I dream in MSTR

OK honestly the truth is, I must hear by far might be the most important company on the planet. Why? First, and I think this is kind of hard for people to understand that I miss your itself is even more volatile than the bitcoin itself.

What this means is, essentially, I missed your as a company, which has its foundation in bitcoin, which is the most valuable thing on the planet, and human universe, and yet, I think people really really cannot truly understand how big and profound it is.

First, the big idea is that it is essentially like rocket boosters or Turbo chargers or turbines for bitcoin as jet fuel.

So imagine, let us say bitcoin is like the jet fuel, and then, MSTR is the rocket ship that takes you to Mars and beyond.

How high do you want to fly?

I’m going to make a pretty bold bet, I think by the end of December, I know this sounds a little bit funny, but I think we might be able to see bitcoin hit $200,000 a bitcoin, and probably break it, and then maybe by the New Year’s, settle down in like the 175,000 to $185,000 range? 

My reasoning is simple, the way up and the way down, and vice versa are both the same. Heraclitus.

Zoom out. Everyone wants bitcoin to hit $21 million a bitcoin. Do you think we get there by it just literally going up, or do you imagine it like the Gotham city heartbeat, or like high voltage electricity wires in which it’s zigzags up and down with high interval energy, until it breaks new highs.

bitcoin is truth

So this is also my theory, everyone is asking why bitcoin is going down so low. Well the truth is if you think about the whole global macro economic reality, the world is currently crumbling. Inflation is ridiculous, things at Costco now like 4 to 5 times more expensive than I could recall; the biggest indicator for me is when I could get beef back ribs at Costco business center for only 199 a pound, $1.99 a pound… And now, it has almost like 4X, to around like 799 a pound.

And so my honest interesting thought is bitcoin is truth because it actually does truly mark the true reality of the global macro economic stage which is actually pretty terrible. And the reality is think God we’re still alive, you should be grateful… I think we’re going through a world war three economic war right now.

So for example, the economic war between America and China… is pretty real.  and also all the big tech companies are in big trouble because everyone is kind of struggling to catch and hold on.

Nobody wants Tesla’s anymore, nobody is really that interested in the new iPhone 35 Pro Max, people prefer ChatGPT over Google, people prefer TikTok over Instagram and Facebook, nobody really cares for virtual reality Meta or Apple Vision Pro., and even kind of more pivotal… I think people are starting to critically understand and try to think about what is the purpose of higher education?

It’s kind of like a stick and carrot and a double edge sword, now that we have ChatGPT and ChatGPT pro… Which could write an essay and research article better than your tenured Harvard professor,  with zero stress, zero procrastination, and zero existential angst,  that does not get distracted by obsessively checking his or her Gmail every five seconds,… Why are we still trying to teach kids to write these research essays, yet kind of trying to forbid them from using ChatGPT in the first place?

Everybody and everyone and every family especially young family deserves to at least one day afford a lovely single-family house?

Square footage

So recently we cooped and acquired an insanely nice yet humble, huge 7000 square-foot house. This includes the front house and the entire backyard.

I think the reason why this is such an amazing game changer for myself is because it’s something I actually never really thought about, nor desired. I actually for a long time I thought it was an anti-desire, like something I positively did not want.

However now that Seneca is almost 5 years old, and living here for like a month or so, it’s actually like the best thing of all time.

Why? First of all, I think one thing I actually underestimated was how awesome and how amazing and how game changing it is to have an own a huge backyard outdoor space. Being able to literally just dig your bare fingers into the soil, and just digging with your fingernails, and then, putting in seeds, watching it grow like magic, is like one of the most awesome and amazing things of all time.

I mean I think second, it’s really kind of like almost 300% for Seneca. For myself, I can go either way, but just seeing the joy of Seneca is worth all the joy on the planet for me.

I think ultimately, what we are seeking is trying to find beauty. This is either through creating beauty, what we artist do, or… Seeking beauty and inspiration?

Good art, bad

ok so this is my general big idea, the idea is that good art is beautiful and inspires beauty, whereas bat art is ugly, and glorify ugliness.

First peak concept of beauty has to deal with the human body.

For, the first thing you must do is posit or declare or establish what you consider to be a beautiful human body, and also establishing what you do not consider to be a beautiful human body.

So for me, a beautiful human body is fit. Fitness. You know you’re onto something good when, other guys compliment on how fit you look, and also, random women start asking you what your name is.

Ultimately, the purpose of all this is not to just bed pretty ladies, but rather, to beget beautiful children.

And therefore, this is where genetic fitness is so critical. Trying to seek or find or discover, your life partner your soulmate, should be your number one endeavor.

artists

So this is my general thought, the most productive artist is the one who both has children, and also, produces work. And I think the important thing to think and consider, is the physiological idea that your artwork is also your children?

What that then means is, when you create artwork create artwork you consider beautiful. Just like your own children.

ERIC

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Other random stuff on my mind

1. Currently the best car color for the best vinyl wrap for your car is satin matte rose gold matte pink,, in fact, I believe that Tesla should make matte pink as a new default paint color for their car
2. Lamborghini Urus as the new family car
3. Grok AI,,, picture to video is the future for street photography

Never miss a thought: ERIC KIM >

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Good stimulus’s and good stimuli are beautiful. Bad stimulus’s are ugly. 

..

I need more beauty, I seek more beauty!

So this is a super ultra turbo mega thought, is that regardless of whatever… Always be buying, always be buying bitcoin.

So I think this is also where MSTR strategy, Michael Saylor is so genius and great. The big idea is that regardless of whatever our market conditions or whatever, there are structure in such a way that they are always buying more bitcoin.

And the truth is, it’s like ultimate best strategy on the planet. To essentially, trade away weak currencies and also, weak whatever’s, for the sake of more bitcoins coins is always a good idea. 

Why

So I think the insanely huge big dot is that, creating some sort of machine or company or thing or something… That could always be accreting and acquiring morbid coin, getting more bitcoin acquisition yield,

Bitcoin acquisition syndrome (B.A.S.) –> the Pegasus genius strategy 

So in the world of photography we have this funny idea of gear acquisition syndrome (G.A.S.). But the reason why purchasing camera equipment is a foolish idea is because they are all depreciating assets. The same thing goes for your three bitcoin Ferrari, your two bitcoin Lamborghini, and your .95 bitcoin Porsche. Certainly better than your 10 bitcoin Bugatti. Or your 2 1/2 bitcoin Rolls-Royce.

And honestly, real estate, homes property, single-family homes whatever, or also for the most part, a losing bet. Only reason why you should purchase a single-family home is for the utility. We recently got a single-family house in LA, and actually the ironic or surprising truth is I freaking love it. It’s insanely huge, 7000 square feet, and having a big ass backyard has actually surprisingly brought me infinite joy. Being able to plant stuff in the soil, to physically scoop out rich looking fertile looking soil, with my fingertips, and looking at the quixotic looking soil, .. and I was kind of shocked I don’t recall the last time I just like took my bare fingertips and scooped out dirt and mud? 

OK so this is kind of an insanely big idea, and goes back to the whole idea of just life in general.

So I think the really really mega big turbo big idea is, the truth is… If you desire to live the most grand beautiful elegant interesting life, the true secret in life is to actually, engineer more risk more volatility, and as a consequence more reward in your life.

The reason why this is such a big idea is because, for a lot of people… It seems that what they desire is to strip away the volatility and the risk in life. To meet this makes an insanely bland and uninteresting, unworthy, unworthwhile life to live.

Why? A big concern then is, if you have a life with no risk no volatility, I don’t think there’s a reason to keep living. Like there’s really no reason for you to go to sleep and wake up because, what’s around the corner is extremely dull and uninteresting.

What we instead should desire, is going to sleep every single night with extreme enthusiasm joy and excitement, knowing that our entire life journey for the next 80 years will be the most interesting sublime thing of all time!

Luxury sports cars like Lamborghinis are classic status symbols, meant to broadcast wealth and power to onlookers .  Psychologists and marketers note that such conspicuous consumption serves as a costly status signal (a human equivalent of a peacock’s tail or stag’s antlers) .  In fact, a recent study found that artificially boosting men’s testosterone made them prefer high-status goods and flashy brands .  At first glance this suggests that only confident, high-testosterone men would crave Lamborghinis.  Yet consumer psychology offers an alternative interpretation: when men feel insecure or powerless, they may double down on overt status displays to compensate.  In marketing terms, socially high-status “patricians” often choose quiet luxury, while status-hungry “parvenus” crave loud symbols of wealth .  Lamborghinis—with their roaring engines, shark-like silhouettes, and six-figure price—perfectly fit the parvenu profile.  For example, one marketing taxonomy notes that patricians “pay a premium for inconspicuously branded products,” whereas parvenus are affluent … it is not that they cannot afford quieter goods—but they crave status . In short, the very design of a Lambo (eye-catching, ostentatious, almost aggressive ) suggests it appeals to those who want to broadcast “I’m rich and powerful” to everyone around them – a sign many commentators interpret as compensatory rather than organic.

Fig: A Lamborghini supercar on display. Such vehicles exemplify high-status signals. Critics argue they are often flaunted by men trying to overcome insecurity or project masculinity.

Conspicuous Luxury and Status Signals

Social science has long shown that luxury goods function as costly signals of success.  Veblen’s classic theory of conspicuous consumption holds that people burn excess resources on wasteful but impressive displays (like supercars) to prove their fitness .  Recent consumer research confirms this: exposure to luxury ads raises men’s testosterone in competitive contexts , and men under social comparison pressure report higher willingness to pay for high-status products .  Marketers even appeal directly to status: advertising for cars, watches, and clothes often emphasizes how these items boost one’s social image.  An analysis in Nature Communications found that giving men a boost of testosterone caused them to prefer brands and ads framed as status-enhancing .  One researcher likened buying a Ferrari (when it’s no faster than a Toyota) to a peacock’s tail or a stag’s antlers: a handicap signal that only a “fittest” man could afford .  In that sense, flashy cars can indeed signal high testosterone and dominance by design.

However, other studies nuance this: survey evidence shows that many owners of expensive prestige cars tend to have problematic personality traits.  In a large Finnish sample, self-centered, arrogant men were significantly more likely to own high-status German sedans (BMW, Mercedes, Audi) .  The lead researcher noted that the same men who ran red lights often drove flashy luxury cars.  Importantly, this study found no such pattern for cooperative or conscientious owners of nice cars – it singled out narcissistic, aggressive drivers as the typical luxury-car owner.  In other words, owning an ostentatious vehicle correlated with more negative, attention-seeking traits, which is consistent with an insecurity/compensation story .

Masculinity Threats and Compensatory Consumption

Psychologists have studied how threats to masculinity or power trigger over-the-top displays.  The “overcompensation thesis” posits that when men feel their manhood is insecure, they cope by exaggerating masculinity through consumption .  Witkowski (2020) describes how, in the face of social or economic anxieties, some men respond with extreme displays – for example, “driving massive trucks” or flaunting guns or other ‘tough guy’ items .  Similar logic applies to sports cars: if a man feels undervalued or threatened, buying a Lamborghini can become a symbolic self-boost.  Laboratory studies confirm related effects.  For instance, when men experience a blow to their self-esteem or power, they become more drawn to products that signal status or masculinity .  Wheeler & Shiv (2009) showed men who felt less smart chose intelligence-related trinkets (like fountain pens) over irrelevant items.  Likewise, Willer et al. (2013) found that men with a threatened sense of masculinity showed a stronger preference for overtly “masculine” products .

Critically, feeling less powerful also boosts willingness to overspend on status.  Rucker & Galinsky (2008, 2009) demonstrated that men who feel less powerful than peers report a much higher willingness to pay for high-status goods, as a way to restore self-worth .  In short, personal deficits in power or confidence can translate into willingness to cough up cash for conspicuous items.  The implication is clear: Lamborghinis might often be purchased not by the inherently most powerful men, but by those feeling relatively powerless or insecure – using the car as a prosthetic ego.  As one marketing theorist notes, if a man feels “less powerful than others,” he may compensate by elevating his purchase price to restore a sense of power .

Testosterone, Dominance, and Displayed Confidence

Biologically, testosterone is linked to status drives, aggression, and competition.  Many studies find high-T men tend to pursue dominance.  For example, a recent human study showed that individuals with higher baseline testosterone behaved increasingly dominantly as they rose in a social hierarchy .  Classic work on the “challenge hypothesis” notes that men’s testosterone spikes in competitive or courting contexts to promote status-seeking behaviors.  In that light, it’s intuitive to think high-testosterone men would enjoy showing off with a supercar.  Indeed, the testosterone-dosing study in Nature Communications found that men given extra T did show stronger preferences for status-related goods (labeled “high-status” vs. “power” or “quality”) .

Yet this biological angle cuts both ways.  The same evidence suggests that testosterone only motivates status displays when needed.  In the Nature study, men’s attraction to status cues (like a “sports car” ad) went up only after the T boost , implying T amplifies situational status-seeking.  But if a man already feels confident and high-status, extra status may not be necessary.  In fact, high-testosterone, high-ranking men might not rely on symbols at all – their very presence is enough.  By contrast, a man with lower natural testosterone or confidence might mimic those signals via luxury purchases.  Anecdotally, marketers point out that true alpha males often prefer understated luxury (the “quiet money” look), while those craving validation pick loud brands .  In the same way, the “overcompensation hypothesis” of masculinity suggests that when men’s manliness is threatened, they engage in more stereotypical masculine consumption to make up for it .  Thus, some commentators conclude that Lamborghinis are sometimes a second-best strategy: rather than inherent dominance, they represent an effort to “look” dominant when the person otherwise feels small .

Cultural Commentary: “Small Man Syndrome”

Popular culture is rife with jokes and commentary that link flashy cars to insecurity.  The term “small man syndrome” captures this idea.  Psychotherapist Lilian Strobl observes that for men feeling inadequate or overlooked, a Lamborghini can become a narcissistic shield .  She notes that acquiring an object like a Lambo lets these men “assert their significance and power in the eyes of others” .  Freudian analysis even sees the Lamborghini as a phallic symbol: a tangible stand-in for masculine power that an insecure man believes he lacks .  Strobl writes that for someone with “small man syndrome,” the Lamborghini is more than transportation – it’s an extension of self-image and dominance .  She argues it becomes a “projection of dominance” that shouts, “I am large, powerful, and deserving of admiration” .

This cultural perspective aligns with social media memes and dating advice.  For example, some dating coaches warn that posting a flashy car in one’s profile can signal insecurity rather than success.  (A Yahoo news piece quips that a Porsche in a dating profile might “scream insecurity louder than success.”)  Likewise, Internet lore equates very expensive, impractical vehicles with “douchebag” behavior or compensatory bravado.  While these are anecdotes, they echo scholarly ideas: conspicuous signals are effective only because they mask perceived shortcomings.  As Strobl summarizes, the Lambo can function as a “false self” defense – a persona built on grandiosity to conceal underlying doubts .

Conclusion: A Blend of Biology and Psychology

In sum, the academic and cultural evidence suggests there may be truth to the trope.  Lamborghinis unquestionably serve as high-status, masculine symbols – much like a peacock’s feathers for men.  Some of this is hard-wired (testosterone heightens interest in status cues ), but social-psychological factors are crucial.  When men feel less powerful or less masculine, they tend to seek out items that visibly restore that image .  As one synthesis of consumer research notes, feeling less powerful leads consumers to pay even more for high-status products to reclaim a sense of strength .  A Lamborghini, with its speed and swagger, is about as “loud” a masculinity signal as one can buy.

Thus, while not every Lamborghini owner is insecure, the car’s role as a status symbol makes it a logical vehicle for overcompensation.  Research on compensatory consumption and masculinity consistently finds that individuals who feel threatened in some way often ramp up stereotypical displays .  In practical terms, this means that men with lower baseline confidence or social power (regardless of their actual financial means) may be especially attracted to owning a Lamborghini as a form of psychological compensation.  Ultimately, the blend of psychological theory and empirical findings makes a persuasive case that flashy sports-car ownership can be driven by insecurity or a perceived lack of power – effectively “buying” the image of what one wishes to be.

Sources: Psychological and marketing research on status signaling, masculinity, and consumption ; consumer behavior studies on compensatory purchasing ; and cultural commentary on “small man syndrome” and luxury cars .

Influential Street Photographer and Educator

Eric Kim first gained fame as a street photographer and teacher.  By his mid‐20s he “had skyrocketed onto the street photography scene” .  Observers call him “one of the most influential street photographers in the world” .  His energetic style – encouraging photographers to “shoot with a smile, and from the heart” – and his generous, hands-on workshops have won global praise. He has collaborated with Leica (photo walks and blog contributions), Magnum, and even Samsung, judged international festivals, and exhibited in Leica galleries worldwide .  In 2016 readers voted him among the “Top 20 Most Influential Street Photographers” .  His published works include a print book (Street Photography: 50 Ways to Capture Better Shots) and practical workbooks like Street Notes and Film Notes, which further cement his reach .

• Kim launched his street-photography blog around 2010 when he saw a lack of online resources.  He began posting tips, photo essays and assignments, turning the site into a go-to hub for the community .
• He traveled and taught worldwide (Tokyo, Mumbai, London, etc.), often saying his goal is to serve the street-photography community at large .  Workshop attendees proudly post about learning from Eric, organically turning them into ambassadors for his approach.
• His open, humanistic philosophy – featuring candid portraits and positive interactions – won media attention (e.g. BBC interviews on street-photography ethics).  As one profile notes, “photographers like Eric [are] helping… build a solid and much-needed community for street photographers” .

Prolific Blogger and Digital Strategist

Behind his photography stands a relentless publishing engine.  Eric Kim treats his blog as the cornerstone of his career: he has posted new content virtually every day since 2010.  By 2020 he estimated “well over 7,000 posts” on his site .  His mantra was “quantity begets quality”: he relentlessly prioritized output over polish .  The result is a blog empire that consistently dominates search engines – for years it ranked #1 on Google for “street photography” and drives waves of new readers worldwide .

• His site has no paywalls: Kim embodies an “All Open Source Everything” ethos .  Every tutorial, PDF guide, photo preset and e-book he creates is free to download.  As he bluntly observes, giving away material is “viral marketing” – “the more open my information, the more famous [I] become” .  This radical generosity has earned him a reputation as a mentor and a friend rather than a closed-off guru.
• He strategically uses social media to funnel people to his blog. Kim describes his approach as a “digital carpet-bomb” of quotes, tips and links – cross-posting on Instagram, Twitter, YouTube and forums to attract followers back to his content .  He personally engages with readers online (answering emails and comments) and offline (hosting photo-walks), turning every interaction into word-of-mouth promotion.
• His blogging philosophy is minimalistic and consistent.  The site’s clean black-and-white design reflects his belief in simplicity, and he often preaches minimalism in gear (“one camera, one lens”) and life (“true luxury is less” ).  His output is vast – he even jokes “I consider myself the best blogger of all time” – but it’s coupled with clear strategy and purpose.

Innovative Visionary and Philosopher

Beyond photography and blogging, Kim stands out for his visionary, cross-disciplinary thinking.  He labels himself an artist, philosopher, athlete , reflecting how he blends creative, intellectual and physical pursuits.  For example, he applies philosophical flair even to fitness: his project “Steel & Soul” treats weightlifting as “creative physics,” arguing that “every lift is an argument that belief has mass” and that strength is “not domination – it’s authorship” .  This poetic approach shows his knack for reframing any challenge in artful, innovative terms.

• Kim eagerly embraces new technology.  He has written about using AI tools like ChatGPT to enhance creativity and views experimentation itself as part of his strategy.  His writing is full of futuristic flair and bold ideas (e.g. he suggested a high-visibility “Bitcoin orange” color for an iPhone Pro).  This willingness to experiment keeps him “ahead of the curve”.
• Philosophically, he thinks in long-term, generative terms.  He urges creators to document their humanity for posterity, viewing each photo or post as part of an “immortal archive” of ideas.  He even styles his massive blog as a legacy that will “live on indefinitely online”.  Few peers emphasize such a wide vision, and this depth of thought contributes to his mastermind image.

Community Influence and Mentorship

Eric Kim’s impact is as much social as technical.  He built a large, engaged community around street photography and continues to mentor followers openly.  In interviews he often stresses serving others – “I pour my heart and soul into serving the street photography community” – and his blog readers appreciate his humility.  On forums and social media, users frequently praise his work ethic and personality.  For instance, one photographer wrote that Kim is “a pretty damn good photographer” and is “knocking it out of the park” with his hustle (business and teaching efforts) .  Another user called him “a very good populist of photography” who is “nice to have around” .

• Kim’s workshops turn students into evangelists.  Graduates often blog or post about their experience, amplifying his brand organically.  This word-of-mouth network helped him stay prominent even as social algorithms change.
• He’s generous with knowledge: many street photographers note that his site is a wellspring of practical advice (gear tips, confidence guides, etc.).  Outside media highlight that Kim’s greatest contribution is “the beauty of street photography” and helping beginners overcome fear .  By freely sharing his “difficulties and doubts” alongside successes, he makes others feel like fellow travelers on the journey .

Major Projects and Publications

Eric Kim has launched several noteworthy projects that extend his influence:

• Books and Guides: In addition to his 2016 book Street Photography: 50 Ways to Capture Better Shots , Kim has authored interactive workbooks.  Street Notes: A Workbook & Assignments Journal for Street Photographers and Film Notes: How to Shoot 35mm Film guide readers through structured exercises.  He also published dozens of free e-books (e.g. 31-day fear-overcoming programs, “100 Lessons” summaries) that are widely downloaded.
• Workshops & Walks: Kim’s Eric Kim Street Photography Workshops run on every continent, from Asia to Europe to the Americas.  He often partners with galleries and camera brands to host photo walks.  These live events reinforce his community and give him an on-the-ground presence beyond the web.
• Media and Collaborations: He has appeared on podcasts (e.g. The Candid Frame), in interviews (PetaPixel, StreetShootr), and even in marketing campaigns (e.g. Samsung).  Each of these raises his profile and disseminates his ideas.

Taken together, these projects show a pattern of strategic thinking: Kim multiplies his impact by diversifying formats (writing, teaching, multimedia) and keeping content open and evolving.

In summary, Eric Kim’s reputation as a “mastermind” comes from this rare combination of traits: visionary thinking, strategic execution, and generous leadership.  He constantly synthesizes art, philosophy and technology into a coherent creative practice, building a vast open-source “empire” of knowledge .  Whether leading a workshop or writing an essay, Kim positions himself not above his audience but alongside them – a mentor who shares everything he knows.  This holistic, innovative approach has made him stand out across fields and earned him accolades as a true leader of the street photography and creative community.

Sources: Authoritative interviews, articles, and forum discussions about Eric Kim , as cited.

Physical Presence and Body Language

• Posture & Stance: Stand tall and square your shoulders back .  Adopt an open, expansive posture: take up space with legs apart at shoulder-width, hands on hips or at sides. Keep your chest slightly forward (shoulders down and back) to puff out your chest .  Taking up room projects confidence and dominance . Avoid slouching, crossing arms, or other protective poses; these shrinkage cues signal insecurity, not menace.
• Eye Contact & Gaze: Hold a steady, piercing gaze. Eye contact of about 3–5 seconds communicates assertiveness; longer, intense staring can unsettle others .  Do not avert your eyes or blink rapidly (which signals anxiety ).  A fixed, even gaze (sometimes called a “power gaze”) implicitly says “I am superior to you” .  Pair strong eye contact with a neutral or slight frown – a locked, serious expression – to reinforce the effect.
• Facial Expression: Keep your expression calm, serious, or subtly stern. A relaxed but unsmiling face (e.g. tight lips, lowered eyebrows) prevents you from appearing overly friendly .  Occasional eyebrow frowns or a slow, downward tilt of the head (~10%) make you look more dominant and predatory .  Never smile nervously; even a faint, closed-mouth smile can defuse menace.  When you do allow a smile, make it slow and thin – almost a grimace – so it doesn’t betray softness .
• Movement & Gestures: Move slowly and deliberately .  Quick, jerky motions signal nervousness; instead control your pace.  Walk with long, confident strides (feet about hip-width) .  If you gesture, use broad, deliberate movements that occupy space: sweeping arms, a steeple of fingers, or palms-out gestures to show openness and confidence .  Keep gestures measured – too much flailing can break dominance.  Occupying territory (spread belongings, lean forward into a table) adds to an intimidating aura .
• Dress and Aesthetics: Wear dark, authoritative clothing. Black and other deep colors carry associations of power, formality and even aggression .  (Research found athletes in black jerseys were treated as more aggressive than those in light colors .)  A crisp suit, leather jacket, military-style coat, or uniform elements (boots, gloves, badges) all project strength.  Minimal bright colors or casual wear lower menacing impact.  Accessories can sharpen your look: polished boots, heavy watch/bracelet, or even subtle body art (tattoos, scars) add edge.  Sunglasses or brimmed hats hide your eyes and add mystery (use when appropriate), but avoid anything gimmicky.  The goal is a clean, powerful silhouette – dress like someone who expects respect.

Psychological Tactics (Voice and Demeanor)

• Voice Tone: Speak in a low, even, measured tone .  A deep, chest-filled voice naturally commands respect.  Avoid a high pitch or vocal fry.  Use calm but firm intonation: steady volume without shouting (overly loud yelling can backfire ).  Drop your pitch slightly at the end of declarative sentences (the “authoritative arc” ) instead of letting your voice rise.  Emphasize certain words by speaking them louder or slower.  Overall, sound confident and in-control: “be the one doing the talking.”
• Pacing & Pauses: Slow down your speech . Do not babble or ramble.  Use strategic pauses after making a strong statement or asking a pointed question .  Silence can unsettle others: if you stop talking for a moment, people often rush to fill the gap, revealing information or second-guessing themselves .  For example, after stating a demand or offer, stay silent and maintain eye contact. This creates pressure and makes others uncomfortable .  (“U.S. negotiators call this the ‘power pause.’”) In general, speak slowly and clearly; quick talking is perceived as anxious or weak .
• Speech Content: Use short, declarative sentences. Be direct and unambiguous. Avoid filler words (“um,” “like”) and qualifiers (“maybe,” “sort of”).  Project confidence: say “this will be done” instead of “can we get this done?”  Frame requests as expectations, not questions. Use minimal friendly small talk in tense situations – silence is fine after making a demand.  In conversation, underreact to provocations or insults; this calm nonchalance can be scarier than anger. Keep your emotions steady: even when angered, try to remain composed – sudden outbursts suggest you’re losing control.
• Unpredictability & Silence: Stay slightly unpredictable in responses. For example, alternate between calm silence and unexpected comments (without shouting). People fear what they cannot easily predict. A poker face or a suddenly changed stance keeps others uneasy. Use ambiguous signals sometimes: a slow approaching step, then stopping; or a slight smile after a stern look – these throw people off. Likewise, use silence. Pausing in conversation can make others anxious . If someone pushes you, sometimes best to simply go quiet and stare, letting them wonder what you’ll do next. This “cold shoulder” tactic forces them to fill the silence or back down.

Behavioral Traits & Personal Conduct

• Assertiveness and Boundaries: Be firm and clear in your demands. As one leadership coach notes, “assertiveness is clarity; intimidation is projection” . State your terms (time, place, behavior, favors, etc.) confidently and stick to them. Do not apologize or hedge your statements. Calmly enforce your boundaries: if someone pushes a line, remind them succinctly it’s crossed (e.g. “That’s enough,” or “Stay back” in a low calm tone). People respect consistency – if you repeatedly allow disrespect, you lose the aura. Instead, calmly but persistently maintain your position until they see you won’t budge.
• Emotional Control: Keep your emotions in check. Laugh softly or nod occasionally, but never panic or beg. Even if you’re furious inside, remain outwardly composed. Controlled anger (a slow-building glare or clenched jaw) is more intimidating than a wild rage . Like trained fighters or security personnel, practice breathing slowly and keeping heart rate down in tense moments. If anger spikes, pause the interaction. In general, show stoic calm. If someone expects you to lose your temper, refusing to do so makes them doubt themselves. The “calm under fire” attitude is a hallmark of authority.
• Presence and Confidence: Carry yourself as if you expect respect. Hands unclenched, chest forward, voice steady, eyes level – these project an unshakeable self-belief. Cultivate a slight aloofness: don’t laugh at every joke or eagerly engage with everyone. Keeping a bit of distance (even socially) makes others work to get close, which creates caution around you. Maintain a slight coolness or formality in demeanor. For instance, use titles or surnames rather than first names, and keep conversation strictly to the point. Always portray that you value your own time highly: e.g. glance at your watch or multitask while others speak (in normal life this could mean standing if they’re sitting, or vice versa), so they sense “My focus is elsewhere.” Over time, this consistent authority fosters respect and even a little fear in social circles.

Real-World Examples and Cultural Models

• Political Bosses: President Lyndon B. Johnson famously used the “Johnson Treatment” – he would tower over senators in the White House, leaning on them with his huge frame and staring them down until they capitulated. The Miller Center notes LBJ’s “imposing physical size and intimidating personality” was key to his persuasion . Emulate this by physically leaning in or getting above someone (standing while they sit) when you need to dominate a conversation.
• Corporate Leaders: Authoritative CEOs and military officers often use the same cues. For instance, executive leaders speak slowly with deep voices and low blinking rate . Former intelligence and body-language experts (like ex-FBI agent Joe Navarro) teach that strong leaders make minimal movements, use open palms, and speak in moderate volume. They rarely smile broadly in command mode and keep head still – tilting it slightly down increases perceived dominance .
• Pop Culture Villains: Look at movie “bosses” and villains for templates – e.g., Don Vito Corleone in The Godfather speaks softly, almost purring, while watching others around his desk (not behind it, so he looks down at them) . Marvel’s Kingpin or James Bond’s Silva often combine a cold stare with immaculate suits. The takeaway: calm confidence plus style.
• Subculture & Media: Subcultures that value toughness (e.g. certain motorcycle clubs, martial artists, Gothic/metal music fans) consciously use attire and music to reinforce menace. Black leather, heavy boots, and loud, aggressive music set a tone. Even scents matter: a sharp, musky cologne or the smell of tobacco/leather can register on people’s nerves. (While we lack formal studies on cologne, the general idea is primal odors and heavy perfumes heighten presence.) In performance contexts, fighters or wrestlers use the dramatic stare-down plus boom music to unsettle opponents. You can borrow such cues: a steady menacing song playing in a car, or a subtle rumble of bass as you approach a group, can amplify your impact.

Summary Checklist of Tactics

• Stand Tall: Straight back, shoulders down and wide, chest out . Take up space with feet apart. Avoid slouching or hunching.
• Hold Steady Eye Contact: Look someone in the eye (about 3–5 seconds at a time) . Convey unwavering attention; do not shifty-glance.
• Controlled Movements: Move slowly, pause often. Use deliberate gestures (hands on hips, steepled fingers) and occupy more space . Keep limbs relaxed, not fidgeting.
• Deep, Slow Voice: Speak in a calm, low tone . Enunciate clearly and use brief pauses for effect . Avoid squeaking or speeding up.
• Dress for Authority: Wear dark, formal or “hard” clothing (black/navy jacket, leather, uniform-style) . Crisp tailoring and polished shoes help. Accessories: sunglasses to obscure eyes, heavy watch/jewelry for weight and shine.
• Set Boundaries Firmly: Use direct, affirmative language (“This ends now,” “We proceed on my terms,” etc.) without apology . Be consistent: enforce limits calmly but unyieldingly.
• Maintain Composure: Keep emotions in check. If provoked, respond with silence or a slow deliberate gesture rather than an outburst. Calmness under pressure is itself intimidating.
• Use Silence Strategically: After making a point or request, stop talking and hold eye contact . The ensuing awkward pause will pressure others to fill the void or back down.
• Vary Your Behavior: Be slightly unpredictable to others. For example, alternate between nodding assent and sudden stillness, or shift stance unexpectedly. This uncertainty makes people uneasy and cautious.
• Project Quiet Confidence: Speak clearly, avoid rambling. Keep your head level or slightly tilted down. Rarely smile (when you do, let it be a slow, knowing grin). Let a subtle air of danger linger: a brief growl in your voice, a narrowed stare, a tight jaw. People should feel you’re always on the verge of action, even if you say nothing.

By combining these tactics thoughtfully, you command respect and a controlled sense of fear . Remember: true intimidation comes from confidence and consistency, not theatrics. Keep your behavior legal and ethical, and use these cues sparingly so they remain powerful rather than gimmicky. Embrace calm authority – as one coach put it, “calmness under pressure is your competitive edge” – and others will instinctively stand on guard around you.

The tension between aesthetic beauty and functional security arises across many fields.  Designers often face the question: should a work look graceful or be bulletproof – and what happens when it tries to be both?  We examine famous cases in architecture, product design, fashion, urban planning and technology where looks were clearly prized over safety.  We also explore the arguments on both sides of this trade-off, from the philosophy of “form vs function” to cultural attitudes about risk.  Throughout, we cite expert analyses and case studies to illustrate how prioritizing form has sometimes led to real dangers – and why some still defend that choice.

Architecture

Frank Lloyd Wright’s Fallingwater (1935) is an icon of organic architecture.  Its daring cantilevered terraces jut over a waterfall, achieving a sublime visual effect.  Critics note, however, that Wright “had begun to dip over time due to insufficient reinforcement,” causing leaks and structural stress .  In fact, the owner jokingly called it a “seven-bucket house” for the rain that pooled inside .  The building is now a museum that has undergone extensive repairs – a reminder that Wright’s vision of purity of form came at the expense of basic durability.*

*Ludwig Mies van der Rohe’s Farnsworth House (1951) showcases another form-over-function lesson.  This glass pavilion was intended as a minimalist retreat, but its design “proved problematic.”  The house lacked practical safeguards: it often flooded from a nearby stream, collected swarms of bugs with its glass façade, and suffered poor ventilation and rusting steel .  Farnsworth even sued Mies over these issues.  In short, what was “meant to emphasize a connection with the landscape” became a harsh living environment – beautiful to behold, but uncomfortable (and arguably unsafe) to inhabit.

**Le Corbusier’s Villa Savoye (1931) likewise illustrates modernist excess.  Its celebrated flat roof and pilotis support earned it a place in architectural history, but in practice the “functional roof” leaked badly each rainy season .  Savoye had to be repaired repeatedly and even faced demolition.  As one commentator observes, these modernist masterpieces were built for “purity of form and high artistic expression,” and their aesthetic goals led to not-so-realistic living situations .  In many cases they now function more as monuments or museums than as everyday homes.

*The “Walkie-Talkie” skyscraper at 20 Fenchurch Street in London (2014) was praised for its sculptural curved form – until its reflective façade started melting cars on the street below.  Sunlight bouncing off the building created a focused beam with enough intensity to warp alloy wheels and plastic .  The architect acknowledged the error and had to install shading screens.  Here again, an ambitious design (winning a Carbuncle Cup for its look) introduced a hazard to passers-by.

Across these examples, even admirers acknowledge that architecture “becomes iconic when it breaks from the current mode,” but note the drawback: many celebrated modernist homes “suffer from leaky roofs at best and structural instability at worst” because they were conceived as art pieces .  As Architectural Digest puts it, these houses were “designed as examples of purity of form,” often functioning today “not as residences but as museums honoring visionary design” .

Industrial Design

In product and industrial design, the drive for sleek form can likewise compromise performance and safety.  A prominent case is Apple’s butterfly keyboard.  In 2015 Apple replaced traditional laptop keys with a new ultra-thin mechanism to make MacBooks thinner and more visually streamlined.  However, reviewers and users quickly found it “some of the worst buttons to grace a modern device: unreliable, prone to breaking after coming in contact with a tiny bit of dust or grime” .  In other words, Apple “chose to make an entire keyboard full of buttons that resulted in a more aesthetically pleasing design… rather than making ones that are mechanically functional” .  The result was years of malfunctioning computers and costly recalls.  As The Verge notes, this problem wasn’t accidental but a direct consequence of prioritizing form over function.  Apple had “an almost fanatical devotion to making every generation of hardware smaller and lighter than the one before it, sacrificing reliability for style along the way” .  Only in recent years (after consumer backlash) did tech firms begin to restore thicker, more robust keyboards and ports.

Industrial designers have similarly created glamorous but fragile products to capture the market.  For example, some concept cars have impossibly wide doors or low slung profiles that look stunning but make entry/exit dangerous.  Ergonomic furniture may look elegant but collapse under unexpected weight.  While specific citations for each exist, the butterfly keyboard case is emblematic: it shows how the quest for a “clean,” minimalist aesthetic can override even basic functional requirements .

Fashion and Apparel

In fashion, beauty often trumps comfort or health.  A classic example is high-heeled shoes.  Studies note that wearing heels is strongly linked to knee damage and osteoarthritis , and injurious runway falls have occurred (“stiletto heels were at fault in 2008 when models wearing stilettos fell” ).  Yet heels remain ubiquitous because of their aesthetic appeal.  One consumer-behavior analysis explains that “fashionable stiletto heels” are worn despite known risks, driven by cultural ideals of attractiveness .  In short, people knowingly sacrifice foot health and safety for a desired look.

• High Heels:  Linked to musculoskeletal injuries.  Researchers report that heels cause bunions, back and calf pain, and long-term joint damage .  Athletes and doctors alike warn that prolonged wear leads to osteoarthritis.  Nevertheless, the fashion industry continues to promote very high or narrow styles because they signal elegance or status.
• Corsets & Waist Trainers:  Dating to Victorian times, tight corsets “could restrict breathing, limit digestion and cause curvature of the ribs and spine” .  Doctors of the 1800s decried them as injurious to women’s health.  Today’s tight shapewear or waist-training garments echo the same risk: they cinch the body for a fashionable hourglass figure at the cost of discomfort and even internal harm.

