Why Eric Kim Is Stepping Away from Leica Cameras

Eric Kim – a prominent street photography blogger and educator – has undergone a notable shift in his attitude toward Leica cameras over the years. Once an avid Leica shooter, Kim has gradually moved away from the famed “red dot” brand. In his own public statements (blog posts, videos, and interviews), Kim cites a mix of philosophical, practical, and personal reasons for this change. Below is a comprehensive exploration of why Eric Kim is “ditching” Leica, including his evolving creative philosophy, financial/practical considerations, experiments with other gear, critiques of Leica’s direction, and reflections on his past advocacy. Direct quotes from Kim’s content are provided to illustrate these points.

From Leica Fan to Critic: A Gear Timeline

• Early 2010s – The Leica Dream: Kim started out shooting on a Canon 5D DSLR, but he “always thought that buying a Leica” would make him a better street photographer. He fantasized about using a Leica on the romantic streets of Paris, following in Henri Cartier-Bresson’s footsteps . In 2011, he fulfilled this dream by purchasing a Leica M9 digital rangefinder, believing he’d “be happy for the rest of [his] life” with the best camera money could buy . Reality hit quickly: “Wrong,” Kim admits – within a month the novelty wore off and the M9 began collecting dust alongside his old Canon . He realized the Leica hadn’t magically improved his photography or confidence: “I thought buying the Leica would make me a more confident photographer… It didn’t. I thought… it would help me make better images… It didn’t” . This early disillusionment planted seeds of skepticism.
• Transition to Film and Compact Cameras: Soon after, Kim was gifted a film Leica M6, which did rekindle his love for photography. He “fell in love” with the film experience and “never touched the M9” again . He eventually sold the digital M9 and traded it for a film Leica MP . Despite owning that “apex” film Leica, Kim’s day-to-day shooting moved toward smaller, more casual cameras. By the mid-2010s, he predominantly used a Ricoh GR II digital compact for street photography. He notes the Ricoh’s “smaller size – it is easier to carry… it is cheaper (so less anxiety about losing it), and even less obtrusive” than a Leica . In short, Kim found that a $600 pocket camera suited his needs better than a $7000 luxury camera, allowing him to shoot worry-free.
• Late 2010s – Embracing the Smartphone: Around 2018–2019, Kim’s outlook evolved further. He began openly praising smartphone cameras (like the iPhone) as legitimate tools, even prefering an iPhone over a Leica for innovation and everyday use. Visiting a Leica boutique in 2019, he felt the brand’s mystique had “vanished.” He wrote that Apple was “leading the way in photography” and that “if I had the choice, I’d prefer owning an iPhone Pro over a Leica M10” . In his view, the iPhone had become “the new Leica M rangefinder for photographers” – a compact, cutting-edge camera that everyone has access to . This marked a dramatic shift: Kim now saw tech innovation and accessibility in smartphones that Leica lacked.
• Early 2020s – Critical Reappraisal of Leica: By 2020–2021, Kim was openly critiquing Leica in his blog. In a 2020 post titled “When Did Leica Become So Un-Cool?”, he lamented that Leica’s image had changed: it seemed marketed “to rich (not good photographer types)” and had lost its youthful, art-focused appeal . Though he expressed “deep respect for Leica” and its craftsmanship, he felt “Leica is now really just for old rich dudes” and that the company cares more about “increasing corporate profits than having the soul of an artisan” . In 2021, he published pieces like “Is Leica Overrated?” and “Why Ricoh is Superior to Leica,” arguing that Leica cameras had become design luxury objects rather than practical tools. He pointed out that many people buy a Leica M hoping to channel the spirit of Cartier-Bresson, but likened it to buying Air Jordans to “be like Mike” – a psychological crutch rather than a real improvement to one’s skills . In his words, “owning a Leica M… is like owning a Rolex… For the aesthetic. It is like having a really luxurious necklace, but it happens to shoot photos” .
• Mid 2020s – “Leica Is for Looosers!”: By 2024, Kim’s break from Leica was complete – and loudly proclaimed. In an August 2024 blog post (and YouTube video) provocatively titled “LEICA LOSER – LEICA IS FOR LOOOOOSERS!”, Kim emphatically urged photographers to stop idolizing Leica. He declared: “Stop buying those Leicas – real streettogs shoot with Ricoh or Fujifilm! Leica is for loooooosers! (besides the film ones)” . At age 36, after 15 years in the photography world, he had come to believe Fujifilm and Ricoh offer far better tools and value. In fact, he crowned the Fujifilm X100 series as “the best camera on the market” in 2024, calling Fujifilm “probably superior in every single shape, form and way” – “stronger, more robust” – whereas “the problem with any Leica camera – it is so fragile and weak!” . This blunt dismissal of Leica marked the culmination of Kim’s gear journey, from youthful Leica fanboy to outspoken critic.

