Eric Kim’s Approach to Film Photography

Favorite Film Cameras and Why

Figure: Eric Kim’s Leica MP film camera. Kim considers the Leica MP (a fully mechanical 35mm rangefinder) his ideal lifetime camera for street photography . He praises its robust all-brass build and reliability – “it will never get outdated,” he says, and can be used for the rest of his life .

Eric Kim’s go-to 35mm cameras are classic rangefinders and compact street cameras that keep him focused on shooting. His all-time favorite is the Leica MP (black paint edition with a 35mm f/2 Summicron lens), which he owns and affectionately calls “the best film Leica money can buy” . He chose the MP not only for its timeless aesthetics (he loves how the black paint brasss over time) but primarily for its mechanical reliability – it’s a camera he trusts not to fail him during travels and long-term projects . The Leica MP has a built-in light meter but no electronics needed for operation, meaning it’s always ready to shoot and even its battery for the meter is optional. This simplicity aligns with Kim’s philosophy of focusing on the art, not the gear.

For those seeking a more affordable entry into Leica, Kim often recommends the Leica M6 rangefinder. He calls the M6 the “best bang-for-the-buck” film Leica because it’s fully manual, includes a built-in light meter, and is relatively modern and dependable . In his experience, a good used M6 (around $1,600 USD) paired with a modest 35mm lens (like a Voigtländer 35mm f/2.5) is an excellent street photography setup . In fact, the first film Leica Kim used extensively was an M6 (gifted by a friend), which he later “paid forward” to another photographer once he upgraded to the MP . The M6’s combination of manual control and handy light meter makes it ideal for learning film exposure while remaining quick on the streets.

In addition to the Leica rangefinders, Kim is a fan of compact 35mm cameras for everyday carry. His top pick in this category is the Contax T2, a premium point-and-shoot film camera. He praises the Contax T2’s 38mm f/2.8 Zeiss lens as “sharp as hell,” and loves that the camera is built like a tank yet pocketable . The T2 offers aperture-priority auto-exposure and even zone-focusing ability, which make it street-friendly despite being a point-and-shoot . Kim notes that a good used Contax T2 (around $500–$600 USD) delivers image quality on par with his Leica + Summicron combo, but in a smaller package . He often recommends the Contax T2 to students who want a no-fuss film camera for street photography that won’t break down easily .

Kim has also experimented with medium-format film cameras in his journey. He has shot with a Hasselblad 501C (6×6 format) and fell in love with the “zen” experience of looking down into the waist-level finder and slowing down for each 12-shot roll . On another trip, he tried a friend’s Mamiya 7 rangefinder (6×7 format) and was impressed by how it felt like “a Leica on steroids” – offering large negatives with stunning quality, yet handling much like a 35mm rangefinder . The Mamiya 7 became a favorite medium-format tool for its portability and ease of use; Kim shot about 10 rolls of Kodak Portra 400 on it in Dubai and loved the energetic, “fluid” look of those medium-format street photos . While medium format isn’t his everyday medium, these cameras showed Kim new ways to see (often in a square or bigger frame) and further reinforced the discipline of making every shot count when you only have 10 shots per roll .

Ultimately, Eric Kim’s camera philosophy is that any simple, reliable film camera that you enjoy will do the job – he emphasizes it’s the photographer, not the camera. He encourages readers not to overthink gear: once you have a sturdy camera like a Leica or a quality compact, stick with it and achieve “camera zen” by using one camera and one lens for life . In his case, that one camera is the Leica MP with a 35mm lens, a combination he trusts so completely that he sold off his digital cameras. This minimalist approach frees him from Gear Acquisition Syndrome and allows him to channel his energy into capturing moments on film. As he puts it, a film camera like the MP “will outlive me,” while digital cameras come and go – so he’d rather invest in timeless tools that keep him focused on shooting .