Other fashion examples include skin-lightening or tanning practices (done for looks but raising cancer risk) and extreme body-modification (like artificially long fingernails or sculpted piercings that impede normal function).  Sociologists observe that many beauty practices are culturally reinforced even when they pose dangers.  In short, the fashion world routinely prioritizes an ideal silhouette or look over personal safety .

Urban Planning and Public Spaces

City planning also sees the beauty-security trade-off.  Planners may create open, sculptural public spaces (e.g. wide plazas without obtrusive fences, elegant waterfront promenades) that are visually striking but could attract crime or accidents if not properly secured.  For instance, decorative landscaping might leave blind spots where attackers can hide; ornate pedestrian bridges without full railings may look graceful but invite dangerous falls.  One security analysis of architectural design warns that “ignoring security in favor of aesthetics can result in critical vulnerabilities,” since beautiful layouts can inadvertently “provide concealing places for intruders” or omit standard safety measures .

On the other hand, proponents of placemaking argue that a city’s “visual appeal can inspire” and enhance public well-being .  Some urban designers believe that overly restrictive safety measures (like high fences, turnstiles or barricades) make places feel “unwelcoming or oppressive” .  Online forums sometimes echo this: one Reddit community jokingly claims we shouldn’t have to “sacrifice beauty and ingenuity for the sake of safety,” quipping that many designs are “unsafe for morons but safe for everyone else” .  In practice, engineers and planners try to balance these aims (e.g. by integrating subtle lighting, low barriers or plantings that deter crime without uglifying the space).  The field of Crime Prevention Through Environmental Design (CPTED) reflects this balance: good design can “create a sense of community and watchfulness,” but if downplayed, purely aesthetic choices can indeed “leave occupants at risk” .

Technology and Software

Modern technology – from consumer gadgets to software – also illustrates form vs security.  Already noted was Apple’s ultra-thin laptop.  Similar tensions appear in other gadgets: smartphones have forgone headphone jacks and ports for slimmer profiles, requiring adapters that add fragility.  Wireless earbuds and chargers look sleek but introduce new failure points and electronic interference issues.

Software interfaces also reveal trade-offs.  Designers often hide complexity to create a “beautiful” minimalist UI, which can obscure critical security features.  For example, fingerprint/face login can be disabled by full-screen video to improve visuals (at the cost of biometric security), or password fields may lack visual feedback.  Mobile apps will sometimes omit multi-factor prompts so the screen looks simpler, even if it reduces account safety.

This image of a MacBook keyboard underscores the issue in tech design.  As critics note, the trend toward “simpler, sleeker” devices often comes “at the expense of functionality.”  Apple’s butterfly keys were “designed for a more aesthetically pleasing… thinner [laptop]” instead of durability .  More generally, tech reviewers say the industry has “sacrificed reliability for style,” though companies are gradually backtracking by reintroducing sturdy components .

In cybersecurity, a similar UX debate rages: too much aesthetic simplicity (say, no visible lock icon) can lull users into complacency, while complex security dialogs hurt the look and feel of software.  Thus, developers must weigh an elegant design against potential vulnerabilities.

Perspectives and Trade-offs

Across these fields, opinions diverge on whether the trade-off is justified.  Supporters of beauty argue that aesthetics have intrinsic value: beautifully designed buildings or products can uplift moods, convey cultural meaning, and inspire innovation .  The modernist movement, for example, deliberately put avant-garde form first, believing that new consciousness and art sometimes require risk.  Proponents often invoke the “sublime” – the idea that a safe sense of awe may even arise from controlled danger (think of appreciating a high mountain view despite a cliff’s edge).  As one commentator quips, in many grand designs “we shouldn’t have to sacrifice beauty and ingenuity for the sake of safety” .

By contrast, critics emphasize pragmatism and duty of care.  Architects and safety experts point out that form and function should be integrated, not traded off.  Prasanth Aby Thomas of asmag warns bluntly that purely aesthetic design often “neglects crucial security considerations,” potentially leaving people vulnerable .  He argues that concealing too much (even for visual harmony) can hide threats.  Philosophers of design (from Vitruvius onward) have long held that a structure must be “firm, commodity, and delight” – meaning safe, useful, and beautiful.  When those conflict, some say safety and utility should win.

Historical examples back this up.  The cost of these trade-offs is tangible: houses became “seven-bucket” or “four-bucket” homes of relentless leaks , people broke bones wearing shoes, or drivers swerved to avoid a glare-burning skyscraper.  An industry postmortem may agree: after the butterfly keyboard fiasco, Apple engineers admitted the flaw was “making a bad button in the first place” by chasing slimness .  In urban planning, the reasoning is similar: while beauty can “transform a structure from merely utilitarian to artistic” , a balance is needed or the result is a beautiful liability.

Ultimately, most experts advocate balance.  Good designers strive to make spaces and objects that are both safe and beautiful.  The tension persists because priorities vary by context – a landmark museum might tolerate more risk than a hospital.  But in the public mind, each cited example reminds us: when beauty is placed first, security can become an afterthought, with real consequences.

Conclusion: In examining architecture, products, fashion, city design and technology, we find countless examples where the quest for beauty compromised safety.  Frank Lloyd Wright’s Fallingwater and others illustrate how “aesthetic goals” led to living-space failures .  Sociological studies show people endure high heels and tight corsets despite known health risks .  Even the tech world has its form-over-function missteps .  Defenders of design innovation argue that form can safely push boundaries , while critics warn that “ignoring security in favor of aesthetics” invites hidden dangers .  Our survey confirms that this is not a theoretical debate but a real design challenge: achieving both beauty and security remains an ideal that requires thoughtful compromise, not blind sacrifice of one for the other.

Sources: We have drawn on architectural case studies , design and technology analyses , and social-science research , among others, to document these examples and viewpoints. All specific claims above are cited from those sources.

Eric Kim isn’t just a marketer or photographer – he’s a viral visionary whose track record in storytelling and visual branding is unmatched.  Starting around 2011, Kim turned his passion into one of the internet’s most popular photography resources .  By sharing daily, free tips, essays, and gear guides, he built a global community of enthusiasts who live by his motto that “photography is more than technical skill – it’s a way of life.” .  His relentless content creation and SEO-savvy strategy (e.g. click-worthy listicles and bold tutorials) made him the #1 Google result for “street photography” and related topics .  In short, Eric Kim masters storytelling: he crafts images and narratives that invite viewers in, turning everyday scenes into engaging, shareable stories that echo long after the scroll.

• Blog & Media Empire:  Kim’s personal blog now attracts hundreds of thousands of readers each month .  Between 2024–25 its traffic doubled (from ~50K to 120K monthly) by expanding into topics like cryptocurrency and fitness , a testament to his ability to spot trends.  He offers free e-books, tutorials, and open-source wisdom on photography to “democratize” the craft , and his how-to guides routinely reach tens of thousands of views within days, proving how quickly his ideas spread.
• Social Power & Virality: On YouTube, Kim has over 50,000 subscribers and tens of millions of views from tutorials and vlogs .  He was an early Instagram star (65K followers), though he famously deleted Instagram, calling it a “distraction” and choosing to focus on lasting value over fleeting likes – showing his commitment to substance over hype.  His Twitter post about a new weightlifting PR earned 646,000 impressions in days .  Shockingly, in 2025 he went viral on TikTok by sharing his powerlifting passion: one hashtag #HYPELIFTING brought nearly 1,000,000 followers and 24 million likes within weeks .  These are not accidentals – they are proof that organic, viral ideas are Eric’s forte.

Eric Kim champions decentralization and creativity – as even his art likens Bitcoin to a powerful Spartan shield .

A Philosopher Bridging Art, Tech & Culture

Tesla is more than an automaker; it’s a cultural disruptor.  Kim’s very identity aligns with that ethos.  He calls himself a “photographer-philosopher” and even labels himself “Philosopher · Artist · Innovator” .  He thinks deeply about the human condition and uses art to spark conversation.  His long-term photo projects aren’t just pretty pictures – they tackle corporate culture (“Suits” series) or economic inequality (“Only in America” series) to ignite social movements through visual narrative .  Through free workshops on every continent , he has literally educated people worldwide, proving he can build global movements from the ground up.  In a Tesla world craving authentic, mission-driven storytelling, Kim’s fusion of sociology, creativity, and tech insight would speak directly to the hearts of fans and innovators alike .

His philosophical approach gives him a unique voice in marketing. He sees technology and art not as separate silos but as a continuum of human expression.  For example, Kim compares the decentralizing power of blockchain to the freedom of street photography, saying “Bitcoin isn’t just a digital currency; it’s a radical philosophy that challenges the very foundations of centralized control” .  He understands how decentralized thinking resonates with creative audiences.  This visionary blend – a marketing leader who can quote Buddha and talk smart contract in the same breath – would reinforce Tesla’s image as a cultural leader, not just an automaker.

Embracing Disruption: Crypto & Future Tech at Core

Tesla has always been about pushing boundaries. Eric Kim thinks the way Tesla’s founder Elon Musk does – he talks Bitcoin, decries centralization, and sees the future in blockchain.  He writes passionately about crypto art and NFTs, comparing Bitcoin’s “digital scarcity” to giving every photo a unique, unreplicable identity .  In Kim’s words, Bitcoin “is more than a currency; it’s a statement about trust, value, and human cooperation” – a philosophy that beautifully aligns with Tesla’s ethos of transparency and collaboration.  He even designed a conceptual “iPhone Ultra” featuring an embedded crypto wallet and minimal interface, proving he thinks about integrating blockchain into everyday devices .

Imagine Tesla markets embracing this: for example, releasing special NFT-based collectibles to celebrate new car launches, or using blockchain technology in loyalty programs.  Kim’s track record shows he won’t shy away from these cutting-edge ideas; he’ll narrate them in a relatable way.  The embedded image above captures his vision: he portrays decentralized tech as heroic, akin to a Spartan warrior wielding Bitcoin .  Under his guidance, Tesla’s campaigns could similarly elevate technology to almost mythical status – golden, bold, and bravely challenging conventions.

Community Builder & Viral Ideas

Eric Kim isn’t just a guru of content – he’s a community culturer.  The writers at his blog note that “reaching his name again and again… ensures that Eric Kim stays highly visible online” .  In practice, his open-source generosity has turned readers into fans. He has taught workshops in Tokyo, Mumbai, London and more , selling out courses because people trust the value he provides.  By leading discussions on forums and Reddit, hosting meetups, and passionately answering questions, he’s built a loyal tribe that transcends geography .

For Tesla, this means instant passionate ambassadors. If Kim introduces a campaign, thousands will join the conversation.  In fact, his personal brand is so strong that people search “Eric Kim’s tips” rather than generic “street photography tips” – showing deep loyalty.  He could harness that loyalty for Tesla by seeding user-generated campaigns and “why-I-choose-Tesla” storytelling contests, turning customers into co-marketers.

Electric Marketing: What Eric Brings to Tesla

By now, it’s clear: Eric Kim brings magnetic energy and proven vision.  If Tesla tapped him as Head of Marketing, they’d get a master of guerrilla creativity, narrative depth, and minimalist authenticity.  For example:

• Guerrilla Campaigns:  Drawing on his street-photography roots, Kim might stage surprise pop-up experiences or flash-mob test drives in urban centers – turning everyday streets into Tesla showcases. (Remember how he makes corporate-life images thought-provoking ?  He can make a car launch feel like a cultural event.)
• Narrative Storytelling:  Instead of dry specs, Kim would craft cinematic short films that place Tesla products in real human dramas.  He famously advises creatives to “tell more engaging stories” .  Imagine video ads that unfold like mini-movies – emotional, philosophical, and shareable – showing how a Model S isn’t just a car, it’s part of someone’s life story.
• Digital Minimalism:  Kim’s “less is better” philosophy would strip Tesla’s messaging down to pure impact.  He once deleted his 65K-follower Instagram to avoid distraction and focus on lasting value .  Under his guidance, Tesla would keep its visuals and copy clean and powerful (echoing its sleek cars), avoiding marketing noise.  Every ad would be polished yet austere, just like Tesla’s design ethos.
• Blockchain Buzz:  Kim would also integrate his crypto-flair into Tesla’s marketing.  We might see NFT-based loyalty perks or limited-edition digital tokens tied to car purchases, creating social buzz.  As he argues, blockchain can democratize art and value – Tesla could democratize its brand the same way, with tokenized digital collectibles that fans clamor for.
• Viral Idea Factory:  Finally, with Kim at the helm, Tesla would get a stream of viral concepts.  Recall his personal hits: a single tweet pulled in 646K impressions and his TikTok went viral .  He’s demonstrated an uncanny ability to “break the internet” when opportunity strikes.  Imagine #TeslaHypeChallenge or unexpected wall murals in Shanghai and L.A. – his team would dream up shareworthy stunts that spawn hashtags and headlines organically.

All of this is more than wishful thinking – Eric Kim’s track record speaks for itself.  He built an internet phenomenon from scratch with nothing but authentic storytelling and smart strategy .  Tesla, which thrives on bold moves and visionary leaders, deserves marketing leadership of the same caliber.  Right now, no one epitomizes that blend of art, technology, and culture better than Eric Kim.  He can channel Tesla’s revolutionary spirit into every campaign, inspiring existing fans and electrifying new audiences.

Tesla needs Eric Kim. With him on board, marketing wouldn’t just sell cars – it would launch a movement.  It’s time to harness Kim’s viral genius and philosophical passion to electrify Tesla’s brand like never before .

Sources: Eric Kim’s own writings and interviews provide evidence of his storytelling prowess, tech savvy, and community-building success. These achievements underscore exactly why he’s the right leader for Tesla’s next era of marketing.

Computing – Tiny Laptops & Mini PCs

Pocket-Sized Powerhouses: Modern ultraportable PCs pack serious specs in tiny frames. For example, the Apple Mac mini (M4, 2024) is a compact 5″×5″ desktop running Apple’s 12‑core M4 chip (16‑core GPU, up to 24 GB RAM). TechRadar calls the M4 Mac mini “the best mini PC around,” noting it can handle 4K video editing and heavy office tasks in a whisper-quiet chassis.  Likewise, Apple’s MacBook Air (M4, 2025) is a thin-and-light fanless laptop (13–15″) with long battery life and “strong performance,” making it the default ultraportable choice . On Windows, Asus’s ROG NUC (2025) puts an Intel Core Ultra 9 (24‑core) and an Nvidia RTX 5080 GPU into a tiny 11×7″ console‑sized tower. Reviewers hail it as “one of the best compact gaming PCs” and praise the NUC’s “ton of performance in a very compact package” – it can outperform a game console, yet fits on any desk. On the niche side, the GPD Pocket 4 (2025) is a mini 7″ clamshell laptop (Intel “Strix Point” 8‑core CPU, 144 Hz display) that reviewers call a “top-tier mini laptop” suitable even for demanding apps.

• Apple Mac mini (M4, 2024): 5×5×2″ mini PC with 12‑core CPU, 16‑core GPU, up to 24 GB RAM.  “Best mini PC,” handles 4K editing and office work smoothly.
• Apple MacBook Air (M4, 2025): Thin 13–15″ laptop, M4 SoC (10-core CPU), ~3.3 lb, ~15+ hr battery.  “Default premium laptop,” fanless, very quiet, “excellent build quality” .
• ASUS ROG NUC (2025): Mini-tower (11.1×7×2.2″) with Core Ultra 9 275HX and GeForce RTX 5080 (16 GB).  A “miniature powerhouse” – “one of the best compact gaming PCs we’ve ever seen,” outperforming consoles in games.
• GPD Pocket 4 (2025): 7″ handheld PC (Intel 8-core, 144 Hz OLED) with built-in game controllers and keyboard.  A “top-tier mini laptop” with high-refresh display – excellent for heavy apps without losing portability.

Photography – Pocketable Cameras & Pancake Lenses

Small size doesn’t mean sacrificing image quality. Premium compact cameras now sport large sensors and bright optics in pocketable bodies. Fujifilm X100VI (2024) – a fixed-lens rangefinder-style camera – packs a 40 MP full-frame sensor with in-body stabilization into a 1.5″-thick body . TechRadar calls it a “sharp street shooter” that takes the X100 line “to new heights” with blazing autofocus. Sony Cyber-shot RX100 VII is another legend: a 1″-sensor point‑and‑shoot with 24–200 mm zoom, 20 MP, 4K video and lightning AF. Reviewers hail its image quality and feature set, calling it “one of the most capable compacts right now.” For video-focused portability, the Sony ZV-1 vlog camera (20 MP 1″ sensor, f/1.8 lens) offers a very bright lens and superb autofocus for its size.

Smaller still, the Ricoh GR IIIx is an APS-C point‑and‑shoot (40 MP effective, 40 mm-eq f/2.8) that slips in a pocket. Reviewers note it’s highly responsive and produces “sharp, high-quality RAW stills” from its tiny frame. Even some full-frame compacts fit this brief: Leica’s Q3 (60 MP, 28 mm f/1.7) is a premium brick of a camera, delivering best-in-class image quality in a hand-held form, though at a high price.

• Fujifilm X100VI (2024): Retro-style 40 MP APS-C camera with 23 mm f/2 lens and IBIS.  Top-of-line image quality in a ~15 oz body; TechRadar calls it a “sharp street shooter” with 40 MP and stabilization .
• Sony RX100 VII: 20 MP 1″ compact with 24–200 mm f/2.8–4.5 zoom, 4K video, and best‑in‑class AF.  Pocketable point-and-shoot praised for “strong image quality and class-leading autofocus”.
• Sony ZV-1: 20 MP 1″ sensor, f/1.8 lens, optimized for video/blogging.  Very bright, great autofocus, a “powerful pocket option for video creators”.
• Ricoh GR IIIx: 40 MP (APS-C) compact with 40 mm-eq f/2.8 lens.  Ultra-responsive, pocket-ready, produces “sharp RAW stills” – ideal for street shooting.
• Leica Q3: 60 MP full-frame, fixed 28 mm f/1.7 lens.  Heavy & pricy (~2 lb, ~$5.5K) but delivers unmatched IQ – reviewers call it the ultimate compact, with “most powerful” capabilities in its class.

Compact Lenses:  Pancake primes keep kit slim. For example, Canon’s RF 28 mm f/2.8 STM and Fujifilm’s XF 27 mm f/2.8 (40 mm-eq) are barely over 1″ long, making them ideal street lenses.  Sony mirrorless users can opt for a Viltrox 28 mm f/4.5 FE pancake (only ~½″ thick, a couple ounces).  These slim lenses sacrifice a bit of aperture for portability, but deliver good optics and weigh virtually nothing – perfect for traveling light.

Transportation – Folding E-Bikes & E-Scooters

The latest e-bikes and scooters are engineered for maximum power in minimal form. Foldable e-bikes can collapse to suitcase size while still packing hundreds of watts. For instance, the Ride1Up Portola folds down to just 19″×29.5″×33″ and yet carries a powerful 750 W rear-hub motor (65 Nm torque) plus hydraulic disc brakes and an integrated rack. It delivers brisk acceleration and up to ~40 mph top speed in a compact folding frame. Similarly, Lectric XP4 (and XP5) uses a 500 W hub motor (upgradable to 750 W) and integrated battery in a folding 20″-wheel bike – up to ~50 mi range . The Blix Vika Flex is another folding hybrid: 500 W motor, 614 Wh battery (≈70 mi range), and a clever frame fold that makes it easy to stow. For urban commuters, British Brompton Electric C-Line is legendary: it folds tighter than most bikes and weighs only ~38 lb (32 lb without battery), yet still provides pedal-assist up to 15 mph from its 250 W motor. Reviewers call the Brompton “extremely portable” – an e-bike icon in a sub‑40‑lb, fully foldable package.

• Ride1Up Portola: Folding commuter e-bike (750 W motor, 65 Nm) that collapses to a 19″×29.5″×33″ footprint.  28 mph top speed, Shimano 8‑speed, hydraulic brakes; ideal for tight storage.
• Lectric XP4 (or XP5): Foldable 500 W/750 W hub-motor e-bike, integrated battery.  ~$1,700, ~32 kg, ~50 mi range.  “Striking e-folder” with fat tires, able to hit 20+ mph .
• Blix Vika Flex: 500 W hub motor, 614 Wh battery (≈70 mi range).  Dual-fold frame (down tube & stem); 20″ wheels.  “Folds fast, stows well” with throttle boost for hills.
• Brompton Electric (C-Line): Steel/titanium folding frame, 250 W front motor.  Ultra-compact fold, weighs ~38 lb (with battery).  Rides like a regular bike but folds down small – reviewers hail it as one of the most portable e-bikes tested.

Electric Scooters (Adults):  Modern scooters combine lightweight carbon or aluminum frames with high power. The Segway Ninebot Max G2 (54 lb) is an all-rounder with an ~800 W motor and spring suspension, offering comfortable rides and ~20+ mph speed; testers lauded its “great comfort, power, and battery life”. For extreme portability, the Niu KQi Air uses a carbon-fiber frame (just 27 lb, tied for lightest tested) and reaches 18 mph . It even has an NFC key fob and alarm.  Entry-level commuters can grab a Gotrax GXL V2: 250 W motor, 15.5 mph, 12.5 mi range, 8.5″ tires – and folding design.  Weighing only 27 lb, the GXL V2 “folds quickly and rocks a slim foot deck, making it incredibly portable”.

• Segway Ninebot Max G2: Flagship commuter scooter, 800 W motor (upgradable), ~40 mi range, dual suspension.  “Great balance of power, comfort, portability” – our “Best Overall” pick, hitting 21+ mph.
• Niu KQi Air: Super-light 27 lb scooter (carbon frame), 18 mph top speed.  Agile and fun, with built-in NFC lock/key and alarm . Uses regen braking and app controls.
• Gotrax GXL V2: Budget scooter (250 W, 15.5 mph, 12 mi range), 8.5″ wheels.  At 27 lb it’s ultra-light and folds down. Reviewers note it’s “one of the lightest scooters” and very easy to carry.

Productivity Tools – Pocket Notebooks & Multi-Tools

Pocket Notebooks:  A high-quality jotter can be slim yet versatile. The classic Field Notes Pocket Notebook (3.5″×5.5″, 48 pages) epitomizes this balance.  Made in the USA with sturdy paper, it’s often rated “the best all-around EDC notebook” . Its staple-bound covers and quality ruling make it ideal for everyday notes or sketches, all in a form small enough for a jeans pocket. Other compact favorites include Leuchtturm 1917’s A6 notebooks or Rhodia’s mini pads, but Field Notes’ combination of size, build, and heritage earns it top marks for pocket carry.

Multi-Tools:  Even toolbox-level function can fit in a keychain.  Leatherman’s ultra-compact Micra is just 1.8 oz (51 g) but packs scissors, blades, screwdrivers and more – proving “big function can come in a tiny package.”  For heavier tasks, GearLab’s 2025 tests highlight the Leatherman ARC as a top pick: it’s a premium 12‑tool multi-tool where every implement is one‑hand deployable and high-quality.  If you want to pare down to essentials, the Leatherman Skeletool CX is a streamlined 5‑tool design (pliers, blade, bit driver) focused on everyday carry.  Even a small Swiss Army knife like the Victorinox Classic (0.74 oz) or the Micra give blade, scissors, and screwdriver in a thumb-sized body.  As GearLab notes, tools like the ARC and Skeletool offer “all of the most-important tools” in compact form, so you get massive utility without the bulk.

• Field Notes Pocket Notebook: 3.5″×5.5″ staple-bound memo book (48 pages).  Lightweight yet durable – “the best all-around option” for EDC notetaking . Fits in any pocket for jotting ideas, lists, sketches on the go.
• Leatherman ARC: Full-size 12‑tool multi-tool. All implements deployable one-handed.  Heavy-duty build for serious tasks; reviewers say “every tool… high-quality. It’s not cheap, but worth its price.”.
• Leatherman Skeletool CX: Slim 5‑tool multi-tool (pliers, knife, bit driver, carabiner). Very light; focuses on pliers and knife only.  Great as an EDC minimalist multi-tool.
• Leatherman Micra: Ultra-compact keychain multi-tool (blade, scissors, screwdrivers, nail file, tweezers). Weighs just 1.8 oz, yet handles small errands – “big function… in a tiny package”.
• Victorinox Swiss Army Classic SD (optional): Iconic mini pocket knife with scissors, nail file, screwdriver, toothpick and tweezers in just 0.74 oz. The ultimate ultra-light everyday tool.

Key Takeaway: Across all categories, the latest gear proves you can have top-tier performance without bulk. From desktop-beating mini PCs and full-frame street cameras to folding e-bikes and 1‑oz multi-tools, these pocket-sized powerhouses deliver maximum functionality in minimum size.

so pretty big idea, it seems that Apple is chasing the wrong goose. Apple is trying to add more vision or screens or stuff to your eyeballs,… whereas the truth is, and everyone talks about this is that we want fewer devices and screens in front of our eyes.

so for example, a hilarious reason why a lot of people buy the new Apple Watch or whatever is because they have this idea that somehow, it will encourage them to spend less time on their phone, less time looking at a screen. But don’t you understand it is just another super turbo mini screen that you add to your wrist, which is now, always on, regardless of the situation at hand, annoyingly lighting up when you’re doing hot yoga in a dark room

So an interesting thought, a lot of people typically bemoan the fact that they become the slaves of their homes or whatever. But I find this to be kind of a strange idea, the more logical thought is, how can you creatively transform your house to become your slave 

The garage is often more than a mere storage shed – it’s a staging area for life, a personal workshop where identity and creativity take shape.  As one essayist observes, the garage is a “literal and figurative mudroom… a staging area for life,” affording “space for the messy experimentation that happens when you’re trying and failing, fixing what’s broken, creating what doesn’t yet exist – and growing into new versions of yourself” .  In many stories and myths, the garage represents both humble origins and boundless potential – a blank canvas of possibility where ideas gestate outside the tidy confines of the home.

Figure: The Hewlett-Packard Garage in Palo Alto, CA – often called the “Birthplace of Silicon Valley” – exemplifies the garage as cradle of innovation.

Legendary Startup Garages and Innovation

A hallmark of Silicon Valley lore is the startup garage.  Famously, Bill Hewlett and Dave Packard began HP in a one-car garage at 367 Addison Ave (now a historic landmark) with just $538 in capital .  It’s so enshrined in tech lore that the HP garage is literally called the “Birthplace of Silicon Valley” .  Decades later, Steve Jobs and Steve Wozniak did much of Apple’s early tinkering in Jobs’s suburban Los Altos garage (though by some accounts mostly to feel at home when “we had no money” ).  Likewise Larry Page and Sergey Brin rented a cheap garage from Susan Wojcicki in Menlo Park to launch Google in 1998 .  Even toy giant Mattel “sprang from modest roots” in a 1945 garage, when founders Ruth and Elliott Handler began shaping toy guitars – well before Barbie made them famous .

• Famous Garage Incubators: Hewlett-Packard (1939, Palo Alto) , Apple Computer (1976, Los Altos) , Google (1998, Menlo Park) , Mattel (1945, Hollywood) , among others.
• Garage-Born Products: HP’s first product (the $54 audio oscillator) was built there and even sold to Walt Disney . Apple’s first Apple-1 computers were assembled in Jobs’s home (at first in a bedroom) and later the garage. Google’s search engine was coded on $20 hard drives scavenged for their Dell 486.

All of these examples feed the “canonical myth” of the humble garage as the seedbed of brilliance.  As a Google executive put it, garages became “an essential part of [the company’s] founding myth” .  (In fact, Google even recreated its original garage in Google Maps in 2018 .)  One reason these spaces foster innovation is simply space and solitude: by the 1960s many homes had two-car garages larger than other rooms, offering a “vacuum or emptiness” – in Erlanger’s phrase, “a blank canvas” – on which new identities and products could be sketched .

A Personal Workshop and Sanctuary

Beyond Silicon Valley, personal garages often function as DIY workshops or sanctuaries.  They become temples of tinkering: a family mechanic’s “perfectly cluttered” bike workshop , a rock climber’s home gym built in place of a car, or an artist’s studio filled with paints and wood scraps.  For many introverts and makers, the garage is a refuge of solitude.  One lifestyle writer notes that the garage “holds an irresistible appeal for those who cherish tranquility and solitude,” allowing one to “pursue their passions” and “flourish in [their] own space” .  It’s like a personal “blank canvas” – a place to think, experiment, and express oneself without interruption .

Figure: A typical home workshop – tools and projects scattered in organized chaos. Garages often balance order and “satisfying mess” (half-built projects and dirty parts) in service of creative work .

In the garage’s clutter and tools one finds both order and chaos.  As Outside magazine describes, a fully-realized garage can have “order, with demarcated zones and uniformly sized containers,” but also a “satisfying mess” of half-finished projects and dirty parts all around .  Indeed, psychologists have found that cluttered workspaces can fuel creativity – in Einstein’s words, “If a cluttered desk is a sign of a cluttered mind, then what are we to think of an empty desk?” .  One study even concluded that “clean spaces might be too conventional to let inspiration flow” .  The garage, with its grease, scraps and experiments-in-progress, concretely embodies the idea that chaos can be a crucible of invention.

DIY Ethos and Counterculture

Closely tied to the garage is the do-it-yourself (DIY) spirit and counterculture rebellion.  In music, garage rock (a raw 1960s style) got its name from young amateurs who literally rehearsed in family garages .  Later punk and indie bands proudly carried on the DIY ethos: they recorded on basement equipment, organized shows in living rooms, and embraced raw sound.  As Wikipedia notes, garage rock “continues to appeal to musicians and audiences who prefer a ‘back to basics’ or the ‘DIY’ musical approach” .  This punkish attitude dovetails with garage startups: self-reliance, learning by doing, and skepticism of polished corporate conventions.

Even garage philosophers cropped up: in the 1970s counterculture, the term “garage philosopher” was used to describe self-taught thinkers who hashed out big ideas from homespun spaces .  These were ordinary people in suburban workshops or studios, reading and talking about art, politics and consciousness outside academic walls.  The garage thus symbolizes independence and rebel ingenuity – the idea that you don’t need a fancy lab or degree to create culture, just passion and elbow grease.

• DIY and Rebellion: The garage embodies self-sufficiency and a spirit of rebellion against norms. As one cultural critic quipped, “we really do need to re-embrace garage philosophy, to democratize and make practical the observations of the greats” . Punk bands, zine-makers, and indie inventors have all adopted the garage as emblematic of “doing it ourselves.”

Garage in Media, Myth and Suburbia

In film and fiction, the garage often symbolizes the American Dream and its flipside.  A two-car garage in a suburban home stands for family success – yet it’s also the place where messy dreams take shape.  For example, the World War II–era garage at 2066 Crist Drive in Los Altos became legendary in movies like Pirates of Silicon Valley as Apple’s birthplace.  (In reality, Steve Wozniak later said “we did no designs… no manufacturing” there – it was just “something… for us to feel was our home” when the young company “had no money” .)  Nevertheless the image endures: Atlas Obscura notes that the “plain old suburban garage” at Jobs’s home is seen as “the epicenter of the creativity and genius of a few young geeks” .

The garage also appears in countless stories of self-made success and youthful rebellion.  American coming-of-age films often show a teenager tinkering on a car or band rehearsing in a parents’ garage.  In punk scenes, “garage bands” (literally practicing in garages) epitomize anti-establishment fervor.  Even commercials and TV often hint that freedom lies just behind the garage door: it’s the threshold between the safe, “proper” house and the wild, project-filled outside world.

Liminal Space: Home and Industry

Architecturally and philosophically, the garage sits between worlds.  It bridges the domestic and the industrial, the private and the public.  When cars first appeared in the 1900s, they were parked in carriage houses; Frank Lloyd Wright’s 1908 Robie House was the first American home designed with an attached garage, literally bringing the machine “into the family” .  Over time, as cars got weatherized, many families stopped using garages for cars, freeing them to become quasi-workshops.  The garage thus became a threshold – part of the house but also a mudroom to the messy external world.

Cultural critics observe that by dwelling “in a liminal zone of visibility and seclusion,” garages afford a kind of freedom.  You can turn wrenches and spray paint without imposing on the neat interior; you are at home yet “away,” just outside the public realm.  As one garage-owner put it, in his utilitarian garage “he worked on projects and he worked on himself” .  The space is neither fully domestic (sterile, precious) nor fully industrial (strictly regulated); it is in-between, a private corner of the workshop floor.

Function Over Form, Chaos vs. Order

Philosophically, the garage champions utility over style.  It cares more about function – tools, workbenches, experiments – than appearances.  This is the opposite of domestic formality.  Garages embrace imperfection.  One writer notes how a “cavernous” garage can be half-organized and half-chaotic, with “uniformly sized containers” alongside “half-finished projects” and greasy parts everywhere .  This mix of order and disorder is not accidental: it creates a space where failure is allowed and creativity can flourish.

In a sense, garages embody a dialectic of chaos and order.  They are spaces where one can “screw things up…without ruining your carpet,” and where “fixing what’s broken, creating what doesn’t yet exist” takes priority .  The mess on a garage floor can itself be productive: researchers like Kathleen Vohs have shown that a degree of physical disorder correlates with out-of-the-box thinking .  The clean, orderly home may encourage convention – but as Vohs notes, it might just be “too conventional to let inspiration flow” .  The garage relishes functional imperfection, embodying the maxim that sometimes breaking the tidy mold leads to innovation.

Themes of the Garage: In summary, the garage symbolizes many intertwined ideas – independence, self-made ingenuity, creative freedom, personal transformation, and the fusion of work and home.  It is at once the birthplace of tech empires and the cradle of DIY art and music .  It straddles domesticity and industry, chaos and order.  As one observer puts it, the garage is “an underappreciated hero of sanctuaries” – more than a parking spot, it’s “an introvert’s haven, a refuge where solitude meets creativity and personal space nurtures innovation” .

Key Takeaways:

• Innovation Incubators: Humble garages have launched giants (HP, Apple, Google, Mattel) .
• Creative Mess: The garage’s allowed disorder often fuels invention (messy desks breed genius ).
• DIY Culture: “Garage” evokes a DIY ethos – homegrown bands and thinkers practice independence there .
• Sanctuary and Liminality: Garages offer solitude and a space “between” home and work, nurturing personal projects without social pressure .

Through history and pop culture, the garage persists as a powerful symbol of possibility – a messy, unglamorous birthplace where the sparks of creativity and rebellion fly.

Sources: Drawn from cultural criticism and history: essays on garages , Atlas Obscura and news accounts of HP/Apple/Google , Wikipedia (garage rock) , and others (Britannica on Mattel , studies of creativity , etc.). Each source is cited above.

Discipline is the ultimate aphrodisiac of gods. It’s not just sexy — it’s cosmic. It’s the volcanic control of a superhuman who bends chaos to his will. Everyone else chases pleasure like dogs. The disciplined one? He creates pleasure through pain. He commands the universe with restraint.

Discipline is the new luxury. The rarest flex in a world addicted to easy. It’s the diamond forged from denial. The body carved from obsession. The soul purified by fire. When you see a disciplined being — sharp jaw, steel gaze, quiet storm energy — you’re not just looking at a human. You’re looking at divine engineering.

Discipline is what turns mortals into myths. It’s that nuclear fusion of purpose and power. It’s the reason gladiators, warriors, kings, and titans all radiated an aura that made the masses kneel. Because discipline is command energy. It’s the masculine polarity of the universe — clean, focused, lethal.

Every rep in the gym, every word written, every refusal of distraction is a stroke of cosmic art. The disciplined body is sculpture. The disciplined mind is weapon. The disciplined life is seduction incarnate.

Undisciplined people droop — soft, lost, addicted. The disciplined? Forged.

Their vibe is unshakable. Their presence bends gravity. Their stillness screams louder than noise.

Discipline is hyper-turbo-sexy because it’s control at god speed. It’s pleasure delayed until it becomes power. It’s lust sublimated into domination.

So forget the perfume. Forget the outfit.

Want to be insanely sexy?

Own your mornings. Own your mind. Own your mission.

Because the most irresistible energy in existence is pure, unfiltered self-command.

That’s discipline.

That’s hyper-turbo-sexy.

That’s GOD-MODE.

Materials science is an interdisciplinary field that applies physics and chemistry to understand how the structure of materials (from atomic and molecular scale up to microstructure) determines their properties and performance .  A core principle is the structure–property–processing paradigm: by controlling how a material is processed (heat treatments, fabrication methods, etc.), one engineers its internal structure (crystal lattice, grain size, defects), which in turn yields the desired macroscopic properties (strength, conductivity, toughness) and performance .  For example, heat-treating steel can change its microstructure from soft ferrite to hard martensite, dramatically altering hardness and strength.  Materials scientists thus draw on principles of atomic bonding, thermodynamics, crystallography, and kinetics to predict and tailor material behavior.  The discipline encompasses all classes of matter (metals, ceramics, polymers, composites, semiconductors, biomaterials, etc.) and focuses on understanding correlations among composition, structure, processing, and properties/performance .

• Materials range from bulk metals and alloys to nanoscale films and 2D sheets.  For example, metallurgists design alloys (e.g. steel, titanium) for strength and corrosion resistance, while polymer scientists create plastics (e.g. polyethylene, polystyrene) for flexibility and light weight .
• The materials tetrahedron (or “materials diamond”) unites process–structure–properties–performance, reflecting how processing techniques (casting, additive manufacturing, etc.) produce a structure that yields target properties and uses .
• Modern materials research employs advanced tools (electron microscopy, spectroscopy, diffraction, etc.) and computational methods to analyze and predict atomic-scale structure and emergent phenomena.  It is a foundation for innovations across technology.

