views posted here are his and his alone and may or may not be shared by the website as a whole ;)

    Hi.

    My name is Josh and I’m an addict.

    No, I never did drugs. I don’t smoke. I hardly even drink.

    I’m addicted to something more pricey than any of those. I’m addicted to cameras.

    Any kind of camera. I don’t discriminate. I don’t care anymore if it is expensive. I don’t care if it is new. I don’t care if I’ve tried it before. If it is out there to be bought, I probably want to buy it.

    I get angry at other addicts. This stems from a strong denial of my affliction. Stems from the inability to admit my own flaws.

    Some say there isn’t anything wrong. This ISN’T an addiction. I’m here to say, they are wrong. Addiction by definition is the inability to stop a habit.

    There are many symptoms. First, the morning coffee. The coffee, a different addiction, is just a means to sit in front of a computer and feed. The first thing you may check is ESPN or the news. That makes the addiction feel less real. Next though, the reality of it.

    The next part depends on the “drug” of choice. Maybe you go directly to the newest gear news. If you prefer the old stuff, you check used shops for their newest posts. I used to be the prior but have migrated towards the later. “Wow, that is interesting” or “I took one of my favorite pictures with one of those.” The starting thoughts to a chain of events leading to getting a fix.

    At this point, “you” still don’t feel there is a problem.

    “I’m just looking..”

    At work during free moments you check forums or reviews. Listen to other addicts talk about why they needed that fix. If you’re like me, you look at the old photos you took with the current “mark.”

    “I remember when I took this. I really loved that camera…”

    Other people need to latest and greatest. They aren’t the nostalgic type addicts like myself. They can forget the past easily because it will never be as good as the future. I was like this before. I remember the feeling of not wanting to use my current because I knew I would get the newer. The “lame duck” mentality.

    “What if I take the picture of my life with this? How can I get something else then?”

    This leads to another problem. Hoarding. The inability to let go because at some point something may be needed. Some day, you may want to fondle or hold. I’ve never really been a hoarder, but addiction is unpredictable.

    Justification. The crux of the matter.

    “If I only had that camera I could take the shots I want.”

    Weirdly, that thought is very rarely followed by:

    “I wonder how I can take interesting shots with the camera I have?”

    At least not in the mind of an addict.

    In our hypothetical day, the addict will then spend the rest of it daydreaming about what they could do with the new camera. They will dream of the inspiration. Somehow, when looking at forums and reviews they don’t seem to see the negatives. Either that or ignore them.

    Finally before the day is over the website is checked one last time. Some small part of your brain wants it to be sold.

    Not because you want the addiction to stop but because you want it to continue.

    “It wasn’t really that good anyway. Tomorrow, there will be something better.”

    Seoul, South Korea. 2014.
    Seoul, South Korea. 2014.

    When I look at my favorite photographers, there is something interesting about them. For the most part, they have a very specific style. Their photos have a “look.” They have a clearly defined “feeling” to their photos. Something that isn’t easily explained aside from with another hypothetical situation.

    I open flickr and I see a photo without the name because, I am of course at work and the browser window is minimized. Even so, I know right away that photo was taken by Junku Nishimura ( a friend from Japan and probably one of the best contemporary street photographers in existence). I don’t need his name to know the photo is his.

    People will argue this point. Most of the people that argue will be addicts. I know because I did so myself. They will say that if you have a style you can take photos of that style with anything. This is true, on some levels, but not all. Not because of specifications or technical details but because of the vision of the artist. Their camera is just their tool. It is a method to expose a frame. A medium on which to capture.

    Anyway, I digress. I am slowly recovering. It is hard, I still fall back into the routine of addiction. Maybe I will always be an addict. In fact, I think I will be. I just want to learn how to deal with it better. I NEED to. I want to be proud of the work I’ve made and want it to be consistent. This addiction doesn’t allow for that.

    So, I’ve decided to start with the 12 steps. 12 steps of my own invention. Consider this, step one.

    Admitting I have a problem.

    Step 2 is maybe the first on the actual road to recovery. A pact. A pact to use one camera and one lens for a year. 365 days. More on this tomorrow.

    Tokyo, Japan.
    Tokyo, Japan. 2011.

    Josh’s blog.

    Josh’s flickr.

    Josh’s twitter.

    Josh’s instagram.

  • Streettogs Academy Assignment No. 13

    Streettogs Academy Assignment No. 13

    SA13

    Let’s just jump to the next assignment. I think this one is going to be fun because there are two ways to approach this one:

    (more…)

  • Streettogs Academy No. 12 “Love” Results and Analysis

    Streettogs Academy No. 12 “Love” Results and Analysis

    SA 12 COVER

    (Cover photo by Assignment No. 12 Community’s choice Forrest Walker)

    All the things we do are best done when you love what you are doing. This is an emotion natural to all of us that is open to a lot of possibilities and executions. With that said, here are some of the best of the best for Assignment No. 12:

    (more…)

  • Learn From the Masters: Lesson #2 Shoot From the Gut

    Learn From the Masters: Lesson #2 Shoot From the Gut

    Copyright: Anders Petersen
    Copyright: Anders Petersen

    “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.

    So 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.

    When is it time to become analytical?

    Eric Kim / Tokyo, 2011
    Eric Kim / Tokyo, 2011

    “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 your shots. Analyze your images after-the-fact as a post-mortem, and learn how to “kill your babies” (your 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. Let your shots “marinate” by not looking at them until a week after you have made your images.

    Letting a photograph “marinate”

    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. 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.

    For 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 above, 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. But 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).

    Learn From the Masters

    If you want to learn more practical wisdom from the masters of street photography, read more below:

  • The Street Photography 2015 Contest: Get Your Work Published In A Book Curated by Colin Westerbeck (UPDATE: Deadline Extended to Aug. 25)

    The Street Photography 2015 Contest: Get Your Work Published In A Book Curated by Colin Westerbeck (UPDATE: Deadline Extended to Aug. 25)

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    UPDATE: Deadline extended until AUGUST 25, 2015! 

    You’ve read that right! Colin Westerbeck, acclaimed curator and author of the book, Bystander: A brief history of Street Photography together with Acuity press and PDN are looking for your best work to be part of a book that will showcase the current practice of street photography. It will be juried by Eric together with Ken Schles, Matt Stewart, Daniel Arnold, and John Free.

    Here are some of the contest details:

    • Head on to the Street Photography 2015 Website and sign up.
    • Upload your images with the size at least 11 x 17 at 300dpi jpeg. (Mobile Phone Images at least 1920 x 1920 pixels)
    • There are several categories ranging from Urban Landscape, Urban Culture, Portraits, Social Circumstance, Street Fashion and etc.
    • Deadline of Entries is on August 11, 2015  August 25, 2015 (Extended!)
    • There is an entry fee of $35 that will let you upload up to 6 images.

    For more info on the contest visit the competition website and follow PDN and Acuity press for the latest news!

    • A.g.
  • Learn From the Masters: Lesson #1 Get Closer

    Learn From the Masters: Lesson #1 Get Closer

    Hey streettogs, I’m starting a new book on a distillation of all the “Learn from the Masters” articles I’ve written. I hope these daily lessons can inspire you, I know they inspired me!

    © Robert Capa / Magnum Photos. SPAIN. Cordoba front. September, 1936. Death of a loyalist militiaman.

    “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).

    However 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. That is fake intimacy. By using a telephoto lens, you are treating your subjects like zoo animals, and your photography is a safari hunt.

    However when we read the quote from Robert Capa on closeness, it doesn’t necessarily mean physical proximity. You can be physically close to your subject, and still emotionally distant. The most important thing as a street photographer is to empathize with your subject and try to connect with them, their emotions, feelings, and condition.

    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.

    The .7 Meter Challenge

    NYC, 2015

    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.

    You can read more on the .7 meter challenge here.

    Shooting street photography with a telephoto

    You don’t always need to shoot with a wide angle lens. Some of the greatest street photographers have used a longer lens, such as Saul Leiter, Tony Ray Jones, and Rene Burri. They used long lenses intentionally to compress their backgrounds and make unique images. However their images still have emotion and soul to them, as they caught moments of the “human condition.”

    Ultimately use the lens and focal length which suits your personality. But if you’ve never tried shooting wide and getting physically close in street photography, I recommend you to try it out, and push yourself out of your comfort zone.

  • Of Raising Dogs And Pursuing Reflections: An Interview With Siri Thompson

    Of Raising Dogs And Pursuing Reflections: An Interview With Siri Thompson

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    (Interview by A.g. De Mesa. All photos by Siri Thompson)

    Siri Thompson is a photographer based in Toronto, Canada. She constantly photographs her city in a manner inspired by her photographic heroes while putting her own unique twist. Siri also has a soft place in her heart for animals. Her photos feature a lot of imagination as seen by the layers of content in her frame but they can be easily understood. It is a mixture of mundane daily life and deceptively complex scenes.

    Find out more about how she photographs and what keeps her fascinated with our interview below:

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  • How to Overcome Excuses in Street Photography

    Bercy Park / Paris, 2015

    A photo posted by Eric Kim (@erickimphoto) on

    Getting my laptop stolen recently has been the best thing that happened to me recently. Let me explain why.

    Not having a laptop the last week, I’ve been making all these excuses not to blog and write. I generally prefer working with a a laptop, having a keyboard, and the flexibility of having a “real” computer.

    So the last week I’ve been just dependent on my smartphone. And damn, I’m pretty impressed and realize how much I can truly do with a smartphone. I can (obviously) check my email, plan my schedule, pay bills, but even better– I can record videos, take photos, process my photos, update my blog, and even “write” (actually “text”) articles on my smartphone (like I’m doing now on my smartphone).