Preferred Film Stocks and How He Chooses Them

Eric Kim shoots both color and black-and-white film, but he keeps his choices simple, usually sticking to a few favorite film stocks that give him the look and flexibility he wants. For color photography, his emphatic favorite is Kodak Portra 400. He has shot Portra for years and lauds its gorgeous, versatile look – especially how warm tones and skin tones render beautifully on this film . Portra 400’s ISO 400 speed is fast enough for street shooting in varied light, and Kim notes that its exposure latitude is very forgiving. He often exposes Portra at box speed (ISO 400) and trusts it for everything from bright daylight to cloudy scenes, knowing it’s difficult to blow out highlights on color negative film . “All the photos I’ve shot on Kodak Portra 400 totally sh*t on any photo I’ve shot on my smartphone,” he declares, emphasizing how much he prefers Portra’s rich colors over digital simulations . For Kim, Portra 400 has a unique depth and warmth that even the best VSCO presets can’t fully replicate . It’s the film stock he uses for long-term color projects – in fact, he chose Portra 400 for entire series like “First World Asia” and “Suits,” to maintain a consistent aesthetic across all those images .

When it comes to black-and-white, Eric Kim’s go-to emulsion is the legendary Kodak Tri-X 400. He has a deep love for Tri-X, in large part because of its flexibility for pushing to higher ISOs. Kim frequently shoots Tri-X at ISO 1600 (two stops above box speed) to give himself extra shutter speed on the street and a punchier, grainier look . “Kodak Tri-X…pushes to 1600 amazingly well,” he notes – it adds contrast and gritty grain that he actually enjoys, and it allows him to shoot at f/8 in lower light without motion blur . This push-processing technique is one he employs often: he will set his camera’s meter to 1600 when loading Tri-X, effectively underexposing each shot by 2 stops, and then have the film over-developed by the lab to compensate . The result is classic high-contrast street photographs that still hold detail in the highlights. Kim loves the “soul” and timeless character that Tri-X grain gives to his images – he finds that even technically imperfect shots (a bit blurry or underexposed) can look like “beautiful mistakes” on Tri-X . This forgiving nature of b&w film is a big draw for him; he says black-and-white film can handle all lighting conditions — even flat or harsh light — and still produce an appealing image , whereas digital or color film are less forgiving if exposure or light isn’t ideal .

In addition to Tri-X, Kim has experimented with or recommended a few other monochrome films. He often mentions Ilford HP5 Plus (ISO 400) as an excellent black-and-white option, noting that a fellow street photographer shot an entire project on HP5 and achieved superb grain and contrast . HP5, like Tri-X, can be pushed if needed and offers a classic look. Kim also likes the niche “JCH Street Pan 400” film (produced by his friend Bellamy Hunt of Japan Camera Hunter) for its high contrast look – he lists it alongside Tri-X and HP5 as a top black-and-white choice . For those who want the convenience of developing black-and-white in standard C-41 color chemistry, he points to Ilford XP2 Super 400, a chromogenic B&W film that any lab can process; he’s found XP2 has great contrast and can be a practical choice if you don’t develop at home .

Overall, however, Eric Kim advocates simplicity and consistency in film selection. Rather than trying every film under the sun, he suggests sticking with one or two stocks you like, so that your photos have a consistent aesthetic . In his own practice, that means Kodak Portra 400 for color work, and Kodak Tri-X 400 for black-and-white. By limiting his palette to these films, Kim knows exactly how they will behave. He jokingly calls Arista Premium 400 (Freestyle’s house film) the “biggest secret” in B&W photography, since it’s actually re-branded Tri-X 400 for a fraction of the price – allowing budget-conscious shooters to get the Tri-X look for under $3 a roll . Whether shooting creamy color tones or gritty monochrome, Kim chooses film stocks that match his vision and allow for flexibility: medium-high speed films that can handle fast street shooting and varied lighting, with graceful grain structures and tonal ranges that give his work a timeless, documentary feel.