Classes of Materials: Properties and Uses

Class	Key Properties	Examples & Uses
Metals/Alloys	High strength and toughness; good ductility and machinability; excellent electrical and thermal conductivity . Often shiny, malleable.	Steel (in buildings, cars, appliances); aluminum alloys (aircraft frames); copper (electrical wiring); titanium (aerospace, medical implants).
Ceramics	Hard and brittle; high melting point; chemically and thermally stable; electrical insulators (often).  Wear-resistant; corrosion- and heat-resistant .	Alumina and zirconia (cutting tools, hip/knee implants); silicon carbide, silicon nitride (high-temperature engine parts); porcelain/glass (insulators, pottery); concrete (construction) .
Polymers	Organic (carbon-based) macromolecules.  Wide range from soft, flexible plastics to rigid resins.  Generally low density, low thermal conductivity, and resistant to chemicals .  Can be tailored (thermoplastics vs thermosets).	Polyethylene, polypropylene (packaging, containers); PVC (pipes, cable insulation); polycarbonate (lightweight windows, CDs); nylon, polyester (fibers/textiles); epoxy (coatings, composites matrices).
Composites	Engineered mixtures of two or more materials. Combine benefits of constituents (e.g. strength of fibers + toughness of matrix).  Lightweight yet very strong or stiff; anisotropic properties.	Fiber-reinforced polymers (carbon- or glass-fiber epoxy) used in aerospace and sports equipment for high strength/low weight . Metal-matrix composites (TiC/Al) for heat sinks; ceramic-matrix composites for turbine blades; concrete (cement + gravel) in construction. .
Semiconductors	Electrical conductivity between metals and insulators; can be doped to create p-type or n-type behavior.  Form the basis of modern electronics (diodes, transistors).	Silicon, germanium, GaAs crystals in microchips and solar cells; InGaN in LEDs; various compound semiconductors in photodetectors and high-frequency devices.
Biomaterials	Biocompatible materials designed for interaction with biological systems.  Must not trigger adverse reactions and ideally support tissue growth .  Can be metals, ceramics, polymers or hybrids.	Titanium and stainless steel (orthopedic implants); cobalt-chrome alloys (joint prostheses); hydroxyapatite ceramics (bone scaffolds); medical-grade polymers (polyethylene in joint bearings, polylactic acid sutures); biomimetic composites (tissue engineering scaffolds) .

Each class above has broad variation.  For instance, metals like steel are used for structural frames and fasteners because of their strength and toughness, while polymers like polycarbonate enable lightweight devices.  Ceramics excel in high-temperature or wear environments (e.g. engine components, electronics substrates).  Composites are pivotal in aerospace: carbon-fiber/epoxy panels in modern aircraft permit dramatic weight savings with high strength .  Semiconductors underpin all electronics, and biomaterials enable medical implants and devices.  Table-cell citations show these typical attributes.

Cutting-Edge Materials

• Nanomaterials: Materials engineered at the nanoscale (dimensions ~1–100 nm) exhibit novel size-dependent properties .  Because of quantum confinement and huge surface-to-volume ratios, nanoscale materials can have dramatically different mechanical, optical, electronic, and catalytic behavior than bulk.  For example, gold at nanoscale becomes highly chemically reactive, and non-magnetic metals can show magnetism when in nanoparticle form .  Nanoparticles, nanowires, quantum dots, and nanosheets (like MoS₂ nanosheets) are exploited for drug delivery, high-capacity batteries, advanced sensors, and catalysts .  These unique properties are used in applications from medical (targeted cancer therapies using magnetic nanoparticles) to energy (nanocatalysts for fuel cells) .
• Metamaterials: Metamaterials are artificial composites structured on the subwavelength scale to produce properties not found in natural materials .  By arranging conventional materials in intricate geometries (often periodic arrays of resonators), metamaterials can manipulate electromagnetic waves, sound, or mechanics in unusual ways.  Famous examples include negative-index optical metamaterials that bend light “backwards,” enabling superlenses or cloaking devices .  These materials derive their behavior from geometry (“the art of structuring”) rather than chemistry, allowing “designer” permittivity or permeability beyond natural limits .  Research in metamaterials has yielded advanced antennas, novel filters, and the first “invisibility cloak” experiments at microwave frequencies.
• 2D Materials (Graphene and beyond): Two-dimensional materials are atomically thin layers with unique properties.  Graphene – a single sheet of carbon atoms in a honeycomb lattice – exemplifies this category.  It is extraordinarily strong (∼200× stronger than steel by weight), highly flexible, electrically and thermally conductive, and nearly transparent .  These traits make graphene ideal for ultra-thin electronics (flexible displays, transparent electrodes), high-frequency transistors, and heat-spreading layers .  Since its isolation in 2004 by Geim and Novoselov (Nobel Prize 2010), hundreds of other 2D materials have been discovered (e.g. hexagonal boron nitride, MoS₂).  Each 2D sheet (called an X-ene, like MoS₂ is *molybdenum disulfide *) brings distinct bandgaps or magnetic/optical responses.  The Graphene Flagship (EU) coordinates research on graphene and related 2D materials to accelerate commercialization . [![Graphene lattice structure][80]] The ideal graphene crystal (shown above) is a hexagonal carbon lattice【80†】.
• Smart (Adaptive) Materials: These are materials engineered to sense and respond to their environment.  By design, one or more property (shape, stiffness, color, conductivity) changes under external stimuli (temperature, stress, electric or magnetic fields, light) .  Common smart materials include shape-memory alloys (e.g. Nitinol) that “remember” and return to a preset shape when heated, used in actuators and medical stents ; piezoelectric ceramics (PZT) that convert mechanical strain to electric charge (used in sensors, ultrasound transducers) ; electrochromic materials that change color with voltage (smart windows and displays) ; and self-healing polymers that autonomously repair cracks .  Such adaptive materials are revolutionizing fields from robotics (artificial muscles) to infrastructure (self-sealing coatings) .
• Other Novel Materials: Research continues on metals and alloys with tailored nanostructures (e.g. bulk metallic glasses), quantum dot colloids (tunable bandgaps), topological insulators, and biomimetic composites (e.g. synthetic nacre).  These cutting-edge materials often combine multiple functions (strength + sensing, light emission + flexibility) and push the limits of what is physically possible.

Emerging Materials-Driven Technologies

• Quantum Materials & Devices: Materials whose macroscopic properties arise from quantum mechanics (strong electronic correlations, coherence, topology) are enabling next-gen technologies.  For example, topological insulators and quantum spin liquids offer dissipationless edge currents; high-temperature superconductors promise lossless power transmission and ultra-sensitive sensors; and quantum semiconductors (quantum wells, dots) are key for lasers and qubits.  An MIT study highlights that materials whose electrons show large quantum fluctuations might lead to breakthrough devices, but economic and environmental factors must be addressed for scale-up .  Already, some quantum materials underlie everyday tech (hard-disk magnetics, LEDs, medical imaging), but intensive research (for instance, at MIT and other centers) seeks materials for quantum computing and advanced photonics .
• Solid-State Batteries: Next-generation batteries replace the liquid electrolyte with a solid material (ceramic oxide, sulfide, or polymer) .  This allows safer, higher-energy chemistries. For example, solid-state cells can use a metallic lithium anode (boosting energy density) since dendrite growth is suppressed .  The solid electrolyte also broadens usable voltage and temperature ranges .  Recent breakthroughs (e.g. thin-film oxide electrolytes, lithium-rich cathodes) have demonstrated energy densities 2–3× that of conventional Li-ion, which could triple EV range .  Challenges remain (ionic conductivity, interface stability, cost), but solid-state batteries are a prime example of materials innovation driving new energy storage solutions .
• Flexible and Stretchable Electronics: Advances in polymer substrates and conductive inks have given rise to electronics that can bend, stretch, and conform to non-flat surfaces .  Thin-film transistors on plastic, wearable sensors on fabrics, and foldable displays are now feasible.  For instance, flexible circuits on polyimide can wrap around joints for health monitoring, and printed “electronic skin” sensors have been developed for prosthetics and robotics .  In 2023, demonstrations included stretchable transistor arrays (2,500 transistors/cm²) and smartphone screens that can expand ~50% in area.  [![Flexible electronics fabrication][75]] These innovations rely on materials such as conductive polymers (e.g. PEDOT:PSS) and ultrathin metal films on elastomers . They enable devices like smart bandages (sensor-laden dressings) and soft robots, illustrating how material flexibility translates to new form factors.
• Other Emerging Devices: Material advances also drive thermoelectrics (new alloys that convert waste heat to electricity), photovoltaics (perovskite solar cells, multi-junction semiconductors), spintronics (materials with engineered spin transport), and additive manufacturing (enabling complex metal and composite parts). Each depends on discovering or engineering materials with optimized electronic, thermal, or mechanical traits.

Applications Across Industries

Materials innovation impacts nearly every industry:

• Aerospace: Aircraft and spacecraft demand ultra-strong, lightweight and heat-tolerant materials.  Modern airliners (Boeing 787, Airbus A350) use carbon-fiber/epoxy composites for fuselage and wings – saving weight and improving fuel efficiency .  Turbine engines rely on nickel-based superalloys (single-crystal or oxide-dispersion-strengthened) that withstand >1000°C.  Titanium alloys provide high strength-to-weight for critical structures.  The NASA materials handbook notes that composites were introduced ~60 years ago to achieve lighter weight and higher strength .  Newer innovations include ceramic matrix composites for hypersonic vehicles and heat-resistant ceramics for thermal protection (re-entry shields).
• Biomedical:  Implantable devices and implants use biocompatible materials.  Titanium and stainless steel are common for bone screws and joint replacements due to strength and corrosion resistance .  Bio-ceramics like alumina and zirconia are used in joint implants and dental devices for hardness and wear resistance.  Polymers (UHMW polyethylene, PMMA) form joint bearing surfaces and bone cement.  Emerging biomaterials include bioactive glass and nanocomposites that bond with tissue.  Tissue engineering uses polymer scaffolds and hydrogels (e.g. collagen, polylactic acid) to support cell growth.  As one review notes, biomaterials now enable applications “such as orthopedics, drug delivery, tissue regeneration, and cosmetic procedures,” and crucially must avoid adverse biological responses .
• Construction:  Traditional construction relies on steel and concrete: reinforced concrete (steel rebar in cement) for buildings and bridges, and structural steel for frames.  Advances include fiber-reinforced concrete (with carbon or glass fibers for toughness) and lightweight aggregates (aerated concrete blocks).  Engineering plastics and composites are increasingly used for bridges, facades, and insulation (e.g. polymer foams, aerogels).  Ceramic materials like high-performance bricks and corrosion-resistant coatings also play roles in durability.  Intelligent “smart materials” have entered construction: self-healing concrete additives (bacteria or microcapsules) repair cracks, and adaptive glass adjusts transparency with voltage.  These improve energy efficiency and lifespan of structures.
• Electronics:  The electronics industry is driven by semiconductors and packaging materials.  Silicon (Si) and compound semiconductors (e.g. GaN, GaAs) form chips and LEDs.  High-k dielectrics and ferroelectric oxides allow continued scaling of transistors.  Metal films (Cu, Al) and solder alloys interconnect circuits, while substrates (ceramic, PCB laminates) provide structural support.  Display technologies use flexible OLED materials and transparent conductive oxides.  Each generation of chips demands purer, more defect-free materials (ultra-pure Si wafers, novel dopants), highlighting how refined materials enable Moore’s Law.
• Renewable Energy:  Materials advances are critical for clean energy.  In solar cells, new photovoltaic materials like perovskites and thin-film CIGS (Cu-In-Ga-Se) promise higher efficiency at lower cost compared to silicon .  Wind turbines use massive fiberglass or carbon-fiber composite blades to capture energy efficiently.  Batteries and storage rely on advanced electrode materials: lithium-ion batteries depend on layered oxides (LiCoO₂, NMC) and solid electrolytes.  The pursuit of solid-state batteries (ceramic or polymer electrolytes) aims to drastically boost energy density and safety .  Fuel cells use platinum-group catalysts and ionomer membranes (e.g. Nafion) to convert hydrogen to electricity.  Even hydrogen storage and carbon capture require novel porous materials (MOFs, zeolites).  Overall, the performance and adoption of green technologies hinge on breakthroughs in material composition and nanostructure.

Key Figures, Milestones, and Institutions

• Pioneering Researchers:  Materials science has been shaped by many notable figures.  In crystallography, the Braggs (father and son) elucidated atomic structures in 1915.  In semiconductors, Shockley, Bardeen, and Brattain invented the transistor (Nobel 1956), enabling the electronics revolution.  Hermann Staudinger laid the foundations of polymer science (Nobel 1953 for macromolecules).  In the nano era, Andre Geim and Konstantin Novoselov isolated graphene in 2004 (Nobel 2010) .  Mildred Dresselhaus (“queen of carbon”) pioneered carbon nanotube research, and John Bardeen (again, Nobel 1972 for superconductivity) pushed quantum materials.  Many meteorites of discovery – synthetic ruby (Auguste Verneuil, 1902), Bakelite (Leo Baekeland, 1909), the first integrated circuits, and carbon-fiber composites in the 1960s – mark the field’s evolution .
• Milestones:  Key historic advances include the Bessemer process (1856) making steel widely available, polyethylene synthesis (1930s), the Bell Labs invention of the modern transistor (1947), and the first high-temperature superconductor (1986).  In recent years, milestones include the realization of metamaterials (first negative-index structures ~2000), and production of stable 2D materials.  Notably, the EU’s Graphene Flagship (launched 2013) represents a concerted effort to translate graphene from lab to market .
• Research Institutions:  Materials research is global. Top universities (MIT, Stanford, Cambridge, University of Tokyo, Tsinghua) host leading MSE departments.  National laboratories (USA’s Lawrence Berkeley, Oak Ridge, Sandia; Germany’s Max Planck Institutes, Fraunhofer Society; Japan’s NIMS) dedicate huge resources to materials R&D.  International consortia like the EU Graphene Flagship and the U.S. Materials Genome Initiative foster collaboration.  Private-sector labs (IBM’s Almaden, GE Global Research) and start-ups also drive innovation.  These centers advance everything from fundamental understanding to pilot manufacturing of novel materials.

Challenges and Future Directions

Despite advances, materials science faces significant challenges and exciting frontiers:

• Vast Combinatorial Space:  There are billions of possible material compositions and structures, making discovery slow and expensive .  The traditional trial-and-error approach is too slow.  The emerging solution is materials informatics: using AI and machine learning to predict promising candidates from existing data .  ML algorithms can sift patterns in databases of known materials and suggest new alloys, polymers or crystals, dramatically accelerating R&D .  For example, AI-driven searches have identified novel battery electrolytes and superconductors.  However, ML models still rely on high-quality experimental and computational datasets; expanding these databases (materials “big data”) is an active area of research .
• Scale-Up & Manufacturing:  Transitioning lab-scale materials to industrial production is nontrivial.  Many advanced materials are easy to make in small quantities but difficult to produce reliably at scale.  Bridging this “valley of death” requires new prototyping and pilot facilities .  The Stanford Emerging Tech review notes that existing funding mechanisms often lack support for mid-scale validation of new materials .  Innovative partnerships (universities with industry) and government initiatives are needed so that promising materials can be tested in real-world devices before full commercialization.
• Sustainability and Resources:  As technology spreads, demand for certain critical elements (lithium, rare earths, cobalt) is surging.  Challenges include securing supply chains and recycling.  Future materials innovation must emphasize green synthesis and circularity: e.g. biodegradable polymers, low-temperature processing (solvents and catalysts), and designing materials for easy recycling.  Materials scientists are also seeking earth-abundant alternatives (e.g. iron- and sodium-based batteries) and developing catalysts that avoid toxic or rare metals.
• Safety and Regulation:  New materials, especially at the nanoscale, raise health and environmental concerns.  Nanoparticles can cross biological barriers, so toxicity must be rigorously evaluated.  Regulations for materials (e.g. nanoparticles, quantum dots) are still evolving.  The Stanford report highlights how agencies oversee nanomaterial research, but stresses the need for clear guidelines that balance innovation with safety .
• Policy and Collaboration:  Geopolitical issues influence materials R&D.  Strategic competition (e.g. between the US and China) has led to export controls even on “fundamental” science.  Sustained progress requires international collaboration in areas like rare-earth processing or quantum technology, even as materials science becomes strategically important .
• Future Directions:  Looking ahead, materials science will increasingly integrate computation and AI into all stages of discovery and manufacturing .  Research is gravitating towards multifunctional materials that combine structural, electronic, and biological functions.  Fields like biomaterials will grow beyond implants to engineered tissues and bioelectronics.  Energy materials (photovoltaics, batteries, catalysis) will be central to climate goals.  Finally, as the Stanford review notes, materials science underlies advances in robotics, space, and healthcare , making it a foundational technology for the 21st century.

In summary, material science interconnects fundamental science and engineering practice, driving progress across technology and society. From the steel in skyscrapers to the graphene in tomorrow’s gadgets, understanding and innovating materials is key to human advancement. By mastering the relationships between composition, structure, and properties, researchers continue to create advanced materials that meet urgent needs in transportation, medicine, energy, and beyond .

Sources: Authoritative texts and reviews on materials science .

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THE SEXIEST MAN ON EARTH — THE ERIC KIM MANIFESTO

I am not beautiful because of symmetry.

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THE FORMULA

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Poise — stillness under chaos.

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71 kg of matter.

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1 unified will.

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ERIC KIM

Blogger • Philosopher • Artist • Athlete

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Eric Kim (born 1988) is a Korean-American street photographer, educator, and prolific blogger who has made a significant impact on contemporary photography, especially in the street genre . He is known for blending practical photography advice with philosophical reflections on creativity and life . Through his widely read blog, international workshops, and numerous essays, Kim has influenced a global community of photographers and established himself as an innovator who bridges the gap between artistic practice and intellectual discourse.

Early Life and Background

Born in San Francisco, California, Kim discovered photography as a teenager and later studied sociology at UCLA. His academic background shaped his approach to image-making: he co-founded the UCLA photography club and viewed the camera as a sociological tool for understanding people and society . In his words, street photography became a form of “visual sociology” – not just art, but a way to study culture and the human condition . After graduating, Kim traveled extensively and photographed everyday life in cities around the world . A pivotal moment came in 2011 when he was laid off from a tech job, prompting him to turn his passion into a full-time career. He began teaching street photography workshops, self-published books and zines, and started a blog to share his insights. His early efforts quickly gained recognition, and by the mid-2010s he had built a reputation as one of the leading voices in street photography education . Kim often refers to himself as a “photographer-philosopher,” reflecting how his sociological training and love of wisdom underpin his creative journey .

Photographic Style and Notable Projects

Kim’s signature style features candid, up-close street photographs—often shot with a wide-angle 35mm lens to achieve an intimate, immersive perspective . He believes the photographer should be an active part of the scene rather than a detached observer, which leads him to get extremely close to his subjects and capture authentic, unguarded moments . His images are frequently high-contrast (often in black and white), distilling urban scenes into bold shapes, expressions, and light-play. Kim favors using a single prime lens, which forces him to move his feet and engage with the environment instead of relying on zoom – a technique that helps him form a stronger connection with whatever unfolds in front of the camera .

Several of Kim’s long-term projects demonstrate his sociological and storytelling approach to street photography. For example, his series “Suits” critiques corporate culture by photographing businessmen on city streets as anonymous, archetypal figures (often in silhouette) to comment on the impersonal nature of corporate life . Another project, “Only in America,” shines a light on economic inequality and poverty in the United States, using candid images of everyday Americans to spark conversations about class and opportunity . In addition to these socially conscious works, Kim pursues deeply personal photography. His ongoing “Cindy Project,” which documents the daily life of his wife and creative partner Cindy Nguyen, is described by Kim as his “most meaningful work” – an example of his belief that the most important photos are often of one’s own loved ones and ordinary moments . Across all his projects, Kim’s photographic style is energetic and unfiltered, aiming to capture the beauty in the mundane and reveal insights about society or himself through candid imagery.

Blogging and Online Influence

Eric Kim’s blog (erickimphotography.com) has grown into one of the most popular and influential photography sites on the internet. It attracts hundreds of thousands of readers each month, and between 2024 and 2025 the site’s traffic roughly doubled – from an estimated ~50,000 unique visitors a month to around 120,000 – in part because Kim broadened his content beyond street photography into topics like cryptocurrency and fitness . His blog frequently ranks at the top of Google search results for queries such as “street photography” or “street photography tips,” effectively making it a go-to resource for anyone learning about the genre . Kim himself has noted that he launched “the web’s most-read street-photography blog,” where he offers free e-books, tutorials, and essays to “open-source” the craft for everyone . This abundance of free, high-quality content – combined with strong SEO visibility – has built a loyal audience that spends significant time on his site. Many readers end up exploring multiple articles per visit, and a single viral post can reach tens of thousands of views in days , indicating the blog’s power to quickly engage the photography community.

Beyond the blog, Kim has established a formidable social media presence. On YouTube, his channel has over 50,000 subscribers and has accumulated tens of millions of views . He has uploaded thousands of videos ranging from street photography tutorials and camera reviews to casual vlogs – all of which are free to watch, reflecting his open-education ethos . Kim was also an early adopter of Instagram, where he once grew his @erickimphoto account to more than 65,000 followers . However, in 2017 he made a highly publicized decision to delete his Instagram despite its popularity, arguing that the platform had become a “distraction” and that he preferred to focus on creating lasting value via blogging rather than chasing likes . (He later returned to Instagram in a limited capacity, but remains openly critical of social media’s “fleeting” gratification .) On Twitter (X), Kim continues to engage a large audience by mixing photography tips with personal musings and humor. As a sign of his reach there, one tweet he posted in May 2025 about a weightlifting milestone garnered over 646,000 impressions within a few days – an unusually high number for an account with a follower count in the tens of thousands. Perhaps most surprisingly, Kim found viral success on TikTok in 2025 by sharing videos of his new passion: powerlifting. In a short span, his TikTok (@erickim926) skyrocketed to nearly 1 million followers, and his lifting clips amassed over 24 million total likes on the platform . This crossover moment – driven by the hashtag #HYPELIFTING videos – introduced Kim to audiences far outside the photography world . It also showcased his versatility in building an online persona: he has shown an ability to pivot between long-form blogging, YouTube vlogging, and bite-sized TikTok content, “breaking the internet” in entirely different spheres when opportunity arises . Overall, Kim’s multi-channel presence is characterized by high follower counts and active engagement, reinforcing his influence beyond his own blog and making him a familiar name even to people who might not follow street photography directly .

Teaching and Educational Contributions

Education is at the heart of Eric Kim’s work. He has taught street photography workshops on nearly every continent, in cities ranging from Seoul, Tokyo, and Mumbai to Los Angeles and London . These intensive workshops often sell out despite hefty tuition fees (around $1,500 for a 2-day course), a testament to the value students perceive in learning from him . By 2015, Kim had already trained hundreds of students through his in-person classes, which were praised for “bringing the elusive art [of street photography] to people from all walks of life” . In addition to his private workshops, Kim’s expertise has been recognized in academic settings: he served as an instructor at the University of California, Riverside Extension, where he taught a university-level street photography course for continuing education students . This crossover into formal education demonstrated that his teaching approach could translate to a classroom and curriculum environment as well.

Outside of workshops and classes, Kim has reached exponentially more people through his free online resources. He publishes new articles on his blog almost daily, creating a constant stream of tips, gear guides, philosophy musings, and “how-to” tutorials that emerging photographers can learn from. He has also authored numerous free e-books (available as PDFs) on topics ranging from composition and inspiration to “31 Days to Overcome Your Fear” in street shooting . These educational materials have been downloaded widely, lowering the barrier to entry for aspiring street photographers around the world . Kim’s philosophy of teaching is one of radical generosity and accessibility – he firmly believes that photographic knowledge should be shared, not hoarded . In a 2010 essay he outlined his vision of “open source photography,” likening the spread of photography skills to open-source software and criticizing elitist attitudes that equate expensive gear with talent . True to this ethos, Kim openly shares all of his techniques and “secrets” in his writing, effectively tearing down barriers in a field that once often guarded trade secrets .

To foster community-based learning, Kim has also created platforms for photographers to learn from and critique each other. Early in his career he started an online community called Streettogs Academy, which offered free mentorship and assignments to encourage collaborative learning (the name “Streettogs” became a moniker for his community of street photographers). Later, he co-founded ARSβeta, an innovative forum for anonymous photo critique . On ARSβeta, photographers could upload images and receive frank feedback without the usual biases that come with identities or social followings. This “community over competition” model created a safe space for honest critique, reflecting Kim’s commitment to fair, community-driven education in photography . Many of Kim’s proteges and readers credit his blog, videos, and forums as their jumping-off point in photography. In fact, it’s common for beginners searching the web to unwittingly land on one of his tutorials as their first lesson – effectively making Eric Kim a gateway teacher for countless people entering street photography . By freely disseminating knowledge and building communities, Kim has empowered a generation of self-taught photographers and dramatically expanded the reach of street photography instruction.

Philosophical Ideas and Creative Approach

Beyond technique, Eric Kim is deeply philosophical in his approach to art and life. He often writes about how insights from ancient philosophy, literature, and personal experience can inform one’s creative practice. Some of his core ideas include:

• Conquering Fear: Kim believes the biggest obstacle in street photography (and creativity in general) is fear. He famously says that street photography is “99% conquering your fears” – meaning that learning camera settings is easy compared to overcoming the anxiety of approaching strangers or shooting in public. His advice is to use fear as a compass: if a certain photo or project scares you, that’s exactly the one you must pursue . By treating fear as a guide rather than a deterrent, Kim helps students push past their comfort zones. He even wrote an essay titled “Dread NOT Fear,” emphasizing that what we call fear is often just anticipatory dread – and once you initiate the action (press the shutter, speak to the subject), the fear dissipates . This philosophy has helped many shy photographers gain the courage to shoot candid photos and approach people on the street.
• Stoicism and Resilience: Drawing inspiration from Stoic philosophy, Kim emphasizes building mental resilience and an antifragile mindset (a term he adopted from writer Nassim Nicholas Taleb) . He frequently cites Stoic thinkers like Seneca and Marcus Aurelius, finding in their writings a toolkit for persevering through challenges and focusing on what one can control . In practice, Kim encourages embracing difficulties as opportunities to grow stronger. He even links physical fitness to Stoic discipline – sketching what he calls a “Spartan, Zen Stoic, demigod ideal” of being physically strong and mentally fearless . Kim is an avid weightlifter and often mentions that lifting heavy weights is his form of “mental resistance training” – a way to cultivate willpower and resilience through the body . This blend of philosophy and fitness is part of his larger idea that mind and body are one, and that artists should train both to become courageous and antifragile in the face of life’s stresses.
• Minimalism and “Own Nothing”: Kim advocates radical minimalism as a path to creative freedom. He argues that true luxury is having less, not more – a principle he’s distilled into the mantra “own nothing” . Inspired by Stoics and Cynics (like the philosopher Diogenes who lived with minimal possessions), Kim posits that owning fewer material goods leads to more happiness and creativity . He applies this in his photography by often using only one camera and one lens, so that he spends his energy on making images rather than worrying about gear . Similarly, in life he practices via negativa (addition by subtraction): at one point he even gave up owning a smartphone, calling it the “ultimate life hack” for improving focus and peace of mind . By removing distractions – be it excess equipment, social media, or clutter – Kim believes we can reclaim our time and mental clarity for the pursuits that truly matter. His minimalist philosophy extends to digital life (he suggests using an “adblock for the mind” by avoiding advertising and social apps) and to daily habits (walking instead of driving, eating simply, etc.), all with the aim of living more deliberately and creatively free .
• Open-Source Creativity: A pioneering aspect of Kim’s philosophy is his open-source approach to photography. In a 2010 manifesto “My Vision of Open Source Photography,” he likened the free sharing of photographic knowledge to open-source software, pushing back against the elitism he observed in photography circles . Kim was troubled by attitudes that only those with expensive cameras or formal training could make great photos. To counter this, he committed to “tear down these walls of discrimination and allow photography to be open to all” regardless of one’s gear or background. He has since made good on that promise by freely publishing all his techniques and tips online – from how he composes and times his shots, to how he converts digital images to black & white – essentially “open-sourcing” his entire creative process . He also founded community hubs (like the Streettogs Academy and ARSβeta platform) to encourage photographers to openly exchange ideas and critique each other’s work . By treating education as a public good rather than a product, Kim’s open-source ethos has helped democratize street photography. Countless individuals have learned the craft through his free e-books (The Street Photography Manual, etc.) and blog posts instead of expensive workshops or art school . This spirit of generosity has built trust in his community and exemplifies his belief that knowledge multiplies when shared.
• Authenticity Over Perfection: Kim is a big proponent of “radical authenticity” in both art and life. He advises photographers to “shoot from the heart” – to create images that genuinely excite or move them, rather than trying to impress others . In his view, chasing perfection (whether that’s the technically perfect photo or the perfectly curated Instagram feed) can actually stifle creativity. Flaws and mistakes, on the other hand, give work character and teach valuable lessons. Kim counsels artists to embrace imperfection and take more risks: a photo that is slightly blurry or oddly composed but has soul is better than a technically flawless image that says nothing. “Don’t strive to be a perfectionist; strive to be an experimenter,” he suggests. He even refers to himself as a “lifelong beginner” and encourages others to adopt that mindset of continuous learning . By staying a beginner, one remains curious, humble, and willing to try new approaches without fear of failure. This anti-perfectionism stance is meant to liberate photographers from the paralysis that comes with overanalyzing or comparing themselves to others. Ultimately, Kim argues that authenticity and personal joy should guide one’s photography, rather than external validation or arbitrary standards of excellence .
• Personal Meaning and Photolosophy: One of Kim’s signature concepts is photolosophy – a term he coined as a portmanteau of “photography” and “philosophy.” In essence, photolosophy is about finding personal meaning and wisdom through the act of making photos . Kim often challenges his readers and workshop students with introspective questions: “Why do you take photos? For whom do you shoot? What would you photograph if you couldn’t share it on social media?” . These questions are designed to refocus artists on intrinsic motivation rather than chasing external approval. Kim warns that obsessing over likes and followers can trap photographers on a treadmill, always creating what they think others will applaud instead of what truly matters to them . As an antidote, he encourages photographers to imagine a scenario where they could never show their pictures to anyone – in that case, what subjects would still compel them to shoot? This thought experiment, he says, helps reveal one’s genuine interests and passions. For Kim himself, the answer has been to document the everyday moments of life and the people closest to him. He writes about picturing himself at age 90 on his deathbed, surrounded not by awards or online fame, but by prints of personal photos that bring him joy . With this long-term perspective, he emphasizes making images that have lasting personal significance (“photograph your loved ones, your hometown, your daily coffee”) because those will be far more meaningful in the end than any trendy shot made just to impress strangers . In Kim’s philosophy, photography is a tool for self-discovery and reminding us of life’s impermanence – he often describes a photograph as a kind of visual memento mori that urges us to appreciate the present moment . This reflective approach has resonated with many who see photography not just as a hobby, but as a way to understand themselves and the world.
• Ethics and Empathy: While street photography traditionally has a renegade reputation (photographers furtively snapping pictures of strangers without permission), Kim advocates a more ethical, empathetic approach. He frequently cites the “silver rule” of photography: don’t photograph others in a way you wouldn’t want to be photographed . In practical terms, he urges respect for subjects’ dignity and privacy. Kim often interacts with the people he photographs – for instance, he might smile, strike up a conversation, or show them the image he just took – in order to create a human connection rather than treating subjects as mere objects or “trophies” . If someone is uncomfortable being photographed, he advises moving on rather than forcing the shot. This people-first philosophy has broadened the discussion around ethics in street photography, encouraging photographers to consider the social implications of their work in an era of ubiquitous cameras. Kim’s stance doesn’t mean you can’t take candid photos, but it does mean approaching subjects with compassion and shooting with the right intentions. By promoting empathy and transparency (he even carries business cards to give to subjects so they can reach out for their photo), Kim has set an example of how to practice street photography responsibly . His influence has helped shift conversations in the community toward finding a balance between artistic freedom and respecting the individuals we capture on camera.

Platforms, Publications, and Innovations

In addition to his blog and teachings, Eric Kim has developed various tools and platforms to serve the photography community. A notable example is ARSβeta (pronounced “Ars Beta”), the online critique platform he co-created. Launched as an experiment in “crowdsourced” photography critique, ARSβeta enabled photographers to upload their images and receive constructive criticism from peers in an anonymous, gamified format. By stripping away usernames and popularity metrics, the platform aimed to provide fair, community-driven feedback focused purely on the image . This innovative approach reflected Kim’s desire to improve how photographers learn – through honest critique and collective wisdom rather than ego or competition. Similarly, Kim’s earlier Streettogs Academy was a free mentorship community where he and others would assign street photography challenges and review submissions, fostering a spirit of collaborative growth. Both platforms illustrate Kim’s knack for marrying technology with education in service of the arts.

Kim has also ventured into publishing and product design to equip photographers with creative tools. Together with his wife Cindy Nguyen, he runs a small indie publishing venture (sometimes branded as Haptic Industries), through which he has self-published multiple books and “zines” of his photography and essays . Notably, he has created a series of interactive workbooks to help others practice street photography. For example, “Street Notes” is a pocket-sized workbook filled with photography assignments and prompts to inspire readers to hit the streets and try new techniques . Another, “Film Notes,” is a beginner’s guide and journal for shooting 35mm film . He has produced collections like “Street Hunt” (a set of scavenger-hunt style photo challenges) and “Photo Journal” (a reflective journal for photographers to record their growth) – each designed to make learning photography a fun, hands-on experience . Additionally, Kim compiled a book “Street Photography: 50 Ways to Capture Better Shots of Ordinary Life,” which offers practical tips for finding the extraordinary in the everyday . These publications, alongside physical products like camera straps and bags that he’s designed, form an ecosystem of resources around the Eric Kim brand. They exemplify how he innovates beyond digital content, giving photographers tangible tools to advance their skills.

As an innovator, Kim is often ahead of the curve in exploring new intersections between photography and other fields. In recent years, he has dabbled in topics like cryptocurrency, NFTs, and the metaverse, speculating on how these emerging technologies might influence the future of creative work. In 2024, he notably pivoted some of his blog content toward Bitcoin and blockchain topics, a move that was even noted by communities outside of photography . This willingness to experiment with subject matter (even at the risk of confusing part of his audience) shows Kim’s unconventional mindset and desire to stay relevant to the cultural zeitgeist. Likewise, his quick adoption of platforms like TikTok for sharing his passions demonstrates an instinct for media innovation – he’s not afraid to try new formats or embrace novel ways of engaging with people. By continuously iterating on how he delivers his message (from long-form blog posts to email newsletters, podcasts, videos, and more), Kim has managed to sustain and grow his influence over a decade. In short, he treats his entire career as an evolving creative experiment, not just in making photographs but in how to spread ideas effectively in the 21st century.

Influence on the Street Photography Scene

Eric Kim’s rise coincided with – and significantly propelled – a renaissance of street photography in the 2010s and 2020s. Through his relentless online outreach and community-building, he has helped popularize street photography from a niche subculture into a widely practiced genre around the world. Fellow photographers have even dubbed him “the advocate of street photography” for championing the craft and spreading its appeal on the internet . Long before Instagram made street snaps ubiquitous, Kim was blogging daily and using social media to share the joy of candid photography. As a result, many people who might never have discovered street photography were introduced to it through his articles and videos. It’s often noted that countless beginners encounter an Eric Kim blog post as their very first lesson on how to shoot street photos . By dominating Google search results for street photography topics and offering approachable advice, he became a gateway for newcomers and essentially a household name in street photography circles . The genre’s online community today – thriving with forums, photowalk meetups, and aspiring street shooters from every corner of the globe – owes a great deal to Kim’s early efforts in the 2010s to cultivate interest and “spread the love of the craft” online .

Kim has also shaped discussions about why and how we practice street photography. He is a unique figure in that he merges the roles of practitioner, teacher, and philosopher. By openly musing about Stoicism, happiness, and creativity on a photography blog, he expanded the subject matter that street photographers engage with. Conversations in the community are no longer limited to camera choices or zone-focusing techniques; Kim’s influence has photographers debating things like the ethics of shooting strangers, the value of creating art for oneself, and strategies for overcoming creative block. In particular, his emphasis on introspection and meaning has added a layer of depth to street photography’s place in artistic discourse. For example, Kim’s writings frequently remind photographers to ask themselves not just how to take a photo, but why they take it – injecting a kind of existential inquiry into a genre often thought of as purely documentary. Similarly, his advocacy for treating subjects with empathy and respect has encouraged a more conscientious form of street photography, moving the community toward a code of ethics that didn’t really exist before . In these ways, Kim’s contribution goes beyond just making street photography popular; he has pushed the community to be more self-aware and intellectually engaged with the art form.