    Funny enough, I can probably text as fast as I can type. I use android and with the “SwiftKey” keyboard, I rarely make typos. Not only that, but I can write ideas while standing (not possible on a laptop with keyboard), while waiting in line at the store, or when in a cramped airline (Ryanair).

    In fact, I’m starting to really wonder nowadays with the cloud and Google services what we really need laptops for. Of course for the power user (heavy video or photo editing) or Excel gurus you’re going to need a computer. But I really feel that 99% of “normal” people no longer need a “normal” computer.

    Bringing the topic back to excuses, there were a lot of articles I wanted to write but I made the excuse that because I didn’t have a laptop, I couldn’t write it. But then I really wanted to write, so I used the only tool I had: my smartphone. And I’m able to “write” on my smartphone just fine.

    So perhaps moving forward, I’m going to do less “writing” on a laptop, and putting down more ideas on my smartphone using Evernote. I really have no more excuses for my tools being insufficient for writing.

    I also used to make excuses that my camera wasn’t good enough for street photography because I didn’t own a Leica. Now that I own a Leica I have finally leaned (the hard way) that the camera is an excuse. Not having a good enough camera is always a bad excuse. The only limitation is your creativity, inspiration, and vision of the world.

    What other excuses have I made in my life and art?

    1. I don’t have enough money to travel to shoot interesting street photos. Solution: shoot your own city.

    2. My camera isn’t good enough. Solution: use the camera you already use.

    3. I don’t know any other photographers to inspire me. Solution: buy photo books and make masters of photography your personal tutors.

    4. I don’t have enough time to shoot. Solution: try to take at least 1 photo a day during your lunch break, before work, after work, or of people you know.

    5. I’m too old. Solution: use your age as benefit (you have great wisdom that young people don’t have, which can aid your learning process). Jack Simon didn’t pick up street photography until he was 65, and at age 70 is one of the best in the world.

    6. I’m not talented or artistic enough. Solution: educate yourself by investing in photography education (artists are made, not born).

    7. I’m too lazy. Solution: use your laziness to your advantage and just use a smartphone and make “boring” photos of your everyday life.

    8. I don’t understand technology. Solution: just use a disposable film camera and get the shots printed at the nearest drugstore as 4×6 prints.

    9. I’m afraid to take photos of strangers without permission. Solution: start off by asking permission. If scared of asking for permission start off by asking friends and family to take their photos. Worst case scenario: your mom will never say no.

    10. I’m not inspired. Solution: shoot first, the inspiration will follow.

    Conclusion

    Don’t make excuses, make photos.

  • Creative Constraints are Freedom: Abstract Street Photography by Maarten Rots

    Creative Constraints are Freedom: Abstract Street Photography by Maarten Rots

    maarten-rots-siting-qlick-editions-11 maarten-rots-siting-qlick-editions-12 maarten-rots-siting-qlick-editions-13 maarten-rots-siting-qlick-editions-14 maarten-rots-siting-qlick-editions-8 maarten-rots-siting-qlick-editions-10 maarten-rots-siting-qlick-editions-9 maarten-rots-siting-qlick-editions-7 maarten-rots-siting-qlick-editions-6 maarten-rots-siting-qlick-editions-5 maarten-rots-siting-qlick-editions-3 maarten-rots-siting-qlick-editions-15

    Restricting to open up. How less can be more when going out to shoot.

    I am strongly convinced that creating restrictions leads to more freedom and development when it comes to creativity. This may sound very counterintuitive but I have experiences to back up my claims. I just finished an intense week of photographing which led to an exhibition opening last night. It was a great experience and I would like to share some of the things I came across and learned during this week.

    I think we all know how it sometimes can be hard to go out and shoot. We’re all very good at coming up with excuses and it can be tough to break the cycle of non-activity. Next to that it may sometimes feel like we’ve gotten used to a certain way of working which slows down our development so much that it feels like we got stuck and keep coming home with different but the same photographs time after time.

    Work within a frame

    What I like to do to work around this is to set up some rules and make agreements that involve others to push myself a step further. This past week I did exactly that, really enjoyed it and think this can be of help to others as well.

    My project

    I came up with the plan to shoot within a 1000 meter radius only, then pick one photograph each day to be printed and finish up the project by showing the outcome in an exhibition. I pitched the plan – Siting: Qlick Editions – to the nice people of photo gallery Qlick Editions in Amsterdam who were very enthusiastic about the idea and we set a date for the project to happen. As the moment to start came closer I made sure I had nothing else going on during this week and dropped all of my other routines so I could fully focus on this one-week project.

    Each day of the past week I walked through the area, accompanied by my camera, for about 8 to 9 hours and would come back into the space to make my selection. Not always an easy task, but very rewarding as the photo would be printed and delivered to the gallery the next day. As you may know from your own experience it can be very tough to choose that one photo on the day you took it. That’s why I worked together with Eric: every day I would send him my final selection of around 8 images and he would get back to me with constructive criticism; very helpful in order to get to the pick of the day.

    I also devoted a blog to this project on my website so anyone interested could be really involved in the process. I attempted to keep it as open as I could by sharing a lot of the images that did not make the cut, to give some insight into my way of working. Also I used geotagged images to place on a google map to make it possible to see where each image was taken.

    I developed this project with the intention to explore different areas in different cities all over Europe and hopefully on other continents as well.

    My experiences

    Restriction leads to digging deeper into the possibilities that are at hand which may lead to some exciting new discoveries. I truly believe you can find beauty and interesting subject matter anywhere as long as you force yourself to look for it. By limiting the area to work in I did just that and it really gave me a clearer idea of what I’m looking for when I go out searching for interesting photographs. I had to look harder, but also learned to faster recognise the situations that trigger my attention. I had to pull myself through moments when I felt nothing was good enough and exterminate the fear of ending up with a shit picture getting printed. I had to go on when the weather was not as I prefer it when I go take pictures and learned to shoot when it’s a rainy day. I narrowed my scope but didn’t become closed minded, this project actually opened my view and made me see (and capture) things I wouldn’t have seen a month ago.

    Make decisions

    Dealing with the time constraint is a challenge but it keeps you from procrastinating to make decisions that have to be made regardless. Most of the time it really doesn’t help to postpone a decision. Do it now and you are relieved of one more thing that’s in the back of your head messing with your focus and concentration.

    Develop your own project

    I don’t think the boundaries I set myself are necessarily the right ones for you. Restriction can come in many forms and it’s only a matter of applying one or more simple rules to your workflow. For example shoot only between 6 and 7 am, use only one camera and one lens (less really is more and healthy for your back and wallet as well), shoot only in portrait orientation, shoot only one photograph of each scene (edit before shooting) etcetera.

    Also think about restricting yourself in the process that follows a shoot: choose the one best image within an hour after coming home, don’t crop any of your images, make a print of your favourite image once a week and hang it someplace where others can see it (or give it away, people love getting a printed image). Involving others is a very good way to keep things going and stay sharp anyway!

    Change it up

    I believe setting up rules is a very effective way to boost your creative qualities, but it only works when you change it up. Don’t stick with the same rules and restrictions forever, in the end the most important things is to enjoy it and shed a new light on your photography.

    Conclusion

    By restricting you have less to worry about and more energy to focus on what you really want and love to do: make better pictures. It makes you look for other ways to achieve the result you have in mind. It also forces you to get better at working with the smaller amount of tools and possibilities you have left. You will learn to exploit what you have at hand and become better at what you do.

    Go for it, I’m sure you will get something out of it!

    About Maarten

    Maarten Rots is an artist working with photography based out of Amsterdam. In his photographs you can see a sense of abstraction and surrealism found in everyday situations, captured by the camera. He loves printed photography and one of the ways he shares his work is through his self-published quarterly photography magazine March & Rock.

    The exhibition with the results of his one-week project Siting: Qlick Editions will still be on show during the coming week atQlick Editions in Amsterdam.

    Follow Maarten on Instagram: @maartenrots

  • 7 Benefits of Shooting Street Photography With a Smartphone

    7 Benefits of Shooting Street Photography With a Smartphone

    Paris, 2015. Galaxy S6
    Paris, 2015. Galaxy S6

    I’ve been shooting a lot of photos on my smartphone lately (Samsung Galaxy s6). It has been so much fun and I’ve enjoyed it so much, that I wanted to write an article about my personal experiences and thoughts about the benefits of shooting street photography (and any photos) on a smartphone.

    I often get a lot of questions from aspiring street photographers or photographers in general what kind of advice I would give in terms of what camera to buy. Honestly, my frank answer? Just start off by shooting on your smartphone. There are so many benefits. Some ideas below:

    1. You increase your rate of learning

    Seattle, 2015. Galaxy S6 processed with VSCO b5 preset
    Seattle, 2015. Galaxy S6 processed with VSCO b5 preset

    Some of the best street photographers I know shoot with only smartphones. Not only that, but their rate of learning is incredible. Many talented street photographers on Instagram have only been shooting for a year or two, and have made incredible growth and progress in their photography.

    How? They have constant feedback and quickly learn through shooting all the time, and by sharing images on social media.

    The #1 excuse (and problem) that all of us photographers face is that we don’t shoot enough, and we don’t have our cameras with us.

    But if you think about it, the smartphone is the ultimate camera. It is small, unobtrusive, always with you, and convenient.

    A lot of people say that smartphones aren’t apt cameras because it isn’t “full frame” or whatever. But to be honest, the cameras in the modern smartphones (iPhone 6, Galaxy S6, LG G4, and many others) are pretty incredible. They’re just as good as high end point and shoots from just a few years back.

    Of course a smartphone isn’t going to have the same quality as a full frame, DSLR, or any other “real camera.” But at the end of the day, it isn’t image resolution that makes a good photograph. It is the “quality” of your images, in terms of the emotion, composition, and feeling you give your viewers.