With that timeline in mind, we can delve into the key reasons behind Eric Kim’s decision to step away from Leica, as he himself has explained them.

Philosophical Shifts: Art Over Status and Substance Over Hype

One of the driving forces in Kim’s move away from Leica is a philosophical and artistic shift in how he approaches photography. Over time, he became less “romantic” about camera gear and more focused on the creative process itself. Several themes emerge in his statements:

• Rejecting Gear Romanticism: Kim came to realize that the almost mystical aura around Leica – the heritage of Henri Cartier-Bresson and the romantic notion that a Leica will make you an artist – was misleading. He argues that Leica (and its marketing) trades heavily on “the legacy or concept of the romantic Henri Cartier-Bresson – the idea that we [photographers] prince around with our little Leica M in the narrow streets of Paris” . After studying philosophy and reflecting, Kim concluded that such romanticism is actually “an escape from reality… a fictitious fantasy” . In other words, buying into the Leica myth might feel inspiring, but it doesn’t address the real work of improving one’s photography. By 2019, he was urging photographers to “become less romantic about our equipment” and remember that “your greatness as a photographer is quantified by your merit, not your equipment” . This intellectual shift led Kim to value images and creativity over camera brands.
• Authenticity and Meritocracy: Hand-in-hand with ditching romantic gear notions, Kim espouses a more egalitarian view of photography. He praises the “democratization of photography” – largely thanks to smartphones – which put good cameras in everyone’s pocket. “Now everyone has access to the same photographic tools. Now, your greatness as a photographer is … based on your merit, skill and effort, not by how rich you are or what camera equipment you can afford,” Kim writes, celebrating the iPhone as the “new Leica” for the masses . This philosophy stands in stark contrast to the elitist aura of Leica. For Kim, stepping away from Leica is partly an embrace of photographic authenticity: proving that compelling work can be made with humble tools. He even challenges the bias some photographers have against phones, noting that many just want to “justify the thousands of dollars they’ve invested in their camera systems” by looking down on iPhone shooters . In Kim’s view, using simpler gear forces you to rely on skill, creativity, and “soul” in your photos rather than fancy optics .
• Rejecting Ego and Insecurity: A candid theme in Kim’s reflections is how ego and insecurity drive camera lust – and how he overcame that. He observes that much of the photo industry is “based on insecurity, everybody trying to ‘prove themselves’” . In particular, he’s noted a kind of envy or “penis envy with the guy who owns the newest Leica M” in photography circles . Early in his career, Kim himself wasn’t immune to this. He confesses that he once wore his Leica conspicuously “to make my dick size feel bigger (my penis size is probably smaller than average)”, essentially using the prestigious camera as a crutch for self-esteem . Over time, he recognized this as false confidence. Now he pointedly says he “no longer need[s] to boost up my self esteem with the camera I shoot with”, whereas before “I used to wear the Leica around my neck to show off my lack of self confidence” . This personal growth away from ego-driven gear choices is a powerful reason he stepped back from Leica. In his blunt style, Kim even characterizes many Leica-toting photographers he’s encountered as “a bunch of insecure… individuals” who use the camera as a status symbol rather than focusing on improving their art . Shedding this insecurity, for Kim, meant letting go of the need to own a Leica for prestige.
• Focus on Creative Fulfillment: Ultimately, Kim’s philosophy now centers on creative fulfillment over gear acquisition. He often poses the question: What do you really want from photography? The answer isn’t a fancy camera, but “creative and artistic flourishing.” And he believes “the RICOH GR III is currently the best camera for that” purpose . His reasoning is that a camera should inspire you to shoot freely and often, not sit on a shelf as a trophy. He urges photographers to invest in experiences, education, and photo books instead of chasing the latest Leica or lens . In one interview, Kim put it succinctly: even if he could afford a $15,000 digital Leica, he prefers a cheap $600 Ricoh because it fits his creative lifestyle better – it’s always with him and encourages him to shoot without hesitation . He’s found that many of his “best photos are all shot on this $600 Ricoh GR II, compared to the photos shot on my $5,000 Leica” . This realization cemented his belief that great images come from the photographer’s vision and effort, not the price tag of the camera.