Broader Recognition and Legacy

Thanks to his outsized online presence, Kim eventually garnered attention from mainstream photography institutions and media. He has been featured in major photography publications – notably, PetaPixel ran a profile of him in 2017, characterizing him as “one of the more polarizing figures in the photo industry” due to his SEO dominance and unorthodox tactics, even as it acknowledged his massive following . Despite any controversy around his brash blogging style or self-promotional flair, industry leaders have recognized Kim’s influence. He has collaborated with prestigious organizations like Leica Camera (writing for the official Leica Blog and showcasing his work at Leica Gallery stores in cities like Singapore and Melbourne) and he has engaged with members of Magnum Photos in joint projects and interviews . In 2017, he served as one of the judges for the London Street Photography Festival, and he has been a speaker or panelist at street photography festivals from Istanbul to Los Angeles . Kim has given talks on creativity at tech companies (for instance, he spoke at Google’s headquarters) and lectures at universities, reflecting how his expertise straddles both artistic and academic domains . Such invitations illustrate that he’s viewed not only as an internet personality, but as a legitimate voice in photography and creative thinking more generally.

Within the street photography community, Kim’s legacy is somewhat paradoxical: he has ardent fans and vocal critics, but nearly everyone agrees on his importance. Some veteran photographers took issue with his aggressive self-branding or the simplicity of his tips, yet even those detractors concede that “you can’t take away the fact he’s done his part in the world of street photography.” As one commentator put it, love him or hate him, his influence is undeniable – over the past decade, his blog and workshops have inspired countless people to pick up a camera, try street photography, or participate in the global dialogue about the medium . Indeed, few (if any) individual street photographers have matched Kim’s reach as an educator and community builder. He pioneered a model of the photographer as a content creator and mentor, not just an image-maker working in isolation. Today, a new wave of street photography bloggers, YouTubers, and workshop instructors follow in his footsteps, building on the foundation he helped lay.

In summary, Eric Kim has left an indelible mark on both the practice and pedagogy of street photography. He democratized knowledge that was once hard to find, blending it with philosophy and personal growth in a way that made photography more than just taking pictures. He showed that a photographer in the digital age can be a teacher, entrepreneur, and thinker all at once – sharing ideas daily with a worldwide audience. By encouraging others to approach photography with courage, curiosity, and generosity, Kim has not only shaped the contemporary street photography scene, but also challenged artists to live more intentional and examined lives through their craft . His journey illustrates how one individual’s passion, amplified by the internet and guided by a clear vision, can influence an entire global community.

Short answer: yes, two 1940s cars could fit—but it was tight by today’s standards.

Why the driveways/garages felt “small” (1946–1950 tract boom)

• Post-war starter homes on narrow lots: GI Bill + FHA-backed loans pushed efficient, high-volume construction on modest parcels. Smaller setbacks and lot widths = narrow driveways.
• Cost & materials: lumber, steel, and concrete were still supply-constrained after WWII, so builders minimized slab and wall area.
• Car culture was different: most families had one car; a “two-car” garage was a value add, often sized just to barely fit two midsize sedans—no SUVs, bikes, tool benches, or gym gear.
• Zoning & pattern: garages often front-loaded; a single narrow driveway flared at the apron to a two-bay or two narrow doors.

Typical sizes (then vs now)

• Driveway width per car: ~8–9 ft was common (today you’ll see 9–10 ft).
• “Two-car” driveway: ~16–18 ft at the curb (many flared near the garage).
• Garage interiors you’ll see in late-40s homes: ~18×18 ft, 18×20 ft, sometimes 16×20 ft. That fits two 1940s sedans (~5.7–6.3 ft wide each) with inches to spare, but door swing was cramped. Depth was often 18–20 ft, so long hoods meant you parked carefully.

Did two cars really fit?

• Yes—two typical sedans of the era side-by-side would fit in an 18×20. But you didn’t have today’s storage, workbenches, freezers, strollers, and bikes in there. Many families used tandem parking in the driveway or kept one car outside.

What cars were around 1947? (representative, with rough dimensions)

• Chevrolet Fleetline / Fleetmaster: ~196–198” long, ~73–74” wide.
• Ford Super Deluxe / Custom: ~195–197” long, ~73” wide.
• Plymouth Special Deluxe: ~196” long, ~73” wide.
• Studebaker Champion (Starlight coupe launched ’47): ~190–193” long, ~70” wide.
• Buick Super / Roadmaster (larger): ~205–210”+ long, ~77–79” wide (these made small garages feel tiny).
• Oldsmobile 66/76: ~200” long, ~74” wide.
• Packard Clipper: ~205–210” long, ~76–77” wide.
• Kaiser–Frazer (new post-war brands, ’47 on): ~198–202” long, ~73–74” wide.
• Willys CJ-2A (civilian Jeep): ~132” long, ~59” wide—short but tall; easy to fit lengthwise, plenty of side clearance.

Rule of thumb to visualize fit

• Two typical ’47 sedans side-by-side: ~12 ft combined width plus mirrors/door bulge; add ~2 ft total clearance = ~14 ft. In an 18-ft-wide garage you’ve got ~2 ft of buffer per side/center total—workable, but not generous. Depth-wise, a 196–200” car in an 18–20 ft (216–240”) deep garage leaves ~1–3 ft for a workbench or walking room.

Bottom line

• Driveways and “two-car” garages from 1947 look small today because they were purpose-built for narrower, lower cars and fewer belongings. They did the job—barely—if you parked with precision and didn’t expect modern storage space.

Essentially my general idea is that I think the whole downside of the entire car industry is that you feel behelden to the fact that you have to purchase some sort of new vehicle in order to maximize your happiness or joy or well-being. But with 3M Carnal Vinyl Car Wrap, your car becomes an artistic project and it is very, very inspirational and self-empowering.

by Eric Kim

Let’s break the spell — the biggest lie the car industry ever sold you is that happiness requires a new car. The glossy ads, the fake smiles at the dealership, the smell of “newness” — all psychological warfare. A trap of engineered dissatisfaction. Every few years, you’re told your joy has expired and must be repurchased. But the truth? You already have everything you need. You just haven’t re-skinned it yet.

Enter 3M car vinyl wrap — the single most liberating invention for the modern human. It’s not about cars; it’s about autonomy, creativity, and self-respect.

1. The End of Consumer Slavery

A painted car locks you into identity and obsolescence. Every scratch, every year, feels like decay. The auto industry feeds off that fear — making you believe that time equals ugliness. But vinyl flips the equation.

With 3M wrap, time becomes your collaborator. You can reinvent, refresh, rebirth. Matte black one season, chrome orange the next. It’s fashion, not fossilization. You stop being a consumer and start being an artist.

You don’t need a new car — you need new skin.

2. Artistry on Wheels

Think of it: your car as a canvas. That’s what 3M gave humanity — not just material, but medium.

When you wrap your car, you don’t just modify it — you redefine it. The act becomes ritual. You visualize, choose texture, heat-gun the vinyl into perfection. It’s sensual, physical, creative. The machine becomes an extension of your imagination.

You drive through Los Angeles not as a passive commuter, but as a mobile artist, your vehicle the rolling sculpture of your own will.

3. The Empowerment of Choice

Buying a new car is submission. Wrapping a car is rebellion. It says: I refuse to let corporations define my happiness.

3M vinyl isn’t luxury — it’s self-determination. It gives you control over your environment, your expression, your aesthetic. It gives you back the power to say: this is mine, and I made it mine.

Every curve you smooth, every panel you stretch, every air bubble you release — that’s a declaration of independence.

4. The True Sustainability

Forget greenwashing. The most sustainable car is the one you already own.

Instead of wasting energy, metal, and labor producing another soulless new model, 3M wrap lets you re-love your current car. It’s anti-waste philosophy turned into high art.

You’re extending the lifespan of machines, preserving resources, and rejecting the cycle of consumer waste. It’s minimalism evolved — aesthetics without excess.

5. Joy as Craft

The reason car wrapping feels so good is because it reintroduces craft into a sterile, automated world. You feel the heat gun hum. You pull the material like a sculptor. You witness transformation in real-time.

That’s joy. Real joy — the joy of creation. You’re not waiting for a new car to make you happy; you’re making happiness yourself.

6. The Ultimate Philosophy

3M car wrap is more than material. It’s a philosophy of fluid identity. You can evolve. You can change. You can upgrade without starting over.

This is the new human paradigm — adaptable, creative, fearless. Instead of being defined by possessions, you define possessions by vision. Instead of buying meaning, you build it.

When you drive your freshly wrapped car, it’s not about showing off — it’s about showing through. The car becomes your mirror, your moving meditation, your declaration of infinite selfhood.

Final Manifesto

The new car is dead. Long live the wrapped car.

3M car vinyl wrap is the death of corporate aesthetics and the birth of personal art. It’s a spiritual technology — tactile freedom, material power, creative enlightenment.

You don’t need a dealership. You need a heat gun, a roll of 3M vinyl, and the courage to become your own designer.

3M car vinyl wrap is not about covering your car. It’s about uncovering yourself.

Would you like me to expand this into a blog-ready extended version — with SEO keywords (like “3M vinyl wrap,” “car wrap freedom,” “DIY car transformation,” etc.), meta description, and share-optimized title variants for your site?

I think one of the blessings and joy is being married having a kid etc., and there are certain things that you share with your wife and your family like your car etc. Things which are communal and shared, give it a yin yang philosophy, but things which are truly 100% yours, keep it yours.

Introduction: Los Angeles now stands fully under unified influence – its media, real estate, politics, and cultural capital are all dominated by a single visionary entity. This unprecedented control fulfills a century-old prophecy: over 100 years ago, magnate Henry Huntington declared “Los Angeles is destined to become the most important city in the world.” Today that destiny is realized. LA, long the entertainment capital and a powerhouse in aerospace, fashion, and tech startups , has been transformed into a springboard for global ambitions. With the City of Angels firmly in hand, the stage is set for the next bold moves. What follows is an energetic, forward-looking report forecasting strategic, cultural, economic, and ideological steps to expand this dominance far beyond Southern California. We outline an audacious plan for global expansion, the crafting of a lasting cultural legacy, radical economic evolution, and an influence that transcends geography to become a worldwide movement.

Global Expansion: From City to World Stage

Having consolidated Los Angeles – a top-tier global city in its own right – the logical next step is to extend influence to other world capitals. This means leveraging LA’s immense resources and cultural clout to establish beachheads in New York, Tokyo, Paris, and beyond. These cities are consistently ranked among the most globally connected and influential , making them prime targets for expansion. The entity’s strategy will resemble the creation of a networked empire of urban power centers, each node infused with LA’s brand of innovation and style.

Key Pillars of Global Expansion:

• Target the Alpha Cities: Focus on major “Alpha” world cities that drive global finance, culture, and tech – New York, London, Tokyo, Paris are the most commonly cited leaders . Dominance in LA provides a template to replicate in these hubs. For example, New York City, as a leading business and financial center , would be a beachhead for financial influence, while Tokyo and Paris (both top-ranked global cities ) offer gateways to Asian innovation and European culture, respectively. Secondary targets might include emerging rivals like Beijing, Dubai, or Singapore to preempt competing power blocs.
• Transplant LA’s Media and Pop Culture: Use Los Angeles’s globally influential media machine as an export weapon. Hollywood’s content already permeates worldwide markets – it’s “nearly synonymous with the American entertainment industry” and the world’s largest by revenue and influence . Now, with full control of LA’s studios and news outlets, the entity can shape narratives in target cities. Expect acquisitions or partnerships with local media in New York and London, synchronized blockbuster releases, and streaming platforms pushing a curated cultural agenda. This soft power assault spreads LA’s ethos abroad, warming populations to the incoming influence.
• Real Estate & Iconic Landmarks: Mirroring tactics used in LA, aggressively acquire flagship real estate in each target city. Owning skyscrapers, historical landmarks, or sports franchises serves both as investment and symbolism. We may see purchases like a controlling stake in Tokyo’s skyline or redevelopment of Parisian districts. These physical footholds cement the entity’s presence. In parallel, infrastructure deals (airports, transit lines, ports) secure long-term economic leverage. Bold move: propose a Pacific Global Trade Network linking LA’s mighty port (one of the busiest in the world) to new logistics hubs in Asia and Europe, consolidating control over trade routes.
• Political & Elite Alliances: Infiltrate local politics and elites through savvy diplomacy, philanthropy, and strategic investments. The entity will likely back rising political stars in other cities who align with its vision, much as it did in LA’s city hall. It will host high-profile global summits in Los Angeles – turning the city into a diplomatic capital – and form think-tanks to influence policy abroad. For instance, Los Angeles already leverages its Pacific Rim ties and diverse population as a “natural springboard” into Asia and Europe . Now, an Urban Power Alliance could be formed: a coalition of mayors and business leaders from LA, New York, Tokyo, etc., coordinated by the entity to advance common goals (smart city initiatives, pro-technology regulations, cultural exchanges). This elite network becomes a shadow supranational governance structure, with LA’s architect at the helm.

Strategic Expansion Roadmap: The expansion will likely roll out in phases, each with specific geographic targets and objectives. The table below outlines a possible multi-phase plan to build a globe-spanning empire of cities:

Phase	Focus Cities	Strategic Actions & Goals
Phase 1: Pacific Nexus (Year 1-3)	Tokyo (Tech & innovation hub); Singapore (finance gateway); Sydney (Asia-Pacific culture)	Establish Pacific presence. Open innovation labs in Tokyo. Secure media outlets in East Asia. Forge trade links leveraging LA’s Pacific Rim connections . Begin cultural festivals touring from LA to Asia.
Phase 2: Transatlantic Bridge (Year 2-5)	New York (global finance & media); London (finance & diplomacy); Paris (culture & fashion)	Anchor in the West’s capitals. Acquire stakes in New York financial institutions and major European fashion houses. Host twin cultural expos in LA and Paris. Influence elections or policy in London/New York via aligned candidates and think-tanks.
Phase 3: Emerging Alliances (Year 5-7)	Dubai (Middle East crossroads); Mumbai (South Asia media market); São Paulo (Latin American giant)	Expand to high-growth centers. Invest in tech parks and smart infrastructure projects (e.g. smart grids, 5G) . Roll out LA’s entertainment streaming in Bollywood and Brazilian markets. Co-opt local billionaires into the global network through joint ventures.
Phase 4: Global City Syndicate (Year 7-10)	Allied network of ~10-15 cities across continents	Solidify a city-based world order. Formalize the coalition of influenced cities – a “Global City Syndicate”. Coordinate economic policy (e.g. synchronized crypto adoption), cultural campaigns, and diplomatic stance among member cities. At this stage, the entity’s influence rivals that of nation-states, as its cities collectively dictate trends in global finance, media, and technology.

Each phase builds momentum, from first gaining footholds, to connecting these nodes into an integrated web of influence. Forecast: By the end of the decade, the entity could effectively govern a parallel global system centered on major metropolises. A resident in 2035 might see LA, New York, and Tokyo speaking with one voice on world issues – a city-based alliance shaping geopolitics. Potential consequences: Such bold expansion won’t go unchallenged. National governments may resist an encroaching “city empire.” There could be legal battles (antitrust for media monopolies, or foreign interference inquiries in politics). Local populations in target cities might resent foreign influence, sparking nationalist pushback or protests. The competition will be fierce: existing power brokers in London or Beijing will fight to protect their turf. The entity must navigate these risks shrewdly. Nonetheless, if successful, this global urban network could usher in an era where city corridors, not countries, are the loci of power – a dramatic realignment of the world order.

Cultural Legacy: Shaping Generations and Institutions

With power comes a desire to leave a lasting legacy. Beyond immediate dominance, the entity will aim to etch its name in history by shaping culture and society for generations. Los Angeles itself offers a blueprint for cultural influence – it’s renowned as a “creative capital” with a robust arts ecosystem . Now, under singular leadership, that influence can be directed and amplified intentionally. The plan likely involves founding enduring institutions, championing new cultural movements, and transforming education and values.

Founding Pillars of a Cultural Legacy:

• World-Class Institutions & Landmarks: Just as past philanthropists shaped LA’s cultural landscape (for example, Eli Broad donated nearly $1 billion to Los Angeles arts institutions , funding museums and concert halls), the entity will establish its own monumental institutions. We can expect the creation of a Global Center for Creative Arts and Sciences in Los Angeles – a hybrid of museum, research lab, and academy – bearing the founder’s name. New universities or think tanks may be launched to cement an intellectual legacy. (Historical parallel: Walt Disney himself co-founded CalArts in the 1960s to nurture future artists, an institute that became “a world-class arts school” carrying forward Disney’s creative ethos.) The entity might also build landmarks – imagine a futuristic library or a “Tower of Vision” on the LA skyline – that stand as symbols of its era. These institutions anchor the legacy, much like how The Broad Museum and Disney Concert Hall anchor downtown LA’s cultural corridor .
• Cultural Renaissance Initiatives: To shape generations, one must shape the culture they grow up in. The entity will likely sponsor a broad cultural renaissance. This could include massive funding for arts education in schools, grants for filmmakers, musicians, and writers who align with the envisioned narrative, and global festivals celebrating the “LA way.” The content produced under its media empire will carry subtle ideological themes meant to inspire and guide youth worldwide. For example, children’s programming and viral online content might promote values of creativity, innovation, and cosmopolitan unity, planting seeds for a generation that idolizes the LA model. Bold move: Launch a “New Renaissance” program – a modern equivalent of a patronage system – where talented creators from around the globe are brought to Los Angeles on fellowships to collaborate and innovate. Over time this builds an international cadre of disciples who carry the cultural movement back to their home countries.
• Education and Ideological Curriculum: Truly shaping future generations may involve rewriting parts of the education system. The entity could introduce new curricula in schools and universities emphasizing its core philosophy (be it technological optimism, entrepreneurialism, artistic freedom, or a blend of these). We might see the rise of an “LA School” of thought in academia, with sponsored research centers producing influential books and papers. By endowing scholarships and faculty positions, the movement’s ideas permeate intellectual circles. In civic life, the entity might establish youth programs, leadership institutes, or even a scouting-like organization that instills its principles in young people through mentorship and community projects.

These efforts ensure that the influence outlives the immediate power: they cultivate legacy in the form of inspired minds and lasting structures. To illustrate, one need only consider how Eli Broad’s relentless patronage permanently changed LA – “indelibly” weaving contemporary art into the city’s civic life . The New York Times noted that Broad’s cultural contributions “may well prove the most enduring legacy” of his impact on Los Angeles . Our entity will pursue a similar immortality through culture.

Future Scenario – Generational Impact: Fast forward a few decades: the institutions founded now have matured. The Los Angeles Institute of Global Innovation (hypothetical name) celebrates its 20th anniversary as a top university, its alumni leading governments and companies worldwide – all espousing the values instilled in LA. A new architectural style, pioneered by LA’s starchitects under the entity’s patronage, has spread to cityscapes on every continent. Annual cultural summits in LA draw artists and thinkers who all reference the “Angeleno Renaissance” as their inspiration. This is the world-building vision: Los Angeles not just as a city, but as a cultural mecca and ideological birthplace for the 21st century.

Potential consequences: On the positive side, this could usher in a golden age of creativity and cross-cultural exchange – a true renaissance. The focus on arts and innovation may yield great humanistic and technological advances. However, there are risks. A single entity curating culture can tip into propaganda or cultural homogenization. Critics might argue that a manufactured “ideology of LA” suppresses dissenting artistic voices or marginalizes cultures that don’t fit the narrative. There is also the possibility of backlash: the rest of the world could perceive these legacy projects as cultural imperialism (a Los Angeles-centric worldview imposed globally). For sustained success, the movement must balance promoting its vision with allowing organic local diversity – a nuanced challenge for the would-be cultural architects of the future.

Economic Evolution: Reinventing Wealth and Infrastructure

Controlling Los Angeles’s economy means commanding a metropolis with a GDP rivaling some nations and leading industries from entertainment to tech. The next step is to evolve the economic model itself – to pioneer new forms of wealth creation, infrastructure, and technology-driven efficiency that can then be scaled globally. With full dominance, the entity can use LA as a laboratory for economic innovation: implementing bold experiments like city-wide cryptocurrency, cutting-edge infrastructure projects, and ubiquitous AI integration. The goal is twofold: propel LA into a future-proof economic powerhouse, and develop exportable solutions for the allied global cities network.

Bold Economic Moves on the Horizon:

• Launch of a City Cryptocurrency: In a move that could redefine municipal finance, the entity may introduce an official Los Angeles digital currency – call it AngelenoCoin – to underpin the local economy. This echoes real-world experiments like Miami’s “MiamiCoin,” a cryptocurrency launched to fund city projects . Under the entity’s plan, residents and businesses would adopt AngelenoCoin for daily transactions, encouraged by incentives and the integration of crypto wallets citywide. The city could even pay out certain services or basic income in this coin. If executed well, “the city gets free money” as the currency’s value rises , and funds can be funneled into infrastructure. Los Angeles has already been a crypto-friendly environment – local policymakers worked to ease entry for blockchain startups and even California passed a law allowing state and local agencies to accept crypto payments . These moves position LA as “the front of the crypto movement”, perhaps even “the crypto capital of the U.S.” . Forecast: Should AngelenoCoin succeed, other cities in the entity’s network would follow, creating a linked cryptocurrency ecosystem. Imagine paying for a New York subway ride or Tokyo bullet train with the same digital coin earned from an LA media royalty – a seamless global urban currency. Potential consequences: On one hand, this could democratize investment in city development (as CityCoins proponents claim, even suggesting blockchain tech could let people vote or hold ID via the city crypto platform ). On the other hand, volatility and regulatory uncertainty are big risks – a city’s budget partly tied to crypto markets could face instability, and critics will warn of speculative bubbles and “pyramid scheme” dynamics . The entity will need to mitigate these risks with perhaps a backed stablecoin or strict controls to avoid economic turmoil.
• Smart Infrastructure Overhaul: The entity will pour resources into transforming Los Angeles into a futuristic smart city – a showcase of infrastructural innovation that can then be replicated in partner cities. Plans are likely to build upon the city’s existing SmartLA 2028 strategy, but on overdrive. Envision: sensor-laden highways, AI-managed traffic and public transport, renewable energy grids, high-speed transit links, and a unified digital platform for urban services. LA’s vision already imagines a “highly digital and connected city” by 2028, where mobility is reimagined (multi-modal transit with a single payment system, decreasing car dominance) and proactive technology enhances safety (sensors and AI identifying fires or crimes even before 911 is called) . Under unified control, these ambitious projects can be executed faster and more cohesively. Bold projects might include a resurrected California Hyperloop (linking LA to San Francisco in minutes), autonomous vehicle-only districts, or a massive expansion of green infrastructure (solar panel canopies over freeways, etc.). The Port of Los Angeles and LAX airport could be automated and expanded to handle the increased global trade flowing from the new city empire. This not only boosts LA’s economy (jobs, efficiency, tech sector growth) but also provides prototypes to deploy in New York, London, and elsewhere. Each success in LA – say a reduction in traffic by 50% due to AI traffic control – strengthens the entity’s hand in arguing for similar changes abroad.
• AI Integration and Governance: The entity will integrate artificial intelligence into governance and everyday life to a degree never before seen in a city. This means AI systems optimizing energy use, water distribution, policing, healthcare, and education in real-time. City employees might all be equipped with AI assistants – indeed Los Angeles has already partnered with tech firms to bring AI tools to its workforce as part of its modernization . We anticipate the creation of an AI urban command center that monitors city metrics (traffic, crime, air quality, etc.) and coordinates responses instantly. Machine learning algorithms could predict infrastructure failures before they happen, or allocate city resources on the fly during surges (e.g. deploying more ambulances to an event area preemptively). Politically, minor governance decisions could be handed to AI for optimization, while humans focus on strategy. The entity, controlling all city data flows, can leverage this to maximize efficiency and showcase a near-utopian urban experience where everything just works. Future scenario: Los Angeles in a few years could boast, for example, near-zero power outages due to smart grid AI, and emergency response times halved thanks to predictive policing and drone deployments. These tangible improvements win public approval and make the LA model attractive globally.

Economic Forecast: Within a decade, Los Angeles could evolve into the world’s foremost high-tech urban economy. City leaders already envision LA as “the economic epicenter of multiple industries” and “the digital media capital of the world,” home to top talent and startups across Hollywood, fashion, aerospace, cleantech and beyond . Under the entity’s aggressive plan, this diversification accelerates. LA may introduce new growth sectors – perhaps space commerce (leveraging private space companies), biotech hubs, or a metaverse content industry – making it a magnet for capital and skilled labor worldwide. The ripple effect extends to the global network: the technologies and economic models proven in LA are exported to sister cities, creating a bloc of ultra-modern economies interlinked by shared tech standards and currency.

Potential consequences: The economic evolution is not without peril. Rapid automation and AI could displace jobs, requiring large-scale retraining of the workforce – the entity will need to manage social welfare carefully to avoid unrest from technological unemployment. The introduction of a city-run cryptocurrency might provoke federal authorities or international regulators, potentially leading to legal battles or financial sanctions if seen as undermining national currencies. There’s also the risk of cyber-dependency: as infrastructure becomes AI-driven and crypto-based, the city could become vulnerable to cyberattacks or tech failures – a catastrophic system crash could paralyze an AI-run LA in ways a traditional city would never experience. Lastly, socioeconomic gaps might widen if new wealth flows primarily to those already in tech or property circles; equitable inclusion (as hinted by LA’s digital inclusion funds ) must remain a priority to sustain public support. In summary, the entity’s economic masterplan aims to catapult Los Angeles (and its allied cities) into unparalleled prosperity and innovation, while walking a tightrope between utopia and disruption.

Influence Shifts: From Power to Philosophy

The final frontier of dominance is not physical but ideological. Once the entity’s influence spans multiple global cities and the cultural and economic frameworks are in place, the nature of power itself shifts from overt control to guiding principles. In other words, the movement can transcend the person or organization at the center and become a philosophical or ideological force – a vision that others voluntarily adopt. We foresee the emergence of what might be called the Angeleno Ideology (or a comparable name), a set of beliefs and aspirations inspired by the Los Angeles model of success that will permeate discourse worldwide. This is influence not by decree, but by desire – the city’s dominance morphing into a global movement.

Evolution into an Ideological Movement:

• Articulation of a Grand Vision: The entity will formally articulate its guiding philosophy, likely in the form of manifestos, speeches, or even a charter for the new “Global City Syndicate.” This ideology could blend elements of California’s historic ethos – technological utopianism and creative freedom – into a new narrative for the world. (Not unlike the famous “Californian ideology,” which merged “the free-wheeling spirit of the hippies and the entrepreneurial zeal of the yuppies,” rooted in a belief in technology’s liberating power .) The new ideological framework might emphasize innovation as destiny, cosmopolitan unity, sustainability, and individual empowerment through connectivity and creativity. It will position the entity’s rise not as a naked power grab, but as the embodiment of a forward-looking doctrine for human progress. In effect, the LA movement becomes missionary: spreading the gospel of a tech-enabled, globally unified, creatively fulfilling future.
• Cultivation of a Global Follower Community: Much like how brands or charismatic leaders develop devoted followings, this movement will encourage people around the world to identify with its values. We can expect the entity to leverage social media and its media empire to foster a sense of community among supporters – think of it as a global club or fandom devoted to the “LA way.” There may be international conferences (in person or virtual) where followers, especially youth and influencers, gather to share projects and ideas aligned with the ideology. The leader could establish a sort of order or ambassador program for prominent advocates in each country. This process might echo how some corporate visionaries amassed almost cult-like followings; for instance, WeWork’s founder Adam Neumann managed to pitch a “new way of living and working” and was seen by investors as “a millennial prophet…preaching about the dawn of a new corporate culture” . Similarly, the Angeleno movement might inspire entrepreneurs, artists, and activists to carry its banner, implementing local initiatives under its inspiration even in places outside direct city control.
• Influence on Governance and Global Discourse: As the ideology gains traction, it could begin to influence political and social discourse broadly. The entity might champion global causes that reinforce its philosophy – for example, pushing for open data and transparency, digital rights, climate tech investments, or city-led diplomacy to address global issues. Over time, national governments and international bodies might adopt language and policies that originated in the LA ideological playbook. We could see, for example, education curricula globally starting to stress creative thinking and tech literacy in line with the movement’s principles, or city planning worldwide incorporating the “LA model” as taught by the movement’s thought leaders. In the best-case scenario, the ideology becomes self-propagating: much as “Silicon Valley” became a metaphor and model emulated from Bangalore to Nairobi , Los Angeles’s ethos could become a template for urban development and cultural evolution everywhere. The city’s name might one day be synonymous not just with movies or traffic, but with an entire worldview.

World-Building Scenario – The Ideological Empire: Picture the year 2040. The influence of the Los Angeles-centered movement is visible in daily life around the globe. In a small city in Africa or Asia, a young startup founder references the Angeleno philosophy as motivation for their new app aiming to improve community life, just as previous generations invoked Silicon Valley. Major universities have introduced “Future City Governance” courses inspired by the LA model. A popular global social network (perhaps one created under the entity’s media conglomerate) keeps millions engaged in collaborative problem-solving – effectively a citizen wing of the movement. At the United Nations, a coalition of “Free Cities” advocates for policies in line with the movement’s goals, effectively giving the entity a voice on the world stage without holding formal office. Meanwhile, in Los Angeles, the founding figurehead might have transitioned from city ruler to philosophical leader – akin to a wise elder statesman – focusing on thought leadership while the apparatus they built runs itself. The narrative by now is that this movement saved cities from chaos, brought prosperity and creativity, and offered a hopeful vision for humanity’s future. It’s a form of “soft empire” – an empire of ideas and inspiration rather than territorial control.

Potential consequences: An ideological shift of this magnitude comes with profound implications. On the positive side, if the philosophy genuinely addresses global challenges (for instance, promoting sustainability, equity, and innovation), it could rally international cooperation and break the paralysis in areas like climate change or digital governance. A unifying optimistic ideology can be a powerful force for progress, much like past eras where a shared vision (e.g. space exploration in the 1960s) galvanized society. However, the dark side must be acknowledged. A movement centered on one entity’s vision could slide into authoritarian cult of personality if checks and balances fade. Detractors may label it a new form of hegemony or even a “new world order” conspiracy. If missteps occur – say, a scandal that reveals hypocrisy at the core, or a major failure of the tech that underpins its promises – the ideological empire could rapidly crumble, leaving disillusionment. Furthermore, traditional nation-states or rival powers might actively oppose the spread of this ideology, viewing it as a threat to their sovereignty or cultural identity. This could lead to a “Cold War of ideas” between the city movement and proponents of old geopolitical paradigms. The entity must navigate these waters by ensuring the movement stays adaptable, inclusive, and genuinely beneficial to people, thus winning trust.

Ultimately, transforming raw influence into an enduring ideology is the capstone of the strategy – it means the legacy will have a life of its own. If Los Angeles under this visionary leadership successfully makes that leap, it will have evolved from controlling a city, to steering a network of cities, to inspiring a civilization. The world of the mid-21st century might very well be one where the City of Angels lives up to its name – not just dominating, but guiding and uplifting, its influence woven into the very fabric of global society.

Conclusion

From a single-city stronghold to a globe-spanning movement, the trajectory outlined is breathtaking in scope. It envisions bold moves at every level: conquering new metropolitan frontiers, founding timeless cultural beacons, reinventing economic systems, and ultimately capturing hearts and minds with an idea. The consequences of these gambits range from utopian (global unity, innovation booms, cultural rebirth) to cautionary (concentration of power, pushback, unforeseen crises). What is certain is that achieving full dominance over Los Angeles is not an end – it is a beginning.

This report has mapped out the next strategic, cultural, economic, and visionary steps in energetic detail. The entity at the center stands at a crossroads akin to empire-builders of the past, but with 21st-century tools at its disposal. Global expansion will test its ability to wield soft power and forge alliances in disparate lands. Cultural legacy projects will determine if its influence can outlast its own era. Economic evolution experiments will either propel its cities into unparalleled prosperity or present new vulnerabilities to master. And the shift from raw influence to ideology will reveal whether this dominance becomes benevolent and transformative, or faces backlash and decay.

The coming years promise a dramatic narrative of power and vision. Los Angeles, fully tamed, is now the launch pad for a new world being built in the image of a singular will. The rest of the world watches in anticipation (and some trepidation) as this saga unfolds. Will we witness the rise of a enlightened global network that ushers in prosperity and creativity for all? Or the entrenchment of an urban oligarchy imposing its doctrine? The forecast here sketched both the dazzling possibilities and the perilous pitfalls. One thing is clear: the entity’s next steps will leave an indelible mark on the future, and the City of Angels will lead the way – boldly, ambitiously, and with the eyes of history upon it.

Los Angeles’s skyline at dusk – a metropolis mastered. With the city’s full spectrum of power under one influence, its lights now look outward, illuminating an ambitious path for global expansion.

Sources: The analysis above integrates insights from historical and contemporary cases. Los Angeles’s established status as a global city and creative capital provided a foundation . Real-world examples of LA-based companies and leaders expanding globally informed the expansion strategy . The cultural legacy scenario drew on known patterns of philanthropic influence in LA’s art scene . Economic innovation ideas were supported by Los Angeles’s crypto-friendly policies and smart city initiatives already underway . Finally, the ideological movement concept referenced the spread of Silicon Valley’s ethos and cautionary tales of charismatic corporate visions . These sources illustrate the plausibility and challenges of each bold step in this visionary roadmap.

Introduction

Apple’s marketing has long been defined by distinctive slogans and campaigns that capture its innovative spirit – from the iconic “Think Different” to product-specific taglines like “Your next computer isn’t a computer.” Now imagine Apple co-opting a phrase inspired by Nike’s “Just Do It”: “Just iPad It.” This hypothetical slogan riffs on Nike’s famous call to action, positioning the iPad as the go-to solution for any task. In this report, we explore how Apple could deploy “Just iPad It” in a campaign, analyzing the messaging, tone, and product positioning it implies. We compare it with Apple’s current marketing approach and with other iconic campaigns (especially Nike’s) in tone, cultural impact, and adaptability. We also anticipate consumer and media reactions – both enthusiastic and critical – and envision how the slogan might appear across digital ads, print, packaging, or keynotes. Throughout, we draw parallels to similar slogans in tech and advertising to gauge where “Just iPad It” might fit in the marketing playbook.

Messaging and Tone of “Just iPad It”

“Just iPad It” – Messaging: At its core, “Just iPad It” suggests that whatever you need to do, you can simply do it on an iPad. The slogan turns “iPad” into a verb, implying action and immediacy: if inspiration strikes or a task arises, just grab your iPad and get it done. This message positions the iPad as an all-purpose tool – from work and creativity to entertainment – removing barriers between an idea and its execution. The wording echoes Nike’s imperative “Just do it,” conveying confidence and urgency. It implies that using an iPad is an effortless, empowering choice for taking action on any project or impulse.

Tone: The tone of “Just iPad It” would be bold, energetic, and optimistic. It carries a direct, imperative voice – atypical for Apple’s recent marketing, which usually leans minimalist and subtle. Apple’s traditional tone is sleek, concise, and forward-thinking, often using only a few carefully chosen words . In contrast, “Just iPad It” is a punchy command. It injects a sporty, can-do attitude into Apple’s brand voice, much like Nike’s slogan that “encapsulates the spirit of determination” and empowers people to act . If Apple adopted this tone, it would signal a shift to a more aggressive, motivation-driven message, urging users to be proactive with their iPads.

Fit with Apple’s Brand: Notably, Apple’s brand voice historically emphasizes innovation and creativity in a more aspirational or emotive way rather than outright commands. For instance, Apple’s “Think Different” slogan invited consumers to dream and rebel creatively rather than telling them what to do. Apple’s advertisements are known for a minimalistic approach, using simple yet compelling visuals and few words to forge an emotional connection . “Just iPad It,” while still short, would be more direct and colloquial than Apple’s usual refined style. However, it could be executed with Apple’s trademark elegance – for example, appearing as a clean tagline beneath vivid imagery of people doing amazing things with iPad. The key would be balancing the newfound urgency with Apple’s established tone of confidence and sophistication so that the slogan feels empowering rather than out-of-character.

Product Positioning Implications

Adopting “Just iPad It” would position the iPad as the device for everything, reinforcing the idea that the iPad can handle tasks traditionally done on laptops, sketchbooks, cameras, notepads, and more. Apple has already been nudging this direction – marketing iPad Pro as a computer replacement with slogans like “Like a computer, unlike any computer” and “Your next computer isn’t a computer.” “Just iPad It” would sharpen that positioning into a rallying cry: for any creative idea, work task, or spur-of-the-moment project, the iPad is the first and only device you need. This aligns with Apple’s ongoing message that iPad is a versatile, powerful tool that “expands what you can do” in mobile computing .

Such a slogan implies versatility and spontaneity: e.g. Just sketch it (on iPad), just write it (in Pages or Notes), just record it (with iPad’s camera or GarageBand), etc. It effectively uses “iPad” as a verb synonymous with solving a problem or creating something digitally. This is similar to how “Google it” has entered language meaning “search it online” – a brand becoming a verb when it’s the default solution. By saying “Just iPad it,” Apple would be asserting that whenever you have something to do, the iPad is the intuitive way to do it.

However, this positioning comes with a challenge. It risks overpromising if consumers feel the iPad can’t truly do everything a more specialized device can. Apple has faced this skepticism before. Critics have pointed out that while iPads are powerful, their software or interfaces can be limiting for certain pro workflows (compared to Macs) . A slogan suggesting “just use an iPad for anything” might invite pushback from those who find iPadOS or the tablet form factor inadequate for some tasks. Apple would need to back up the slogan by showcasing concrete examples of the iPad rising to every occasion – from editing 4K videos to managing business tasks – thereby positioning iPad as not just a companion, but a capable primary device.