    I shoot with several cameras at the moment; a film Leica MP, a digital Ricoh GR, and a Galaxy S6. Funny enough I’ve been uploading a lot of photos shot on my smartphone on Instagram (after processing in VSCO with the a6 preset), and people have thought they were film Portra 400 shots. Morale of the story? Photos shot on a smartphone can look good.

    Another example: Michael Christopher Brown shot much of his work on his iPhone in Africa, and have made compelling images (that got him into Magnum as a nominee). He didn’t need a fancy or experience Leica to get him in.

    2. You focus on the light

    Paris, 2015. Galaxy S6
    Paris, 2015. Galaxy S6

    Another thing about smartphones that can help you become a better photographer: you need to focus on capturing good light.

    The sensor of smartphones (while pretty good) still don’t compare to the dynamic range of most high end digital cameras. Therefore getting good light and exposure is even more important.

    One of the biggest fundamentals in photography I wish I learned earlier on is how important light is. I remember when I got my first DSLR (Canon Rebel XT 350D) and was frustrated that my photos didn’t look as epic as the photos I saw online. My mistake? I only shot in shitty and harsh light, and didn’t know anything about good light (shooting at Golden hour or through windows).

    No matter how expensive your camera is, you can’t fake capturing good light. Even if you have mad photoshop skills, you can’t fake good exposure.

    Light can truly transform an ordinary image into an extraordinary one. Epic light evokes emotion, awe, suspense, and drama.

    Therefore if you shoot street photography on your smartphone, really try to focus shooting in good light. Try to focus shooting sunrise or sunset, or just photographing people next to windows or open doorways (Steve McCurry style).

    3. Keep your processing consistent

    Paris, 2015. Galaxy S6
    Paris, 2015. Galaxy S6

    I think VSCO is the best smartphone app ever made for photography. The minimalist interface runs like butter, but even better: the presets look damn good. Their analog presets (the “a” series) looks the closest to Kodak Portra 400. Their black and white presets also look amazing.

    I try to shoot with my smartphone like I’m shooting film; I try to stay consistent with one “look.” I am in love with the A6 preset, and always apply it to my images, and therefore all my smartphone images look consistent.

    My advice? Play around with the presets and find one “look” that you dig and stick with it for a while.

    A common mistake I see photographers make is that they have too much variety in their photos by using too many different presets or post processing techniques. Would we love Henri Cartier-Bresson’s work as much if he shot with 20 different types of film in his lifetime? Probably not, we love the consistency of his low contrast black and white images (focused on good composition). We also still remember and love the consistency (and beauty) of Kodachrome color film with Alex Webb and Steve McCurry.

    It’s still fine to experiment with different “looks” in your photography. Just try to do it in different projects (like how a film director uses different equipment and film for different movies).

    3. You can’t make excuses

    Oakland, 2015. Galaxy Note 4
    Oakland, 2015. Galaxy Note 4

    If you are like most modern people, you are probably connected more to your smartphone than your mother or first born child. I know I’m attached to this thing like a leash. I check it first thing when I wake up, and the last thing when I sleep at night. It is so bad that sometimes I get anxiety if my phone isn’t in my pocket (or a foot away).

    In the past I have missed so many shots because I didn’t have a camera on me. But now that I have a smartphone I have no excuses. Sure I would prefer to shoot all of my shots on film. But if I’m at the grocery store or having dinner with Cindy, my smartphone is generally much quicker to take out and shoot with.

    So really we have no more excuses for not having “time” to shoot. The only limitation we have is our own imagination, our curiosity of life, and ability to see the beauty in the mundane.

    If you’re a photographer who owns a big ass camera (or doesn’t carry your camera with you wherever you go) try this experiment: only shoot with a smartphone for a month. Lock all of your expensive cameras in a drawer for that period of time, and you’re only allowed to shoot on your phone. Not only that but shoot everyday.

    After a month, see if this liberates or frustrates you. It might liberate you (and you never end up shooting on a “normal” camera ever again) or you are frustrated enough that you build the diligence to carry your “better” camera with you everywhere you go.

    4. Who cares what you shot it on?

    Orange County, 2015. LG G4
    Orange County, 2015. LG G4

    The most annoying thing a photographer can ask (I’m guilty of this too) is: “What camera did you shoot that photo on?” Personally whenever I ask another photographer that question what I’m really saying is: “Wow I really love your photos, and I aspire to make photos as good as yours. But currently my photos isn’t good enough and I think it is because my camera isn’t good enough or suitable for the job. If I bought your camera, could I become as good a photographer as you?”

    I had a friend (Misho Baranovic) who had a street photography show with my other mate Olly Lang. Both talented street photographers, and had their photos printed for the exhibition. Some random people came by and asked: “Wow, these photos look great. What did you shoot it on?” To pull their let they said: “On a Leica.” One photographer then said: “Oh yeah you can totally tell by the quality of the Leica glass! You really get that “Leica look”, depth, and three dimensional character.” When we told him he was joking and it was shot an iPhone, and we all laughed together.

    If you make a memorable photograph, who gives a damn what camera you shot it on? Do you honestly care? Or are you worried that other people care? Do you feel insecure that if people “found out” you shot a photo on a smartphone, it would somehow devalue your photo?

    For me, I actually respect photographers more when I see that they shot a certain photo on a smartphone. Why? They were able to make a beautiful image with such basic equipment.

    When it comes to photography, sometimes it can be a big dick measuring contest (at least for men). Photography can sometimes be just about showing off your gear and how rich you are, or your status. It’s kind of how the most insecure people buy the most brand name clothes, watches, purses, cars, etc. Funny enough, as a general rule, the more expensive the gear a photographer has, the more insecure they are about their photography.

    Personally one of the main reasons I wanted to get a Leica was because I was lured by the prestige, status, and the legend of Leica. I truly did think that buying a Leica would make me more inspired, creative, cultured, whatever.

    But in reality, it hasn’t changed my photography much. The only real things that have helped my photography: reading photo books, learning from the masters, and shooting more. Sure at the end of the day, I still prefer shooting on a film Leica for the simplicity and ease of use, but at the end of the day, a camera is just a camera.

    5. But what if my smartphone camera sucks?

    Pacific Northwest, 2015. Galaxy Note 4
    Pacific Northwest, 2015. Galaxy Note 4

    Unfortunately there are a lot of smartphone cameras out there with really low resolution.

    In these cases, use that as a benefit. Dando Moriyama shot with a cheap film Ricoh GR and made super grainy black and white shots, while others were using fancy Leica cameras or sharp slr lenses.

    So my suggestion: try shooting black and white and intentionally make your shots high contrast and gritty. Use the downside (low image resolution camera) to your benefit.

    If you use an iPhone (older generations), I’m a big fan of Hipstamatic and the filters. If you use android, get the new snapseed app (which is epic and has great monochrome filters).

    6. Practical tips shooting street photography on a smartphone

    Some practical tips I’ve learned shooting on a smartphone;

    a) Shoot a lot

    The benefit of shooting digital is that it doesn’t matter if you shoot a lot. It doesn’t cost extra money. I also think it is generally better to overshoot a scene than undershoot a scene. Sometimes subtle differences can make the difference between a so so photo, and a great photo. For further reading on the importance of “working the scene”, watch my YouTube lecture or pick up a copy of “Magnum Contact Sheets.”

    So if you see a good scene, keep shooting it until either your subject gets pissed off, walks away, or the moment is over. The problem is that street photographers move on too quickly and don’t shoot a scene enough.

    When I see a good scene and shoot it on my smartphone, I’ll take 20+ photos whenever possible. Some of my favorite smartphone photos were shot with 50+ images.

    b) Look like a dumb tourist

    Shooting on a smartphone makes you look like a dumb tourist. Keep shooting and pretend like you’re not shooting your subject and you’re shooting something in the background.

    For extra dramatic effect, flare our your elbows and knees. Fanny packs are a bonus, and make you almost invisible. I’m only half kidding.

    c) Use the right apps

    Every smartphone is different in terms of performance. I recommend trying out different smartphone camera apps to find what works for you the best.

    For iPhone I recommend the “pro camera” app (you can prefocus and tap the screen to shoot). You can always use the default camera app too. Hipstamatic is also good for cool looking effects.

    For Android, either use your default camera app, or download the Google camera app. Use whatever is faster and more responsive.

    For editing and post processing, I recommend VSCO, Snapseed, or a combination of both.

    If you don’t like sharing your photos as squares, use “Squaready” on the iPhone, or “Square InstaPic” on Android (to share your photos as a rectangle by adding a white or black border).

    You can also try using mobile Lightroom on an iPad, but I find it still a bit clunky.

    7. Instagram tips

    Garden Grove, 2015. LG G4
    Garden Grove, 2015. LG G4

    To be honest, Instagram is by far the most dominant social media platform at the moment. For this reason, I think it’s the best platform to share your images on.

    Don’t focus on getting a lot of likes. Seek to learn. Try to find a few photographers you admire, and seek to get critique or feedback from them by critiquing and giving honest constructive and helpful critique to them.

    Focus more on engagement, communication, and interaction on social media. I would rather have 10 followers who is really active and helpful to me on Instagram, than 10,000 passive followers.

    As a general rule on social media the quality of feedback you get on your photos is equivalent to the feedback you give others. The more you give the more you will receive in return.

    As with hashtags? My personal philosophy: less is more. I try to limit my hashtags to 2 or less. Just try to follow a few hashtags to find good photographers to follow and engage.

    Can’t find any hashtags you like? Start your own, like I did with #streettogs and #buybooksnotgear.

    Conclusion

    Berkeley, 2015. Note 4
    Berkeley, 2015. Note 4

    Chase Jarvis once wrote: “The best camera is the one you have on you.” To expand on that, I think the best camera is the one you just shot a photo on. Meaning, a camera is only important insofar much as it is a tool to capture a certain image, feeling, or emotion you witnessed. The camera is just an intermediary tool for your eyes and heart.