Shooting Technique and Development Workflow

Eric Kim’s shooting process with film is all about embracing the slower, more deliberate nature of analog photography, while still being practical for fast-moving street scenes. One of his core principles is mastering exposure and knowing how to meter for film. With film, Kim always aims to overexpose slightly rather than underexpose. The reasoning is simple: unlike digital, film (especially negative film) can retain a lot of highlight detail even when overexposed, but if you underexpose, the shadows will turn to murky grain with no detail . He summarizes this rule: “It is always better to overexpose film than underexpose” because you can recover highlights when scanning the negative, but you can’t rescue detail from heavy shadows . To achieve this, Kim often sets his exposure using the classic “f/8 and be there” approach in daylight. He will pick an aperture (often f/8 for a good depth-of-field) and then take two meter readings – one for a bright area under sunlight, and one for a shaded area – at that aperture . For example, on a sunny day with ISO 400 film at f/8, he might find he needs about 1/1000s in direct sun and ~1/125s in shadow . He memorizes these two shutter speeds and switches between them on the fly as he moves in and out of sun, rather than constantly re-metering every shot . This zone-exposure technique lets him react quickly on the street while still nailing exposure on film. If his camera is in aperture-priority auto (like a Contax T2 or Leica M7), he’s comfortable letting it handle exposure, but with his manual cameras he prefers this simple sunny-16 style system to stay in control .

In terms of focus, Kim almost always uses zone focusing with his manual cameras. He typically keeps his 35mm lens pre-focused to around 1.2 meters (about two arms’ lengths away), which on an Leica corresponds to the focusing tab pointed straight down – a distance he finds ideal for many street situations . At f/8, this gives a zone of sharp focus from roughly 0.7m to 2m or more, meaning anything within about 2 arm-lengths will be relatively in focus . As he walks, he mentally notes distances: if a subject is coming closer than 1m, he’ll nudge the focus tab a bit to the left (toward 0.7m); if a subject is a bit farther, say ~3–5 meters, he’ll turn the tab about 45° to the right to reach infinity zone . Over time, this becomes muscle memory. By prefocusing and using a generous depth of field, Kim can shoot quickly without raising the camera to his eye for long – critical for capturing candid street moments. He advises practicing estimating distances and using zone focus so that you “don’t need to be 100% accurate” in fast situations . This technique, combined with his exposure presets, forms a robust shooting workflow: set camera to f/8, adjust shutter between two preset values for light or shade, and snap away with pre-focused lens – minimal fiddling, maximal attention on the scene.

Kim is also not shy about pushing his film to accommodate low light or faster action. For black-and-white Tri-X, he regularly shoots at ISO 800 or 1600. “If you shoot somewhere really sunny, push to ISO 800. If it’s gloomy or dark, push to 1600,” he suggests . By pushing Tri-X to 1600, for example, he can get shutter speeds like 1/250s in the shade at f/8, whereas at ISO 400 he might only get 1/60s – that difference is huge for avoiding motion blur . He is willing to accept the trade-off of more grain and contrast when pushing, since he actually likes the added grit: “some love it, some hate it… I personally like the added grit,” Kim says of high-ISO grain . For color film, however, he generally shoots Portra 400 at box speed and doesn’t push it, since color negative can be more finicky to push and most labs won’t push-process color without special request . In low light color situations, he might use a flash or simply accept a slower shutter, but overall Kim tends to favor black-and-white for night shooting due to its pushability and forgiving nature .

After the shooting comes the development and scanning phase, where Kim balances convenience with cost and quality. For color film, he almost always uses a professional lab. His advice is to take color negatives like Portra to a lab or even a local drugstore (in the past he used Costco’s photo lab, when they still processed film) for C-41 processing and scanning . Color chemistry can be tricky and he prefers leaving that to the pros to ensure consistent results. For black-and-white film, Kim offers a choice: if budget allows, sending B&W rolls to a lab for development and high-quality scanning is easiest; but if you’re on a tight budget or want more control, home developing is a great option . He often encourages aspiring film photographers to learn to process B&W at home using a simple setup – a changing bag, some tanks and chemicals – because it can actually be cheaper than digital in the long run and isn’t too hard once you get the hang of it . Kim’s own first experience developing film was in a makeshift darkroom with a friend in India, and he found the process “like a religious and meditative experience” as he watched blank negatives turn into images before his eyes . At home in Los Angeles, he doesn’t process every roll himself, but he’s capable of doing so and especially recommends it for black-and-white photographers who shoot a lot (as lab costs can add up).