In sum, Eric Kim’s artistic outlook evolved to prioritize substance over style. He grew disillusioned with the cult of Leica – the idea that owning one confers creativity or status. By rejecting that notion, he freed himself to focus on making photographs with whatever tool felt right. Philosophically, stepping away from Leica was part of removing false idols and refocusing on the art itself.

Practical and Financial Reasons: Cost, Fragility, and Freedom from Gear Anxiety

Beyond lofty philosophy, Kim gives very concrete practical and financial reasons for moving on from Leica. In multiple posts, he breaks down why sticking with Leica just didn’t make sense for his real-world needs:

• High Cost and Gear Anxiety: Leica cameras and lenses are infamously expensive – and this became a downside for Kim. He notes that with a $7,000 Leica body and $3,000 lens, the user ends up treating the camera like a delicate museum piece. “The problem with any Leica camera – it is so fragile and weak! You would never let your kid play with the $7000 body and a $3000 lens. If he accidentally trips, boom, $10,000 down the drain,” Kim warns . The hefty investment creates constant anxiety about damage or loss. Kim much prefers shooting with cheaper cameras precisely because “it is cheaper (so less anxiety about losing it)” . With a $600 Ricoh or even an iPhone, he can relax and focus on shooting instead of obsessing over his gear’s safety. This freedom improved his photography experience. He even suggests it’s “cooler” to deliberately use a “shittier camera than you can afford,” giving examples of wealthy individuals who choose humble tools (like Warren Buffett’s car or Eminem’s Casio watch) as a form of authenticity . In short, not using a Leica lifted a psychological weight: no more babying a $10k camera or flaunting it for approval.
• Durability and Usability: Hand in hand with cost comes durability. Kim found modern Leica bodies too delicate for rough daily use. By contrast, he advocates for cameras you can “use and abuse”. “The ultimate point of a camera is [that] you could use and abuse [it], throw it around, drop [it] on the concrete… with zero fear,” he writes . This is simply not how one treats an expensive Leica. He jokes that even billionaires shouldn’t be cavalier with a Leica – “foolish mistake… you think that you’re rich [so] you don’t care. Not true! The reason people become rich is because they do care!” . In other words, no one enjoys a $10k loss, rich or not. Kim realized he wanted gear that invites experimentation and can handle the occasional bump, especially as a new parent who might hand a camera to his kid. Rugged alternatives like Ricoh GR or Fujifilm X-series fit this ethos of “shoot it, don’t baby it.” By stepping away from Leica, Kim embraced cameras that he’s not afraid to live with and even break in the process of making photos.
• Depreciation and Tech Obsolescence: Another practical factor Kim highlights is the rapid depreciation and obsolescence of digital Leicas. Digital camera technology moves fast, and Kim points out that buying a pricey Leica is financially unwise if you care about tech: “Purchasing any digital Leica is [a] very foolish decision – it will be outdated in a year or two; you’re automatically pissing down at least $2000–$3000 down the drain” in resale value . Unlike Leica film cameras which can last a lifetime, the digital Ms and Qs are just as subject to Moore’s Law as any other camera. Kim notes that Leica’s digital offerings often don’t outperform competitors despite the premium price. He calls the much-hyped manual rangefinder focus mechanism “a fake marketing… gimmick” in the digital era . He also cynically observes that some Leica models aren’t even unique technology – for example, the Leica Q is “essentially a Panasonic Lumix camera with a body kit,” and the Leica SL is a rebadged Panasonic S-series . In short, Kim doesn’t see the sense in paying Leica’s markup for what are sometimes repackaged Japanese electronics. The value proposition of Leica fell apart for him: why spend flagship money on a body that will be outdone by a $1k Fuji or Sony in a couple of years? By exiting the Leica ecosystem, he avoids what he sees as a financial sinkhole of constantly depreciating gear.
• “Tool, Not Jewel” Mentality: All these reasons converge into Kim’s overall practical mentality: a camera is a tool to be used, not a jewel to be treasured. He frequently encourages photographers not to fetishize gear. In one of his core “principles,” he advises using the simplest, even “shabby,” camera that gets the job done. For example, he says if you’re middle class and can afford a $2000 camera, “shoot with a $600 Ricoh GR II and join the #RICOHMAFIA” instead . If you’re poor, use your smartphone. And if you’re truly rich, “you don’t need to shoot with a $30,000 camera. Maybe a $5,000 camera can suit you” . He practices what he preaches: even as a successful photographer who could buy any Leica, Kim sticks with affordable gear because it eliminates distractions and worries. Stepping away from Leica was essentially an exercise in minimalism and practicality – freeing himself from the trappings of luxury so he can focus on creating images.