    Nobody gives a shit what camera you use to make images, and neither should you. Shoot with whatever comes is most convenient for you, and “image resolution” doesn’t really matter that much at the end of the day in street photography. Embrace grain, grit, and rawness.

    Lastly, just remember to shoot and enjoy yourself. As large format shooters in the past looked down on medium format shooters, and as they looked down on 35mm shooters, and as film shooters looked down on digital photographers, and full frame digital photographers looked down on crop sensor photographers, looked down on compact cameras, looked down on smartphones. Everyone can be a snob with cameras, there is no end.

    Let’s preach death to the camera. Long live photography!

  • Street Photography Quick Links: May – June 2015

    Street Photography Quick Links: May – June 2015

    SPQL MAY JUNE 2015

    Sorry for missing an entire. It has been a fiery and explosive month for me here. (I even lagged behind my Streettogs Academy duties) but all is well right now. Here’s another round of links, reads, and finds for all of you to digest.  Here you go:

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  • Street Photography Shootout: iPhone vs Samsung Galaxy S6

    Street Photography Shootout: iPhone vs Samsung Galaxy S6

    Probably the most fun video I’ve done in a long time: a street photography “Shootout” with bigheadtaco in Vancouver. He used his iPhone 5s while I used my Galaxy S6. The point of the video was to show that smartphones are more than capable cameras for street photography, and often more fun, accessible, and easy.

    What are your thoughts on shooting street photography on your smartphone? Share your thoughts in the comments below!

  • Fun Chat and Interview with bigheadtaco in Vancouver

    Fun Chat and Interview with bigheadtaco in Vancouver

    Had a fun little interview and chat with bigheadtaco while I was in Vancouver. Hope you enjoy the video above, and make sure to also follow his YouTube channel!

  • Paris GoPro Street Photography POV #4

    Paris GoPro Street Photography POV #4

    Hey Streettogs, here is the last gopro video I got from Paris! I hope this gives you some ideas and insights on how I shoot street photography.

    My ultimate lesson in Paris (as well in every country), as long as you shoot with confidence, a smile, and without hesitating, you generally have no problems. I shot there for about 2 weeks solid, and only had one negative incident of a confrontation.

    I have found most Parisians to be very friendly and open (despite what foreigners have told me). I’ve picked up some French phrases, make an effort to try to speak French, and people are generally very happy to see me try.

    Paris is certainly one of the most beautiful places to shoot street photography in the world. If you ever have the chance, come visit, and don’t forget to tell people: “Merci beaucoup” (thank you very much).

  • Try it Out For Yourself

    Try it Out For Yourself

    Aix-en-Provence, 2015
    Aix-en-Provence, 2015

    Recently I got my laptop stolen in Paris from my backpack. It kinda sucked, but the “blessing in disguise” was that I was able to replace my (slightly) aging 11’’ Macbook air (2012 model).

    I started to consider a few options: the 13’’ Macbook Air, the 13’’ Macbook Pro, and the new Retina 12’’ Macbook.

    I then did the typical thing: Google reviews of the laptops which are written by “experts.”

    I trudged through reviews on Engadget, The Verge, Cnet, etc— and became frustrated. All of their opinions contradicted another, and there seemed to always be pros/cons with each laptop.

    Finally fed up, I disregarded all the reviews online and just decided to buy what I was interested in, and to try it out for myself.

    I went to the Apple store in Aix-en-Provence, and picked up the new 12’’ Macbook Retina to try it out. I was happy to know that they had a 14-day return policy, so I could see if I liked the machine or not.

    So the last two days I have been using the new 12’’ Macbook, and I like it a lot. Sure it isn’t the perfect device (it is a little bit slower than my 11’’ Macbook Air) and the lack of ports is a bit of a drawback. But for me, it works well. The majority of my work on a laptop is typing and writing (like I am doing now), and my priority is having the lightest and most compact weight (the 12’’ Macbook is surprisingly even lighter than my 11’’ Macbook air).

    Everyone has their own preferences. No matter how many reviews of anything you resarch online (for a laptop, camera, lens, etc)— your experiences and preferences will always be different from that of a reviewer.

    So for example, let’s say you’re interested in shooting with a film rangefinder. Sure you can read all this stuff online (even on this blog), but you will never truly know the experience until you try it out for yourself.

    We are fortunate enough to live in a society that all of the decisions we make are (mostly) reversible. If you’re interested in a new camera for street photography, my suggestion is this: just buy it and try it out for yourself. If you don’t like it, simply return it. I know that BhPhotoVideo.com offers very generous return policies (30 days).

    As a general philosophy whenever it comes to anything in life, it is good to ask for the opinion and experiences of others. Sometimes it is good to have a starting point to base our own ideas upon.

    However at the end of the day, experience is highly personal. If you have never been to Paris, you can’t simply ask your friends how their experience was. You have to go there and experience it directly for yourself.

    If you’ve never shot film, you will never truly understand how the experience is for you, until you actually try it for yourself.

    Do you have an idea for a photography project? Don’t ask what others think about your idea. Just try shooting the project. Perhaps after you’ve tried shooting that project, you can show others the photos and ask for their opinion.

    Long story short: disregard camera reviews from others (including mine), opinions and experiences of others, and just try things for yourself.

    Live a life of self-experimentation, and have fun.

  • The Street Photography Composition Manual

    The Street Photography Composition Manual

    Screen Shot 2015-07-01 at 11.06.12 AM

    Dear streettogs, you might have read it in my last update post from Paris, but I am excited to release my newest free (and “open source“) e-book: “The Street Photography Composition Manual.” The book is a distillation of all the lessons I have learned about composition and street photography, and I put it into a handy PDF which you can print out, carry around on your iPad, or read it from the convenience of your laptop.

    Download

    Book Description

    Screen Shot 2015-07-01 at 11.14.25 AM

    “Geometry is the language of man… he has discovered rhythms, rhythms apparent to the eye and clear in the relations with one an- other. And these rhythms are at the very root of human activities. They resound in man by an organic inevitability, the same fine inevi- tability which causes the tracing out of the Golden Section by chil- dren, old men, savages, and the learned.”

    – Le Corbusier (1931, Towards A New Architecture)

    Are you a street photographer and want to learn how to use your intuition to capture better “decisive moments” on the street? Do you feel frustrated that your photos tend to be cluttered, uninteresting, and lack emotion and magic?

    This book will teach you the fundamentals of composition in street photography: the importance of diagonals for dynamic images, strong contrast to separate your subjects from the background via “figure-to-ground,” how to juxtapose your subjects, color theory, and how to create compelling stories.

    “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

    This book will also provide you with contact sheets and a behind-the-scenes look to some of my most iconic images, and how you can create similar images.

    Screen Shot 2015-07-01 at 11.14.51 AM

    Furthermore, you will learn how changing your perspective will totally transform your images. A subtle change to your approach will make all the difference in your images:

    “The 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– and it can be subordinated, or he can be tyrannized by it.”

    – Henri Cartier-Bresson

    This book is a distillation of all the lessons I have learned about street photography and composition over the years. I dispel some of the myths of “the decisive moment,” how you can often see composition after-the-fact, and the secret for making memorable street photographs.

    This is a unique book and no other resource exists quite like it. Consider it your practical one-stop guide and manual for improving your composition in street photography. Furthermore, it is open and free for you to download, print, share, distribute, translate, remix, to help support the community of street photography.

    I have written this out of pure love, and I hope you enjoy reading it as much as I enjoyed putting it together.

    Love,

    Eric Kim

    @ Aix-en-Provence, France / July 1, 2015

    Table of Contents

    Screen Shot 2015-07-01 at 11.14.33 AM

    Below is the overview of all the chapters and sections in the book:

    • Introduction to Composition in Street Photography
      • The “Fishing Technique”
      • Leading Lines
      • Perspective & Leading Lines
      • Seeing Leading Lines After-the-Fact
    • Chapter 1: Dynamic Street Photography
      • Hand Gestures
      • Repeating Hand Gestures
      • Not Showing Faces
    • Chapter 2: Horizontal vs Vertical Framing
      • When to Shoot Horizontals vs Verticals?
        • Horizontal Shots
        • Vertical Shots
      • Shooting Both Horizontals and Verticals
    • Chapter 3: Triangles
      • The Golden Triangle: Introduction
        • Applying the Golden Triangle
        • Applying Composition After?
        • The Golden Triangle Overlay in Lightroom
      • Working the Scene
      • To Crop or Not to Crop?
      • Triangles in 3 Subjects
      • Contact Sheets
        • Contact Sheet: Mumbai, 2013
        • Contact Sheet: SF, 2015
      • Composition & Intuition
    • Chapter 4: Figure-to-Ground
      • Look at the Background First
      • The “Figure-to-Ground Test”
        • How to Create Your Own “Figure-to-Ground Test”
        • Example of “Poor” Figure-to-Ground
      • Dramatic Light & Figure-to-Ground
      • Flash & Figure-to-Ground
    • Chapter 5: Juxtaposition
      • Juxtaposing Emotions
      • Juxtaposing Directions
      • Surrealist Juxtaposition
    • Chapter 6: Color Theory
      • Red-Green Complementary Colors
      • Orange-Blue Complementary Colors
        • Contact Sheet: SF, 2015
      • Violet-Yellow Complementary Colors
      • Warm vs Cool Colors
        • Warm Colors
          • Contact Sheet: Tucson, 2013
          • Contact Sheet: Downtown LA, 2013
        • Cool Colors
        • Cool Colors with a Splash of Warm
          • “Is it Street Photography?”
    • Chapter 7: Storytelling
      • Open vs Closed Photos
      • Open-Ended Emotion
      • Eye Contact?
      • Closed Photos
      • Storytelling Without People?
      • Can You Create a Truly “Objective” Photograph?
    • Chapter 8: Conclusion
      • Emotions are King
      • Break the Rules
      • Give Back

    Sample pages from the book

    Screen Shot 2015-07-01 at 9.57.45 AM Screen Shot 2015-07-01 at 9.58.01 AM Screen Shot 2015-07-01 at 9.58.05 AM Screen Shot 2015-07-01 at 9.58.20 AM Screen Shot 2015-07-01 at 9.58.36 AM Screen Shot 2015-07-01 at 9.58.47 AMScreen Shot 2015-07-01 at 9.59.20 AM Screen Shot 2015-07-01 at 9.59.40 AM

  • Travel Update: My Experience Shooting Street Photography in Paris, Getting My Backpack Stolen, and Free Composition Ebook

    Travel Update: My Experience Shooting Street Photography in Paris, Getting My Backpack Stolen, and Free Composition Ebook

    I’m on a train to Aix en Provence, to the south of France and wanted to share my experiences shooting street photography in Paris.