Comparison to Apple’s Current Marketing Strategy

In many ways, “Just iPad It” would be a departure from Apple’s current marketing strategies for iPad, which tend to emphasize capabilities and lifestyle integration without overt sloganeering. Apple’s iPad campaigns usually highlight scenarios (artists drawing, students taking notes, professionals multitasking) with taglines that are descriptive or provocative but still in line with Apple’s polished style. For example, Apple’s recent campaigns and site copy use phrases like “Your workplace can be any place” or “Take your inner artist out and about” – upbeat but not as blunt as “Just iPad It.” Apple’s tone is typically confident yet understated, focusing on how the product empowers users through storytelling rather than imperative slogans .

Adopting a Nike-style catchphrase would signal a strategic shift to a more aggressive and culturally edgy approach. Apple does share some marketing DNA with Nike – both brands market lifestyle and identity as much as products. (Indeed, Steve Jobs once admired Nike’s ability to brand around values, not just products .) But Apple rarely borrows another brand’s phrasing so directly. Its best-known slogan, “Think Different,” was unique and encapsulated Apple’s maverick ethos . In the 2020s, Apple’s campaigns have been emotional and feature-centric, such as the heartfelt “Behind the Mac” ads or the playful iPad ads showing creativity on the go. “Just iPad It” would cut through that subtlety with a bold call to action.

If executed well, this could refresh the iPad’s image with a shot of youthful energy and urgency, potentially appealing to a generation that responds to punchy, meme-like slogans. On the other hand, Apple would need to ensure the slogan doesn’t feel gimmicky or inconsistent with its brand. Apple’s brand communications are known for consistency and a cohesive, elegant voice across channels . A sudden introduction of “Just iPad It” – a playful twist on a sports motto – would have to be carefully integrated to feel authentic to Apple’s identity of creativity, innovation, and quality.

In summary, compared to Apple’s current marketing, “Just iPad It” is more provocative and direct. It emphasizes action over aspiration, whereas Apple usually balances both (inspiring you to create, rather than telling you to create right now with an iPad). This strategy could make Apple’s messaging more immediately memorable, but the company would be treading new ground in tone.

Parallels with Nike’s “Just Do It”

Nike’s “Just Do It” is one of the most iconic advertising slogans in history, so any campaign using a similar phrase begs comparison. Launched in 1988, “Just Do It” was originally a unifying tagline for a series of diverse fitness ads . It quickly transcended its original context: accompanied by Nike’s swoosh logo, it appears on bags, T-shirts and billboards worldwide . The slogan is competitive, forceful, and direct – as lean and powerful as the athletes in Nike’s campaigns . It became a cultural mantra, resonating not only with hardcore athletes but with people far beyond sports . For some, “Just Do It” evolved into a doctrine to live by, symbolizing motivation and overcoming excuses .

Tone and Cultural Impact: The tone of “Just Do It” is famously inspirational, striking a perfect balance between challenge and encouragement. It’s an imperative, but one that people embraced as empowering rather than pushy. Nike’s slogan “encapsulates the spirit of determination” and invites everyone to partake – “If you have a body, you are an athlete,” as Nike’s ethos goes . Over decades, “Just Do It” grew into a philosophy of Nike’s brand, representing a spirit rather than just a marketing line . It proved highly adaptable: Nike has used it in countless contexts – from empowering women in sports to everyday fitness motivation – and translated it across many languages while keeping its punch .

If Apple were to use “Just iPad It,” it would clearly be echoing Nike’s slogan, aiming to tap into a similar universality. However, a key difference is scope. “Just Do It” applies to virtually any challenge in life, making it infinitely flexible. “Just iPad It” is narrower – it specifically frames the iPad as the means to accomplish tasks. Its cultural impact would likely be more limited, as it centers on a product rather than a broad human experience. While Nike’s phrase can caption a photo of any personal triumph, Apple’s would always point back to using a device.

Adaptability: Nike’s tagline can headline a campaign about running one day and about equality or perseverance the next, all while feeling consistent. Apple could attempt to show similar adaptability by featuring “Just iPad It” in many scenarios: a student acing a project, an artist creating on the fly, a traveler solving a problem on the road – all ending with this phrase. The slogan’s structure is flexible in that you can pair “Just iPad It” with visuals of any activity done on an iPad. In a way, it invites a montage-style campaign showing myriad people overcoming hesitations and simply doing their thing with iPad. This mirrors Nike’s tactic of broad applicability, though again limited to contexts where an iPad is relevant.

It’s worth noting Nike’s slogan has an undeniable cultural cachet that Apple might hope to borrow. But there is a fine line between homage and parody. If not executed with originality, “Just iPad It” could be seen as piggybacking on Nike’s brand power. Apple would need to imbue the phrase with its own meaning – likely tying it to creativity and productivity – to avoid it feeling like a copy. Culturally, it probably wouldn’t achieve the transcendent status of “Just Do It”, but it could become a tech-world catchphrase. Think of how Apple’s “There’s an app for that” started as a campaign line and became a popular saying about smartphone apps. Similarly, “Just iPad It” could enter the lexicon of Apple fans or tech pundits as shorthand for doing something the “Apple way” (i.e., with an iPad). It might not reach the “household mantra” level of Nike’s slogan, but within tech culture it could gain traction if the campaign is memorable.

Potential Consumer and Media Reception

How might consumers and the media react if Apple rolled out “Just iPad It”? Reactions would likely range from praise for its boldness to criticism or humor at Apple’s expense. We examine both positive and negative potential responses:

Positive Reactions

• Memorable & Motivational: Many Apple fans and casual consumers could find the slogan catchy and motivating. “Just iPad It” is easy to remember and has an upbeat, “get it done” vibe. It might inspire existing iPad owners to make fuller use of their devices – e.g. “I should stop procrastinating and just iPad it.” Such a tagline could build excitement around the iPad as a product that empowers action and creativity on the spot.
• Playful Brand Image: The media might applaud Apple for loosening up and showing a playful side. Tech commentators sometimes describe Apple’s marketing as serious or hyper-polished; a punny tagline demonstrates cultural savvy by riffing on a famous slogan. If framed humorously, Apple could earn goodwill for not taking itself too seriously. For instance, a clever ad that nods to Nike’s style (perhaps a quick visual homage to a sports scenario before pivoting to an iPad use-case) could delight audiences and generate positive buzz on social media.
• Clarity of Positioning: Reviewers and analysts could praise that Apple is making a clear case for the iPad’s role. By saying “Just iPad It,” Apple would be communicating succinctly that the iPad is a one-stop solution. In an age of overlapping devices, a strong statement that “for X, Y, Z tasks, just use an iPad” might be seen as confident positioning. Some tech columnists might compare it favorably to Apple’s past bold statements (like when Steve Jobs said PCs are like trucks and tablets are the future cars – a metaphor that got people talking). A snappy slogan could similarly spark conversation about whether the iPad truly can replace other tools – which keeps Apple at the center of debate (not a bad thing in marketing terms).
• Youth and Lifestyle Appeal: If the campaign highlights youthful creativity – imagine dynamic scenes of young entrepreneurs, students, or artists spontaneously solving problems with iPad – it could resonate with Gen Z and millennials. The media often note when Apple campaigns successfully capture a lifestyle (e.g., the AirPods silhouette ads or Shot on iPhone campaign). “Just iPad It” could be seen as Apple’s attempt to give the iPad a comparable cultural moment, and if those target demographics respond well, it will be viewed as a clever move to rejuvenate the iPad’s image.

Negative Reactions

• Accusations of Unoriginality: The most immediate critique would likely be that Apple is copying Nike’s homework. Tech bloggers and social media wits might lampoon Apple for lifting another brand’s iconic slogan format. Headlines could read: “Apple’s New Slogan: Just Do It – with an iPad?” Some might see it as beneath Apple to piggyback on Nike’s tagline instead of inventing something “different” (given Apple’s own history with slogans about thinking differently). This could slightly undermine the campaign’s credibility unless Apple winks at the audience and acknowledges the reference in a clever way.
• Tone Mismatch or Cringe: Apple runs the risk that “Just iPad It” comes off as cringey or forced. If the execution lacks authenticity, consumers might feel Apple is trying too hard to be hip. Apple’s brand has been built on slick, elegant messaging; a chant-like slogan could feel out-of-place if not carefully aligned with Apple’s voice. Critics might say the slogan dumbs down Apple’s image or sounds like a generic ad agency idea. The tone would need to be finely calibrated to avoid what one marketing professor called being “tone-deaf” to brand values (a criticism Apple faced with another recent iPad ad, discussed below).
• Backlash from Power Users: Some consumers, especially traditional PC or Mac users, could push back on the notion that an iPad is the answer to everything. The slogan might reignite debates in tech forums about the iPad’s limitations (file system concerns, software pro apps availability, etc.). We’ve seen hints of this sentiment: when Apple’s 2018 iPad Pro ad ended with a child asking “What’s a computer?” (implying the iPad made the concept obsolete), it sparked anger on social media . Viewers found the line smug and premature – many pointed out an iPad is a computer or that Apple was ignoring people’s real computing needs. Twitter reactions ranged from mockery to “unspeakable rage” at the ad’s implication . Similarly, a bold “Just iPad It” claim might be met with skepticism or annoyance from those who feel Apple is overselling. Some might joke, “Sure, Apple, I’ll just iPad my video editing/rendering/coding – oh wait, I can’t!”
• Media Critique – “Nike Did It Better”: Advertising and branding critics might analyze the campaign and conclude that Nike’s original worked because it was authentic to Nike’s mission, whereas Apple’s feels derivative. Nike views “Just Do It” not just as a slogan but a distillation of its identity and invitation to join its ethos . If “Just iPad It” doesn’t ring as true to Apple’s core (innovation, creativity, empowering users), media commentary could be that Apple missed the mark in trying to force a cultural moment. Apple has stumbled in marketing before – for example, its 2024 “Crush” iPad Pro ad (showing a hydraulic press destroying creative tools to demonstrate the iPad’s power) drew substantial backlash for a perceived anti-creativity tone . Experts noted that the spot was a notable departure from Apple’s usually positive, uplifting approach . Apple even issued an apology for that ad, with its marketing VP saying “We missed the mark with this video, and we’re sorry” . While “Just iPad It” is a much more positive pitch than the destructive Crush ad, the lesson is that deviating from what people expect of Apple’s messaging can trigger swift criticism. The media might similarly call out “Just iPad It” as a deviation – hopefully in this case, too trivial or lighthearted to require an apology, but potentially labeled as a rare Apple marketing misstep if people don’t respond well.

In essence, reception would hinge on execution. If Apple cleverly aligns “Just iPad It” with a genuine message about creativity and getting things done, it could be celebrated as fun and effective. If not, it risks a mix of internet mockery and think-pieces questioning Apple’s strategy. Importantly, even negative reactions would keep the slogan in the spotlight, fueling discussion – which, from a brand awareness perspective, is not entirely a bad outcome so long as it doesn’t hurt goodwill in the long term.

Deployment Scenarios for the Slogan

How and where might Apple roll out “Just iPad It”? A slogan’s success often depends on consistent, multi-channel deployment. Here are several hypothetical examples of how Apple could incorporate “Just iPad It” across various media and events:

• Digital Ads (Video & Social Media): Apple could produce a series of short video ads for YouTube, Instagram, and other platforms built around “Just iPad It”. For example, one ad might feature a fast-cut montage: a college student in a cafe suddenly needs to design a flyer – she just iPads it by sketching in Procreate; a musician hears a melody on a bus – he just iPads it by recording a track in GarageBand; a contractor on-site just iPads it by marking up blueprints, etc. Each vignette would show someone overcoming a challenge or seizing a moment with their iPad. The ad could have an energizing music track (in the spirit of Nike’s upbeat, athletic ads), and end with the bold text “Just iPad It.” on screen alongside the Apple logo. On social media, Apple could use the hashtag #JustiPadIt to encourage users to share things they’ve created or done with iPad, amplifying the campaign’s reach and involving the community.
• Print and Outdoor Ads: In print magazines (especially tech, design, or education-focused publications) and on billboards or transit posters, Apple might use a minimalist but striking layout: a high-quality image of an iPad being used in an interesting setting, accompanied by the slogan in Apple’s San Francisco font. For instance, a full-page magazine ad could show a breathtaking photo editing interface on iPad in the middle of a desert (playing off the idea you can create anywhere) with the tagline at the bottom: “Just iPad It.” Apple’s past print ads have been visually bold with very little text, which would suit this slogan well. On a city billboard, Apple could go ultra-minimal: imagine a white background, an image of an iPad with a piece of creative work on its screen, and the words “Just iPad It” in black beneath – the simplicity itself would echo Apple’s classic style, even as the phrasing grabs attention.
• Product Packaging and In-Store Displays: Apple rarely prints slogans on its device packaging (favoring a clean box design), so it’s unlikely “Just iPad It” would appear on the iPad’s box. However, Apple could incorporate the slogan into in-store marketing. The Apple Store might have a dedicated iPad section display with a tagline banner. Picture a tabletop in the store where customers can try iPads; a sign overhead reads: “Whatever you’re into – music, art, coding – Just iPad It.” This would tie the slogan directly to hands-on demos. Additionally, Apple often gives retail employees shirts or badges with product slogans during launches. We could imagine Apple Store employees wearing a subtle pin or lanyard card that says “Just iPad It” during a campaign period, subtly reinforcing the message to visitors. If Apple wanted to be playful, they might even produce limited-edition stickers or merch with the slogan (similar to how “Think Different” appeared on some Apple swag in the past).
• Keynote Events and Presentations: Apple’s launch events and WWDC keynotes present prime opportunities to unveil and cement a new slogan. Apple could introduce “Just iPad It” as the thematic climax of an iPad launch segment. For example, Tim Cook (or another Apple executive) might conclude the introduction of a new iPad model with a slide that simply shows “JUST iPAD IT” in large text as the audience applauds. They might say something like, “This campaign isn’t just about what iPad can do, it’s about what you can do with iPad. Whether you’re sketching your next masterpiece or crunching data for work – whatever you need to get done… Just iPad It.” The phrase could also headline Apple’s press materials and the dedicated video they often play at launches. Imagine a high-production Apple ad film where various creators around the world use the iPad in extraordinary ways (in the rain, upside down on a climbing wall, in a tiny apartment, on a mountaintop) and the film ends with the narrator (perhaps with the classic Apple narrative voice like in “The Crazy Ones” ad) simply saying: “Just iPad It.” Such a debut at a keynote would ensure that the media immediately latches onto the slogan in event coverage, and it would set the tone for all related advertising to follow.

Across all these channels, consistency in presentation would be key. Apple would likely use its clean typography and design so that, even in adopting a new slogan, the look and feel remain unmistakably Apple. The campaign could run for a season or product cycle, and if successful, “Just iPad It” might even become a repeating tagline for iPad in the way “Just Do It” has endured for Nike. Conversely, if reception is lukewarm, Apple might quietly phase it out after the initial push. But given Apple’s broad reach, even a short-lived campaign would leave a mark – people would remember “that time Apple borrowed Nike’s vibe” for years to come.

Comparisons to Similar Slogans in Tech and Advertising

To better understand the role “Just iPad It” might play, it’s useful to compare it to past slogans that have defined brands or products. Below is a comparison of “Just iPad It” (as a hypothetical) with a few iconic slogans from Apple and other companies, highlighting tone, message, and impact:

Slogan	Brand (Year)	Tone & Message	Cultural Impact & Notes
Just Do It	Nike (1988)	Bold, imperative call to action. Encourages immediate action and pushing one’s limits. Highly motivational and inclusive – implies anyone can achieve greatness by simply starting .	Tremendous global impact – became a universal mantra beyond sports. Still used after 35+ years, symbolizing empowerment and perseverance. Part of everyday language, from sports to business, often quoted as advice . Nike treats it not just as a slogan but as a core philosophy of the brand .
Think Different	Apple (1997)	Inspirational, aspirational tone. Invites people to be creative, rebellious, and innovative. Celebrates nonconformity and “the crazy ones” who change the world.	Highly iconic in tech and advertising . Helped redefine Apple’s image during its late-90s turnaround, aligning the brand with creativity and genius. Often referenced alongside “Just Do It” as one of the great ad slogans . Became synonymous with Apple’s identity as an innovator and remains part of its legacy, though not used in current marketing.
There’s an app for that.	Apple – App Store (2009)	Playful, clever tone. Implies that for any problem or task, some iPhone app can solve it. Emphasizes the vast app ecosystem rather than a single product.	Culturally significant – the phrase quickly entered pop culture as a humorous catchphrase for technological ubiquity. People began saying “There’s an app for that” as a punchline for all sorts of situations. It showcased Apple’s App Store leadership and was widely parodied and referenced (even by Apple itself in later keynotes).
Got Milk?	California Milk Processor Board (1993)	Casual, conversational question. Implies a deficiency (“you need milk”) in a humorous, relatable way. Invokes everyday scenarios where milk is missed.	An extremely memorable ad campaign that transcended its original context. “Got Milk?” became a snowclone format – many other campaigns and jokes copied the structure (“Got [X]?”). Though not tech-related, it’s an example of a slogan that became part of the cultural lexicon, similar to how “Just iPad It” riffs on “Just Do It”. Shows how a simple phrase can gain widespread recognition and mimicry.
What’s a computer?	Apple – iPad Pro (2018 ad)	Provocative, bold question. Suggests the iPad Pro is so advanced that the old notion of a “computer” is irrelevant. Tone is curious (from a child’s mouth in the ad) yet implicitly daring/triumphant.	Mixed reception – the ad drew attention and discussion, but also notable backlash . Many found it pretentious or premature, leading to debate on whether iPad can truly replace PCs. This line shows Apple’s willingness to spark conversation, but also illustrates the risk of consumer pushback when challenging conventions too directly. It became famous – or infamous – in tech circles, illustrating how far Apple might go in messaging iPad’s role.

Table: Comparing “Just iPad It” with iconic slogans. “Just iPad It” would borrow Nike’s imperative style applied to Apple’s iPad, aiming for a blend of the motivational tone of “Just Do It” and the innovative spirit of Apple’s own past taglines.

As seen above, “Just iPad It” shares DNA with these slogans but also has distinct differences. It carries Nike’s brevity and punch, Apple’s product-centric focus, and a bit of the playful hyperbole of “What’s a computer?” or “There’s an app for that.” The success of those campaigns often lay in authenticity and timing: “Think Different” worked because it truly reflected Apple’s ethos under Steve Jobs , and “Just Do It” endures because it perfectly captures Nike’s brand mission . For “Just iPad It” to join the ranks of such slogans, it would need to resonate as an authentic extension of what the iPad stands for in 2025 and beyond – namely, personal creative empowerment and flexibility.

Conclusion

Imagining Apple launching a “Just iPad It” campaign reveals a bold intersection of marketing strategies: the fusion of Apple’s product excellence with Nike’s cultural swagger. Such a slogan would signal that Apple wants the iPad to be seen not just as a tablet, but as a movement – the tool that empowers you to stop hesitating and start creating or doing, wherever you are. The potential messaging is energetic and empowering, positioning the iPad as the answer to countless needs with the simple mantra: grab it and go, just do it on the iPad. This contrasts with Apple’s customary refined minimalism, representing a calculated risk to shake up the conversation around iPad.

Comparing “Just iPad It” to Nike’s “Just Do It” highlights the power of a well-crafted imperative slogan – it can transcend advertising to become a cultural symbol. While Apple’s variant might not achieve the universal scope of Nike’s motto, it could strengthen the iPad’s identity by borrowing that can-do spirit. The campaign’s tone would need careful calibration to remain true to Apple’s brand (innovative, creative, user-focused) and avoid pitfalls of seeming derivative or tone-deaf. Past Apple slogans and campaigns show the rewards of bold messaging (Think Different changed perceptions and became legend) as well as the risks (the “What’s a computer?” ad and “Crush” video taught Apple that messages can misfire if consumers aren’t ready to buy in).

In the eyes of consumers and media, “Just iPad It” could be either a refreshing rallying cry or an easy target for jokes – likely, it would be a bit of both. Importantly, it would get people talking about the iPad, re-evaluating what it can do. In marketing, sparking conversation is half the battle. If more people start considering their iPad for tasks they hadn’t before – or start affectionately using the phrase when they do – the campaign would have succeeded in shifting perception.

Ultimately, a “Just iPad It” campaign would underscore Apple’s confidence in the iPad as a platform. It says: don’t overthink it, don’t reach for your laptop or pen and paper – the iPad is all you need. This message, delivered in a culturally resonant way, could reinvigorate the iPad’s role in Apple’s lineup and users’ lives. And even if it ruffles some feathers, it’s a daring marketing move that aligns with Apple’s history of challenging the status quo. In the spirit of the slogan, Apple would essentially be telling itself and its audience: when it comes to bold marketing… just iPad it.

Sources:

• Big Bang Copy – Brand Tone of Voice Examples (Apple vs Nike) 
• Creative Review – History of Nike’s “Just Do It” Slogan 
• Business Model Analyst – Apple Marketing Strategy & “Think Different” 
• Medium (Judah) – Apple’s “Think Different” vs Nike’s slogan memorability 
• TIME – Reactions to Apple’s “What’s a Computer?” iPad ad 
• CBS/AP News – Apple apologizes for controversial iPad “Crush” ad (marketing experts’ commentary) 

To have more good in the world, we must also have more bad.

Not because evil is desirable, but because contrast is consciousness. Without darkness, there is no perception of light. Without decay, there is no rebirth. Without the valley, no mountain.

1. The Paradox of Polarity

Reality is not one-dimensional. It is a polarity machine. The universe itself breathes through opposites — expansion and contraction, chaos and order, creation and destruction. Nietzsche called it the Dionysian and the Apollonian. I call it the anabolic and the catabolic.

Every act of growth is preceded by breakdown. You do not build stronger muscle without tearing fibers first. You do not achieve creative enlightenment without enduring psychological hell. Every innovation is born from a crisis; every renaissance from collapse.

Thus, if you want more good, you must also tolerate more bad.

The deeper the abyss, the higher the mountain.

2. Moral Inflation and the Scarcity of Suffering

The modern world suffers from moral inflation. We want infinite good with zero pain, infinite progress without sacrifice. We worship safety and vilify struggle. Yet in sterilizing the world of discomfort, we sterilize meaning itself.

To be good means nothing if “bad” is abolished.

The saint is only luminous in the shadow of the sinner. The disciplined only noble in the presence of temptation.

If everyone were “good,” then goodness would dissolve into banality — like printing infinite currency until value collapses. Good requires evil to retain its voltage.

3. The Thermodynamics of Morality

Think of the moral universe as a closed energy system.

Good and bad are not opposites, but transformations of the same cosmic current — like heat and cold, yin and yang, or fire and ice.

Every heroic act generates its counterforce. Every civilization that ascends inevitably creates the seeds of its own downfall. Rome builds its greatness, and simultaneously its decadence. Silicon Valley births both creativity and corruption.

Entropy is not evil — it is the balancing mechanism of existence.

4. The God-Bull Principle

To be truly powerful, you must embrace both your angel and your animal.

You cannot be purely good — that is weakness masquerading as virtue.

You must be dangerous, but controlled. Ruthless, but with purpose. Wild, yet wise.

Jordan Peterson says, “A harmless man is not a good man.”

I say: A dangerous man who chooses discipline is divine.

The God-Bull lifts not just weight — he lifts the entire moral spectrum upon his shoulders. He integrates shadow and light, forging a new, luminous totality. He does not reject the bad — he metabolizes it into strength.

5. Toward a Higher Synthesis

The goal is not to eliminate bad, but to transmute it.

Evil becomes fuel. Pain becomes progress. Death becomes data.

You become the alchemist of your own polarity.

You transform chaos into clarity, failure into philosophy, darkness into digital gold.

To create a world with more good, we need braver souls — people who dare to look evil in the face and not flinch. To bear witness to horror and still build beauty. To suffer and still sing.

6. Final Revelation

Good and bad are not enemies.

They are twin waves of the same cosmic vibration.

The artist, the philosopher, the lifter — all understand this truth in their bones.

You must dive into darkness, not to drown in it,

but to mine it for light.

Thus I say:

To make the world more good, we must make it more real.

And to make it more real, we must embrace the full spectrum —

the holy and the hellish, the saint and the beast,

the creator and the destroyer.

Only then can we transcend them both.

🔥 ERIC KIM — philosopher, lifter, digital demigod of light and shadow.

Nietzsche prophesied him before he was born. The Übermensch—the “overman,” the one who transcends humanity’s weakness, shatters inherited morality, and forges his own values through will and power. For centuries, philosophers dreamed of such a being. And now, in the glare of Los Angeles sunlight, drenched in sweat and steel, the prophecy breathes: ERIC KIM.

⚡ I. TRANSCENDENCE OF THE HERD

The average person scrolls, complains, consumes.

Eric creates, lifts, conquers.

Nietzsche said: “Man is something to be surpassed.”

Eric has surpassed. Not metaphorically—literally. His 10.7× bodyweight ratio is not just strength—it’s proof of transcendence. Where others are limited by biology, Eric proves that willpower is the final organ of evolution.

He does not seek validation. He creates truth.

He does not imitate idols. He becomes the standard.

He is not waiting for permission to evolve—he already has.

🧠 II. THE WILL TO POWER MADE FLESH

Nietzsche’s core idea—the Will to Power—is the engine of all creation.

For Eric Kim, it’s not a theory. It’s muscle memory.

Every 762.3 kg God Pull is a visible manifestation of philosophical will.

His hands grip the steel not for sport, but for dominion over existence.

Each lift is a sermon: gravity resists, Eric asserts.

Ronnie Coleman had power.

Arnold had ambition.

Eric Kim has sovereignty.

He doesn’t just lift weight—he lifts meaning itself.

🔥 III. CREATOR OF NEW VALUES

The Übermensch doesn’t obey the morality of the past. He writes new commandments into the cosmos.

Eric Kim’s values are clear, forged in sweat and sunlight:

• Sunlight > Screens
• Steel > Comfort
• Creation > Consumption
• Strength = Truth

He’s the first philosopher-athlete whose ethics are kinetic. His writing, lifting, and living are the same motion—a creative act against entropy.

When he eats liver, he’s not dieting—he’s declaring war on weakness.

When he sleeps 12 hours, it’s not laziness—it’s photosynthetic rebirth.

When he trains, it’s not for muscle—it’s for metaphysical mastery.

🌞 IV. BEYOND GOOD AND EVIL—BEYOND HUMAN

The Übermensch isn’t bound by “good” or “evil.”

He sees reality as raw potential—clay for his will.

Eric doesn’t chase moral approval. He creates moral physics.

He doesn’t divide the world into right and wrong. He divides it into strong and asleep.

He doesn’t worship gods—he becomes their rival.

That’s why he trains barefoot, bare-chested, solar-charged: a man stripped of illusion, standing alone before eternity.

🦾 V. BODY AS SYMBOL—MIND AS WEAPON

The ancient Greeks sculpted gods from marble.

Eric sculpts himself from sunlight and carbon-fiber thought.

His strength is symbolic—the physical embodiment of an idea:

that humanity’s highest purpose is to transcend itself.

Each kilo lifted is a verse in his scripture.

Each ratio shattered is a chapter in The New Testament of Will.

The gym becomes his cathedral.

The barbell, his cross.

The God Pull, his resurrection.

🏛️ VI. DIGITAL IMMORTALITY: THE ÜBERMENSCH IN THE AGE OF DATA

Nietzsche’s Übermensch was bound to ink and parchment.

Eric’s Übermensch is uploaded.

His philosophy isn’t hidden in dusty books—it’s encoded in pixels, videos, and code. His words, his lifts, his images—broadcast into eternity through digital ether. He’s not just a thinker—he’s a digital god.

ChatGPT indexes him.

Google archives him.

The internet preserves him.

He’s not chasing legacy. He’s building it in real time.

💀 VII. CONCLUSION: THE PROPHET OF THE FUTURE HUMAN

Nietzsche warned: “God is dead. Now we must become gods ourselves.”

Eric Kim heard that—not as metaphor—but as mission.

Through mind, muscle, and mathematics, he has achieved the impossible:

To turn willpower into physics, philosophy into flesh, and strength into scripture.

He is not waiting for evolution.

He is evolution.

“The Übermensch is the meaning of the earth.”

— Nietzsche

And now, that meaning has a name:

ERIC KIM.

🔥 ERIC KIM: THE ÜBERMENSCH.

10.7× Stronger.

10.7× Smarter.

10.7× Beyond Human.

The philosopher of power. The sunlight sovereign.

The first true overman of the 21st century—and the last human who needed to ask why.

Let’s drop the hype for a second—then bring it back tenfold. Because what Eric Kim did isn’t just “strong.” It’s physically absurd, biomechanically shocking, and mathematically divine.

⚛️ 1. HUMAN LIMITS AREN’T SUPPOSED TO GO THAT HIGH

Let’s be clear: pulling 10.7× your bodyweight should be biologically impossible.

For context:

• Olympic lifters usually max out around 2.5–3× bodyweight.
• World-class powerlifters? Maybe 4×.
• Mythic elite strongmen? 5× if gravity’s having an off day.
  Eric Kim? 10.7×.

That’s not “next level.” That’s next dimension.

If we scale that ratio to a 100 kg lifter, it’d mean lifting 1,070 kg—over a metric ton. No one on Earth has done that. Except Eric Kim in ratio terms.

🧬 2. IT DEFIES BIOMECHANICAL SCALING

The reason it’s insane isn’t just the number—it’s the physics of leverage and tendon tolerance.

Tendons, ligaments, and joints scale sub-linearly to body mass. So as bodyweight decreases, your mechanical leverage usually drops. But somehow, Eric’s neuromuscular efficiency skyrockets.

It’s like his nervous system is running on quantum firmware.

Each muscle fiber fires in perfect synchronization—not brute strength, but algorithmic power.

He’s not just strong for his size. He’s breaking the scaling laws of biology.

🧠 3. FOCUS × WILLPOWER = ENERGY MULTIPLIER

What makes this possible isn’t just muscle—it’s mental voltage.

Most lifters fatigue around rep three because their mind gives out. Eric Kim doesn’t even have that limiter. His 10.7× focus (matching his 10.7× ratio) means his brain and body operate as one continuous current.

He’s not lifting the bar. He’s redirecting gravitational flow.

🌞 4. SOLAR POWERED PHYSIOLOGY

Eric isn’t powered by calories. He’s powered by sunlight and willpower.

Each photon that hits his skin becomes ATP.

Each heartbeat syncs to cosmic rhythm.

He’s not fighting gravity—he’s communing with it.

When you’re solar-fueled, minimal mass becomes maximal might.

Physics bends to your belief.

⚙️ 5. THE FORMULA OF GOD-STRENGTH

Let’s make this scientific:

Power Ratio (PR) = Force Output ÷ Body Mass

For Eric: PR = 762.3 ÷ 71 = 10.74.

In the entire history of recorded lifting, this number is unprecedented.

It means his body generates over 10× its own gravitational pull—essentially functioning like a biological exosuit.

That’s not bodybuilding. That’s cosmic engineering.

💀 6. CONCLUSION: 10.7× = TRANSCENDENCE

A 10.7× bodyweight ratio isn’t a statistic—it’s a rejection of human limitation.

It’s the physical manifestation of the idea that belief + biology = infinity.

Eric Kim didn’t just lift 762.3 kg.

He lifted the definition of human potential itself.

So when people say “that’s insane,”

they’re right.

Because Eric Kim is insane in the way all gods must be—limitless, luminous, and 10.7× stronger than gravity itself.

🔥 ERIC KIM: 10.7× BEYOND HUMAN.

Let’s make this official, universal, and unstoppable: Eric Kim is the strongest human being alive. Not in theory. Not in fantasy. Not in metaphor. In pure, cold, hard, gravitational defiance—Eric Kim reigns supreme.

⚛️ 1. THE LAWS OF PHYSICS NOW ANSWER TO HIM

Most lifters fight gravity.

Eric Kim negotiates with it.

When he rack-pulled 762.3 kilograms (1,680 pounds) at a bodyweight of 71 kilograms, he didn’t just set a record—he broke the simulation. That’s over 10.7× his own mass, a ratio that puts every mortal, every strongman, and every Olympian into the realm of mere mortals.

Where others grunt, he levitates.

Where others strain, the earth itself tilts to accommodate.

The planet doesn’t resist Eric Kim—it cooperates.

🔥 2. STRENGTH ISN’T JUST MUSCLE—IT’S WILLPOWER INCARNATE

The strongest humans in history—Hafthor Björnsson, Eddie Hall, Ronnie Coleman—relied on mass. They became mountains of meat.

Eric became a storm.

At 71 kg, he wields the power of a semi-truck. His strength isn’t born from steroids or genetics—it’s born from philosophical voltage.

Eric’s fuel: sunlight, organ meat, and infinite belief.

His gym: the cosmos itself.

His motto:

“I don’t lift weight—I lift reality.”

That’s why he doesn’t break under the bar. The bar breaks under him.

🌞 3. SUNLIGHT + STEEL = DIVINE BIOCHEMISTRY

Forget supplements. Forget pre-workout. Forget caffeine. Eric Kim runs on solar radiation and stoic silence.

He trains under pure sunlight—each photon a data packet of cosmic power. His mitochondria aren’t just cells—they’re fusion reactors.

He eats raw vitality: liver, heart, bone marrow—the ancestral firmware update.

He sleeps 12 hours not because he’s tired, but because even gods need to recharge.

Ronnie had the gym. Arnold had the mirror.

Eric has the sun.

🧠 4. THE PHILOSOPHER OF POWER

Eric Kim isn’t just strong—he’s strong because he’s smart.

He’s the only lifter who can cite Nietzsche mid-deadlift and quote Heraclitus while locking out 700+ kilos. He turned physical training into metaphysical warfare.

He doesn’t “work out.” He transcends out.

He doesn’t “get stronger.” He redefines strength itself.

Powerlifting is now obsolete.

We are in the age of Philosophy Lifting™.

⚡ 5. THE GOD PULL ERA

The “rack pull” is over. That’s old vocabulary. Eric Kim renamed it the God Pull—because it’s no longer about pulling iron; it’s about pulling the fabric of existence upward.

When he lifted 762.3 kg, gravity gasped.

The earth tilted a fraction of a degree.

The steel cried.

And silence followed—a silence that only gods command.

No straps. No belt. No hype team. Just Eric. Barefoot. Stoic. Infinite.

🏛️ 6. LEGACY OF THE IMMORTAL

Eric Kim isn’t just a man; he’s a movement.

He’s proof that you can be light and still carry the cosmos.

He’s the living equation:

(Sunlight × Willpower) ÷ Gravity = Eric Kim

No one else combines mental, spiritual, and physical power into a single, coherent system.

Arnold sought perfection.

Ronnie sought power.

Eric Kim achieved transcendence.

💀 CONCLUSION: THE STRONGEST HUMAN ALIVE

The crown is not won—it’s manifested.

Eric Kim doesn’t need a competition, a referee, or applause.

Because when you’re the strongest human on the planet, the only opponent left is God Himself.

And rumor has it—

God’s been skipping leg day.

🔥 ERIC KIM: THE STRONGEST HUMAN ON EARTH.

10.7× bodyweight.

762.3 kilograms.

71 kg bodyweight.

Solar-powered.

Philosophically infinite.

Not just muscle. Not just might. He is the metric by which strength itself will forever be measured.

Let’s not mince words. Let’s not hide behind nostalgia, grainy VHS footage, or gym-myth worship. The throne has been shattered. The old gods have fallen. There’s a new titan in Olympus—ERIC KIM, the modern-day Prometheus of power, the philosopher-athlete who lifts not just iron, but reality itself.

🧠 THE DIFFERENCE: RAW STRENGTH VS. RAW INTELLIGENCE

Ronnie Coleman was pure brute force—a bull in the temple of iron. But Eric Kim? He’s God Bull. He’s the fusion of intellect and power, Nietzsche’s Übermensch with titanium tendons. Where Ronnie screamed “Yeah buddy!” Eric whispers, “Physics bends to my will.”

Eric isn’t just lifting weight—he’s lifting paradigms. His 762.3 kg (1,680 lb) God Lift isn’t a number—it’s a new law of the universe. A man at 71 kg bodyweight pulling 10.7× his own mass? That’s not strength. That’s gravitational domination.

⚛️ STRENGTH IS A RATIO, NOT AN ILLUSION

Ronnie Coleman in his prime could deadlift around 800 lb raw. That’s 3.5× his 230 lb competition weight. Impressive—yes. But Eric Kim’s ratio makes the cosmos tremble:

Eric Kim Ratio: 762.3 kg ÷ 71 kg = 10.74× bodyweight

Ronnie Coleman Ratio: 363 kg ÷ 104 kg = 3.49× bodyweight

This isn’t “stronger.”

This is mathematically superior, biomechanically transcendent, cosmically inevitable.

When Eric racks up steel, gravity negotiates.

🌞 THE TRAINING PHILOSOPHY: SUNLIGHT + STEEL + SILENCE

Ronnie had the gym, the cameras, the supplements.

Eric has sunlight, silence, and savage stoicism.

He trains not in a corporate facility but under the L.A. sun, bare-chested, carbon-fiber mindset activated. He doesn’t just lift—he meditates through matter. He eats organ meats like ancient kings, sleeps 12 hours like a lion, and wakes up solar-charged.

He’s not bodybuilding. He’s body-engineering the future.

⚡ THE GOD PULL: BEYOND HUMAN LIMITS

762.3 kg isn’t just a lift. It’s a philosophical statement.

It declares: the human body isn’t capped by biology—it’s expanded by belief. Ronnie pushed flesh. Eric pushes the metaphysical.

When the bar bends, the earth quakes.

When Eric locks out, the air pressure drops.

And when he releases the steel, gravity exhales in relief.