For scanning negatives, Kim started out using an affordable Plustek 35mm film scanner, which he still recommends as a great option for beginners on 35mm . Scanning can be time-consuming – he jokes that it’s a “pain in the ass” at times – but it also gives him a chance to listen to music or podcasts and relive the excitement of seeing his photos for the first time on the screen . With medium-format 120 film, lab scans can be very pricey, so Kim invested in an Epson V750 flatbed scanner to scan his own 120 negatives at home . He finds the Epson quality sufficient for his needs and enjoys the “zen” of scanning in batches, though he admits it can eat up hours of time if you have dozens of rolls. To stay organized, Kim has learned (sometimes the hard way) to store his developed negatives in sleeves and label them by date or project. In one experiment, he actually waited over a year to develop 164 rolls of film from various trips . He dropped them all off at once, then spent weeks scanning and editing. The benefit of this delay was that by the time he saw the photos, he was completely emotionally detached from the moments and could edit them ruthlessly and objectively – an editing technique he deliberately employs by letting his film “marinate” before looking at the results . Kim often waits 1–2 months (or more) after shooting to process his film, specifically so that he can approach the images with fresh eyes and pick only the truly strong shots . This patience is part of his film workflow that he really values: it slows him down and makes the eventual image review feel like Christmas morning, full of surprises .

In summary, Eric Kim’s shooting and workflow with film marry old-school technique with practical street savvy. He meters manually but simply, prefocuses to capture fleeting moments, and isn’t afraid to push film to its limits. He leverages labs for convenience but also embraces the DIY aspect of film when it makes sense. Most importantly, he lets film slow him down – from the clicking of the shutter to the wait for development – using that slow process to foster greater thoughtfulness in his photography . This workflow reflects Kim’s belief that the journey of making the photo is just as important as the final image in film photography.

Notable Blog Posts and Videos on Film Photography

Eric Kim has documented his film photography journey extensively through his blog and YouTube channel, providing a wealth of resources and insights for fellow photographers. Some key blog posts and videos where he discusses his film philosophy include:

• “Why Digital Is Dead for Me in Street Photography” (2012) – A landmark blog post where Kim explains how shooting film rekindled his passion. He recounts switching from a digital Leica M9 to a film Leica M6 and discovering a more zen-like experience. In this post he describes working on his “Dark Skies Over Tokyo” series with the M6 and Kodak Tri-X, and how film forced him to focus on storytelling over instant gratification . He outlines advantages of film such as better dynamic range (especially highlight detail), not being able to delete shots (which made him more careful and project-oriented), and the permanence of negatives. This early article is essentially his manifesto for embracing film in street photography, including six reasons he fully transitioned to film – from focusing on projects, to overcoming gear envy, to shooting fewer but more meaningful frames .
• “An Introduction to Shooting Street Photography with Film” (2013) – In this comprehensive guide, Kim shares everything he learned in his first 1.5 years of film-only shooting . It covers practical startup advice (choosing a camera, film, light meter, etc.) and answers common fears about film. Notably, he provides step-by-step tips like getting a fully manual camera to learn the fundamentals, sticking to one film stock for consistency, and even bulk-loading film to save money . This post is a great resource for anyone new to film, as Kim candidly writes from the perspective of a former digital shooter easing into analog.
• “What I Learned Shooting 100 Rolls of Tri-X Film Pushed to 1600” (2015) – A blog article where Kim reflects on an intensive summer project of shooting 100 rolls of Kodak Tri-X (all pushed to ISO 1600) across multiple cities . He shares the lessons from that experiment, such as the joy of embracing grain and high contrast, and how it made him “have a blast” and stop overthinking his shots . This post also includes anecdotes like how he used a yellow filter for the first time and traveled through Europe with just a film Leica MP and 35mm lens . It’s an inspiring read that shows Kim’s willingness to push himself and try new things with film. The accompanying photos (including portraits of his partner in “The Cindy Project”) demonstrate the moody, gritty look of Tri-X at 1600 that he fell in love with .
• “Why Film Photography is Better than Digital Photography” (2017) – In this passionate post, Kim makes a case for film in the modern era . He argues that film slows you down in a good way (“like zen meditation”) and that film photos simply look better – highlighting how companies like Fuji and VSCO try to emulate film’s colors and grain in digital because digital can feel “clinical” by comparison . He shares his personal setup here too, telling readers to invest in a cheap film setup rather than a pricey digital: for instance, a $1600 Leica M6 or a $600 Contax T2 will “make photos that look a million times better” than a $10k digital Leica, he quips . In this post Kim also gives a rundown of his recommended film gear (echoing the MP, M6, and T2 choices) and financial advice on buying used. It’s a blend of philosophy and practical tips that really encapsulates why Kim stuck with film.
• “Video: Why I’m Switching Back to Black and White Film for Street Photography” (2015) – A YouTube interview/conversation with fellow film buff Karl Edwards (of StreetShootr) where Kim enthusiastically discusses his decision to return to shooting primarily black-and-white film . He mentions specifically going back to Kodak Tri-X 400 at ISO 1600 for street work, after having shot some digital and color. In the video, they “geek out about black and white film” – touching on the look of Tri-X, the process of developing/printing, and why the monochrome mindset suits street photography. This video is notable because you can see Kim’s energy and hear the conviction in his voice when he talks about the magic of B&W film. It complements his writing by providing a more conversational dive into his film philosophy.
• Film Photography “Notes” and 101 Guides – Throughout his blog, Kim released several open-source e-books and guides. “FILM NOTES” (2017) was an e-book compendium of his film tips . He also compiled a “Film Street Photography Manual” and articles like “How to Shoot Street Photography on a Film Leica” and “10 Tips for Shooting Street Photography on Film.” These resources reiterate many of the lessons he learned, from technical pointers (e.g. using a light meter, pushing film) to mindset (e.g. be patient and enjoy the process). They are great follow-ups for readers inspired by his more narrative posts, serving almost as textbooks for analog street photography.

By engaging with these blog posts and videos, one can trace Eric Kim’s evolution and deepening love of film photography. He’s very transparent about his thought process in these resources, which makes them incredibly valuable. Whether he’s writing a motivational piece on the philosophy of slowing down or a nuts-and-bolts tutorial, Kim’s voice in these posts is always encouraging, high-energy, and empowering, pushing the reader to give film a try and see how it can transform their photography .

Notable Film Projects Shot on Film

Figure: A high-contrast black-and-white street photograph from Eric Kim’s “Dark Skies Over Tokyo” series, shot on a Leica M6 with Kodak Tri-X film . This project explored the irony of wealth and depression in Japanese society, and shooting it on film helped Kim stay focused on the story’s mood rather than checking each image .

Beyond blog posts and gear talk, Eric Kim has produced several notable photo projects using film, each with its own theme and style. His commitment to film is evident in these bodies of work, where the choice of film stock and camera played a key role in the final look. Some of his prominent film-based projects include:

• “Dark Skies Over Tokyo” – A black-and-white series shot on 35mm film (Leica M6 with Tri-X) in Tokyo. This project delves into the paradox of Tokyo’s society – a prosperous city with underlying currents of anxiety, depression, and loneliness. By using gritty B&W film and often photographing strangers in fleeting, dramatic moments, Kim accentuated the mood of alienation. He notes that shooting it on film forced him to slow down and concentrate on the project’s narrative rather than individual images, which ultimately made the series more cohesive . The high contrast and grain of Tri-X pushed in the Tokyo night gave “Dark Skies” a moody, timeless atmosphere that digital could not easily replicate. This series was a turning point that convinced Kim of film’s power; in fact, it was featured in his “Why Digital Is Dead for Me” post as an example of how film improved his focus and results .
• “Korea: The Presentation of Self” – Another 35mm black-and-white project, shot entirely on Kodak Tri-X pushed to 1600 on Kim’s Leica. In this series, Kim explored how South Koreans present themselves through fashion, status symbols, and behavior, examining themes of identity and image. By pushing Tri-X to ISO 1600, he was able to shoot indoors and outdoors in varying light while maintaining a consistent look of bold contrast and pronounced grain. Kim has shared that the entire project was done on Tri-X @1600, and this consistency helped unify the photos . The choice of grainy black-and-white fit the theme, adding a raw authenticity to portraits of people in Seoul’s streets, subways, and marketplaces. This project also taught Kim the value of committing to one film and one look for a series.
• “Suits” – A color film project for which Kim switched gears and shot on Kodak Portra 400. “Suits” is centered on the stress and mundanity of the 9–5 corporate world; Kim photographed anonymous office workers (often literally people in suits) in downtown environments to capture their fatigue and routine . He deliberately used Portra 400 for its excellent skin tones and its slightly muted, melancholic color palette, which suited the subject matter. All images in “Suits” were taken on 35mm color film, giving the series a consistent tonal quality. Kim mentioned that for “Suits” (and a concurrent project “First World Asia”), he was “shooting all on color film: Kodak Portra 400” to maintain a uniform look . The decision to use film here was also about discipline – by not shooting digital, he avoided overshooting and remained focused on capturing telling moments of corporate life with intention. The results have a cinematic, documentary feel that Portra’s dynamic range helped achieve (retaining detail in shadows of city streets and highlights on sunlit buildings alike).
• “The Cindy Project” – A very personal ongoing project in which Eric Kim documents his life with his partner (now wife), Cindy. Notably, he chose to shoot the Cindy Project on black-and-white film as well – largely Kodak Tri-X 400 at 1600 – to give the images a consistent intimate feel across years. He has taken portraits of Cindy at home, during travels, and everyday moments, all on film. Kim loves the aesthetic this creates; he says he prefers “the soft look of shooting without a flash” for these personal photos, and Tri-X gives a romantic, classic rendering . Because these photos mean a lot to him, Kim also practices his delayed development approach here: he often lets rolls from the Cindy Project sit undeveloped for a while, so that when he finally processes them he can experience those memories afresh and select the truly special shots . The Cindy Project is an example of Kim applying his film philosophy to his own life – it’s less about technical perfection and more about capturing the “soul” of his relationship on an analog medium that will last. In his eyes, those grainy black-and-white photos of loved ones have a tangible warmth and honesty that no digital photo can match.
• Other projects and experiments – Kim’s film work also includes numerous travel diaries and smaller series. For instance, during a trip through Europe, he shot street portraits in Marseille, Amsterdam, London, etc., all on Tri-X 1600 as a way to tie the journey together stylistically . He has tried medium-format film for travel landscapes and friend portraits (as mentioned with the Hasselblad and Mamiya in Dubai/Stockholm) to see the effect of the larger negative on storytelling . Even when he briefly returned to some digital work, Kim often concurrently shot film for personal projects, ultimately always coming back to analog for his serious bodies of work. He has stated that if he could have only one completed book in his lifetime, he would be happy if it were The Cindy Project – highlighting how much he values the film work he’s done as his lasting legacy .

Each of these projects shows a different facet of Eric Kim’s film photography approach, but all share a common thread: intentionality. By choosing a specific film stock and camera for a project, Kim sets a constraint that actually fuels his creativity. The limitations of film (36 shots, one ISO, one look) become strengths when applied to storytelling. Whether it’s the soulful grain of Tri-X conveying emotion or the subtle colors of Portra painting a mood, Kim leverages the character of film to enhance the subject matter. These series also illustrate his belief in shooting projects (not just single images) – film taught him to think in terms of a cohesive set of images with a message . As viewers, looking at his film projects side by side, we get a sense of a photographer who is deeply in tune with his medium, and who has used film to carve out a distinctive voice in the world of street and personal photography.