    If you read on the internet, apparently there are more strict regulations about image copyright and street photography in France. To my understanding, you can take a photograph of anybody in public, but there are restrictions on publishing a photo of a stranger.

    I have a mantra in life: “It is better to beg for forgiveness than ask for permission.” So generally speaking, I don’t worry much about image copyrights and street photography.

    Shooting street photography has been an absolute pleasure in Paris. Despite the fact that a lot of people say that Parisians are mean and rude, I have found the opposite to be true. I know a tiny bit of French (Cindy is fluent), and whenever we went to restaurants and spoke French, they didn’t default to English (only at a few touristy food stalls near landmarks). People were friendly helping us find where to go, with food recommendations, and great service in general.

    When taking photos of strangers, it was totally fine too. After shooting when I smiled and said “merci beaucoup”, most people smiled back and said no problem. I also asked a lot of people to take their portrait while here, and 90%+ of people said yes.

    I had one experience when I was in a more “ghetto” part of Chatlet and took a photo of some rough looking kids after they asked me not to (my fault). The kid (around 16 years old) approached me and tried to take my camera for me and got a bit aggressive (he had his posse with him). He kept asking me in French to delete the shot, and I tried to explain I shot film. He didn’t understand and was quite angry and refused to let me leave.

    Fortunately there was an onlooker who told the kids to back off in French (once again the friendly French). The kids finally relented, and one of the kids gave me a light backhand to the face and walked off.

    Getting my backpack stolen

    R0132912

    Another fun story: the other day I got my backpack stolen in Republique during the gay pride parade. I finished a super fun day of the workshop and was with my students at a cafe having a beer. We were all laughing, having a good time, and I had my backpack literally right next to my seat. But suddenly I turned away and it was gone. I guess somehow a thief took it while all of us were distracted. None of us saw the thief. We only saw that one of the pins I had on my backpack (a silver airplane pin my friend Jonathan gave me) was on the ground (with a wing bent).

    What did I get stolen in my backpack? Fortunately I had my passport, film, and other valuable belongings back in my airbnb apartment. I lost my laptop (2012 macbook air 11 inch), 3 rolls of film I shot that day, my Leica sf20 flash, some batteries, and not much else.

    Thank God my students jumped to my rescue. Emmanuel, one of the workshop students (who speaks French), took care of me and Cindy by taking us to 3 police stations to file a report, and paid for our uber taxi rides. Unfortunately that day (because of the terrorist bombing in Lyon) we couldn’t file a report. But the next day we did successfully.

    Other good news? I have travel insurance (covered up to $10,000 with GEICO and only pay around $20 a month), and my stuff is covered.

    Honestly I am surprised it took me this long to get my stuff stolen considering how careless I am about my stuff, and how much I travel. I’m just happy I didn’t lose my passport, wallet, and smartphone (I’m typing this out on my phone in Evernote).

    What about my data in my laptop? 95% of my photos and video is backed up in dropbox (premium membership FTW), and 99% of my other data is backed up in the cloud (Gmail, Evernote). I lost some gopro pov films I shot in Paris, but the next day I was inspired to shot more footage (will upload soon). I also changed all my passwords and reset my laptop remotely via the apple “find my phone” application.

    I hope the guy who stole my laptop uses my laptop, maybe learns how to code, and is able to stop his life of crime.

    For a new laptop, I might buy the new MacBook 12” retina (90% of my laptop work is writing and blogging), and I don’t need much speed (I shoot mostly film). Also I think the gold color is pretty sexy haha. Plus the retina screen should be nice for photos. And the weight is super light (.5 pounds lighter than my 11 inch). So perhaps getting my laptop stolen was a blessing in disguise.

    Morale of the story? If you’re traveling, keep your bag or backpack wrapped around your leg or under the table. Always have your important documents back at your hotel or apartment, always backup your files (both to an external hard drive and to the cloud). Also have an extra photo or photo copy of your passport (if it gets stolen, this makes it easier to get a new copy). Also be careful of scammers, and when your intuition says someone seems or looks fishy, follow your gut.

    If you’re traveling, just assume sooner or later you’re going to have your importance stuff stolen. So be prepared in advance what to do if it happens.

    If you shoot digital, buy lots of SD cards, an extra external hard drive, and keep your photos secure (you can always buy a new backpack, laptop, camera, but you can’t recover your photos).

    Thank God I didn’t get my Leica stolen.

    Places to shoot in Paris

    If you’ve never been to Paris, the best places to shoot aren’t in the city center, but around the edges.

    For my airbnb I stayed in both Place d’Italie and Bercy, both great places to shoot street photography (fewer tourists). In Bercy there is a cool Park (bercy Park with a skatepark inside), and the “bercy village.”)

    Near the Gare de lyon train station is good and also inside the station (lots of interesting characters).

    Favorite neighborhoods : the marrais (Jewish neighborhood with the best fallafel and trendy stores, go to las du fallafel), the canal saint martin (cute boutique and bookstores with a beautiful view of the canal, go to “chez prune” for food).

    A bit outside of Paris, highly recommend going to “la defense”, where there are mostly businesspeople and an epic cube arch. Great for architecture street photography.

    Also for architecture and composition, go to the French National Library (BNF).

    For a lot of people, go near the Lafayette gallery, Chatelet, or near Opera.

    My favorite photo gallery? The polka photo gallery (they have a Bruce Gilden exhibition going on, and a great bookstore).

    Favorite meals in Paris (not expensive): Auberge Saint Roch, “cafe constant”, chez Lili et Marcel.

    My shooting

    For this trip in Paris, I shot some for my “Suits” project near la defense, but most of my shooting was on my film Leica on tri x pushed to 1600 with a yellow filter (from my friend Karl Edwards from StreetShootr.com).

    I don’t know why, but suddenly this trip I was inspired to shoot more gopro pov videos, hope you enjoyed them. I plan on doing more of them.

    Most of the shots in black and white are just random photos of interesting things I saw for fun.

    I’ve also been shooting a lot on my smartphone (Galaxy s6), and processing them in color (Vsco a6 preset). Actually really love the colors that come out, they look like portra!

    Honestly, traveling with all this film is kind of a pain in the ass. When doing the gopro video with the Ricoh GR, I fell in love with that camera again. I thought how nice it would be if I did all my traveling with the Ricoh GR (and just leaving the Leica and film at home). Maybe next trip.

    Books I’ve been reading

    I’ve recently become a huge fan of Matthieu Ricard, French scientist turned into Buddhist monk. On my kindle, I’ve read his book “Happiness” (great book that taught me true happiness is serving others), and a new book “Altruism” (inspiring me to devote my life to help others as well).

    Krishnamurti’s “The first and last freedom” was recommended to me by a friend, and his philosophy on creativity and the mind is fascinating.

    Reading “the magic of thinking big” (for inspiration), and for health I read “brain maker” (learned the importance of a healthy stomach).

    My life purpose

    The biggest thing I’ve been meditating on this trip is how to live a meaningful life. My new favorite quote:

    “To live is to be useful to others.” -  Seneca.

    I am fortunate that now through my workshops I’m doing comfortably well financially. Of course I still stress out about money, my future family, security, etc, but I have faith that as long as I keep working hard, helping others, everything will be taken care of.

    I don’t want to die the richest man in the grave. I want to continue to contribute to society, and devote my life to “be useful to others.”

    “The Street Photography Compositional Manual”

    I’ve finished a new ebook on street photography and composition that I was tempted to charge money for. My problem is that 95% of my income is dependent on traveling and teaching workshops, and I wanted to create a new income stream that could allow me to spend more time at home with Cindy, my loved ones, and my future children.

    But then this goes against my philosophy of “open source”, and I need to practice what I preach.

    So upon much deliberation, the book is going to be open source. A suggestion that someone gave me: “Why not make it a ‘pay what you want’ model or accept donations?” I think this is much better.

    I personally feel information should be open, free, and used to empower people.

    You can download the pdf for free below on Dropbox (you don’t need a Dropbox account to download it, just click the download icon from the top bar):

    The Street Photography Composition Manual” (pdf direct download)

    So read it, take a look, and you can pay what you think it is worth here via PayPal:

    Donate via PayPal

    Or you can use this fun form below to help support me and the blog!


    Donations




    I wrote the book all from scratch, and distilled all of the lessons from composition I learned. I had a ton of fun writing it on the Apple iBooks author platform, and I hope to write more books with it.

    When you download the book, feel free to share it with anybody you think it will help. Also feel free to change it, remix it, translate it, or whatever you think will benefit others.

    Upcoming travels and workshops

    The week long workshop in Paris was awesome. I loved getting to know all the students personally, showing them to areas “off the beaten path”, all the good food, beer, wine and coffee, fun laughs, daily critique sessions, and their improvement! I like the more relaxed pace of a week long workshop, plan on doing more of them in the future.