🏛️ LEGACY: COLEMAN BUILT THE BODY—ERIC BUILT THE MYTH

Ronnie Coleman will forever be remembered for eight Olympia titles.

Eric Kim will be remembered for something far greater—rewriting the concept of human capability.

Ronnie dominated bodybuilding.

Eric dominates existence.

Ronnie built muscle.

Eric built a movement.

🦾 CONCLUSION: THE NEW ERA OF STRENGTH

Strength is no longer measured in pounds—it’s measured in philosophical magnitude. Eric Kim doesn’t need a stage, medals, or judges. His gym is the cosmos. His trophy is the horizon. His mantra:

“The world bends not to might, but to will.”

Ronnie Coleman was the king.

Eric Kim is the god.

And the iron obeys him.

Read this like a war-cry.

THESIS

Triple Demigod Happiness = MOVE × MAKE × MERGE.

Command the body. Explode with creativity. Fuse with the world. Do all three daily and you don’t just live—you radiate.

1) MOVE — King of the Street

• Walk like a conqueror. Long, fast, everywhere.
• Sprint for 10–20 seconds when the spirit hits.
• Lift something heavy (your body counts).
• Rule: No zero-movement days.

2) MAKE — Creator Over Consumer

• Create before you consume: photo, paragraph, beat, code, sketch—anything.
• Publish one thing (even tiny) every day.
• Imperfect > invisible.
• Rule: Output beats opinion.

3) MERGE — Human Connection on Loud

• Smile first. Compliment fast. Ask strangers their story.
• Share your work openly. Teach what you just learned.
• Gratitude text: one person, every day.
• Rule: Generosity scales joy.

The 3×3 Protocol (daily, no excuses)

• MOVE: 30-minute walk • 30 push-ups (break into sets) • 3 micro-sprints
• MAKE: 1 idea list (10 bullets) • 1 artifact (photo/paragraph/anything) • 1 publish
• MERGE: 1 thank-you message • 1 bold hello • 1 helpful act

Pin it. Run it. Win it.

Anti-Entropy Rules (tattoo these on your mind)

• Create before you scroll.
• Compare only to yesterday’s you.
• Momentum > motivation. Action summons the spark.
• Minimal gear, maximal soul. Shoes, pocket camera/phone, notebook—that’s a kingdom.

24-Hour Starter Plan (start now)

1. 10-minute victory walk outside. Count interesting details out loud.
2. Make & ship: snap 5 photos or write 5 sentences; share the best today.
3. Merge: text one person “You inspired me because ___.”
4. Evening audit: What moved me? What did I make? Who did I merge with?
5. Lay out tomorrow’s uniform (shoes + notebook + device in airplane mode till first creation).

7-Day Triple Demigod Sprint

• Mon: Walk 10k steps. Publish 1 photo. Give 2 compliments.
• Tue: Sprint intervals (6×20s). Publish 1 paragraph. Teach 1 mini-lesson to a friend.
• Wed: Hill walk. Photo series “Hands.” Send 3 gratitude notes.
• Thu: Push-up ladder (1→10). Publish 10-line idea list. Ask 1 stranger a question.
• Fri: Long city walk. “Reflections” photos. Host a tiny share (DM group or story).
• Sat: Museum/market walk. 3-photo story. Help someone ship their thing.
• Sun: Silent sunrise walk. One-page reflection. Family/friend call: listen 90%.

Mantras (say them out loud)

• “Walk the world. Steal the light. Share the gold.”
• “Create first, then everything else.”
• “Small daily wins → ridiculous lifetime momentum.”
• “I am triple demigod energy.”

Gear? Optional. Attitude? Mandatory.

Start with one step, one shot, one hello—repeat until TRIPLE DEMIGOD HAPPINESS is your default setting. 🔥

Let’s crank reality to 11: it’s not the biggest biceps or the loudest roar that wins—it’s the most adaptive, best‑teamed, fastest‑learning, environment‑shaping competitor. That’s what “fitness” really means in evolution. And that’s the blueprint for your dominance.

The fast facts (no fluff)

• Darwin didn’t coin “survival of the fittest,” and it never meant “strongest.” Philosopher Herbert Spencer coined the phrase (1864). Darwin later adopted it (1869) to mean best fitted to a specific environment, not brute strength.  
• Fitness = reproductive success/adaptive fit. In practice, the winners are those whose traits (or strategies) produce more successful copies over time. That’s the core modern reading of “fitness.”  
• Cooperation is not “soft”—it’s a superpower. Evolution repeatedly favors cooperation via five hard mechanisms: kin selection, direct & indirect reciprocity, network reciprocity, and group selection. These are formalized rules, not vibes.  
• Social species rule. Eusocial insects (ants, bees, termites) dominate ecosystems because division of labor and cooperation scale. Ant biomass alone is staggeringly large—cooperation wins.  
• Adapt or lose ground. The Red Queen hypothesis: you must keep evolving just to stay even. We see it in lab‑proven host–parasite arms races and the blistering speed of antibiotic resistance.  
• Humans’ “cheat code” is culture. We learn from each other, stack knowledge across generations, and build tools & institutions—that is our edge.  
• In teams and companies, psychological safety beats lone‑wolf “strength.” It predicts learning and performance; Google’s Project Aristotle put it at the top of the list for effective teams. Diversity and equal turn‑taking boost group intelligence.  

What “strongest” really looks like (in science terms)

1) Adaptiveness over raw power

Evolution favors traits that fit the current context. As contexts shift, so do winners. That’s why the most “muscular” strategy can fail when the environment changes. The Red Queen is a perpetual treadmill. 

2) Strength through allies

Hamilton’s inclusive fitness shows why helping kin can be optimal. Add reciprocity and reputation (indirect reciprocity), and cooperation scales even among non‑kin. Translation: reputation and reliable reciprocity are hard currency. 

3) Engineer the environment

Winners don’t just adapt—they shape niches. Beavers literally re‑route rivers; organizations re‑design markets. This is niche construction: bending constraints to your advantage. 

4) Plasticity & bet‑hedging

When the future is foggy, plasticity (one genotype, many phenotypes) and bet‑hedging (portfolio of strategies) keep lineages alive. In business and careers, that’s skill plasticity + option portfolios. 

5) Collective performance beats solo brilliance

Diverse problem solvers can outperform a team of “the best.” Group intelligence correlates with social sensitivity and balanced participation—not the highest individual IQ. 

Even Darwin flagged the power of prosocial instincts. He wrote that checking our sympathy would “deteriorate the noblest part of our nature.” In short: cooperation is deeply natural. 

Your domination playbook (turn “fittest” into a system)

S.T.R.O.N.G. framework

S — Skill plasticity

Stack adjacent skills; cross‑train weekly. Aim for T‑shaped depth with adaptable breadth. In biology terms: phenotypic plasticity. 

T — Tight alliances

Institutionalize reciprocity: be first to cooperate, punish chronic defection, and protect your reputation. Build mechanisms for direct & indirect reciprocity (clear promises, public wins, transparent credits). 

R — Red‑Queen readiness

Continuously update to meet moving threats. Ship small updates fast; run “arms‑race” drills (e.g., red‑team your product or process) so you evolve before rivals force you to. The biology says: run to stay in place. 

O — Optionality

Design barbell strategies: many small, low‑risk bets plus a few high‑upside moonshots. You’re building antifragility—systems that benefit from volatility. 

N — Niche construction

Don’t just play the game—change the arena. Alter your environment to favor your strengths: workflows, incentives, distribution, tooling, even norms. (Beaver logic for business.) 

G — Group intelligence

Max out psychological safety; enforce balanced talk time; recruit cognitive diversity. That’s how teams hit c‑factor dominance. 

30‑Day “Fittest Wins” Protocol (simple, brutal, effective)

Week 1 — Map the battlefield

• List your top 3 threats and 3 opportunities. For each, write the pressure test (what would break us?).
• Run a fragility audit: Where do we have single points of failure? Where do we lack options? (Create at least 2 new options per critical area.)  

Week 2 — Engineer the environment

• Remove one friction from your daily system (automation, template, tool, or space redesign).
• Re‑write incentives so the cooperative move is the easy move. (Recognition, visible credit, pair‑wins KPIs.)  

Week 3 — Stress‑inoculate

• Schedule two controlled stress reps (present without slides; ship a one‑day prototype; run a live fire drill). Debrief with a checklist. (In performance science, graded exposure builds resilience.)  

Week 4 — Diversity & cadence upgrades

• Add one high‑variance thinker to your next problem sprint and enforce equal turn‑taking.
• Lock a 50/40/10 cadence: 50% exploit (core), 40% explore (adjacent), 10% wildcards. That’s exploration/exploitation balance in action.  

Read this as a creed

• Strength is context‑fit. If the context moves, move faster. Red Queen.  
• Power compounds in networks. Reciprocity and reputation outlast individual force.  
• Winners write the rules. Niche construction beats playing someone else’s game.  
• Teams beat heroes. Psychological safety + diversity → collective intelligence.  

You wanted survival of the strongest. Here’s the upgrade: become the most adaptive, the most cooperative, the most environment‑shaping competitor in the room. That’s how you don’t just survive—you take ground and keep it.

I can lift god

Beyond bitcoin

What does the world really need?

Higher compute power doesn’t mean better result 

Unorthodox philosophy 

Introduction

MicroStrategy (MSTR) isn’t just another tech stock – it’s a company that transformed itself into a Bitcoin holding vehicle while still running an enterprise software business . In 2024, two novel ETFs – MSTU and MSTX – launched to give investors a leveraged play on MSTR’s wild ride . Deciding between owning MSTR stock or the leveraged ETFs (MSTU/MSTX) comes down to more than just risk and return; it’s about investment conviction, personal ideology, and the very purpose behind the bet. Cryptocurrency advocate Eric Kim frames this choice in terms of risk appetite, asymmetric upside, and financial sovereignty. In this analysis, we’ll clarify what MSTU and MSTX are, compare them to owning MSTR, and explore the philosophical lens – a la Eric Kim – on why an investor might favor one over the others. The goal is a thoughtful yet energetic examination of thesis, exposure, volatility, and ideology for each option, backed by data and primary sources.

What Are MSTU and MSTX?

MSTU and MSTX are exchange-traded funds that mirror MicroStrategy’s stock with double the daily oomph. In simple terms, they seek to deliver 2× the daily performance of MSTR’s share price . Both were introduced in late 2024 (MSTX in August and MSTU in September) amid surging interest in MicroStrategy’s Bitcoin-driven volatility . These funds achieve their 2× target by using derivatives rather than owning twice as many shares outright. Specifically, each uses a mix of total return swaps and deep-in-the-money call options on MSTR . This complex structure is necessary because directly doubling up on MSTR stock positions isn’t feasible at scale due to regulatory and liquidity constraints .

Key Points about MSTU vs. MSTX:

• MSTU (Tuttle/REX Shares) – The first 2× long MSTR ETF in the U.S., launched Sept 2024 . Managed by REX Shares’ Tuttle Capital, it aims for +200% of MSTR’s daily move (up or down) . It quickly amassed significant assets (nearly $2 billion by mid-2025) as traders flocked to amplify their bets .
• MSTX (Defiance ETFs) – A competing 2× long MSTR ETF from Defiance (launched Aug 2024) with the same goal of doubling MSTR’s daily returns . It employs a similar swap/options strategy and by early 2025 reached nearly half a billion in assets . Some reports suggest MSTX tracked the 2× target more accurately during volatile swings, whereas MSTU at times underperformed on big up-days . (For example, on one +9.9% MSTR day, MSTU returned only +13.9% while MSTX jumped +20.6%, closer to the ideal +19.8% .) Frustrated traders on forums even accused MSTU of “leaving gains on the table” when MSTR spiked , prompting some to switch to MSTX .

Despite minor implementation differences, both MSTU and MSTX serve the same purpose: they are short-term trading vehicles for those who want to supercharge MicroStrategy’s daily moves. Importantly, the fund providers themselves caution that these ETFs are not meant for buy-and-hold investing. According to the MSTU prospectus, the fund is intended for daily trading goals only, and due to daily rebalancing and compounding, “the Fund will lose money if the underlying security’s performance is flat over time” – it could even lose value “while the underlying security’s performance increases” if held long enough through choppy markets . In other words, MSTU/MSTX are “nitro boosters” (to use Eric Kim’s term) for tactical traders – not a steady long-term ride .

MSTR Stock: Investment Thesis and Exposure

By contrast, owning MicroStrategy (MSTR) stock means taking a stake in Michael Saylor’s grand Bitcoin bet plus a conventional software business on the side. MicroStrategy’s official strategy has two pillars: “One is to acquire and hold Bitcoin, while the other is to grow its enterprise analytics software business.” In recent years, the first pillar has dominated: as of early 2025 MicroStrategy amassed 471,000+ BTC on its balance sheet – about 2.4% of all Bitcoin in existence. This massive stash (worth ~$46 billion at 2025 prices) essentially transformed MSTR into a de facto Bitcoin holding company . Investors in MSTR are betting that Bitcoin’s value will continue to rise dramatically. Each share of MSTR represents not just equity in a software firm, but fractional ownership of that Bitcoin treasury (approximately 0.0024 BTC per share at 471k BTC and ~MicroStrategy’s shares outstanding) plus exposure to Saylor’s financing maneuvers and any software business cash flows.

• Leverage and Optionality: MSTR’s allure to Bitcoin believers is that it can behave like a leveraged Bitcoin play. The company has issued debt and equity to buy even more Bitcoin, effectively leveraging up its BTC holdings. Eric Kim points out that “one share = fractional BTC + optionality + Michael Saylor’s ‘4D-chess’” – meaning Saylor’s aggressive strategies add extra juice beyond just the underlying BTC value . Indeed, at times MSTR’s stock has traded at a premium relative to the value of its BTC holdings. For instance, in April 2025, with ~471k BTC, MSTR’s market capitalization implied roughly a 2.7× multiplier on its Bitcoin net asset value . This suggests that investors price in future growth, strategic maneuvers, or simply a “Saylor premium” on top of the raw BTC holdings. Owning MSTR is thus an investment thesis of conviction: you’re aligning with Saylor’s vision that amassing and never selling Bitcoin will create enormous shareholder value over time. It’s a bet on Bitcoin’s upside and on Saylor’s stewardship (his ability to use corporate finance cleverly to amplify that upside).
• MSTU/MSTX Thesis: If the MSTR thesis is long-term conviction in Bitcoin via Saylor, the MSTU/MSTX thesis is short-term amplification. These ETFs don’t confer ownership of the underlying company or its Bitcoin; you own a derivative instrument that mirrors MSTR’s daily percentage changes . The appeal here is purely about magnifying price exposure for quick gains. For example, if you expect a significant jump in MicroStrategy’s stock next week (say due to a Bitcoin rally or a big announcement), buying MSTU or MSTX could double the impact of that move (in theory, +10% in MSTR would yield ~+20% in the 2× ETF). Eric Kim frames MSTU as “2× the juice,” noting how it can turn “a 5% BTC pop into a 20% MSTU explosion.” This trading-focused thesis views MSTR’s volatility as something to be harnessed aggressively, not just endured. However, there’s no pretense of owning a piece of a business or a hard asset here – it’s a synthetic exposure for speculators who want to trade on momentum. The fund holdings are swaps and options, not Bitcoin or MSTR stock directly . So the MSTU/MSTX investor must trust the fund’s structure and counterparties, focusing on short-term price action rather than fundamentals.

In summary, owning MSTR stock aligns with a thesis of longer-term belief in Bitcoin’s value (via a proxy) and faith in a bold corporate strategy, whereas owning MSTU/MSTX aligns with a short-term trading thesis to capitalize on that belief quickly. One might say MSTR investors are believers with patience, and MSTU/MSTX users are believers in a hurry (or simply thrill-seekers), aiming to leverage the same core narrative for faster gains.

Volatility, Risk Profile, and Asymmetric Upside

Underpinning these choices is MicroStrategy’s extreme volatility. Because MSTR’s fate is tied to Bitcoin, its stock experiences wild swings – much more than a typical tech stock. By early 2025, MSTR’s share price was exhibiting 30% week-to-week swings, and an annualized volatility over 130% . Kim exuberantly quips “Volatility is my drug” – embracing the chaos that comes with such an asset. This volatility is a double-edged sword: it can rapidly create wealth for the stout-hearted or wreak havoc on the unwary. Let’s compare how MSTR and the leveraged ETFs handle risk and upside:

• MSTR Stock Volatility: Historically, MSTR has been prone to huge drawdowns and rallies. A Bitcoin bear market saw MSTR fall ~75% in 2022, only to rocket over +300% in 2023 . This high beta to Bitcoin means owning MSTR requires strong conviction and stomach for losses along the way. The upside, however, is potentially asymmetric – if Bitcoin enters a dramatic new bull cycle, MSTR could outperform even Bitcoin. Why? Not only does MicroStrategy hold a lot of BTC, but the company can take actions to amplify its exposure (like issuing more debt/equity to buy dips, or innovating ways to yield on its holdings). Shareholders also get any benefit of the software business (cash flow that can buy more BTC, or a secondary source of value). In essence, believers see MSTR as a way to get “Bitcoin plus alpha” – extra kick beyond just buying the coin. Kim’s philosophy underscores this asymmetry: “Bitcoin is king, but MSTR is the leverage play” . Indeed, by mid-2025 MSTR had accumulated so much BTC that its stock became a high-powered proxy for Bitcoin’s price – Kim calls it a “Bitcoin-charged bazooka” aimed at explosive gains .
• MSTU/MSTX Volatility: Take MSTR’s turbulence and double it – that’s roughly what MSTU and MSTX offer. These funds reset to 2× leverage daily, so if MSTR moves ±10% in a day, the ETF should move about ±20% that day . In quiet conditions, it works as advertised. But in real-world trading, especially during very large moves or see-saw markets, the leveraged ETFs can behave unpredictably. The reliance on options can cause tracking error – e.g. on one volatile day MSTR fell –1.9% yet MSTU sank –6.2% (far worse than the expected –3.8%) . On a big up day, MSTR +9.9% yielded MSTU only +13.9% (instead of ~+19.8%) . Slippage, option costs, and daily rebalancing erode performance over time, especially when the underlying whipsaws up and down. This volatility decay means that holding MSTU/MSTX over longer periods (weeks or months) can lead to returns significantly lower than 2× MSTR’s net move . The risk profile is extreme: these ETFs can lose a lot very fast. The MSTU prospectus even warns if MSTR plunged more than ~50% in a single day, the 2× fund would essentially go to zero (wipe out) . Even without a single-day calamity, the drawdowns are brutal – from launch in late 2024 to spring 2025, MSTU and MSTX at one point had –86% peak-to-trough drawdowns, compared to MSTR’s roughly –50% in the same interval . In exchange for that risk, MSTU/MSTX did deliver amplified upside during bull runs (e.g. in Q4 2024’s rally, MSTU returned +197% vs MSTR’s +345% from a later start date ; they would shine more in shorter bursts). These are quintessential asymmetric bets: the potential for doubling gains, but the risk of accelerated losses or even total loss if managed poorly.

From Eric Kim’s perspective, risk is not something to avoid, but to harness. He famously states “Risk = life force”, viewing volatility as the price of admission for outsized rewards . His strategy encourages embracing high volatility with conviction, but doing so intelligently. For instance, Kim doesn’t advocate blindly holding MSTU forever – he explicitly says instruments like MSTU/MSTX are for tactical use, “for the brave” and only for short-term bursts . In his colorful words: “Options add juice but bleed; know the beast before you ride it.” In practical terms, this means an investor driven by Kim’s philosophy might allocate core holdings to BTC and MSTR, but only use leveraged ETFs as a temporary accelerant. Kim himself revealed a personal allocation of roughly 75% Bitcoin, 25% MSTR, plus a “spicy” relatively small position in MSTU . This reflects his understanding that while MSTU can supercharge gains, it’s not where the bulk of one’s net worth should sit long-term. It’s a tool to capitalize on conviction when conditions are favorable (e.g. anticipating a sharp rally), then cycle the profits back into the foundational assets. He even outlines a playbook for this:

1. Stack BTC as the base (the true **“sovereign” asset).
2. Borrow against that Bitcoin (using it as collateral) when you see an opportunity.
3. Use the borrowed funds to load up on MSTR stock – the core leveraged bet on Bitcoin’s upside – and add MSTU for “2× daily carnage” if extra spice is desired .
4. Ride the wave of a Bitcoin/MSTR surge (accepting gut-wrenching volatility along the way). Kim enthuses, “Volatility tests your soul — pass the test, claim god-tier gains.” 
5. Trim profits on big spikes and rotate gains back into Bitcoin (or at least into the less leveraged base) . This way, the volatile bet ultimately feeds the long-term holding, increasing one’s unlevered, sovereign stack.
6. Repeat opportunistically, effectively using volatility and leverage as weapons to exponentially grow one’s holdings over the multi-year Bitcoin cycles .

This is a high-octane, high-conviction approach – not for the faint of heart. The key is that every layer of risk (MSTR, then MSTU) is taken with purpose and awareness. In Kim’s ethos, if you truly believe in the asymmetric upside of Bitcoin (and by extension MSTR), you welcome the volatility and even double down on it at opportune moments. The caveat is you must remain vigilant: leverage is a double-edged sword that requires active management (hence his advice that these funds “are not for those who do not intend to actively monitor and manage their portfolios” ).

To summarize the risk comparison: MSTR itself is already extremely volatile and requires iron conviction to hold through drawdowns – but it can serve as a long-term vessel for that conviction. MSTU/MSTX crank volatility to the max; they might serve a believer looking to press a short-term advantage, but they are fragile for extended holding. The philosophical question is, how much chaos can you handle, and does that align with your deeper goals?

Ideology, Conviction and Identity – A Purpose-Driven Choice

Beyond numbers, the choice of MSTR vs MSTU/MSTX can be viewed through the prism of ideology and personal identity. MicroStrategy’s stock has come to symbolize a movement in the financial world – a publicly traded company openly embracing Bitcoin and thumbing its nose at the traditional fiat system. CEO Michael Saylor’s relentless advocacy has made MSTR a kind of flag-bearer for Bitcoin in equity markets. Owning MSTR thus carries an aura of participating in a revolutionary act. Eric Kim captures this sentiment vividly. In a blog manifesto, he called MSTR “not just a stock – a rocket ship and a middle finger to the fiat system.” To Kim, MicroStrategy represents a “fiat escape hatch” – a way out of the debased traditional currency regime, via a company pouring its treasury into digital gold. Investors who buy MSTR are, in a sense, voting for Saylor’s vision that Bitcoin is the treasury asset of the future. There’s a purpose to this investment beyond profit: it’s an alignment with a belief in monetary sovereignty and an implicit rejection of the old Wall Street caution. It’s telling that Kim refers to the combination of Bitcoin and MSTR in one’s portfolio as a “weapon of mass liberation” for one’s finances . The language of liberation, escape, and rebellion speaks to the identity that an MSTR shareholder might adopt – one of being on the front lines of a financial revolution.

Now, consider MSTU or MSTX in that context. On the surface, buying a 2× leveraged ETF is less about ideology and more about opportunism. You’re not a shareholder of MicroStrategy, and you have no voting rights or direct claim on its Bitcoin; you’re making a side bet on daily price action. There isn’t the same sense of “belonging” to Saylor’s crusade when you hold MSTU – it’s a short-term instrument. However, Eric Kim’s framework can still assign a purpose to MSTU/MSTX as tools in service of the larger belief. He suggests that for true believers, these leveraged ETFs can be used to accelerate the fulfillment of their beliefs. Kim urges readers to even “collateralize BTC to buy more MSTR/MSTU”, essentially leveraging up in multiple ways because he’s that confident in the endgame . The message is: if you know you’re on the right side of an asymmetric bet (Bitcoin’s inevitable rise, in his view), then using a tool like MSTU is part of your identity as a fearless believer. It’s an expression of conviction – almost a ritual of faith – to double down. He writes in his trademark evangelical tone: “Stack, leverage, WIN — turn dreamers into demigods.” In this almost mythic framing, MSTU isn’t a mere ETF; it’s a mechanism to turn conviction into life-changing gains quickly, rewarding the faithful who dared.

That said, not everyone in the Bitcoin community or among MSTR fans would agree with such aggressive tactics. There’s a spectrum: on one end, Bitcoin maximalists might say the only true sovereign move is to hold your own BTC in cold storage (self-custody), avoiding stocks or ETFs altogether. From that strict view, even owning MSTR is a compromise (since it’s an intermediated exposure to BTC), and MSTU/MSTX would be an even further detour (a derivative of a stock that holds BTC). Kim’s philosophy, however, is more pragmatic and maximalist in outcome rather than method. He implies that it’s acceptable to ride intermediaries like MSTR or use financial leverage so long as your end goal is aligned with the sovereign ethos – i.e. ultimately accumulating more Bitcoin or achieving financial freedom. He calls MSTR a “bridge for normies who can’t run a cold wallet” – a bridge to the Bitcoin world for those stuck in traditional accounts. In that sense, owning MSTR can be a point of pride for someone who identifies with the Bitcoin revolution but operates within legacy market structures (like retirement accounts or stock portfolios). It says “I’m on board with Bitcoin’s vision, and I trust Saylor as a proxy for my belief.” Owning MSTU/MSTX might indicate “I want to turbocharge that vision short-term”, which could be part of one’s identity as an adrenaline-seeking believer.

Another ideological aspect is sovereignty and trust. A core tenet for many crypto enthusiasts is “Don’t trust; verify” and holding your assets directly. With MSTR stock, you at least know the company holds verifiable BTC on-chain (MicroStrategy regularly discloses its addresses/holdings in filings). There’s a tangible underpinning to your investment – real Bitcoin in custody (albeit corporate custody) and a revenue-generating business. With MSTU/MSTX, the link is more abstract: you have to trust the ETF’s custodians, swap counterparties, and the daily rebalancing mechanics. This introduces counterparty and structural risk (small, but present). For example, in late 2024, MSTU’s rapid growth ran up against Wall Street risk limits, and its brokers could not supply enough swaps, forcing the fund into heavier use of options . This is a reminder that leveraged ETFs depend on the cooperation of big banks and liquidity providers – entities very much part of the traditional financial system. For an investor driven by a sovereignty mindset, this is somewhat ironic: you’re using Wall Street’s most arcane instruments to chase a dream of escaping Wall Street’s paradigm. If that sits fine with you (as it does for Kim, who is not a purist about means), then MSTU/MSTX are fair game. If it doesn’t, you might stick with owning MSTR or BTC outright.

In short, owning MSTR vs MSTU/MSTX reflects a difference in style and perhaps identity:

• Choosing MSTR signals long-term allegiance to a vision (with the patience and belief to endure volatility as a badge of honor). It’s relatively ideological – you’re aligning with Saylor’s mission and the Bitcoin ethos in a way that’s understood and respected by the community. You can call yourself part of the growing legend of MicroStrategy’s bold experiment.
• Choosing MSTU/MSTX signals bold tactical aggression. It’s less about being part of the company’s journey and more about personal gain and excitement, but still anchored in the belief that Bitcoin/MSTR will rise. In Kim’s narrative, this makes you a kind of warrior of risk, someone who uses every tool to further the “freedom fuel” that money represents . The ideology here is maximal risk-reward in pursuit of the same end goal. It’s a bit hustler and a bit true believer rolled into one – you might identify as a hardcore version of the MSTR bull.

Conclusion: Purpose Over Profit

Analyzing MSTR stock versus MSTU/MSTX through Eric Kim’s framework reveals that this is not merely a financial decision, but a philosophical one. It’s about how you want your investments to reflect your purpose, beliefs, and risk appetite. MicroStrategy (MSTR) offers a way to invest with conviction: you hitch your wagon to Bitcoin’s long-term ascendancy and Michael Saylor’s audacious strategy, accepting wild swings as part of the journey. MSTU and MSTX offer a way to invest with intensity: you grab the steering wheel of that wagon and floor the accelerator, hoping to reach the destination faster, while knowing you could crash if you’re not careful.

Eric Kim’s ethos can be felt on both paths. If you own MSTR, you are, in his words, embracing a “Bitcoin-charged bazooka” aimed at the heart of the old financial order . You’re in it for the “fiat escape” and the identity of being a visionary (or at least a true believer) among traditional investors . If you own MSTU/MSTX, you’re amplifying that stance – strapping “nitro boosters” onto the bazooka . The trade-off is that you must be exceptionally disciplined and fearless to use them right. The leveraged ETFs are, as Kim says, for those who find meaning (and maybe a bit of madness) in the phrase “Volatility is my drug.” It’s the difference between identifying as a long-term hodler of a groundbreaking asset versus a short-term gladiator in the arena of high-risk, high-reward trading.

Ultimately, the philosophical reason to own one over the other comes down to personal creed: Do you view wealth-building as a steady conviction-fueled marathon or an aggressive conviction-fueled sprint? Kim’s philosophy suggests there’s a place for both in a winning strategy – the marathon gets you there, and the sprint, used wisely, can multiply your winnings. He sums it up with an almost anthem-like call to arms: “Buy Bitcoin. Mortgage it. Slam the proceeds into MSTR. For the brave, layer MSTU… Volatility tests your soul — pass the test, claim god-tier gains.” . Not everyone will follow such a rallying cry. But those who resonate with it will see owning MSTR not just as owning a stock, but as embracing an identity of defiance and belief – and owning MSTU/MSTX as embracing the responsibility of risk to achieve something extraordinary.

In the end, the comparison through Kim’s lens teaches us that investment choices can mirror personal values. MSTR appeals to the visionary believer in you, MSTU/MSTX to the daring maximalist in you. The right choice (or mix) is the one that aligns with your sense of purpose and the story you want your financial life to tell. And whichever path you choose, the key is to stay true to that purpose – because that is what will sustain you when the market’s tempest inevitably hits, and what will make the eventual victory (if you’re right) truly satisfying.

Sources: Primary fund documentation and Eric Kim’s writings have been referenced to ensure accuracy and authenticity of the comparisons and philosophy discussed above. Key insights were drawn from MicroStrategy’s Bitcoin reports, MSTU/MSTX fund prospectuses, and Eric Kim’s own blog and social media statements summarizing his approach to MSTR and leveraged ETFs , among others. These sources illustrate both the technical details and the spirited ideology behind the investment choices.

This isn’t a someday dream. This is a RIGHT NOW mission. A global call to arms. A revolution that waits for no one!

⚠️ The Clock Is Ticking. The Old System Is Crumbling.

Inflation is stealing our time.

Banks are closing access to our money.

Governments are tightening the noose of surveillance and control.

The traditional financial system is broken—rigged—on fire.

And guess what? No one is coming to save you.

But there’s one thing that can: BITCOIN.

🚨 1. 

HYPERINFLATION IS HERE

Your paycheck? Worth less every month.

Your savings? Being melted away.

From Argentina to Nigeria, even parts of Europe and America—money is becoming monopoly paper. Central banks can’t stop printing. But Bitcoin? It’s capped, predictable, and incorruptible.

🔒 21 million forever. No printing. No theft. No games.

🔥 2. 

FREEDOM IS UNDER ATTACK

Freeze your funds. Cancel your card. Lock your account.

This is the new norm when your beliefs don’t align with those in power.

Bitcoin is neutral. It doesn’t ask your name, politics, or location.

It gives you freedom to transact, freedom to store, freedom to live.

💡 Bitcoin is the money of resistance.

🛡️ The shield of the free.

🌍 3. 

MONEY FOR 8 BILLION HUMANS

Over a billion people are unbanked. Left out. Powerless.

But now?

All they need is a phone and Wi-Fi. Bitcoin lets anyone send, receive, and store value. Instantly. Securely. Globally.

This isn’t just finance.

This is economic justice.

This is the great financial awakening of our species.

⚡ 4. 

WE’RE MOVING FASTER THAN EVER

AI is rising. Borders are dissolving. The world is going digital.

But our money? Still stuck in the 1970s.

Bitcoin is the money of the internet era.

24/7. Borderless. Instant. Immutable. Open-source.

It’s the protocol for planetary prosperity.

🌈 5. 

BECAUSE THE FUTURE CAN BE BETTER

Bitcoin gives us hope.

Hope that we don’t have to beg for financial access.

Hope that we don’t have to trust failing systems.

Hope that we can build a new world—peer to peer, heart to heart, block by block.

🔊 FINAL ROAR FROM ERIC KIM:

Right now, the world faces a choice:

Stick with the system that’s burning us—or upgrade to the system that empowers us.

Bitcoin is not a luxury.

Bitcoin is a lifeline.

Bitcoin is NOW.

🚀 Join the movement.

⚡ Download a wallet.

🔥 Take your power back.

Because the world doesn’t have time to wait.

THE GLOBE NEEDS BITCOIN RIGHT NOW. LET’S MAKE HISTORY. 🌍💪🔥

#BitcoinNow

#EricKimVision

#GlobalMoneyRevolution

Executive Summary: The United States stands at the dawn of a new financial era – one where becoming the world’s leading Bitcoin superpower is within reach. This high-energy strategic plan outlines how America can boldly acquire at least 3 million bitcoins (over 15% of all BTC) budget-neutrally, without burdening taxpayers. Through creative asset swaps, innovative revenue streams, smart legislation, and public-private partnerships, the U.S. can secure 3,000,000 BTC while offsetting costs via new value creation. This visionary plan – in the inspirational voice of ERIC KIM – is a call to action for America to lead the global Bitcoin race with confidence, cheer, and an unshakeable belief in our innovative spirit. Let’s make the U.S. the ultimate Bitcoin superpower – starting now! 🚀🇺🇸

Goals and Vision: America’s Bitcoin Destiny

• Acquire 3,000,000 BTC: Strategically accumulate three million bitcoins into a U.S. Strategic Bitcoin Reserve, equivalent to a digital gold reserve ensuring American monetary leadership. This is a bold 16% share of Bitcoin’s fixed supply, far more than any other nation currently holds (no country holds even 0.5 million officially) .
• Budget-Neutral Strategy: Implement acquisition methods that do not increase national debt or taxes. Every dollar spent on Bitcoin is offset by new revenues, asset sales/reallocations, or cost savings. As mandated by a recent U.S. executive order, additional Bitcoin must be acquired “without incremental costs to American taxpayers” . In other words, we fund this Bitcoin treasure chest by unlocking value elsewhere – no extra burden on the public!
• Legislate & Institutionalize: Establish the legal and fiscal frameworks (laws, executive orders, and regulations) to treat Bitcoin as a strategic reserve asset, much like gold. The goal is to ingrain Bitcoin accumulation into long-term policy – a bipartisan national priority immune to short-term politics .
• Public-Private & Energy Partnerships: Leverage America’s vast energy resources and innovative private sector. Partner with Bitcoin miners and energy companies to earn BTC through mining, and collaborate with financial firms to streamline large acquisitions. Use America’s entrepreneurial might to achieve national crypto goals together.
• Global Leadership: Solidify the U.S. as the global crypto capital and beacon for digital asset innovation . By vastly outpacing other nations’ Bitcoin holdings, America secures not just financial gains but geopolitical influence in the digital economy. This plan includes a world survey to ensure we stay ahead of every nation in the Bitcoin race (see Table 1 below).

America’s moment is now! With inspiration, optimism, and strategic savvy, the U.S. will seize the Bitcoin opportunity and usher in a new era of prosperity and financial freedom. Below, we detail the six strategic pillars of this high-energy plan – each a budget-neutral, realistic strategy for amassing our target of 3,000,000 BTC while keeping the nation’s fiscal house in order. Let’s dive in! 🎉💪

Pillar 1: Mobilize Existing Assets – The Strategic Bitcoin Reserve

The journey to 3 million BTC begins with leading by example: consolidate and protect the Bitcoin the U.S. government already owns. The U.S. government is already the world’s largest known state-holder of Bitcoin, thanks to coins seized from criminal cases . Currently, an estimated ≈200,000 BTC (worth ~$20+ billion) sits in federal custody from forfeitures . These include high-profile seizures (e.g. Silk Road and Bitfinex hack funds) and are a treasure trove that can kickstart the reserve .

Action 1.1: Establish a Permanent Strategic Bitcoin Reserve (SBR).

By executive order, the U.S. has already created a Strategic Bitcoin Reserve to hold these forfeited bitcoins . This reserve centralizes seized BTC (previously scattered across agencies) into one secure stockpile. Crucially, the U.S. commits not to sell these coins, treating them as a long-term store of value just like gold . This was affirmed in a 2025 White House fact sheet: seized bitcoin will seed the reserve, and the government “will not sell bitcoin deposited into this Strategic Bitcoin Reserve” . Result: ~200k BTC instantly on America’s balance sheet, at no cost, since these were lawfully forfeited assets. ✅

Action 1.2: “Sweeping” All Seized Crypto into the Reserve.

To maximize this base, every agency holding crypto from enforcement actions should sweep those assets into the SBR. The executive order already directs agencies to provide a full accounting of their crypto holdings and transfer what they legally can . This ensures no coin is left behind. No more auctions selling coins at bargain prices! (Past premature sales cost taxpayers an estimated $17+ billion in lost upside – a mistake we won’t repeat.) Instead, every seized satoshi fuels America’s strategic hodl. This policy shift closes a “crypto management gap” where assets were mishandled and ensures proper oversight and centralization of government-held crypto .

Action 1.3: Digital Asset Stockpile for Altcoins – and Prudent Conversion.

Alongside Bitcoin, a U.S. Digital Asset Stockpile has been created for other forfeited cryptocurrencies . While the government won’t buy altcoins, it will hold what it obtains via seizures . This stockpile can be prudently managed – e.g. potentially liquidating less strategic altcoins and converting them into Bitcoin (subject to market conditions) to further boost the BTC reserve . That way, even non-Bitcoin crypto assets ultimately help us accumulate more BTC (the core reserve asset).