Tips and Philosophy for Aspiring Film Photographers

Eric Kim is not only a prolific shooter but also a passionate teacher. He loves to pump up fellow photographers with high-energy tips and philosophical insights about shooting film. Here are some of the key pieces of advice and film wisdom he shares for anyone looking to deepen their film photography:

• Embrace Over-Exposure: Don’t fear blowing out highlights on film – fear muddy shadows. Kim’s top technical tip is that film loves light. Always err on the side of overexposing your images a bit, because film can handle it. “With film photography, always aim to over-expose or make your photos brighter,” he advises . Underexposed negatives, by contrast, will look murky and “like crap” with little detail . So if in doubt, give that scene an extra stop of light. Your scans will thank you, and you’ll get those rich tones film is known for.
• “F8 and Be There” (Master Your Settings): Simplify your shooting by using basic settings and sticking to them. Kim often shoots at f/8 in daylight for ample depth of field, and he suggests memorizing a couple of shutter speed/aperture combinations for common lighting situations (sun vs. shade) . This way you’re not fiddling with your camera constantly. He also encourages learning to zone focus – pre-focus your lens to a certain distance (like 1.2m) and know your depth of field, so you can quickly capture subjects in that zone without precise focusing . By internalizing these settings, you free yourself to concentrate on timing and composition. Practice estimating light and distance; it will make you a far more confident film shooter.
• Don’t Be Stingy – Work the Scene: A common mistake newbies make with film is being too afraid to press the shutter. Kim busts this myth: if you find a scene or subject that excites you, milk it for all it’s worth! “If you see a good scene that interests you, shoot 36 photos of it (or a whole roll) on it,” he urges . In other words, rather than taking one shot of 36 different mediocre things, take 36 shots of that one interesting thing from different angles, distances, and moments . Don’t worry about “wasting” film on a worthwhile subject – capturing the best frame is worth a roll. This mindset also trains you to really work a scene, staying with a moment and exploring it deeply. Kim admits you might walk around for hours and see nothing, but once you do find something compelling, commit to it and shoot multiple frames . The film is there to be used in service of your vision.
• Slow Down and Enjoy the Process: One of Kim’s biggest philosophies is treating film photography as a form of mindfulness or play, rather than a rush to get instant results. “See shooting film as a chance to play… to feel like a big kid again,” he says . Because you’re not seeing your photos immediately, you stay in the moment and actually have fun with the act of shooting. Kim found that film made him “more zen” – he wasn’t constantly checking an LCD or worrying about technical settings, he was living in the present, looking for the next shot . He encourages aspiring film photographers to relish this slower pace. Wait a few weeks or months before developing your rolls; you’ll find that when you finally see the images, it’s incredibly rewarding and you can judge them more objectively . In a world obsessed with instant gratification, Kim’s rallying cry is: “Let’s slow down” and reclaim the joy of patiently creating photographs . The journey of using film – loading rolls, winding the advance lever, anticipating your results – should be savored. This approach will not only improve your mental well-being but also the quality of your work.
• Focus on Projects, Not Just Pictures: Film naturally pushes you toward thinking in terms of projects or series. Kim suggests setting themes or restrictions for yourself, like shooting one type of subject or story for a whole roll or a set period. This way you’re not chasing random “likes” but building a coherent body of work. “I am more interested in the project-based approach rather than the single-image approach,” he says, a mindset that film reinforced . When you can’t see your images immediately, you think more about the idea of the project while shooting, which leads to stronger collections of photos. He often limits himself to one project at a time and even one lens or one film for that project . This kind of discipline, according to Kim, results in more meaningful photographs and personal satisfaction than scattering your attention. So, find a project that speaks to you – maybe “documenting my neighborhood in B&W” or “portraits of strangers on color film” – and commit to it with film.