    So I’m heading down to aix en Provence with Cindy (she’s going to study at the archives there), then off to Lisbon with my mom and Cindy’s mom. In aix I hope to do more writing (doing a new book on the masters of street photography). Lisbon is to have fun with family (I’m excited, it’s my first time!)

    Then off to Amsterdam, Prague, Vienna, Berlin, London, and Stockholm for more workshops!

    There are still a few spots open, don’t miss out! Spots are quickly selling out, and I won’t do workshops in Europe for probably another 2 years (next year is focused on America and Asia).

    You can see my upcoming street photography workshops.

    Thank you

    I’m forever grateful for your love, support, and continued dedication to this blog and the street photography community.

    What else would you like me to work on to help out? Share some ideas thoughts, feedback in the comments below!

  • Seattle Street Portrait Photography POV with the Samsung Galaxy S6

    Seattle Street Portrait Photography POV with the Samsung Galaxy S6

    If you’ve been enjoying these POV videos, I got more of them for you! This is of a recent street portrait session I did in Seattle with this beautiful woman we met in the streets during a workshop. I recorded a video of me directing her on my Samsung Galaxy S6, and also shot while recording. Post-processing done in VSCO with the “dramatic black and white” preset.

    Processed with VSCOcam with b5 preset
    Processed with VSCOcam with b5 preset
  • Video: Paris Street Photography GoPro POV with Ricoh GR #3

    Video: Paris Street Photography GoPro POV with Ricoh GR #3

    Hey streettogs, thanks for your feedback. Just recorded a new GoPro POV street photography here in Paris with my Ricoh GR (and edited in the shots as some of you asked).

    My recording setup
    My recording setup

    Here are some of my favorite photos from the video:

    R0132869 R0132912 R0132957

    Other Paris GoPro Street Photography POV Videos

    Both videos are shot with my GoPro and Film Leica MP:

    Paris GoPro Street Photography POV #2

    Paris GoPro Street Photography POV #1

    More Street Photography GoPro POV Videos:

    Stay tuned for more videos to come! :)

  • Video: Paris Street Photography GoPro POV #2

    Video: Paris Street Photography GoPro POV #2

    Hey streettogs, just put out another new Paris GoPro Street Photography Video (been having a lot of fun making these). You can see the previous video I shot in Paris here.

    More Street Photography GoPro POV Videos:

    Stay tuned for more videos to come! :)

  • Video: Paris Street Photography GoPro POV with Leica MP

    Video: Paris Street Photography GoPro POV with Leica MP

    Hey streettogs, I just put together a new street photography GoPro POV video here in Paris on my film Leica MP. Unfortunately can’t edit in shots (shooting film), but plan on doing more of these to show my working process, as well as the streets of Paris.

    More Street Photography GoPro POV Videos:

    Stay tuned for more videos to come! :)

    gopro setup eric kim paris

  • Streettogs Academy No. 12

    Streettogs Academy No. 12

    SA12 Announcement

    Almost 12 months ago, during Eric’s trip here in Manila, he pitched me an idea that he wants me to handle. He told me that I am good at looking at photographs and at the same time he needs a little help running this blog so he told me to start an assignment group. Here we are 12 months on, about to start our 12th Assignment!

    I can’t thank everyone enough for participating and responding positively to our efforts. All we hope is that everyone is picking up something new or is motivated to start shooting and getting out there again.

    Our current assignment is also appropriate because this is the reason why I do the things I do. So let’s keep this going!

    (more…)

  • Interview with bigheadtaco on Instagram, Street Photography, and Life

    Interview with bigheadtaco on Instagram, Street Photography, and Life

    Inspired by Jerry Seinfeld’s “Comedians in Cars Getting Coffee,” I interviewed bigheadtaco, a local Vancouver-based street photographer driving around. Take (his real name) gives great practical advice on Instagram, branding, street photography, life, and following your own voice and vision.

    Enjoy this interview, and make sure to follow him on his channels below:

    Follow bigheadtaco:

  • Review of the Leica Q for Street Photography

    Review of the Leica Q for Street Photography

    leica q

    Leica has just released one of their most ambitious cameras yet, the new Leica Q. Long story short: full-frame sensor, 28mm f/1.7 uninterchangeable lens, macro functionality, compact body (slightly smaller than Leica M), electronic viewfinder, and 35mm and 50mm crop modes, and $4,250.

    Personally I think the camera is an engineering marvel. Solid, well-built, thoughtfully constructed (from a photographer’s standpoint). Also it would be ideal for street photography, as it has a focusing tab (ideal for zone-focusing), and blazing-fast autofocus (as fast if not faster than the Fujifilm x100T). Furthermore if you’ve ever wanted a digital Leica, it is more affordable than a Leica M (as the Leica Q comes with a lens as well).

    The size is actually not as “compact” as you think it is. I only found it slightly smaller than the size of my Leica MP. The weight is also pretty solid– I liked how it isn’t as heavy as a Leica M, but it still feels solid and substantial in the hand.

    In terms of handling, there is a new indentation (similar to a “thumbs-up”) which makes it very easy to handle. I think the camera is awesome in all regards– the only thing that will deter buyers is the price.

    In short, the Leica Q is almost like the “rich man’s” Fujifilm x100T. I think if you have disposable income and really find the features of the Leica Q to be helpful, I’d say go for it. Otherwise, I would personally pick up a Ricoh GR and save the rest of the money to travel, buy photography books, and invest in education.

    If you’re interested in the camera, check out the two videos I’ve done with the Leica Q:

    First impressions of the Leica Q

    Review of the Leica Q with bigheadtaco

    So what are your thoughts about the Leica Q for street photography? Worth the money, or overpriced? Would you get one? Leave a comment below! 

  • Before/After: Seattle Conquer Your Fear of Shooting Street Photography Workshop 2015

    Before/After: Seattle Conquer Your Fear of Shooting Street Photography Workshop 2015

    Surviving baby-3
    Student photo by Chris Dowling

    I am very proud of my students at my recent Seattle Conquer Your Fear of Shooting Street Photography Workshop. They all pushed themselves out of their comfort zone, approached strangers, got rejected, but also got accepted. They all did an amazing job building their confidence, learned how to better interact with strangers, and the coffee and experiences we had in Seattle were amazing!

    I’m also quite proud of their before/after photos, see them all below!

    Achim Soelter

    Before:

    Achim 2 Achim 3 Achim 4

    After:

    Achim-1

    Bob Munoz

    Before:

    Eric_Kim_Workshop-1 Eric_Kim_Workshop-2 Eric_Kim_Workshop-3

    After:

    Bob Munoz-1

    Chris Dowling

    Before:

    Harajuku Car fire on I5 Pavilion

    After:

    Surviving baby-3

    Damon Saylor

    Before:

    unnamed-1 unnamed-2 unnamed

    After:

    damon saylor-2

    Daniel Petrzelka

    Before:

    L1003426_Petrzelka L1003438_Petrzelka L1003475_Petrzelka

    After:

    L1004261_Petrzelka

    Darren Curtis

    Before:

    _1DC1707 _DSC1006 DSC00186

    After:

    DSC02641

    Diane Civic

    Before:

    Soda fountain Standing around in Nicaragua Miitary guys doing something wierd

    After:

    Diane Civic-3

    Frank Hahnel

    Before:

    Hahnel 01 Hahnel 02 Hahnel 03

    After:

    Hahnel-3

    Jason Evans

    Before:

    unnamed-1 unnamed-2 unnamed

    After:

    Geronimo

    Marcia Latta

    Before:

    MLatta-2 MLatta-3

    After:

    Marcia Latta-2

    Marcus Phung

    Before:

    Aunties Jetty SkatePark

    After:

    Texan

    Mita Reischrdt

    Before:

    961374_10206279502407868_364255481_n April15 048 Kopie march15 332 Kopie

    After:

    Mita Reischrdt1

    Nicole Ramirez

    Before:

    Ramirez_2010_SanFrancisco Ramirez_2011_Philippines_02 Ramirez_2014_Detroit_01

    After:

    Nicole Ramirez-1

    Richard Reed

    After:

    Richard Reed-3

    Ryan Mower

    Before:

    1 2 3

    After:

    Ryan Mower-1

    Ryan Pham

    Before:

    Processed with VSCOcam with s2 preset

    Processed with VSCOcam with b5 preset

    Processed with VSCOcam
    Processed with VSCOcam

    After:

    OLYMPUS DIGITAL CAMERA
    OLYMPUS DIGITAL CAMERA

    Conquer Your Fears in Street Photography

    If you want to conquer your fears and meet new peers in 2015, invest in an experience you will never forget! Check out my full list of upcoming street photography workshops below:

    April 10-12th

    New York CityIntroduction to Street Photography WorkshopSOLD OUT!

    May 9th

    San FranciscoSpecial 1-day Essential Street Portrait Crash CourseSOLD OUT!

    June 5-7th

    SeattleIntroduction to Street Photography WorkshopSOLD OUT (contact neil.ta@erickimphotography.com for the waiting list)!

    June 24-28th

    ParisWeek-Long Intensive Travel Street Photography WorkshopOPEN! (Early-Bird Deadline: May 24th)

    July 10-12th

    AmsterdamIntermediate/Advanced Street Photography WorkshopSOLD OUT (contact neil.ta@erickimphotography.com for the waiting list)!

    July 15-19th

    PragueWeek-Long Intensive Travel Street Photography WorkshopOPEN! (Early-Bird Deadline: June 15th)

    July 31st-August 2nd

    ViennaIntroduction to Street Photography WorkshopOPEN! (Early-Bird Deadline: June 30th)

    August 7-9th

    BerlinIntroduction to Street Photography WorkshopOPEN! (Early-Bird Deadline: July 7th)

    August 14-16th

    LondonIntroduction to Street Photography WorkshopSOLD OUT (contact neil.ta@erickimphotography.com for the waiting list)!