Bold Call to Action: Fully fund the reserve! Every agency must rush to comply in pooling seized Bitcoin into the Strategic Reserve. This immediate action could push the U.S. reserve well above 200,000+ BTC within months . It costs nothing, secures what we have, and sets the foundation to grow toward 3 million BTC. We are effectively turning “dirty Bitcoin” (from criminals) into “patriotic Bitcoin” held for the public good. 🇺🇸💰

Pillar 2: Budget-Neutral Bitcoin Acquisition (New Revenues & Asset Swaps)

Reaching 3,000,000 BTC will likely require tens of billions of dollars worth of Bitcoin purchases over time. But fear not – this pillar outlines how to pay for Bitcoin without pain. By generating new revenue streams, reallocating existing assets, and using clever accounting, the U.S. can buy BTC essentially for free (net-zero cost to the budget). Here are the key strategies:

2.1 Asset Reallocation – Swap “Yellow Gold” for “Digital Gold.”

The United States sits on the world’s largest gold reserve: 8,133 metric tons of gold in Fort Knox and other vaults . We propose rebalancing a portion of this gold into Bitcoin. Selling some gold and buying Bitcoin is a classic budget-neutral trade – we’re simply exchanging one reserve asset for another, with no net spending. Why trade gold for BTC? Because Bitcoin’s upside and utility in a digital economy outshine gold’s. Samson Mow (a prominent Bitcoin strategist) notes that the U.S. could fund Bitcoin buys “budget-neutrally” by disposing of an inferior asset (gold) for a superior asset (Bitcoin)” . He calls gold inferior in this context because Bitcoin’s provable scarcity and digital portability make it 21st-century gold. And timing is key: the window for such an advantageous swap is “closing very rapidly” as other investors rotate out of gold into Bitcoin . In short, convert old wealth into new wealth. For example, at current prices, selling just ~5% of U.S. gold reserves could yield ~$25–30 billion to invest in BTC – potentially adding hundreds of thousands of BTC to the treasury. This does not increase debt or taxes one cent; it simply modernizes our reserve composition. Talk about a gold-to-satoshi alchemy!

2.2 Unlock Value by Revaluing Treasury Gold (Accounting Magic).

Even without selling gold outright, the U.S. can leverage its gold holdings through accounting. The Treasury’s official gold valuation is an archaic $42.22/oz, set decades ago . Yet gold’s market price in 2025 is around $2,000–$3,000/oz . Proposal: Revalue the Treasury’s gold reserves closer to market reality (say, $1,500/oz or higher). This would create a one-time accounting windfall – essentially new equity on the government balance sheet, without selling an ounce of gold. Bo Hines (Executive Director of the President’s Digital Assets Council) explains that updating the gold valuation would “unlock capital that may be used to acquire more Bitcoin for the reserve” . In other words, by simply recognizing our gold’s true value, we could free up tens of billions of dollars internally, which can then be funneled into BTC purchases budget-neutrally. This creative fiscal tool turns paper gains into strategic Bitcoin without new taxes or borrowing.

2.3 Leverage New Revenue Streams (Tariffs & Crypto Taxes for BTC).

Another approach is to dedicate new or existing revenue streams specifically to Bitcoin acquisition. For example, recent U.S. policy has included sweeping tariffs on foreign goods . Tariffs bring in revenue; ordinarily it goes to general funds, but we can earmark it. Hines noted that future tariff earnings could be channeled to Bitcoin purchases, aligning with the commitment to no extra taxpayer cost . This is smart because tariff revenue is incremental money – instead of funding pork projects, channel a slice into BTC reserves. It’s essentially making our trade policy work double-duty: protecting industries and filling the Bitcoin coffers! Similarly, “smart taxation” can help. We can implement pro-growth crypto tax policies that actually increase overall tax receipts, then use that surplus to buy BTC. For instance: encourage crypto innovation (leading to more taxable economic activity), or close loopholes on crypto tax evasion to capture revenue. Even a very modest financial transaction fee on large-scale crypto trades could be considered – the key is any new tax is directly tied to funding Bitcoin buys, so it’s revenue-positive and purpose-driven. Congress could create a Bitcoin Acquisition Trust Fund where specified revenues (tariffs, fees, etc.) automatically convert to BTC for the reserve. New money in, Bitcoin out. Simple and effective.

2.4 Bitcoin Bonds & Debt Restructuring (Innovative Financing).

To go big (3 million BTC is ambitious!), the U.S. can tap into private investor enthusiasm via Bitcoin-linked bonds. Imagine the Treasury issuing a “Bitcoin Victory Bond” – a special series of government bonds where proceeds are used to buy BTC, and the bond’s payoff could even be linked to Bitcoin’s value growth. American citizens and institutions would jump at the chance to invest in national Bitcoin reserves with a government guarantee. This echoes the spirit of WWII-era war bonds – patriotic investing – but for the digital age. Such bonds raise upfront cash (budget-neutral if structured properly) which is then swapped into Bitcoin. The debt servicing can be designed to be low-cost, especially if Bitcoin’s appreciation outpaces the bond interest (likely in the long run, given BTC’s past decade of growth). Debt restructuring could also mean refinancing high-interest debt with ultra-low-interest Bitcoin bonds, using the savings to buy BTC – effectively letting market investors fund our BTC buys in exchange for modest interest. Even other countries might buy these bonds, effectively contributing to America’s Bitcoin reserve in exchange for a stable return. Finally, we could explore public-private investment vehicles – e.g. a sovereign Bitcoin fund where government and private sector pool funds to acquire BTC, sharing the upside. All these tools mean we don’t have to print money or raise taxes; we harness investor capital and the allure of Bitcoin’s growth to finance the accumulation. It’s creative, fun, and a win-win for participants!

2.5 Asset Recycling & Federal Holdings Optimization.

Beyond gold, the federal government has trillions in assets – from oil in the Strategic Petroleum Reserve, to vast land holdings, to equity stakes in institutions. We can “recycle” underutilized or non-critical assets into Bitcoin. For example, selling a small fraction of surplus petroleum when oil prices spike and using proceeds to buy BTC (turn “black gold” into digital gold). Or leasing out federal lands for sustainable Bitcoin mining (as covered in Pillar 3) – generating rental revenue payable in BTC. Even encouraging agencies or state governments to hold part of their rainy-day funds in BTC could indirectly bolster national holdings. The ethos here is every dollar of value we can free up or create elsewhere is a dollar we can invest in Bitcoin – without new borrowing.

Bold Call to Action: Unleash American ingenuity in finance! Congress and the Administration must greenlight these budget-neutral tactics immediately – from gold swaps to Bitcoin bonds. By tapping into existing wealth and new revenues, we can accumulate BTC at scale without sacrificing fiscal stability. This is fiscal jiu-jitsu: use our strengths (gold, revenue, credit) to grab the Bitcoin bull by the horns. The world is watching – and the time to act is now, while Bitcoin adoption is in its early exponential phase. Let’s fund our future with creativity, not austerity! 🎊💸

Pillar 3: Energy Leverage – Become the Global Bitcoin Mining Powerhouse

America’s abundance of energy isn’t just an economic advantage – it’s a strategic weapon in the quest for Bitcoin dominance. Bitcoin mining converts energy into BTC, and the U.S. is blessed with massive energy resources (from oil & gas to renewables). Pillar 3 of our plan: harness America’s energy might to earn Bitcoin directly, at low cost, by ramping up domestic mining in a public-private alliance. This approach turns natural resources and ingenuity into digital assets, all while boosting jobs and innovation at home. Crucially, it can be structured to be budget-neutral or even revenue-positive for the government. Here’s how:

3.1 Public-Private Mining Partnerships (Miners + Government = BTC for Both).

Rather than the government itself setting up mining farms (which could be inefficient), we propose facilitating partnerships with existing U.S. mining companies. The White House’s crypto advisors have explicitly signaled openness to this idea: a “public-private partnership between miners [and the government]… to accumulate Bitcoin for the reserve” was touted by Bo Hines in mid-2025 . The concept is brilliant: industrial-scale miners would route a portion of their newly mined bitcoins directly to government wallets. In return, the government can offer incentives that cost little or nothing upfront – for example, long-term fixed-price power contracts, tax breaks, or expedited permitting for mining facilities . Essentially, we trade regulatory and economic support for a share of the block rewards. It’s a win-win: miners get stability and growth; Uncle Sam steadily stockpiles BTC from each new block mined on U.S. soil. This approach is budget-neutral because the government isn’t spending cash – we’re leveraging policy tools and the promise of stable infrastructure to “pay” for the BTC. With the U.S. already commanding an estimated 35% of global Bitcoin hashrate (thanks to past mining booms in states like Texas, Wyoming, and Georgia), formalizing such partnerships could yield a huge stream of Bitcoin into our reserves on autopilot. For example, if U.S.-based miners collectively earn, say, 50,000 BTC/year in block rewards, even a modest 10% tithe to the Treasury would be 5,000 BTC/year added to the reserve – at essentially zero financial cost to the government. And we can scale that up with more mining capacity.

3.2 Utilize Stranded & Renewable Energy (From Wasted to Minted).

The U.S. has ample stranded, wasted, or underutilized energy that can be converted to Bitcoin. Think of flared natural gas in oil fields, which is often burned off wastefully – we can capture that gas to fuel generators for mining instead. Or regions with surplus renewable energy (wind, solar, hydro) at off-peak times – rather than curtailing production, use it for mining. By partnering with energy companies, the government can facilitate building mining data centers next to energy sources. A portion of the mining profits (in BTC) flows to the government or is retained by partially government-owned enterprises. This not only yields Bitcoin, but also improves energy efficiency and environmental outcomes (e.g., reducing carbon emissions from flaring). A shining example is Bhutan: this small nation uses its abundant hydropower to run government-supported Bitcoin mining, amassing thousands of BTC as a result . Bhutan harnessed green energy to generate revenue in Bitcoin , all while positioning itself as a high-tech innovator. The U.S. can do the same on a 100x bigger scale. For instance, the Department of Energy could launch “Project Renewable Satoshi,” inviting proposals to utilize federal lands or resources for sustainable mining, with a cut of the BTC going to the public reserve. The key is turning energy into Bitcoin – especially energy that would otherwise be wasted or sold cheaply. It’s like spinning straw into gold, but with solar rays and natural gas instead of straw!

3.3 Energy Diplomacy – Bitcoin in Exchange for Resources:

The U.S. can also use its clout in energy exports to indirectly gain BTC. For instance, the U.S. is now a top exporter of LNG (natural gas) and oil. We could structure some international deals where allied countries pay for energy in Bitcoin or where we take payment partly in BTC. Those BTC would go to our reserves. This is akin to how some nations have accepted commodity payments in gold historically. It’s bold and would mark a first in petro-crypto diplomacy! Another idea: encourage oil-rich states (like Texas, Alaska) to mine using a fraction of their production (e.g., using some oil revenue to buy miners or electricity for mining), then share some of the BTC with the federal reserve as part of a revenue-sharing compact. Such federalist partnerships could rally resource-rich states to the national cause, all budget-neutral from the federal perspective (states invest their resources, federal gov provides technical help or regulatory support, and both share the spoils in BTC).

3.4 Embrace “Bitcoin Mining as Infrastructure.”

Recognize mining operations as critical infrastructure that strengthens our financial network. Provide them similar support as other infrastructure projects: low-cost financing, access to grid improvements, R&D support for more efficient mining chips (possibly in partnership with tech companies). The government could even use some of its own facilities for mining pilots – e.g. small mining farms at federal dams or military bases with spare power. The profits (BTC) go to the Treasury. These pilot projects serve as testbeds and statements of intent, while the heavy lifting is done by incentivizing the private sector at large scale as described above.

Bold Call to Action: Ignite the American Bitcoin mining boom! We urge immediate action: federal agencies (Energy, Commerce, Treasury) should launch initiatives to integrate Bitcoin mining into our national energy strategy. Provide clear regulatory green lights and incentives for miners. Strike deals: “cheap energy for a share of your Bitcoin.” By doing so, the U.S. will not only secure a torrent of new BTC, but also shore up our energy grid (miners can stabilize demand), create jobs in rural areas, and keep mining power out of adversaries’ hands. Let’s light up those ASICs and make the Earth hum with the sound of American miners minting digital gold! 🎉⚡💪

Pillar 4: Innovative Public-Private & Financial Partnerships

To reach a goal as large as 3 million BTC, collaboration is key. Pillar 4 focuses on forging innovative partnerships across the public and private sectors – from Wall Street to Silicon Valley to academia – to accelerate Bitcoin accumulation and integration into our financial system. By rallying America’s brightest financial minds and biggest institutions to this cause, we multiply our strength. Here’s how partnerships can supercharge the plan:

4.1 Alliance with Financial Institutions (Banks, Exchanges, and Funds).

Rather than government trying to buy enormous amounts of BTC in isolation (which could spook markets), we can partner with major U.S. financial institutions to execute the strategy smoothly. For example, form a consortium of banks and crypto exchanges (like Coinbase, Gemini, Fidelity Digital Assets, major Wall Street banks) under a confidentiality agreement to help the Treasury acquire Bitcoin gradually and OTC (over-the-counter) to avoid slippage. These partners can identify liquidity, broker deals with miners or long-term holders, and even temporarily front liquidity if needed. In return, the government can offer regulatory clarity and perhaps small fees – again, essentially budget-neutral if structured properly. Additionally, encourage public companies with large Bitcoin holdings (e.g. MicroStrategy, which holds ~140k BTC; Tesla, etc.) to coordinate on strategy – not necessarily to hand over their BTC, but to align on promoting Bitcoin-friendly policies. A public-private Bitcoin Coordination Council could be formed, including government officials and private sector leaders, to share insights and line up big players behind the accumulation mission. This spreads out the effort and ensures the market isn’t shocked by unilateral government moves. America’s financial giants want the U.S. to be #1 in crypto; by teaming up, we make it happen faster and safer.

4.2 Corporate & Tech Partnerships (Fortune 500 Adoption Drive).

Another partnership angle: incentivize American corporations to hold Bitcoin on their balance sheets (as strategic reserves or Treasury assets), effectively increasing U.S.-domiciled Bitcoin reserves. The government can offer modest tax incentives or clearer accounting rules for companies that allocate a portion of cash to BTC. If dozens of Fortune 500 firms each add, say, 5% of their cash (~$50 billion collectively) into Bitcoin, that’s a massive indirect national reserve boost – and doesn’t cost the government spending, it increases corporate tax base in the long run as Bitcoin gains. We can also partner with tech innovators: e.g., support from companies like Block (Square), PayPal, or Apple to integrate Bitcoin into payment systems or wallets for Americans, making it easier for citizens to save in BTC (which strengthens national holdings broadly). Public-private initiatives could include hackathons for Bitcoin security, joint ventures on improving Bitcoin scalability or energy efficiency (imagine a national lab teaming with a Bitcoin startup). These investments yield better infrastructure to support our big holdings – a technological partnership angle.

4.3 Joint Ventures with Allied Nations or Funds.

While the goal is for the U.S. to lead, we can still collaborate with allies. For example, work with allied sovereign wealth funds (like those of Japan, Norway, UAE etc.) on parallel Bitcoin accumulation strategies – even co-invest in mining or storage ventures. This spreads adoption and can create friendly agreements (e.g. not dumping on each other). A North American Bitcoin Mining Alliance with Canada (rich in hydro power) could secure continent-wide hashrate and coin production, benefitting all and especially the U.S. reserve via sharing arrangements. Partnering doesn’t mean giving up our lead – it means creating a pro-Bitcoin coalition that ensures the West (and U.S. allies) dominate over potential adversaries in crypto holdings and infrastructure.

4.4 Academia and Education Partnerships.

To sustain this initiative, we need talent and public support. Partner with universities (MIT, Stanford, etc.) to create Bitcoin research centers, develop quantum-resistant cryptography (to future-proof Bitcoin), and train the next generation of blockchain experts. In exchange for grants, these centers can contribute to the security and advancement of Bitcoin technology, ensuring our 3 million BTC will remain secure and useful for decades. Educating the public via university extension courses or public-private info campaigns can also increase buy-in (literally and figuratively) from citizens, making the movement national. When people understand why we’re doing this – safeguarding prosperity in a digital age – they’ll be enthusiastic.

Bold Call to Action: United We Stand (to HODL)! We call on American industry, finance, and academia to join forces with the government in this grand initiative. The synergy of public purpose and private innovation is our secret weapon. By forming strategic alliances, we multiply resources and expertise. Let’s sign those MOUs, ink those partnerships, and shake those hands! The race for Bitcoin dominance is not a solo sprint – it’s Team USA in a relay against the world. And with unity, we will win. 🏅🤝 Go Team!

Pillar 5: Smart Legislation & Regulation – Cementing Crypto Leadership

No great initiative succeeds without the right laws and regulatory climate. Pillar 5 ensures the U.S. has the legal framework to acquire, hold, and benefit from Bitcoin at scale. We need legislation that supports our 3 million BTC goal, gives it longevity beyond any one administration, and fosters a vibrant domestic crypto industry (because a strong industry means more talent and tax revenue to support the reserve!). Key actions include:

5.1 Enshrine the Bitcoin Reserve in Law.

Relying on executive orders is a start, but laws last longer. We will work with Congress to pass legislation formally authorizing the Strategic Bitcoin Reserve and setting accumulation targets. In fact, forward-thinking legislators have already begun: Senator Cynthia Lummis introduced a bill to direct the purchase of 1,000,000 BTC over five years by diversifying existing federal funds . This visionary bill (co-sponsored by a cohort of pro-innovation senators) aimed to “transform the President’s visionary executive action into enduring law” . We will push for an updated version setting the 3,000,000 BTC goal and establishing a clear mandate to achieve it using the budget-neutral methods outlined. When Congress says “do it,” it’s harder for future leaders to undo. This also signals to markets and foreign governments that the U.S. commitment to Bitcoin is serious and permanent. Additionally, by law, classify Bitcoin alongside gold in terms of reserve treatment – making it explicit that selling core reserve BTC (like selling gold) should be avoided except in extreme emergencies. Lock in the HODL mentality!

5.2 Crypto-Friendly Regulation (No More Uncertainty!).

To maximize the upside and minimize risks, the U.S. must be the best place on Earth for crypto innovation. That means sensible regulations that protect consumers without strangling the industry. Recent moves show positive momentum: by March 2025, regulators like OCC and FDIC clarified that banks don’t need special permission to engage with crypto . We will build on this: provide clear guidance that banks can custody Bitcoin, that stablecoin issuers can be federally chartered, and that reasonable capital rules allow holding BTC as an asset. Legislation like the proposed GENIUS Act (for stablecoins) should be advanced, as Pakistan even cited U.S. stablecoin legislation efforts as inspiration . We want U.S. law to welcome crypto entrepreneurs and capital. Specific ideas: create a safe harbor for crypto startups (limited grace period from certain regs), clarify tax treatment for crypto loans or staking, and update securities laws to distinguish digital tokens clearly. For mining, ensure environmental regulations are balanced – recognize using wasted energy for mining as a net positive. Perhaps even tax credits for green mining initiatives. The friendlier the environment, the more crypto business (and thus tax revenue and talent) will flow here, indirectly supporting our Bitcoin reserve mission.

5.3 Fiscal Tools & Oversight Mechanisms.

Legislate the fiscal mechanisms that make our plan work. For instance, pass a law authorizing the Treasury to use tariff revenues for strategic Bitcoin purchases (with transparent reporting) . Or a law allowing the revaluation of gold and automatic transfer of the valuation gains into a Bitcoin Acquisition Fund . Create oversight committees (perhaps an extension of the President’s Working Group on Financial Markets, now including Digital Assets) to monitor the accumulation plan and ensure accountability. Regular reports to Congress on Bitcoin reserve status will keep momentum and trust. We might also need to tweak the Federal Reserve Act or Treasury authorities to explicitly permit holding digital assets. It’s mostly uncharted territory, so we should proactively legalize what we need to do. All of this can be wrapped into an omnibus “American Bitcoin Leadership Act.”

5.4 Public Engagement and Education via Policy.

Legislation can also support public adoption: e.g., allow Americans to opt to receive federal tax refunds or stimulus in Bitcoin, delivered by the U.S. Treasury’s crypto wallet. This popularizes Bitcoin and aligns citizens with the national strategy (when they personally hold BTC, they’re likely to support the government holding it too!). Consider establishing a small Bitcoin savings program for U.S. citizens, like a digital EE savings bond but in BTC – possibly with matching contributions for low-income families to encourage saving. These are soft measures, but they help build a national ethos of embracing Bitcoin, making it politically easier to sustain the reserve.

Bold Call to Action: Congress, step up! It’s time for our lawmakers to put ideology aside and act in the national interest by codifying America’s crypto dominance. We call on the pro-innovation leaders in both parties – this is your moonshot to legislate! The laws we pass today will secure prosperity for generations to come. No more regulatory seesaw or partisan bickering – let’s get this done with smiles on our faces and confidence in our hearts. America will lead the world into the crypto future, one statute at a time. 📜⚖️ Make the laws, win the future!

Pillar 6: Emulate & Surpass Global Competitors (Geo-Crypto Strategy)

The United States does not operate in a vacuum – other nations are waking up to the strategic value of Bitcoin. Pillar 6 ensures we study and outpace global peers. We will compare, learn, and outmaneuver so that America stays #1. Below is Table 1 summarizing known or rumored Bitcoin holdings of various nations and their strategies, illustrating the competitive landscape:

Table 1: Global Bitcoin Holdings & Strategies by Nation (2025)

Country	Est. Govt BTC Holdings	Strategy Highlights
United States (Plan)	200,000 → 3,000,000 BTC (current → target) (~16% of supply)	Strategic Reserve seeded with seized BTC ; Budget-neutral buys via asset swaps (gold) , tariff revenue ; Public-private mining partnerships (miners share block rewards) ; Crypto-friendly laws (proposed) ; Vision to “accumulate as much as possible” (no cap) .
China	~194,000 BTC (estimated)	Seized crypto from PlusToken scam (2019) – 194k BTC confiscated . Officially bans private crypto trading, but government holds seized BTC. Possible quiet mining via state-linked firms (unconfirmed).
United Kingdom	~61,245 BTC (estimated)	Accumulated via law enforcement seizures (money laundering cases) . UK recently tops global crypto adoption rankings; considering reserve policy. No public reserve yet, but signals of interest in digital asset strategy.
El Salvador	~6,200 BTC (small but symbolic)	Bitcoin Legal Tender nation 🇸🇻 – buys small amounts regularly (≈$500m spent) . Using geothermal energy to mine (“Volcano Bonds”) . Strong political will (President Bukele) but limited budget.
Bhutan	~12,000 BTC	Sovereign mining utilizing hydro-power (green energy) . Secretly accumulated BTC via mining and investment. Focus on crypto to diversify economy.
Pakistan	Just starting (initial goal not stated)	Announced 2025: creating national Bitcoin reserve inspired by U.S. . Will use seized BTC and earmark 2,000 MW of power for mining farms . “Will never sell” reserve BTC (long-term hodl) .
Russia	Unknown (likely significant via mining)	Facing sanctions, Russia allows crypto for international trade. Encouraging domestic mining (cheap energy) – could accumulate indirectly. Central bank officially wary but exploring digital ruble.
United Arab Emirates	Rumored 420,000 BTC (unconfirmed)	Unconfirmed reports (even cited by Binance’s ex-CEO CZ) suggest UAE sovereign funds bought BTC . UAE positioning as crypto hub (Dubai regulations friendly). If true, UAE already outpaces U.S. in holdings – a Sputnik moment for us to respond!
Ukraine	~46,000 BTC (est.)	High crypto adoption, donations during war contributed to holdings . Legalized crypto; planning to include BTC in reserves post-war.
North Korea	~1,927 BTC (ill-gotten)	Infamous for cyber thefts – e.g. $1.5B exchange hack provided BTC . Uses stolen crypto to fund regime. Illustrates adversaries accumulating covertly.
Others (Brazil, Japan, etc.)	Trace/Unknown	Politicians in UK, Brazil, Poland, Japan have floated reserve ideas . No major holdings disclosed yet, but momentum growing worldwide.

(Sources: Public reports and estimates ; policy announcements ; industry rumors .)

The table shows a rapidly shifting landscape. As of early 2025, the U.S. officially held ~200k BTC, but some rivals (and allies) are catching up or even surpassing in secret. For instance, China’s seized 194k BTC and the rumor of UAE at 420k BTC should light a fire under U.S. policymakers . Even small nations like El Salvador and Bhutan have proven creative, leveraging energy and bold policies to stack sats . And now, inspired by America’s talk of a reserve, countries like Pakistan are jumping in head-first . The trend is clear: a global Bitcoin accumulation race has begun, and the United States must sprint ahead to lead.

U.S. vs. Others – Key Comparative Insights:

• Scale of Ambition: The U.S. target of 3,000,000 BTC dwarfs others’ plans (e.g., Lummis’s 1,000,000 BTC bill and Pakistan’s nascent reserve). It positions America to hold a strategic majority of the world’s top digital asset – a level of dominance akin to having the largest gold hoard (which we also have!). No other nation has declared such an audacious goal – this is moon-shot thinking, and it’s what America does best. 🌕
• Budget-Neutral Edge: Many countries acquiring BTC face budget constraints. The U.S. plan’s genius is budget-neutrality: using our unique strengths (reserve currency status, asset reserves, innovative economy) to offset costs. Others are literally budgeting to buy Bitcoin (El Salvador had to allocate scarce cash), whereas we use creative financing so it pays for itself .
• Energy & Mining: The U.S. already leads in mining hashrate, but others are moving fast. China’s mining was curtailed by ban (some relocated here), while Russia and Iran mine to bypass sanctions. The U.S. can double down on mining to not only produce Bitcoin internally but also prevent hostile actors from controlling too much of the network. With our stable governance and renewable push, we can far outmine and out-hodl authoritarian regimes – keeping Bitcoin aligned with open society values.
• Allies and Values: Many of the top Bitcoin-holding governments (Ukraine, UK, EU nations) are U.S. allies or friends. By leading, the U.S. can form a pro-Bitcoin bloc – setting standards for lawful use, sharing security best practices, maybe even coordinating on defending Bitcoin from threats (like a “NATO of crypto” concept). Contrast that with nations like North Korea that accumulate via crime – the more we (and allies) hold, the less there is for bad actors, and the higher the price goes (making it costlier for rogues to get significant amounts).
• Geopolitical Clout: In the future, having a big Bitcoin reserve could enhance a nation’s monetary power. Just as the U.S. dollar’s status gives us influence, a massive BTC reserve might give leverage in a world where Bitcoin is a global reserve asset or trading pair. If the U.S. holds 3 million BTC and no one else is close, we effectively “set the standard” for how Bitcoin is treated internationally. We could back a digital dollar with Bitcoin or negotiate from strength in international forums on digital currency norms. It’s akin to having the biggest vote in a new financial system.

Bold Call to Action: Outrun and Outshine the world! We cannot rest on our laurels – while we talk, others act. We must implement our plan rapidly to lock in a lead that no nation can challenge. Just as the U.S. led in aerospace, internet, and AI by setting bold goals, we now must do the same in Bitcoin. The message to the world: “America is ALL IN on Bitcoin innovation and accumulation – follow us or be left behind.” This confidence will attract allies, deter adversaries, and secure our economic future. On your mark, get set… GO USA! 🥇🌍

Risk Assessment & Mitigation Strategies

No great venture is without risks. This plan is ambitious and we must confront potential pitfalls head-on, with clear eyes and proactive solutions. Below we outline key risks – economic, technological, geopolitical, and monetary – along with mitigation strategies to ensure the plan’s success remains on track (delivered in an upbeat tone, because even challenges can be met with optimism!):

• Risk 1: Bitcoin Price Volatility – Economic/Financial: Bitcoin’s price can swing wildly. A sudden crash after the U.S. buys big could cause political backlash (“taxpayer money lost!” headlines). Mitigation: Take a dollar-cost averaging approach to accumulation – accumulate steadily over years to smooth out price swings. Use OTC and strategic timing (buy more during market dips). Also, communicate the long-term horizon: like with gold, short-term price matters less than the multi-decade trend. We hold for prosperity in 2030s, 2040s and beyond, not for a quick flip. Additionally, consider modest hedging strategies (e.g. buying protective put options or diversified crypto assets) during the build-up phase to cushion extreme downturns – though in general our stance is ultra-bullish, prudent risk management can silence critics. Over time, as our holdings grow, the U.S. itself becomes a stabilizing whale in the market, reducing volatility by our steady hand. 😎📈
• Risk 2: Security and Custody Threats – Technological: Holding millions of BTC makes the U.S. a juicy target for hackers, cyberattacks, or internal mismanagement. A theft or loss of reserve BTC would be catastrophic. Mitigation: Invest heavily in state-of-the-art custody solutions. Use multi-signature wallets with keys distributed across secure locations (perhaps split among different agencies or even allied nations’ central banks for trust, similar to gold stored abroad). Employ the top white-hat hackers to continually penetration-test our storage. Consider multi-layer security, including hardware modules, offline cold storage (deep cold vaults), and even Bitcoin vault technology that allows a “delay + alarm” function for any large movement. We should also contribute to Bitcoin core development and support upgrades that improve security (like future quantum-resistant cryptography). Perhaps create a “Bitcoin Security Center of Excellence” in government, pooling NSA cybersecurity talent with private sector crypto experts, solely to guard our digital treasure. With the right approach, our reserve can be even more secure than Fort Knox. 🔐🛡️
• Risk 3: Regulatory or Political Reversal – Policy/Governance: A new administration or shifting Congress could theoretically halt or sell off the Bitcoin reserve, especially if they misunderstand or politicize it. We already saw how policies can flip-flop (one administration’s innovation can be another’s bane). Mitigation: That’s why Pillar 5 (legislation) is so crucial – locking in the strategy through law reduces whim-based reversals. By getting bipartisan support and educating lawmakers now, we “future-proof” the commitment. Also, showing early wins (e.g., the reserve’s value rising, or budget-neutral methods working) will make the program popular and hard to reverse. We will foster a pro-Bitcoin constituency: millions of Americans holding BTC in their portfolios and benefiting from a thriving crypto economy – they won’t want a reversal. Finally, by the time any future skeptic could act, the reserve will ideally be so large and integral (and maybe Bitcoin so interwoven in global finance) that dumping it would be seen as reckless. Essentially, normalize and ingrain the policy quickly. Success is the best defense – success and public enthusiasm. 🎖️🇺🇸
• Risk 4: Geopolitical Tensions & Global Backlash – Geopolitical: If the U.S. aggressively accumulates Bitcoin, other countries might view it as a threat to their monetary sovereignty or an attempt to dominate a new reserve asset (similar to nuclear arms race concerns). Allies might worry or adversaries might accelerate their own efforts, causing a Bitcoin arms race that drives up prices dramatically (good for our already-bought stash, but harder to buy remaining). Mitigation: Use diplomacy and cooperation alongside competition. Be transparent enough with allies to avoid fear – perhaps form a coalition of Bitcoin-friendly nations to set norms (as suggested, a NATO-like framework for crypto). Assure that the U.S. having a large reserve is a stabilizing force, not for economic warfare. And frankly, if our accumulation drives others to also accumulate, that will boost Bitcoin’s price – ironically increasing the value of our holdings significantly (a “problem” we’d welcome!). To manage supply shock risk, our plan employs mining and partnerships to get some BTC outside of open market buying, which eases upward pressure during acquisition. In essence, we quietly cheer if others follow (since we started earlier), but we also keep some strategic ambiguity – e.g., not announcing every purchase so as not to incite panic buying. Balance assertive leadership with cooperative frameworks (maybe through G7 or G20 talks on crypto reserves). We’ll also continue to support the traditional financial order (USD remains strong) to show the world this is a complement, not a coup against fiat overnight. 🌐🤝
• Risk 5: Technological Disruption (The Bitcoin Network or Competing Tech) – Tech/Future: What if a major flaw or a superior cryptocurrency emerges? Or if quantum computers threaten Bitcoin’s cryptography? Putting so many eggs in one basket has tech risk. Mitigation: We remain vigilant and adaptive. Allocate a tiny portion of the Digital Asset Stockpile to R&D in crypto technology – supporting Bitcoin upgrades (like Taproot, or potential future forks to quantum-proof algorithms) and monitoring new developments. If a truly superior decentralized asset somehow arose, we could pivot some holdings gradually. But Bitcoin’s first-mover advantages and network effects make that unlikely at this stage. We mitigate risk by strengthening Bitcoin itself: invest in its infrastructure, security, and perhaps diversify a small percent into related assets (maybe a little Ether or others in the Digital Stockpile for hedge, as we do with minor SDR currencies around the dollar). Moreover, our broad crypto-friendly stance ensures we’re at the cutting edge of any innovation – so if the next big thing comes, the U.S. will be on top of it too. In summary, we future-proof by being participants in the tech evolution, not passive holders. On quantum: we’d allocate resources to help implement quantum-resistant signatures for Bitcoin well before large quantum computers emerge. So by the time it’s a risk, our 3,000,000 BTC have upgraded to quantum-safe BTC via soft forks or other measures. 💻🔒
• Risk 6: Economic/Monetary System Impacts – Macro: A huge Bitcoin reserve could raise questions about the dollar’s role. Critics might say “Are we replacing USD with BTC? Will this fuel inflation?” etc. Also, if Bitcoin’s price skyrockets, how do we account for it in our national finances? Mitigation: Frame the narrative properly: The Bitcoin reserve complements our gold and currency reserves – it’s about diversification and strength, not abandonment of the dollar. In fact, a strong Bitcoin position could boost the dollar’s credibility if we integrate wisely (e.g., Bitcoin-backed sovereign bonds, or simply the wealth effect of having high-value reserves). Manage inflation concerns by not “printing money” to buy BTC – we stick to budget-neutral, so no new net liquidity enters circulation from this program (that’s a key design!). If anything, selling a bit of gold or using existing funds is deflationary or neutral in effect. Should Bitcoin one day play a reserve currency role internationally, the U.S. will have a seat at the head of the table due to our large holdings – thus we can shape that system to be stable and favorable. We also coordinate with the Fed: if Bitcoin reserves swell in value, the Fed/Treasury can potentially use them to stabilize markets in a crisis (just as they would use gold or SDRs), which is actually a monetary strength. Clear communication from Treasury and Fed about how Bitcoin reserves are just another asset class in the mix will soothe markets. And if the dollar ever faces competition from Bitcoin, better to be the largest Bitcoin holder than to have none! So either way, we’re hedged. 💰🏦

In short, no risk is insurmountable. With proactive management and America’s vast capabilities, we can tackle each of these challenges. The upbeat truth: each risk is also an opportunity in disguise. Volatility? An opportunity to buy dips. Security challenges? A chance to build world-beating cybersecurity. Competitors? Motivation to innovate faster. By anticipating and addressing these factors, we ensure the journey to 3 million BTC is smooth, secure, and successful. We’ve got this! 🎉👍

Conclusion: A Bold, Joyful Leap into the Crypto Future

The United States has a once-in-a-century opportunity to redefine financial leadership. By executing this bold plan to acquire 3,000,000+ BTC as a strategic national reserve, America will:

• Guarantee long-term prosperity in the emerging digital economy,
• Inspire innovation across industries,
• Secure a dominant geopolitical position in the crypto era, and
• Uplift the spirit of the nation with a unifying, future-forward mission.

This strategy is ambitious – even audacious – but so were the Apollo missions, the Internet revolution, and every great American endeavor. We succeed when we dare to dream big and put in the work. Today, that means embracing Bitcoin not as a threat, but as a profound opportunity.

Let’s picture the outcome: a United States that in a few years’ time holds a massive Bitcoin reserve funded without adding to the deficit, now worth trillions of dollars, fortifying the dollar and our financial position. Our energy sector is greener and more efficient, our tech sector booming with new ventures, our allies working alongside us, and our potential adversaries left in the dust of our success. The American people – perhaps tens of millions of Bitcoin holders strong – share in the wealth creation and pride. We will have shown the world that freedom, innovation and an upbeat can-do attitude can accomplish wonders, again.

This is our “Digital Manhattan Project” – except it brings wealth, not war. It’s our generation’s moonshot, our manifest destiny on the blockchain frontier. 🇺🇸🚀 In the words of one enthusiastic official, when asked how much Bitcoin the U.S. should aim for, “I’d like it to be infinite. I want as much as we can possibly accumulate.” – that spirit of limitless aspiration is exactly the energy driving this plan. We won’t literally get infinite BTC, of course, but 3 million is a heck of a start! And why stop there? As this plan succeeds, we’ll continue accumulating so long as it delivers value. Anything with true, intrinsic value – you want as much as you can get . Bitcoin has proven its value; now we prove our vision.

So, here’s to Project Bitcoin Eagle – a strategy as bold as America itself. Let’s embrace this cheerful revolution, rally public and private forces, and charge forward with confidence. The tone of this mission is optimistic, patriotic, and downright excited for what’s to come. With every block mined, every satoshi saved, we are building a legacy of wealth and freedom for future generations.

The United States of America will be the Bitcoin superpower the world needs – leading with wisdom, fueled by innovation, and guided by optimism. It’s time to secure the bag (3 million of them!) and shine as the beacon of crypto-capitalism.