In summary, from a practical standpoint Eric Kim left Leica for cheaper, tougher, and more future-proof cameras. He grew tired of paying a luxury premium for a tool that he felt was too delicate and too quickly outdated for everyday street photography. By ditching Leica, he saved money, reduced his stress, and gained a sense of liberation – able to sling his camera around or travel with it anywhere, fully living the mantra “gear doesn’t matter, the photos do.”

Embracing Alternative Gear: Ricoh, Smartphones, Fujifilm, and Film

As Kim stepped away from Leica, he didn’t stop shooting – in fact, he explored and championed other cameras that reignited his creativity. His journey led him to a handful of tools he now prefers, each for its own reasons. Here are the key alternatives Eric Kim embraced and how they factored into his departure from Leica:

• Ricoh GR: The “New Leica” for Street Photography – The compact Ricoh GR series has become Kim’s favorite digital camera, and he often compares it directly to Leica. After trying “all the other cameras on the market,” Kim concluded that “Ricoh–Pentax is the supreme (the best) camera brand for photography” , especially for the needs of street shooters. He affectionately calls the community of Ricoh users the “#ricohmafia.” What makes the Ricoh GR special? Kim praises its pocketable size, high image quality, and no-nonsense design, which remind him of what made classic film Leicas great (simplicity and portability). In fact, he posits that if Henri Cartier-Bresson were a young photographer today, “he probably would just shoot with a RICOH GR III – the smallest, most low-key, most unobtrusive camera” rather than a digital Leica. Kim has published many articles extolling the GR’s virtues: the high-contrast black & white JPEGs straight out of camera, the fast 28mm lens, and the tactile ergonomics, all of which make it ideal for daily use and candid photography . Essentially, Ricoh has given Kim the shooting experience he hoped Leica would deliver, but at a fraction of the cost and without pretense. He even wrote a post titled “Ricoh is the new Leica,” emphasizing that the GR embodies the spirit that once made Leica iconic. By switching to Ricoh, Kim found a renewed joy in photography that contributed to him leaving Leica behind. As he puts it, “shooting with [the] RICOH GR III is at least 100x better than shooting with [a] iPhone” for a serious photographer – and in his opinion, also better than shooting with a digital Leica, given the GR’s balance of quality and agility. The Ricoh freed him to shoot spontaneously, reinforcing his belief that the best camera is the one you have with you and aren’t afraid to use.
• Smartphones (iPhone): Innovation and Ubiquity – Another key factor in Kim’s drift from Leica was the rise of the smartphone camera. As mentioned, in 2019 he openly stated he’d rather have the newest iPhone than a Leica M10 . He found the iPhone Pro (with its multiple lenses and computational photography features) “more exciting” than Leica because Apple was “really pushing innovation in photography forward,” whereas Leica seemed stagnant . Kim dubbed the iPhone “the new Leica M… for photographers” in terms of being the compact camera of choice . A big appeal for Kim is that smartphones eliminate barriers – you always have it, you can share instantly, and everyone is on equal footing with essentially similar phone cameras. This plays into his meritocracy idea: great photos can come from an iPhone just as easily as from a Leica, so long as the photographer is inspired. He also enjoys the creative tools and apps available on phones (for example, he’s mentioned noir monochrome presets and built-in editing as fun tools on the iPhone ). By embracing the iPhone, Kim further distanced himself from the notion that a “serious” photographer must use a Leica or high-end camera. He even chides photographers who refuse to acknowledge phones, calling it a defensive posture to feel “above” those with simpler gear . For Kim, using an iPhone for photography is a statement that vision matters more than hardware. The phone also represents convenience and play – traits that rekindled his love of making images for the sake of it, something that can get lost when one is caught up in expensive gear. In summary, the rapid improvement of smartphone cameras made Leica’s slow incremental changes feel boring to Kim. The phone became a valid creative tool in his arsenal, further reducing any dependence on Leica equipment.