    August 21-23rd

    LondonIntermediate/Advanced Street Photography WorkshopOPEN! (NEW!)

    August 28-30th

    StockholmIntroduction to Street Photography WorkshopOPEN!

    October 1-3rd

    SF – Conquer Your Fears of Shooting Street Photography – Register IntentNEW!

    October 8-10th

    SF – Discover Your Unique Voice in Street Photography – Register IntentNEW!

    October 14-18th

    New OrleansWeek-Long Travel Street Photography WorkshopOPEN!

    October 23-25th

    Austin – Conquer Your Fears of Shooting Street Photography – Register IntentNEW!

    November 12-14th

    Los Angeles – Conquer Your Fears of Shooting Street Photography – Register IntentNEW!

    November 19-21st

    Los Angeles -Discover Your Unique Voice in Street Photography – Register IntentNEW!

    You can also learn more about my street photography workshops here.

  • Streettogs Academy No. 11 “Complementary Colors” Results and Analysis

    Streettogs Academy No. 11 “Complementary Colors” Results and Analysis

    Bruno CunhaSA11COVER

    (Cover Photo by Bruno Cunha)

    Complementary Colors is a tricky thing to pull off since you need to have that mental color wheel in your head and at the same time, making sure you have a strong point of interest in your composition. Weather also needs to be in your side to pull off those nice contrasty colors that will make your Complementary Color stand out. Despite those challenges, I think this group of images pulled it off!

    Here’s the latest results and Analysis for Complementary Colors!

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  • Free E-Book: Zen in the Art of Street Photography

    Free E-Book: Zen in the Art of Street Photography

    zen in street photography cover-SMALL

    Dear streettogs,

    I hope you enjoy a new free ebook: “Zen in the Art of Street Photography.” This is a compilation of all of my favorite articles on Zen, Taoism, Buddhism, gratitude, and other random philosophical musings.

    There isn’t a “correct” order to read this book. You can skip around the chapters, and read the book out of order.

    I personally have faced a lot of discontentment in my photography and life, and writing these articles have been a form of self-therapy. I also hope these articles helps shine some light and insight into your life and photography too.

    Love,
    Eric Kim
    June 9, 2015
    Compiled @ Vivace Cafe in Seattle

    All of the content in this book is “open source”— meaning you can edit, translate, remix, or distribute it openly and freely however you would like.

    Direct Download:

    Table of Contents

    • Chapter 1: How to Become Indifferent to Criticism
    • Chapter 2: How to Free Yourself from External Validation
    • Chapter 3: Nobody gives a shit about your photos
    • Chapter 4: How Many “Favorites” or “Likes” is Enough?
    • Chapter 5: My Top 10 Sources of Discontentment in Street Photography
    • Chapter 6: How to Be Grateful For What You Have
    • Chapter 7: On Jealousy and Street Photography
    • Chapter 8: On Failure and Street Photography
    • Chapter 9: In Praise of Slowness in Street Photography
    • Chapter 10: How to Be Mindful in Street Photography
    • Chapter 11: Zen in the Art of Street Photography
    • Chapter 12: Lessons Taoism Has Taught Me About Street Photography
    • Chapter 13: Lessons Life Has Taught Me About Street Photography
    • Chapter 14: How to Prevent Regrets in Life
    • Chapter 15: Shoot Every Day As If It Were Your Last
    • Chapter 16: On Legacy and Street Photography

    To learn more, see all free books >

  • Don’t Miss Out: Signed Magnum 6×6 Prints for only $100!

    Don’t Miss Out: Signed Magnum 6×6 Prints for only $100!

    magnum instagram

    Hey streettogs, pretty cool stuff: Magnum is selling signed 6×6” prints for only $100 at the Magnum Store! You can browse all of the photos here.

    Over 50 Magnum photographers have submitted images that fits the theme: “An Image That Changed Everything.” Not only that, but they shared their personal stories related to the images.

    The sale is only going on until Friday, June 12th at 8pm. Once the sale is up, they will no longer sell them. So get them while they’re hot!

    Why squares? Instagram inspired, of course.

    Prints I would love to have:

    Martin Parr

    "In 1982 I bought the newly released Makina Plaubel 55mm fixed-lens camera. With this shift from 35mm to 6 x 7, I also changed from black and white to colour. Later that year, I started my project on New Brighton called The Last Resort. However, the first project I shot in colour was composed of urban scenes from Liverpool. This image was on the second roll of film. It’s the first good photo I made in this new chapter of my work.”

    “In 1982 I bought the newly released Makina Plaubel 55mm fixed-lens camera. With this shift from 35mm to 6 x 7, I also changed from black and white to colour. Later that year, I started my project on New Brighton called The Last Resort. However, the first project I shot in colour was composed of urban scenes from Liverpool. This image was on the second roll of film. It’s the first good photo I made in this new chapter of my work.”

    David Alan Harvey

    "This photo, which was the cover of my book (based on a true story), changed the way I worked forever. After this successful book in 2012, I totally changed my methodology. From that point forward, I focused only on my self-published books. I dropped doing assignments, and simply worked on personal projects and artworks. I never plan a change. Things just happen. I think recognizing when something revolutionary is going on in your creative life is the key. One needs to realize when a turning point is right before your eyes. It's just like photography itself. Fleeting. Carpe diem. Miss it, and you've missed it forever.”

    “This photo, which was the cover of my book (based on a true story), changed the way I worked forever. After this successful book in 2012, I totally changed my methodology. From that point forward, I focused only on my self-published books. I dropped doing assignments, and simply worked on personal projects and artworks. I never plan a change. Things just happen. I think recognizing when something revolutionary is going on in your creative life is the key. One needs to realize when a turning point is right before your eyes. It’s just like photography itself. Fleeting. Carpe diem. Miss it, and you’ve missed it forever.”

    Alex Webb

    "The sad, vibrant, tragic, beguiling country of Haiti has been key to my photography. After reading Graham Greene’s The Comedians — a novel set in Haiti that both fascinated and scared me — I made my first trip in 1975. But, photographing in black and white, I soon realized that something was missing: I wasn’t capturing a sense of the searing light and the heat — physical and, perhaps, metaphysical — of this country, so different than the grey-brown reticence of New England, where I grew up. I wasn’t dealing with the emotional intensity of my experience of this vivid and troubled land. So, when I returned to Haiti four years later, I decided to work in color. As I wandered through the porticos of downtown Port au Prince in 1979, I remember spotting this man with a bouquet of bulrushes — strikingly outlined against a vibrant red wall — just as a second man, in shadow, rushed by. I took the photograph and slowly began to realize it was time to leave black and white behind.”

    “The sad, vibrant, tragic, beguiling country of Haiti has been key to my photography. After reading Graham Greene’s The Comedians — a novel set in Haiti that both fascinated and scared me — I made my first trip in 1975. But, photographing in black and white, I soon realized that something was missing: I wasn’t capturing a sense of the searing light and the heat — physical and, perhaps, metaphysical — of this country, so different than the grey-brown reticence of New England, where I grew up. I wasn’t dealing with the emotional intensity of my experience of this vivid and troubled land. So, when I returned to Haiti four years later, I decided to work in color. As I wandered through the porticos of downtown Port au Prince in 1979, I remember spotting this man with a bouquet of bulrushes — strikingly outlined against a vibrant red wall — just as a second man, in shadow, rushed by. I took the photograph and slowly began to realize it was time to leave black and white behind.”

    Follow Magnum

  • The Theory of Composition in Street Photography: 7 Lessons from Henri Cartier-Bresson

    The Theory of Composition in Street Photography: 7 Lessons from Henri Cartier-Bresson

    I am excited to share this new presentation I just put together on the theory of composition in street photography, drawing from the wisdom of Henri Cartier-Bresson. You can see the entire presentation below:

    Learn more about composition >

  • Eric Kim Street Photography Newsletter #5: What I’m Packing For My Trip, Recommended Books, New Workshops!

    Eric Kim Street Photography Newsletter #5: What I’m Packing For My Trip, Recommended Books, New Workshops!

    film

    Dear streettogs,

    I am excited to share that I just touched down here in Seattle! Absolutely beautiful weather (all of the other times I’ve visited were in January), and have already had some amazing espresso— and feeling pretty pumped up (the coffee here is seriously the best in the world).

    (more…)

  • FREE EBOOK: Street Portrait Manual

    FREE EBOOK: Street Portrait Manual

    the street portrait manual cover- small

    Dear streettogs, I am excited to announce my new free book: “The Street Portrait Manual.” If you’ve ever wanted to learn how to build your confidence approaching strangers, how to direct your subjects, and not make photos that look “posed” — I think you will enjoy this one!

    Download:

    You can download this book for free below in the following formats:

    PDF:

    This version has all the pictures and examples:

    • PDF (direct download, 24MB)
    • PDF (small size, 7.5MB)

    Text:

    This version has only text, no images. Use these files if you want to read the book on a Kindle, e-reader, or if you want to edit, change, translate, or modify the text (as this book is “open source“).

    Read more if you want to read the full text online (or save it to a service like Pocket or Instapaper):

    (more…)

  • “Be True to Yourself; Great Things Will Come”: Interview with Daniel Arnold

    “Be True to Yourself; Great Things Will Come”: Interview with Daniel Arnold

    I’m very excited to share this recent interview I did with Daniel Arnold. You might have heard about Daniel and his work through the controversy of him getting kicked off Instagram for showing nudity on Gawker, his Forbes feature on how he made $15,000 in one day selling 4×6 prints for $150, or his profile on Wired (titled: “On the Prowl with Instagram’s Ultimate Street Photographer”).