• One Camera, One Lens – Kill G.A.S.: Kim frequently tells students that having too much gear or constantly lusting after new cameras (G.A.S. = Gear Acquisition Syndrome) will hinder your growth. Film cameras, especially older mechanical ones, have the advantage of not getting updated every year. Use that to your advantage. Kim’s advice: find a reliable film camera and a single lens you love, and stick with them. This frees you from worrying about equipment and lets you pour your energy into seeing and shooting. He gives his own example – once he started using his Leica MP and 35mm lens, he committed to it as his permanent setup and stopped paying attention to new gadgets . That “camera zen” mentality means when you go out to shoot, your camera feels like an extension of your eye, not a computer you have to tweak. Not only will your work become more consistent, but you’ll save money and mental overhead. Kim passionately argues that a $500 film camera can serve you a lifetime, whereas a $5000 digital camera will be obsolete in a few years . So resist the hype, bond with your one camera, and go make photos!
• Don’t Skimp on Learning Development (Especially B&W): While you can absolutely send your film to a lab, Kim encourages at least trying to develop black-and-white film yourself at some point. Doing so demystifies the process and gives you more control. Plus, it can be satisfying to literally “get your hands dirty” in the darkroom (or bathroom). Kim assures that with a changing bag and some basic chemistry, home developing is quite feasible – he started that way and found it rewarding . Home developing can also save money if you shoot a lot. But even if you stick with lab processing, learn how film development works. Understanding pushing/pulling, different developers, etc., will make you a more informed shooter (you’ll know, for example, how far you can push a Tri-X roll and what trade-offs to expect). Kim also suggests investing time in scanning or darkroom printing your work, as it connects you more deeply to the craft. The bottom line: Don’t be just a shooter – learn to be a craftsperson with film. It will increase your appreciation for the medium and the pride in your final images .
• Shoot with Your Heart, Not Just Your Eyes: Street photography especially can be intimidating – you might overthink a shot or hesitate. Kim’s advice is to trust your gut and shoot from the heart. “When in doubt, just shoot the photo anyways,” he writes . That split-second of hesitation is your analytical brain – and it often talks you out of great candid shots. Instead, listen to your intuition. If something compels you, raise the camera and click. Kim also encourages being fearless and not worrying too much about others’ reactions (while still being respectful). Many of his best street photos came from following an instinct or curiosity, even when his mind was unsure. He says don’t worry about getting every shot perfect – film teaches you that some will fail, and that’s okay . What’s important is capturing the emotion or story you felt in that moment. By shooting with empathy and heart, your photos will resonate more. And yes, sometimes that means taking a photo even if you’re not 100% sure it’s great – because you might be pleasantly surprised when you see it later with fresh eyes.
• Keep It Fun and Positive: Perhaps the most recurring theme in Eric Kim’s tips is to remember that photography should be fun! He often signs off his blog posts with motivational lines like “Be strong” and messages to uplift readers . Kim believes that a positive, enthusiastic attitude will reflect in your work. If you treat shooting film like an enjoyable adventure (rather than a technical chore), you’ll naturally shoot more and improve faster. He admits that photographers (himself included) can take themselves too seriously at times . The cure is to approach film photography with a beginner’s mind and a playful spirit – experiment with that old film camera, make mistakes, laugh about them, and learn. For instance, Kim sometimes purposely shoots a whole roll of just experiments (blurs, silhouettes, double exposures) to remind himself that there are no rules and it’s the creative risks that often lead to great images. By keeping the energy high and not dwelling on failures, you stay motivated. In his own words: “To me, I enjoy the process of shooting film, and the joy of shooting film is how it slows me down, how it makes me appreciate moments more, and how it helps me appreciate the art of photography more.” . That joy is contagious in Kim’s writing – and as an aspiring film photographer, if you carry the same enthusiasm, you’ll find the medium incredibly rewarding.

In summary, Eric Kim’s tips combine practical advice (expose well, use one camera, work your scene) with philosophical guidance (slow down, focus on projects, have fun, be courageous). His tone is always encouraging – like a coach hyping up his team – because he genuinely believes shooting film can make you not only a better photographer, but also bring more happiness and meaning to your photographic life . He often says shooting film will make you a better photographer by teaching you about light, composition, and the “soul” of an image . So take it from Eric Kim: grab that film camera you’ve been eyeing, load up some Tri-X or Portra, and hit the streets with a smile. Don’t worry about perfection or what others think – just shoot and enjoy the ride. As Kim would put it, “Stay focused, keep shooting, and most importantly, enjoy the process!”

Sources: Eric Kim Blog (2012–2021) , Eric Kim YouTube Interviews , and related articles as cited above.