• Fujifilm X-Series: Back to Basics, Done Better – While Ricoh and iPhone were Kim’s main go-to cameras, he also has spoken highly of Fujifilm cameras as a modern alternative to Leica’s ethos. Fujifilm’s X-series (like the X100 and X-Pro line) are often considered “Leica-inspired” in their design and controls – rangefinder-like, dedicated dials, compact form. Initially, Kim was a bit skeptical (in 2020 he quipped that “Fujifilm cameras are cool; they are just wanna-be Leica cameras” ), but by the mid-2020s he was won over by Fuji’s execution. In 2024, he wrote in praise of Fujifilm’s X100V (5) and upcoming X100 VI as possibly the best cameras available. He stated flatly: “Fujifilm is probably superior in every single shape, form and way” when compared to Leica . The reasons align with his practical philosophy: Fuji X cameras are robust, reliable, and high-performing while still being relatively compact. He recounts attending Fujifilm global events and having positive experiences with the Fuji community . With Fuji, he gets that analog-inspired shooting experience (manual dials, optical viewfinder options) but with modern autofocus and at a fraction of Leica’s price. In the “LEICA LOSER” essay, he proclaims the Fujifilm X100 VI to be “the best camera on the market” and a clear example of innovation, whereas Leica’s digital offerings he dismisses as outdated or derivative . Using Fuji gear thus gave Kim confidence that “you can get the Leica feel without the Leica cost.” It’s also notable that Fuji actively engages younger photographers (via workshops, etc.), which resonates with Kim’s desire to see photography communities that aren’t just ultra-rich collectors. By endorsing Fujifilm and even partnering in events, Kim effectively signaled that one can graduate from Leica to other brands for a better mix of price, performance, and philosophy.
• Sticking with Film (Leica and Others): Interestingly, while Kim criticizes digital Leicas, he still holds film Leica cameras in high esteem. In his blog he often says the only “real” Leica is the classic M rangefinder – particularly the film models. “Film Leica cameras are cool (Leica M6, film Leica MP as the apex film camera),” he wrote, reaffirming his respect for the old mechanical Leicas . In fact, even in his “Leica is for losers” rant, he added in parentheses “(besides the film ones)” – indicating he views digital Leicas as overrated but still considers the analog Leicas legitimate and admirable tools. Kim’s own film Leica MP remains one of his prized possessions, largely for its build quality and the “soul” of shooting film. However, it’s telling that even with film, he doesn’t exclusively stick to Leica. He’s experimented with other film cameras (point-and-shoot 35mm cameras, medium format, etc.) as part of his general gear curiosity. The takeaway is that Kim’s abandonment of Leica primarily concerns the digital Leica culture and costs. He still cherishes the heritage of Leica in a nostalgic sense (he has called the Leica MP “the most beautiful camera ever made” ), but from a day-to-day standpoint he finds he can achieve his artistic goals with other equipment. Thus, he’s not so much “anti-Leica” across the board as he is convinced that Leica isn’t necessary – especially when alternatives like Ricoh, Fuji, or even an iPhone and a film camera can cover all his needs for a fraction of the price.

In embracing these alternatives, Eric Kim demonstrated through example that a photographer need not be married to Leica to produce high-quality work or to enjoy photography. Each of these tools – the Ricoh GR, the iPhone, the Fujifilm X100, and even his old film cameras – offered him something that Leica didn’t: either it was more affordable, more innovative, more durable, or simply more fun. This broadened perspective on gear is a core part of why he stepped away from Leica and encourages others to do the same if they’re only clinging to Leica for clout or myth.