    Upon reading all these headlines, I knew that there was more to Daniel, both as a photographer and as a human being. I checked out more of his work on his website (where he now posts mostly film shots), and was blown away by the humanity, humor, but also the complex emotional images he captures in NYC.

    In this hour and a half interview we delve deep. We talk about the process of shooting film (versus shooting digitally on an iPhone), his favorite photography books, how he overcame his fear of shooting street photography, thinking about life and death, and what ultimately brings him happiness in life (clue: it isn’t about the followers).

    You can watch the video interview above, or listen to the podcast below (you can see all the episodes on my iTunes podcast channel):

    Podcast links

    Read more to see all the show notes, links, book recommendations, and quotes from the interview.

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  • Video: How to Overcome Photographer’s Block

    Video: How to Overcome Photographer’s Block

    Inspired by the recent free e-book I wrote: “How to Overcome Photographer’s Block,” I also made a video (for those of you who prefer audio as well).

    For audio, you can listen below:

    Podcast links

    Read more to see all the topics I cover, as well as the assignments.

    (more…)

  • “Photography is Photography, a Photo is a Photo”: Interview with Neil Ta

    “Photography is Photography, a Photo is a Photo”: Interview with Neil Ta

    I just had a recent chat with my manager and good friend Neil Ta. Neil is a professional photographer based in Toronto (shoots wedding and commercial work), and his passion is photography. He has dabbled in many different genres of photography, including “urbex” (urban exploration), “rooftopping” (getting to really high places), documentary photography (he is working on a long-term project on “Alexandra Park“, a public-housing complex for low-income families which is being gentrified for expensive condos), and street photography.

    In this video interview, we delve deep into lots of different topics. Neil shares how he first got into photography, why he decided to quit his job and travel the world for 6 months+, how we met, not being pigeon-holed in photography, his love (and hate) relationship with film, and why he is currently shooting on a Hasselblad Xpan.

    Podcast:

    You can listen to the audio podcast below:

    Read more to see the topics we covered in the interview, and lots of inspirational links:

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  • Interview with Karl Edwards on Starting StreetShootr, Street Photography as a Harmonica, and How to Shoot with a Leica

    Interview with Karl Edwards on Starting StreetShootr, Street Photography as a Harmonica, and How to Shoot with a Leica

    I just did a fun interview with my good friend Karl Edwards (he runs StreetShootr) and has a blast chatting about his start in street photography, his tension between shooting film and digital, practical tips on how to shoot with a Leica, his favorite photography books, and why he likens shooting street photography to playing a harmonica. The format is similar to when I “ambush” interviewed him in Provincetown as a part of the Magnum workshop.

    You can see Karl’s work on Flickr and his Website. Make sure to check out StreetShootr and to follow on Twitter.

    Read more to see his photos and the street photographers he recommends to check out!

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  • Video Lecture: How to Shoot Street Portraits

    Video Lecture: How to Shoot Street Portraits

    Dear streettogs, if you want to learn more of how to shoot street portraits, I just put together a 47-minute video lecture for you! In this lecture I cover what “street portraits” are (and how they differ from “street photography”), how to approach strangers, how to overcome the fear of rejection, as well as practical tips for shooting street portraits.

    You can see and download all the slides for free on Slideshare or on Google drive.

    To learn more about street portraits, check out my Chicago Street Portraits POV videos on YouTube.

    30 Tips When Shooting Street Portraits

    Below are some of the tips I included from the presentation on how to shoot street portraits (and a few extra freebies):

    1. Keep working the scene until your subject forgets about you
    2. Ask your subject to move to an interesting background
    3. You don’t need to photograph your subject’s face
    4. Take a photo of your subject looking at you / not looking at you
    5. Focus on the edges
    6. Ask your subject to look down / look up
    7. Provoke a response
    8. Remember you’ll never see them again (don’t miss out on the opportunity)
    9. Be genuinely interested in your subject
    10. Compliment your subject
    11. Talk to your subject before asking to take their photograph
    12. Realize that just because you had a good interaction doesn’t mean it is a good photograph
    13. Look for dramatic light
    14. Ask your subject: is it okay if I move you?
    15. Slightly touch your subject to change their posture, direction, or position
    16. Ask your subject not to smile
    17. Shoot both landscapes/vertical photos
    18. Shoot from different perspectives
    19. Get close, then get closer
    20. Talk to your subjects while photographing them
    21. Realize a posed photograph can look candid
    22. Capture the “unguarded moment”
    23. Try to shoot with / without a flash
    24. Capture hand gestures (get their hands close to their face)
    25. Shoot the same framing more than once (realize that their face direction might move, or facial gesture)
    26. Look for the surrounding environment (environmental portraiture)
    27. Realize a street portrait is more about yourself, not your subject
    28. Try to capture an “authentic” look that doesn’t look too posey
    29. Focus on details (use macro mode)
    30. Don’t feel guilty about “wasting your subject’s time” (they love the attention)

    What are some tips you have when it comes to shooting street portraits,  or any questions you might have? Leave them in the comments below!

  • Free E-Book: How to Overcome Photographer’s Block

    Free E-Book: How to Overcome Photographer’s Block

    BIG - How to Overcome Photographer's Block - Cover

    I am excited to announce that I just finished writing a new book titled: “How to Overcome Photographer’s Block.” If you have ever felt lack of motivation, inspiration, or direction– this is the book for you!

    If you’re in a creative rut, learn how to break out of your “photographer’s block” with this comprehensive and practical manual. In this book, I share practical tips, guidance, and assignments to break out of any creative barrier you have with your photography, no matter how severe.

    You will learn how to overcome perfectionism, “paralysis by analysis”, giving yourself the permission to make “imperfect photos”, learn how to integrate your life with photography, how to focus on the process (not the outcome), how to add more novelty and randomness to your life, and more.

    The book is “open source,” meaning you can share it, remix it, and do anything you want with it for free. Feel free to share it with a friend, print it out, or even translate it into a different language!

    You can download the book for free in these formats:

    Enjoy :)

    Other free ebooks:

    1. Street Photography 101: An Introduction to Street Photography (translation into Portuguese here)
    2. The Street Photography Project Manual
    3. 31 Days to Overcome Your Fear of Shooting Street Photography
    4. The Social Media Blackbook for Photographers
    5. Letters from a Street Photographer
    6. Street Photography Aphorisms, Heuristics, and Sayings

    You can also read the full book for free below, and you can save it to Pocket or Instapaper:

    (more…)

  • Eric Kim Life Diary #4: Switching to Black and White Film, What I’m Reading, Random Life Musings

    Eric Kim Life Diary #4: Switching to Black and White Film, What I’m Reading, Random Life Musings

    Kodak Tri-X pushed to 1600, locked and loaded.
    Kodak Tri-X pushed to 1600, locked and loaded.

    Dear streettogs,

    Life is good in Berkeley! Just finished a fun 1-day intensive street photography portrait crash course workshop in SF, and after meeting all the great students, I’m more pumped up to write articles, produce content, and share what’s in my neck of the woods!

    (more…)

  • Streettogs Academy No. 11

    Streettogs Academy No. 11

    SA 11 dates

    11th assignment of the Streettogs Academy! We are nearing our 12th assignment that might be just in times for the anniversary as well. Congratulations to Monika Jaskowska Bablok for getting the editor’s choice for the previous assignment! Let’s keep cracking on the next one. This one is going to be a bit of a challenge but should be a great change of pace especially for those shooting in black and white.

    (more…)

  • Be a Photography Shark: Keep Swimming or Die

    Be a Photography Shark: Keep Swimming or Die

    London, 2014
    London, 2014

    In “The Artist’s Way” by Julia Cameron, I came across this interesting idea: that creativity is like a shark. If sharks stop swimming, even for a minute, they will sink to the bottom of the ocean and die.

    A lot of things in life are about momentum– about creating positive habits, that allow us to achieve our dreams.

    (more…)

  • Magnum Editing Masterclass in Toronto at Contact Photography Festival 2015

    Magnum Editing Masterclass in Toronto at Contact Photography Festival 2015

    Photo © Larry Towell / Magnum Photos. MEXICO. Durango, 1994.
    Photo © Larry Towell / Magnum Photos. MEXICO. Durango, 1994.

    If you are in Toronto (or closeby) and want to take your photography to the next level, check out the upcoming Magnum Photos Editing Masterclass in Toronto as part of the Contact Photography Festival 2015. You will get the help of acclaimed Magnum photographers Michael Christopher Brown, Mark Power, and Larry Towell.

    For photographers who are starting a project, mid-project, or if you’re stuck shooting and want to move your project forward.

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  • Street Photography Quick Links: April 2015

    Street Photography Quick Links: April 2015

    Mar19_62-28 copy

    A monthly compilation of interesting reads, videos, books/zines, or portfolios to follow about street photography or other related genres. Check out the April 2015 edition.

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  • Photos You Should vs Must Take

    Photos You Should vs Must Take

    Kyoto, 2014
    Kyoto, 2014

    I just finished reading an excellent book on art, creativity, and following your passion titled: “The Crossroads of Should and Must” by Elle Luna. The original idea was written on Medium here, and then blew up on the internet.

    The premise of the idea is this: in life you are pulled between things you “should” do vs things you “must” do. But what brings real happiness? If you want to learn more, read on.

    (more…)

  • Video Interview with Narrative in SF

    Video Interview with Narrative in SF

    I recently met up with Ryan Lum, one of the awesome guys at Narrative, a wearable camera startup. I joined them in their office last week, and talked about my beginnings in street photography and my blog, how it was getting fired (and running this blog full-time), how to shoot street photography (and not get punched in the face), and more. I hope you enjoy the video interview above (and pardon the immature masturbation jokes).