Critiques of Leica’s Pricing, Innovation and Relevance

A significant aspect of Kim’s decision involves critical assessments of Leica as a company – its pricing strategy, innovation (or lack thereof), and current relevance in the industry. Over the years, Kim hasn’t minced words about what he sees as Leica’s shortcomings:

• Luxury Pricing and Elitism: Kim often compares Leica to luxury car brands or watches, suggesting that the high price isn’t proportional to photographic utility. As mentioned, he equates “owning a Leica M… to owning a Rolex watch” – you buy it “for the aesthetic” and prestige, not because it fundamentally improves your craft . He noticed Leica’s modern marketing seems squarely aimed at wealthy clientele. “If you look at the new Leica marketing… all these guys using Leica M are a bunch of random [rich] people… None of these names are weighty [photographers]. The sense I get: ‘If you are a rich professional, buy our products,’” Kim observes critically . He cites this pandering to status seekers as a turn-off. In his view, Leica has become “gear for rich dudes” (doctors, lawyers, tech CEOs) more than for the up-and-coming artist. Kim clearly grew uncomfortable aligning himself with that image. It’s a far cry from the egalitarian, subversive spirit of street photography that he champions. This sense that Leica is more about money than photography pushed him away. He states it plainly: “Leica is more about increasing corporate profits than having the soul of an artisan” . Such critiques show Kim’s disillusionment with what he perceives as Leica’s loss of integrity and focus.
• “Milking the Legacy” of Henri Cartier-Bresson: A related gripe is how Leica allegedly coasts on its glorious past. Kim argues that Leica leans heavily on nostalgia for mid-20th-century masters instead of innovating for today. “It seems that Leica is just trying to milk their legacy,” he writes, “When we want a Leica M… we want to become like Henri Cartier-Bresson.” Leica’s advertising often references iconic moments and photographers, which Kim finds somewhat cynical – selling a fantasy of greatness. He notes that photographers buy into this, subconsciously believing the camera can magically connect them to the greatness of HCB. Kim’s own experience debunked that myth for him (buying an M9 didn’t turn him into HCB; only practice and vision could do that). He even provocatively stated “Henri Cartier-Bresson is out… a lame duck” in today’s context , suggesting that slavish worship of past legends can hold photographers back from finding their own voice. By stepping away from Leica, Kim symbolically stepped out of that shadow of legacy. He encourages others not to be duped by romantic marketing – the real decisive moment comes from the photographer, not the camera brand.
• Lack of Technical Innovation: While Leica undoubtedly makes high-quality cameras, Kim has criticized them for lagging behind in tech and essentially repackaging others’ innovations. As mentioned, he calls out that the Leica SL and Q lines rely on Panasonic’s electronics (via the L-mount alliance), implying Leica isn’t driving digital technology on its own . He finds more genuine innovation in companies like Fuji (with clever hybrid viewfinders or film simulations) or even in smartphones (with computational photography). In 2019, after visiting a Leica store, Kim said he was “distressed to see their once great brand being watered down with too much fragmentation and products” . The mystique was gone for him, replaced by a sense that Leica releases many variants and special editions to capitalize on collectors, without delivering leaps in performance. Kim prefers brands that either push forward (technologically) or focus on core usability – and he feels Leica is doing neither particularly well in the digital era. This critique made it easier for him to justify leaving Leica: he didn’t feel he was missing out on any cutting-edge features by choosing a different camera. In fact, he quips that certain Leica features (like the rangefinder focusing or the minimalist controls) are “gimmicks” in a digital context that other companies have now matched or exceeded . Essentially, Kim sees Leica as resting on its laurels, which doesn’t align with his own forward-looking creative journey.
• Relevance and “Cool Factor”: Kim has also mused on what brands are considered “cool” or relevant to the new generation of photographers. He argues that Leica has lost the cool factor it once had in the film days. In a blunt question he asks, “When did Leica become so un-cool?” . By contrast, he has said “the best camera brand right now seems to be RICOH”, and even Pentax (Ricoh’s partner) is “cool” in its dedication to photographers’ needs . This subjective measure matters to Kim because part of being an influential photography voice (which he is) involves tapping into the culture. He believes Leica’s cachet among young or street photographers has dwindled – few up-and-comers can afford it, and many see it as anachronistic. Kim once was a Leica “fanboy” himself , but he recognized that holding onto that loyalty might actually alienate him from newer audiences who value authenticity over luxury branding. By publicly renouncing Leica, he perhaps also keeps himself aligned with the zeitgeist of accessible photography. He even offered unsolicited advice to Leica on how to be great again: “Invest in the youth… make it sexy… not just techno-nerdy stuff for rich tech folks” . In his estimation, until Leica does that, it risks irrelevance in the broader photography culture (beyond the niche of collectors). This notion that Leica was no longer the aspirational tool for serious new photographers made it easier for Kim to say goodbye to it.

In essence, Eric Kim’s critique of Leica comes down to this: the brand sells expensive nostalgia to wealthy buyers, without delivering commensurate modern value to working photographers. He grew uncomfortable being an unofficial ambassador for what he saw as an elitist status symbol. Kim prefers to align with brands and devices that he feels are innovating, inclusive, and truly useful to photographers today – whether that’s a maverick company like Ricoh/Pentax, a tech giant like Apple, or the venerable Fuji that blends old-school charm with new tech. His vocal criticism of Leica’s direction underscores why he personally walked away from using their cameras.

Reflecting on Past Leica Advocacy and Personal Growth

It’s worth noting that Kim’s current stance comes with a healthy dose of self-reflection. He openly acknowledges that he was once under the Leica spell and even promoted it – and he’s somewhat critical of his past self for that. Examining his reflections provides insight into how his mindset changed:

• Acknowledging the Leica Hype vs Reality: In his free ebook “Leica Manual,” which he released after years of shooting with Leica, Kim begins by recounting his early idealism: “One of my dreams in life was to own a Leica… I imagined myself shooting with a Leica on the romantic streets of Paris… I thought I would be happy for the rest of my life [after getting a Leica M9].” This sets the stage for an important admission: “Wrong.” Owning the Leica didn’t solve anything overnight . By including this story in his manual, Kim was teaching others from his own experience – don’t expect a fancy camera to change your life. He lists how he expected the Leica to make him more confident, more discreet, more inspired, and permanently satisfied, and after each expectation he writes, “It didn’t.” . This almost reads like a personal confession of naive hopes. Kim reflects that after the initial honeymoon, the Leica became just another tool (one that he ended up shelving in favor of other cameras). Sharing this in his blog is a way of coming full circle: he’s letting his audience know that even someone who built a persona partly around Leica (he often appeared in videos and articles with his Leica M9/MP in the early 2010s) eventually learned that “buying a Leica won’t change your life… It won’t make you a better photographer, nor a more confident photographer.” This is a direct quote from Kim’s writing, and it encapsulates his hard-earned wisdom. It serves as a gentle rebuke of his past advocacy that might have unintentionally glamorized Leica. Now, he’s very clear in telling followers not to put Leica (or any gear) on a pedestal.
• Admitting Past Motivations: As mentioned earlier, Kim has been surprisingly candid about the less noble reasons he was drawn to Leica initially. He talks about his childhood and personal background – growing up relatively poor and later finding success – and how that fed a desire for expensive toys. On his Medium post “Photography Principles,” he wrote: “I can technically go out and buy a $50,000 digital Hasselblad, a $15,000 digital Leica, but I prefer to shoot with a cheap $600 Ricoh… I also genuinely feel that most photographers would be a lot happier if they bought and shot with a camera below their means.” . This is a direct critique of the “upgrade” mentality he once had. He then drops the memorable line about wearing the Leica to boost his ego and how he’s moved past that . By sharing this publicly, Kim is essentially renouncing the gear-snob mindset he may have contributed to in the past. It’s a form of atonement – warning others not to fall into the same trap of equating an expensive camera with one’s self-worth or artistic worth.
• Continuing Respect for Craft (Not Throwing the Baby Out with the Bathwater): Despite his harsh words, Kim does balance his criticism with respect where it’s due. He often prefaces his critiques by acknowledging Leica’s positive aspects and the good people he’s met through Leica . For instance, he still calls the Leica a “fantastic camera for street photography” in terms of its handling and simplicity . And he never discourages someone outright from investing in one if they understand why they’re doing it. His advice is “just be realistic with yourself” – a far cry from his younger days when he might have unabashedly hyped the Leica as a silver bullet. This shows a maturation: Kim’s stepping away from Leica isn’t out of spite or dismissal of its legacy, but out of a sober reassessment of what really matters to him in photography. In one blog post he even stated, “truth be told I am a Leica fanboy for life… Apex quality, craftsmanship and durability” , but he immediately pivots to say the company needs to rekindle its soul. This nuance is important. Kim doesn’t hate Leica; rather, he fell out of love with the brand as he grew as a photographer and as a person. He can appreciate what Leica was and is (especially the film cameras and the mystique) while firmly holding that, for his journey forward, Leica is not part of the equation.
• Encouraging Critical Thinking in Followers: Eric Kim’s platform has always been about educating and provoking thought in the photography community. By publicly stepping away from Leica and detailing his reasons, he’s encouraging others to question their own gear attachments. He often reminds readers not to take his word as gospel (“Don’t listen to me,” he quips – do what works for you ). But through his candid reflections, he provides an example of someone who went from gear obsession to gear liberation. This narrative likely resonates with many enthusiasts who have lusted after luxury cameras only to find they didn’t solve their creative problems. Kim’s willingness to criticize something he once loved shows intellectual honesty and growth, which perhaps is one of the deeper reasons behind his shift – he is always re-evaluating his beliefs. As he stated, “Everything I share is based on my personal experiences… the information I wish I knew” when he started . In that spirit, his current stance on Leica is almost a letter to his younger self: focus on making photos, not on what camera is around your neck.

Conclusion: A Multifaceted Departure from Leica

In conclusion, Eric Kim’s decision to step away from using Leica cameras is rooted in a rich tapestry of philosophical, practical, and personal factors. Philosophically, he shed the romantic notion that a Leica (or any expensive tool) could confer artistry or status, instead championing a meritocratic view of photography where vision and effort matter more than gear . Practically, he grew tired of the high costs, fragility, and limitations of Leica digital cameras – he’d rather carry a camera he can “use and abuse” without fear, and he’s not willing to “piss away” thousands on tech that will soon be outdated . Emotionally, he recognized and then rejected the ego boost that came with the red dot, finding greater happiness shooting with humble equipment that lets his work speak for itself .

As we’ve seen, Kim didn’t simply drop Leica in a vacuum – he actively found alternatives that inspired him more. The Ricoh GR series gave him the stealth and simplicity he craved, the iPhone injected spontaneity and innovation into his process, and the Fujifilm X cameras offered a fresh take on the rangefinder-style experience at a reasonable price. Meanwhile, he still admires Leica’s film heritage, but as a modern digital shooter he feels freer and more creative outside the Leica ecosystem.

Finally, Kim’s evolving perspective is tinged with a bit of contrition about his past advocacy of Leica. By openly critiquing Leica’s current trajectory – calling it out for catering to wealth over art and milking its legacy – he in a way distances himself from the “Leica evangelist” he might have been once. This honest self-critique adds credibility to his words. When Eric Kim says “Leica is for loooooosers!” today, it’s delivered with his characteristic tongue-in-cheek bravado, but underneath is a hard-won insight: a camera brand alone doesn’t make one a better or more relevant photographer.

In summary, Eric Kim’s break from Leica was not a sudden impulse but a gradual evolution. It encompasses a shift in artistic philosophy (from gear-fetish to gear-agnostic), practical lessons about cost and convenience, and a personal journey toward authenticity in both his work and his lifestyle. His public statements serve as both explanation and cautionary tale – reminding photographers that what truly matters is producing meaningful work and enjoying the craft, rather than worshiping at the altar of any particular camera. Or, as Kim advises in retrospect: “Use a camera that is intentionally shittier than you can afford… have pride that you don’t need the best equipment. Let your photos speak for themselves.” .

Sources:

• Kim, Eric. “Leica Manual” – Eric Kim Blog (free e-book and blog post compilation) .
• Kim, Eric. “LEICA LOSER – Leica is for Loooosers!” (Blog post, Aug 16, 2024) .
• Kim, Eric. “Why Ricoh is Superior to Leica” (Blog post, Nov 7, 2021) .
• Kim, Eric. “Is Leica Overrated?” (Blog post, Sept 4, 2021) .
• Kim, Eric. “When Did Leica Become So Un-Cool?” (Blog post, July 26, 2020) .
• Kim, Eric. “How Leica Can Become Great Again” (Blog post, Aug 11, 2020) .
• Kim, Eric. “iPhone Pro more exciting than Leica” (Blog post, Oct 26, 2019) .
• Kim, Eric. Medium.com @erickimphoto – “Photography Principles” (c.2017) .
• DIYPhotography.net. “No, Eric Kim, Leica is not for losers — it’s for photographers who aspire” (article responding to Kim, 2024) . (Context for Kim’s “Leica is for losers” statement and industry response.)