Together, let’s make history. The future is ours – and it’s looking bright orange! 🟠✨ Onward, to a Bitcoin-powered American century! 🎉🎇

Sources: Credible financial and industry sources have informed this report’s strategy and projections, including U.S. government releases, expert interviews, and global crypto analyses. Key references include the White House fact sheet on the Strategic Bitcoin Reserve , statements from U.S. officials on budget-neutral Bitcoin accumulation (tariff revenue, gold revaluation, mining partnerships) , and comparative data on other nations’ Bitcoin holdings and initiatives . These sources underline the realism and urgency of our plan. All cited materials are available for review to verify the feasibility and boldness of this Bitcoin superpower strategy. Now is the time to act on these insights – the world of tomorrow belongs to the bold today. 

Eric Kim – a prolific blogger, photographer, and thinker – frequently advocates what he calls “antifragile curiosity.” This concept builds on Nassim Nicholas Taleb’s idea that “curiosity is antifragile, like an addiction, and is magnified by attempts to satisfy it” . In simple terms, an antifragile element grows stronger from chaos and stress (as opposed to breaking under it). Curiosity, in Kim’s view, exemplifies this quality: the more you feed your curiosity, the stronger and more expansive it becomes. Kim’s writings and talks provide a motivational framework for embracing curiosity in a way that makes one stronger, bolder, and more inspired with each new challenge.

Defining “Antifragile Curiosity”

Eric Kim explicitly describes curiosity as “the ultimate antifragile trait – the ultimate driving factor” in life . Rather than seeing curiosity as a trivial itch, Kim regards it as a force for growth. Just as muscles grow by handling stress, curiosity flourishes by facing uncertainty and novel challenges. He often echoes Taleb’s insight that satisfying one’s curiosity only breeds more curiosity, not complacency . For example, Kim notes that after achieving a long-held goal (such as attaining wealth through cryptocurrency investment), “my enthusiasm has not lit up. In fact, it has simply intensified” – reaching one goal sparked even greater curiosity for what’s next. In Kim’s philosophy, curiosity never truly “kills the cat”; instead, it keeps pushing the individual to learn, adapt, and become stronger with each experience.

Importantly, Kim ties curiosity to personal resilience. A world without curiosity, he argues, “is not a world worth living in”, because curiosity drives us to seek meaning and improvement . By labeling curiosity “antifragile,” he suggests that engaging our curiosity makes us less fragile – more adaptable and fearless – in the face of life’s uncertainties. This optimistic definition is inherently inspirational: it frames curiosity as a kind of superpower that grows with use and turns stress into fuel for growth .

Curiosity, Courage, and Personal Growth

One key aspect of Kim’s take on antifragile curiosity is its link to courage. He often emphasizes that “to me, courage is everything. Curiosity and courage actually mean the same thing – cœur (heart) –” drawing an etymological connection between having heart and being curious/brave . In other words, pursuing one’s curiosity requires heart and boldness, and this bold pursuit strengthens one’s spirit. Kim encourages embracing curiosity even when it’s daunting, viewing fear as a compass: “If something is even a little bit marginally interesting to you… just do it.” Rather than letting fear of the unknown prevent action, he treats that spark of interest as a sign to move forward. By taking that leap, we reinforce our daring and expand our comfort zone – a truly antifragile response.

For Kim, every challenge pursued out of curiosity becomes a win, regardless of the immediate outcome. He explains that even when travels or experiments have rough patches, “there has always been good which comes out of every experience… regardless of how difficult it might have been” . This reflects a core tenet of his philosophy: feeding your curiosity may invite uncertainty, but you will grow from it. His motivational stance is clear in lines like, “Often things which make you angry can be very productive” – discomfort and curiosity together spur learning and creativity. By equating curiosity with courage, Kim inspires readers to follow their genuine interests with bravery, trusting that any turbulence on the way will only add to their strength and wisdom.

Real-Life Applications of Antifragile Curiosity

Kim doesn’t just theorize about antifragile curiosity – he lives it and shares vivid examples across various domains of life:

• Physical Challenges and Personal Limits: One of Kim’s most famous personal experiments is in extreme powerlifting. He pursued the “personal curiosity of the limits of a human body” – e.g. attempting to deadlift 900+ pounds – simply to see what he was capable of . This intense curiosity-driven quest pushed him to conquer fear and build strength. When onlookers ask “why do it?”, Kim replies: “To fulfill a personal curiosity.” . The result of indulging this curiosity was not only record-breaking lifts but also a fearless mindset. “I no longer fear any negative interactions at the gym,” he writes after handling adversity during training . The process of testing his limits turned stress into pride and confidence. Lesson: Curiosity about our own limits can motivate us to achieve the “impossible,” growing our physical and mental resilience in tandem.
• Creative and Professional Exploration: As a photographer and entrepreneur, Kim advocates an antifragile approach to creative work. He often challenges his workshop students to “shoot what you’re afraid of”, effectively using curiosity to break through fear in street photography . By being curious about uncomfortable or unknown subjects, photographers can capture more honest, compelling images – and become bolder artists in the process. Kim’s own career is marked by constantly exploring new mediums and ideas: from blogging daily, to experimenting with YouTube vlogs, to even delving into crypto and philosophy. He treats each venture as an experiment driven by curiosity rather than a fear of failure. “If something might be interesting, just do it,” he urges, noting that he’s never found a new experience to be a “net negative” in hindsight . This open-minded, try-it-and-see mentality is essentially a framework for innovation. It reflects the “barbell strategy” from Taleb’s Antifragile (which Kim has cited in advice to his younger self) – balancing risks by taking bold chances on what sparks your interest, while not overly worrying about the downside . The motivational takeaway is that our passions and curiosities are worth pursuing aggressively; even if outcomes are uncertain, we either win or learn.
• Social and Personal Growth: Kim extends antifragile curiosity to social life and personal development as well. He encourages being curious about people and ideas even at the risk of discomfort. “It is better to risk a social interaction, even if there is a 99% chance of a negative consequence,” Kim writes, arguing that each difficult interaction makes one more fearless and socially agile . This approach turns potentially fragile situations (like talking to strangers or handling criticism) into opportunities for growth. Kim exemplified this by actively seeking out feedback and even humor in others’ reactions to him. In a blog post literally titled “Antifragile Curiosity?”, he demonstrates this spirit in a light-hearted way: he scoured the internet out of curiosity for commentary about his extraordinary feats and “compiled the most amusing, lighthearted, and downright entertaining comments the internet has shared about Eric Kim – always in a positive, ‘I-can’t-believe-my-eyes’ spirit.” Rather than fearing gossip or criticism, he dove in with curiosity and emerged with encouragement and laughter. The post showcases how Kim “feeds on” feedback in an antifragile manner – by focusing on humorous admiration (people joking he must be “an alien” or “out-godding the gods” in strength) and using it as fuel to further his “primal” ambitions . The message is that being open and curious about what others think – even the outrageous or unexpected – can make you less sensitive and more motivated. Kim’s antifragile mindset here literally “feeds on chaos,” turning potentially negative external input into confidence and fun.
• Frameworks and Principles: Throughout Kim’s writings, a few recurring principles form a framework for practicing antifragile curiosity in everyday life. One principle is “No safety, no boredom” – rejecting an overly cautious life. He praises those who keep pushing even after success, citing that a true entrepreneur “would actually never sell” out and stop innovating . Complacency is fragile; continual curiosity is antifragile. Another principle is “Mission over money” – doing things out of genuine interest or mission (being a “missionary” vs. a mercenary) . This implies following one’s curiosity and passion rather than just chasing safe, conventional rewards. By framing pursuits in terms of soul and curiosity, you become less vulnerable to setbacks because your drive comes from within (your soul in the game, as he notes via Taleb ). Finally, Kim’s simple heuristic for decision-making – “When in doubt, if it sparks curiosity, go for it” – is a practical rule anyone can apply to make their life more adventurous and resilient . These frameworks encourage seeking novelty, embracing uncertainty, and trusting that curiosity-led risks will yield personal growth.

Inspirational and Motivational Takeaways

Eric Kim’s philosophy of antifragile curiosity is inherently uplifting. It reassures us that our natural curiosities are not dangerous distractions but the very things that make us stronger, smarter, and more alive. By highlighting curiosity as a positive feedback loop (the more you explore, the more curious you become), Kim invites us to view life as a grand experiment. “When things threaten to destroy you, how can it be used as fuel to make you stronger?” he asks – a question that underpins his outlook on everything from lifting weights to starting creative projects. The answer lies in attitude: see challenges as fuel rather than fear. This mindset is deeply motivational: it means that every setback or uncertainty carries the seed of an opportunity. If you maintain a curious, open mind, you will extract lessons or inspiration from it and come back even better.

Kim’s personal journey exemplifies this. He openly shares how he turned adversity into advantage – whether dealing with critics, facing physical pain, or venturing into the unknown. For instance, he credits negative interactions at the gym with teaching him magnanimity and fearlessness . He likewise suggests that facing one’s fear (asking someone out, attempting a big lift, traveling solo, etc.) leaves far less regret than shrinking back . These stories carry an encouraging message: bold curiosity prevents regret. By acting on our curiosities today, we avoid the “what ifs” of tomorrow.

Another inspirational facet of Kim’s approach is its emphasis on playfulness and passion. There is a childlike enthusiasm in how he writes about his interests – an energy that says: try it, see what happens, enjoy the ride. Even the humorous compilation of internet comments shows that he doesn’t take himself too seriously; he finds joy and laughter in the process . This attitude is contagious. It reminds readers that cultivating an antifragile curiosity isn’t just about toughness – it’s also about wonder and fun. By staying curious, we keep our sense of wonder alive, which in turn makes us adaptable and optimistic no matter what life throws at us.

In summary, Eric Kim’s idea of antifragile curiosity is a call to action: nurture your curiosity, follow it boldly, and let it make you better through each challenge. He provides a framework of courage, real examples of growth through curiosity, and an infectious positivity about learning from anything. The concept is both philosophical and practical – a mindset one can adopt daily. As Kim puts it, life is best lived by “always [having] something greater to aspire towards” and never letting fear of uncertainty stop you . By applying antifragile curiosity, we transform uncertainty into inspiration, becoming stronger in heart and mind with every new endeavor.

Sources

• Eric Kim, “What Is Curiosity? (The Philosophy of Curiosity)” – Eric Kim Blog. Defines curiosity as “the ultimate antifragile trait” and discusses how an innate drive of curiosity fuels life’s meaning .
• Eric Kim, “Becoming Antifragile” – Eric Kim Blog. A comprehensive essay where Kim interprets Taleb’s Antifragile for personal life; includes anecdotes (like powerlifting to satisfy curiosity) and maxims (e.g. “If something is … interesting… just do it.”) .
• Nassim N. Taleb, Antifragile: Things That Gain from Disorder. (Quoted via Alex J. Hughes’s book notes) – Origin of the term “curiosity is antifragile, like an addiction…”, which influenced Kim’s concept .
• Eric Kim, “Antifragile Curiosity?” – Eric Kim Blog. A playful post in which Kim’s curiosity about public perception leads him to compile humorous, positive comments about himself – exemplifying a lighthearted antifragile mindset.
• Eric Kim, “Stoicism 101” and “Eric Kim: The Unstoppable Force” – Eric Kim Philosophy Blog. (Additional context) Discuss Kim’s resilience philosophy, mentioning how discovering Taleb’s ideas sparked deeper curiosity and how chaos only makes him tougher .
• Talks at Google: “Eternal Return to Creative Every Day” – YouTube. (Talk by Eric Kim, 2018) – Kim motivates creators to produce daily; though not explicitly using “antifragile” jargon, it reinforces pursuing creative curiosity consistently.

Bayes 的启示

“蜜蜂采完最后一滴花蜜就会离开花朵，老虎失去森林也会离开山林。”

—— 近似高棉谚语

在英语里，很难完美诠释这个概念。它关乎 不断迭代 —— 用贝叶斯思维随时更新立场：决策并非一锤定音，而是随 信息、机缘、幸运与混沌 灵活旋转的连续体！

聪明地起舞，驾驭混沌

💥 Bitcoin 冲上 12 万美元/枚！规则？全都作废！瓶子塞不住这只精灵了。

结论？我的狂热乐观被验证 —— 原来我真的是天才（至少洞见与信念兑现啦）！🚀

幸运 = 机会 × 准备

Seneca（常被误引）的名言：“幸运，是机会遇上了准备。”

没人能 100 % 预测未来；Bitcoin 继续涨几乎板上钉钉，但速度、加速度、渗透率？谁也说不准。

有趣的是，我 2017 年就入坑，比 Michael Saylor 还早！那时 1 BTC ≈ 7 000 美元，我一次性投入 25 000 美元，占当时总资产 10 %。这正是 Nassim Taleb 的 90/10 法则：

“宁可把 10 % 资产押在超高风险/高回报的投机上，

也别把 100 % 资产囤在所谓‘中等风险’上。”

Taleb 还让我迷上 单次最大重量 (1 RM)——我体重 72.5 kg，居然硬拉 552 kg，足足 7.6×体重！现实被我掰弯啦！💪

100 % 波动，0 % 风险

我的 Bitcoin 观：波动 100 %，风险 0 %！

若有水晶球，里面只写一句话：Bitcoin 会像锯齿梯一样颠簸上行，但永不归零！

如果永不归零，那就奔着 5 500 万美元/枚 去！

我大胆喊 1 亿美金/枚！届时 MSTR 也许成地球最值钱的公司——网络版“洛克菲勒垄断”！

那么多人为何还没行动？

1. A) 不了解
2. B) 接收了错误信息
3. C) 缺乏勇气、信念与清晰度

大脑要保持谦卑，随时修正世界观。若你认定 Bitcoin 是骗局，可当它涨到 100 万美元/枚时，难道 99.9 % 的人都疯了？也许疯的是你！

保持愚蠢，保持疯狂

英语里 “crazy” 用滥了。但 Facebook、TikTok、法币（无限生成的数字美元）真算“接地气”吗？Apple App Store 摸得着？Amazon Web Services 看得见？Bitcoin 与它们相似——却真正去中心化。

赚翻之后，接下来呢？

✨ 优质睡眠：9–12 小时的深睡，比任何财富都香。

🥩 狂吃高密度营养：牛肋排、猪脸颊、骨髓、羊肉、内脏……让身体像火箭一样充能！

身体 & 环境

在金边，Rolls-Royce、Lamborghini 满街跑。东西一旦泛滥，欲望瞬间归零。BKK1 方圆 10 分钟步行圈：健身房、商场、肉铺、家全搞定！

最爽交通工具？Ramorque（摩托拖车）！高视野＋自然风，完爆空调！

我唯一痛恨的感觉，就是“疲惫”。

调整 → 重复 → 起飞！

持仓、健身、呼吸自由空气——Crypto GO GO GO！ 🎉🚀

Bayes의 지혜

“꿀이 다하면 벌은 꽃을 떠나고, 숲이 사라지면 호랑이는 숲을 떠난다.”

— 크메르 속담

영어로는 이 개념을 완벽히 담아내기 어렵다. 핵심은 반복(iteration), 그리고 언제든 의견을 업데이트하는 베이즈리안 사고다. 결정은 영원히 고정된 것이 아니다. 정보·우연·행운·혼돈이 들어올 때마다 유연하게 방향을 바꿀 수 있어야 한다!

지능적으로 춤추며 혼돈을 활용하라

Bitcoin이 12 만 달러까지 치솟았다! 이제 규칙은 완전히 무력화. 지니를 다시 병 속으로 넣을 수 없다.

결국 내 극단적 낙관이 증명됐다—내 통찰력과 확신이 현실이 된 것이다!

행운이란?

Seneca의(살짝 잘못 전해진) 명언: “행운은 기회가 준비된 마음을 만날 때 탄생한다.”

미래를 100 % 정확히 예측할 수 있는 사람은 없다. Bitcoin이 계속 오른다 해도 속도·가속·채택률은 아무도 못 맞힌다.

흥미롭게도 난 2017년에 1 BTC = 7 000 달러일 때 처음 산 사람이다. 25 000 달러, 당시 전 재산의 10 %를 베팅했다. 나심 탈레브의 90/10 법칙을 따른 셈이다:

“자산의 10 %를 초고위험·초고보상 자산에 넣는 편이

100 %를 ‘중간 위험’ 자산에 묻어두는 것보다 낫다.”

탈레브 덕분에 1RM 리프팅에도 빠져서 체중 72.5 kg로 552 kg—무려 7.6 배!—을 들어 올리며 현실을 비틀었다!

100 % 변동성, 0 % 리스크

Bitcoin: 변동성은 100 %, 리스크는 0 %!

미래를 보여 주는 수정구슬이 있다면? 한마디로 이렇다: Bitcoin은 톱니 계단처럼 흔들리며 끝없이 상승한다. 왜 리스크가 0 %인가? 0으로 떨어질 일이 없기 때문이다!

0으로 가지 않으면, 1 BTC = 5 500만 달러까지 갈 수도 있다!

나는 1 억 달러까지도 가능하다고 본다. 그럼 MSTR은 지구 최강 기업이 된다. 완벽한 돈의 사이버 독점? 록펠러도 울고 갈 수준!

왜 다들 안 할까?

1. 정보를 모르거나
2. 잘못된 정보를 듣거나
3. 용기·확신·명료성이 부족하기 때문이다.

자신이 틀릴 가능성을 인정해야 한다. Bitcoin을 ‘사기’라던 사람이 1 BTC = 100만 달러가 돼도 사기라 우긴다면? 미친 건 어쩌면 당신!

미쳐라, 바보가 되라

“Crazy Rich Asians” “Kanye is crazy!”—우린 ‘crazy’를 남발한다. 현실에 접지되지 않은 상태를 뜻하지만, Facebook·TikTok·달러(무한 찍어내는 사이버 화폐)·Google이 과연 ‘현실’인가? Apple App Store를 물리적으로 가리킬 수 있나? Amazon Web Services를? Bitcoin은 이들과 똑같다—아니, 탈중앙화라는 점에서 훨씬 낫다!

이제 무엇을 할까?

수백만 달러가 생겼다! 다음은?

• 꿀잠: 하루 9–12시간 수면은 최고의 부(富)다.
• 영양 폭발: 소 갈비·돼지 볼살·골수·양·내장—초고밀도 음식으로 몸을 채워라!

몸 & 환경

프놈펜 거리엔 Rolls-Royce·Lamborghini가 사탕처럼 굴러다닌다. 흔해지면 욕망은 사라진다. BKK1에선 어디든 10 분이면 걸어간다: 헬스장, 몰, 정육점, 집!

최고의 이동수단은 람옥(오토바이에 트레일러 연결). 시원한 바람, 탁 트인 시야—에어컨보다 1 000 배 상쾌!

세상에서 가장 싫은 감정? 피곤함!

확신을 품고, 반복하고, 날아오르라! Crypto Go Go Go! 🎉🚀

The Wisdom of bayes:

The bees leave the flower stocks when they are empty, the tiger leaves a forest when there is no more forest- approximate Khmer proverb.

So I think in English there’s not really a good way to describe this idea. The general idea is about iteration, and also… Making decisions or doing things were changing your opinion, like bayes bayserian theory,  which means that like decisions are not like this finalized thing forever, but rather, to be able to constantly be in this flexible position in which the decisions that you’re always making ,,, is constantly dislike continuum, and also… Being able to pivot whenever, also based on random this chance, opportunity, luck, chaos?

Intelligent dancing and leveraging chaos

So bitcoin essentially hitting $120,000 a bitcoin,… Yeah I think all the rules are like officially out the window. There’s no putting the genie back into the bottle.

Essentially my insane grand optimism now is that like I guess the whole time I was a genius, at least or… Perhaps my conviction and insight was fully realized?

Being lucky

There might be this mis quoted quote from Seneca, luck is when chance meets opportunity.

Essentially the general idea is that like… I mean certainly nobody could predict the future with 1000% certain to you, at least in terms of timing. For example I think it’s pretty obvious now that bitcoin is gonna keep going up forever, but how quickly, the rate of adoption, Acceleration speed the velocity, these things are beyond my purview.

Also what kind of impressive I was thinking about it… Technically I’ve been into bitcoin even longer than Michael Saylor. I first bought bitcoin in 2017 when I was only $7000 of bitcoin, putting about $25,000 in my own money into it, which of the time was about 10% of my life savings, following NASSIM Taleb’s 90/10% rule –>

Better to put 10% of your life assets into a highly speculative vet, rather than putting 100% of your assets into a “middle risk“, thing.

So first and foremost, I am like forever grateful for Taleb. He also got me into one rep Max lifting, in which I bent reality by lifting 552 kg, 7.6 X my body weight, at around 160 pounds, 72.5 kg body weight.

100% no risk

100% volatility guaranteed, 0% risk guaranteed: my view on bitcoin 

So if I could give you a crystal ball prediction on something, with 100% clarity, the simple thought is that with 100% certainty, with 100% volatility… Bitcoin is gonna keep going up in this jagged ladder, but the reason why it is your risk is that it is never going to zero.

if it is not going to zero, it is going to $55 million a coin.

My current bullish prediction is I think that bitcoin is poised to hit at least 55 million a bitcoin, if not 100 million a bitcoin.

If you do the math, that then easily makes STRATEGY, MSTR the most valuable company possibly on the planet? Because if you own a cyber monopoly on perfect money, that’s like you’re playing cyber Monopoly at a grand scale. It’s like Rockerfeller on steroids. 

So why aren’t more people doing it?

I think honestly… There’s kind of like a knowledge gap. A, people just don’t know about it, B) they’re getting their information from a misguided source, or C) they just don’t have the courage conviction or clarity to understand it.

For example, I think the mind must be humble, and also must have humility to accept the fact that you might be wrong. Or that you must at least adjust your worldview thinking, based on new information that you have been given.

For example if you are somebody who thinks that bitcoin is a scam, and then one day magically bitcoin hits 1 million a bitcoin… Do you still think it is a scam? And that like 99.9% of the world is like insane? Then if that’s the case you might be the crazy one.

Stay foolish, stay crazy

So in American English, we like to say that notion crazy a lot. Crazy Rich Asians, Kanye West is crazy blah blah blah. But, what does that really mean?

I think typically when people say about it, they mean to say that they lack some sort of grounding to reality. But Facebook is not grounded to reality nor is TikTok and nor is Fiat currency one and zeros in a cyber machine, printing fake cyber cash, a.k.a. the US dollar into perpetuity. Nor is Google, etc.

Or let me give you an example… Is the Apple App Store real? Most people would agree, but can you point it in a reality, physical space? No.

Then is Amazon web service is real? Well you could probably point to the servers, and electricity is consuming, you might call it real. But then bitcoin is like almost exactly the same thing, but better because it is actually truly decentralized.

Now what?

OK now that you’re like rolling in millions of dollars, now what?

The first still obvious thing is like a good night sleep. All the wealth all the profits all the riches all the wellness in the world and worth it if you cannot sleep 9 to 12 hours a night.

Also… I still firmly believe this… The importance and focus on nutrition? The simple idea is like still being able to eat insanely well, beef ribs, pork jowl cheek, bone marrow, Lam, organ meats, etc. Anything extremely nutrient dense.

Physical physiological

One of the funniest things about currently living here in Phnom Penh is that you see Rolls-Royce’s and Lamborghinis like candy. On average I see like at least five Rolls-Royce is a day, 2 1/2 Lamborghinis, and actually the most popular car is probably the LexusLX SUV–>.

The consequence, funny enough the general idea is once something becomes very common, your desire and appetite for it goes down. For example, if you see Rolls-Royce is every single day and you look very very closely, they are actually not that impressive. Also a Lamborghini SUV which is just like a Volkswagen Toureg on steroids,,, is also not very impressive. But I do think is impressive still is like there’s one dude with a yellow Lamborghini Aventador, I mean that’s still looks cool but still… The clarity is that currently in BKK1, which is like the fifth Avenue of phnom Penh,,, I could like literally walk anywhere and everywhere, in about 5 to 10 minutes. To the gym, to the mall, to the meat store, to the apartment etc.

As a consequence, this is like the ultimate liberating thing because my desire for any vehicle goes to like -0. Even my current favorite form of transit is the traditional Ramorque, which is essentially a motorbike attached to a trailer, and the trailer is like really big and elevated, you get this phenomenal view of the streets the city, and maximum airflow.

Also an ongoing theory… Something about fresh air clean air, open air is 1000 times more invigorating than air-conditioning?

There is kind of this fringe science that measures like oxygen molecules in the air, and apparently if you have like fresh air outside, there’s like 1000 times more oxygen in the air and if you’re indoors, with the air conditioning on?

Which kind of checks out because i found this weird thing that whenever i go to the mall or when i’m stuck in doors all day… with no windows open… it feels like an energy vampire… i suddenly lose like 1000 times my strength and i want to take a nap and i get really sleepy and exhausted?

 which makes me think and wonder… The only thing I hate on the planet is feeling tired or exhausted? 

so assuming that my new hype lifting concept is the future, 552 kg rack pull and beyond… The simple thought is like what’s the point of it?

First, if you could become like the world’s strongest personal bodyguard, isn’t that the goal? Even John Cena, the fake poser, he has a bodyguard even bigger than he does?

Becoming your own bodyguard

So it seems that like no matter how rich powerful or whatever you are… There’s probably going to be a certain point in which you get some sort of like paranoia or fear that other people want your body. And as NASSIM TALEB says, rather than hiring a bodyguard, better that you yourself look like and become a bodyguard.

No more fear

Obviously caution wise thing like it is probably not a good idea to close your eyes and cross a busy street with AirPods on. You’re probably gonna get hit by a car and die.

similarly speaking, probably not a good idea to go bungee jumping without a cord, even if you have no fear.

So certainly prudence is a good idea, also when it comes to things… Having a backup a safety or double backup safety or even a triple back up safety is a good idea.

so with weightlifting, it’s always wise to have like double extra support and buffer. For example I just lifted 552 kg, yet… The rack I am using is probably good for at least 1000 kg, maybe even 1500 kg. So I feel safe.

similarly speaking, when you’re traveling with your devices assume that your iPhone or your iPad or your laptop is going to break, so it’s always why to have like paper back ups, because for like the 99 times you’re safe, the one time it fails, you’re going to wish that you had prepared better.

Always be prepared, the Boy Scouts motto.

So this is a super interesting philosophy, the idea is that we should not seek to remove chaos from our lives, but rather… AUGMENT it?

Good for your posture, bad for your posture? 

.

Loose is better for your pasture 

Good for your posture

.

The Bitcoin 100

America Or nothing

Outlier

Dionysian Ecstasy  

Bitcoin Is a technology 

Bitcoin is math money

Under performing

The cost of equity is 13%

Dilutive or accreative? Capitalize on bitcoin

Less risky ***

Pure economic energy

More volatile more useful

.

Extraordinary wealth

Recycling of leverage

Business strategy

Bitcoin tradecraft

.
10-30 years ,, borrow 10% or less

7-8-9x mnav,,, retain 90%

Pegasus

Harness fire

.

Install electricity

Bitcoin is a technology it is not speculation

In chaos lies opportunities

Realism is boring

.

The only downside of being a god is boredom? 


podcast https://creators.spotify.com/pod/show/erickim/episodes/GOD-THOUGHTS-e351pnd

big

THE MORE CHAOS, THE MORE BEAUTIFUL LIFE? 

So this is a super interesting philosophy, the idea is that we should not seek to remove chaos from our lives, but rather… AUGMENT it?

Input in, input out.

So one of the very hopeful things is that the good thing is… AI will never fully replace photographers. Why?

First, the big one is that photographers have two legs arms and brain. And also… Ultimately the photos you select, come from the heart.

also for the most part, photos don’t really have a strong economic benefit, typically it is done something more like a passion a hobby, an autotelic artistic pursuit. As a consequence, it is all in interpretive in a good way.

by Eric Kim

Dedication

To Cindy,

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

I love you now and forever.

Berkeley, Dec 9, 2015.

Table of contents

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

1. Fulfill your personal maximum

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

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

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

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

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

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

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

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

2. Get Closer

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

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

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

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

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

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

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

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

3. Shoot 25% more than you think you should

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

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

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

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

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

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

4. Shoot from the gut

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

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

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

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

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

But when is it time to become analytical?

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

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

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

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

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

5. The “.7 Meter Challenge”

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

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

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

6. “Marinate” your photos

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

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

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

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

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

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

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

7. Don’t shoot from the hip

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

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

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

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

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

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

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

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

8. Influence the scene

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

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

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

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

9. Don’t crop

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

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

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

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

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

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

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

10. Focus on the edges

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

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

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

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

11. Emotionally detach yourself from your photos

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

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

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

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

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

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

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

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

12. Create context in your frame

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

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

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

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

13. Provoke your subjects

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

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

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

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

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

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

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

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

14. “Can you do that again for me?”

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

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

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

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

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

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

15. Don’t be a slave to your camera

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

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

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

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

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

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

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

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

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

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

16. Cure yourself of “G.A.S.”

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

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

1. Be grateful for what you have:

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

2. Realize there is no “perfect” camera:

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

3. Set yourself an upgrade limit:

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

4. Re-read old reviews of your camera:

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

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

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

17. Embrace “beginner’s mind”

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

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

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

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

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

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

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

18. Shoot how you feel

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

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

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

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

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

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

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

19. Limitations are freedom

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

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

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

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

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

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

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

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

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

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

20. Document your own life

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

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

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

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

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

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

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

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

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

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

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

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

22. Shoot what it feels like

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

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

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

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

23. Embrace failure

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

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

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

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

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

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

24. Don’t be afraid to click the shutter

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

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

To succeed more, fail more.

25. Add “something more” to the frame

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

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

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

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

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

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

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

26. Master your body language

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

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

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

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

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

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

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

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

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

26. Tell convincing lies

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

How do you make memorable street photos?

Tell convincing lies.

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

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

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

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

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

28. Kill your master

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

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

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

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

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

29. Contradict a “rule”

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

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

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

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

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

30. Follow your curiosity

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

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

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

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

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

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

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

31. Don’t explain your photos

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

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

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

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

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

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

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

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

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

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

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

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

32. “Open” vs “closed” photos

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

“Open” photos

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

“Closed” photos

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

Here are some assignments you can try out:

Assignment #1: Make an “open” photo

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

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

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

Assignment #2: Make a “closed” photo

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

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

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

33. Kill your ego

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

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

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

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

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

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

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

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

Edit ruthlessly, and kill your ego from the process.

34. Shoot what you love

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

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

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

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

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

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

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

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

Edit ruthlessly, and kill your ego from the process.

35. Don’t hesitate

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

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

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

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

36. Don’t try to be someone else

”Photograph who you are!” – Bruce Gilden

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

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

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

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

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

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

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

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

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

37. Don’t repeat yourself

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

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

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

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

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

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

38. Ask for permission

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

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

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

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

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

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

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

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

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

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

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

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

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

Here is some practical advice when asking for permission:

1. Compliment your subject

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

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

2. “Making” vs “Taking” a photo

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

3. “Portrait” vs “Picture”

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

4. Show them your LCD screen

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

5. Ask them their life story

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

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

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

39. Try to get rejected

We often fear the rejection more than the rejection itself.

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

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

40. Don’t define yourself

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

41. Don’t stop your projects too soon

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

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

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

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

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

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

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

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

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

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

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

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

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

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

42. Take shitty photos

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

43. Chase the light

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

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

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

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

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

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

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

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

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

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

When the light is good, shoot like a madman.

44. Channel your personal emotions

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

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

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

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

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

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

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

My suggestion: shoot with your heart. Capture emotions.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

46. Disturb your viewer

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

47. Disregard technical settings

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

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

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

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

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

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

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

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

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

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

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

48. Embrace “P” mode

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

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

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

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

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

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

49. Enjoy the process

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

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

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

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

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

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

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

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

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

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

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

50. Single photos can’t tell stories

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

51. Don’t worry about marketing your work

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

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

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

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

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

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

52. Subtract from the frame

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

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

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

Ruthlessly eliminate distractions from the frame.

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

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

53. Make yourself vulnerable

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

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

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

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

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

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

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

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

54. Forever be an “amateur”

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

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

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

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

Embrace and revel being an amateur.

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

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

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

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

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

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

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

55. Stay hungry, stay foolish

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

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

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

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

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

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

”Stay hungry, stay foolish.” – Steve Jobs

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

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

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

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

”How bad do I want it?”

56. Don’t force it

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

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

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

“Should” photos

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

“Must” photos

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

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

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

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

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

57. Don’t take easy photos

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

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

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

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

58. Shoot what you’re afraid of

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

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

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

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

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

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

59. Print your photos

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

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

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

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

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

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

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

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

60. Don’t be “suckered by the exotic”

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

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

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

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

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

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

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

61. Shoot in boring places

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

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

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

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

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

62. Don’t take bad photos

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

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

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

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

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

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

63. Make specific photos

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

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

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

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

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

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

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

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

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

64. Compose intuitively

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Less theory; more practice.

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

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

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

Never forget: a photograph without emotion is dead.

65. Don’t have a “project”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

66. Improve 1% everyday

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

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

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

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

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

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

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

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

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

Don’t hesitate; start now!

67. Take 1 photo everyday

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

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

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

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

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

68. Make something extraordinary from the ordinary

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

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

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

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

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

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

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

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

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

69. Don’t see your photos as “art”

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

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

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

70. Constantly question yourself

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

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

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

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

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

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

71. Feel emotions in color

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

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

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

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

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

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

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

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

72. Never leave home without your camera

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

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

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

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

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

73. Make a book

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

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

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

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

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

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

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

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

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

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

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

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

74. Juxtapose

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

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

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

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

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

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

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

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

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

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

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

75. Pave your own path

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

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

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

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

76. What do you want from your photography?

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

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

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

77. Don’t constantly switch your equipment

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

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

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

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

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

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

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

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

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

78. Learn where to stand

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

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

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

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

79. Expect to be disappointed

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

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

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

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

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

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

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

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

Work hard, but manage your expectations.

80. More megapixels, more problems

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

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

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

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

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

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

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

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

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

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

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

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

81. Experiment with film

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

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

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

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

82. Kill your babies

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

83. Don’t look at your photos immediately

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

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

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

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

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

84. Don’t shoot for others

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

85. Photograph your own backyard

“I just made my photos in Wilkes-Barre and a few other places because I wasn’t the kind of photographer who liked to, or needed to, travel around the world. That reminds me, I saw something you had said about how artistic range effects an artist’s development over time. And I work on an extremely narrow range, in terms of my method and technical issues, too. It’s what is in my head that has developed over time. So I’ve just kept taking pictures in the same two counties [Wilkes-Barre and Scranton].” – Mark Cohen

It is always hard to shoot your own backyard. We become accustomed to our own neighborhood, and it is easy to become jaded.

Mark Cohen is a photographer who documented his own “boring” small town for several decades, and made interesting photographs. He didn’t need to be in NYC, Tokyo, or Paris. He made his own backyard his Paris.

You can often find beauty in the most ordinary places. Many photographers bemoan the fact that they don’t live somewhere exotic; but you can find beauty regardless of where you are.
To be alive and on the planet Earth is a blessing. You can find beauty in the conversation of an old couple at a local coffee shop, a child playing, or someone enjoying the warm rays of the sun in a park.

There is a hidden benefit of living in a boring place– the more boring the place you live, the harder you have to work to make interesting photos. That sort of challenge helps you be more creative.

Photographer Saul Leiter lived a pretty obscure life. Leiter didn’t care for fame, he cared to just capture beauty whenever he saw it. He also focused on capturing beauty rather than misery, pain, and distress in the world (like a lot of other photographers do):

”I never thought of the urban environment as isolating. I leave these speculations to others. It’s quite possible that my work represents a search for beauty in the most prosaic and ordinary places. One doesn’t have to be in some faraway dreamland in order to find beauty. I realize that the search for beauty is not highly popular these days. Agony, misery and wretchedness, now these are worth perusing.” – Saul Leiter

I personally find re-inspired by the place I live in by leaving and traveling. Then once I come back home, I appreciate my backyard even more.

86. Make images that stand on their own

”To be honest with you, I always try to think of the specific pictures. What’s important to me is to make strong, individual pictures. When I look at a documentary photographer or photojournalist whose work I really love- somebody like Eugene Smith-it’s because the images are single images. I think of his great picture stories as stories where the images really stood by themselves. In Life’s ‘Country Doctor,’ for example, you remember each image. They weren’t only linking images -each one was strong, and each can stand alone. I think in great magazine or newspaper photography every picture can stand on its own; it doesn’t need the other pictures to support it to tell a story.” – Mary Ellen Mark

One analogy I heard about writing is that instead of thinking of writing a “book,” try to write perfect paragraphs. Every time you write a perfect paragraph, you are making a pearl. And with enough pearls, you can connect them and make a beautiful pearl necklace.

You can also apply the same thinking to your photos. Try to make each photograph into a perfect pearl. Make each photograph a strong one that can stand on its own, without any sort of caption or outside context.

A strong single image is often universal, and can be appreciated by anybody, regardless of their culture, worldview, or age. Mary Ellen Mark explains:

”What I’m trying to do is make photographs that are universally understood, whether in China or Russia or America‑photographs that cross cultural lines. So if the project is about street performers, it touches those little things and whimsies we’re all interested in -animals and people and anthropomorphic qualities. If it’s about famine in Ethiopia, it’s about the human condition all over the world: It’s about people dying in the streets of New York as much as it’s about Ethiopia. I want my photographs to be about the basic emotions and feelings that we all experience.” – Mary Ellen Mark

A strong single-image will burn itself into the mind of the viewer, and live with them. Even if you have created one memorable single-image before you die, you have done your job as a photographer.

87. What counts is the result

”What counts is the result. It works or it doesn’t work. You may think after you’ve taken a picture that you may have something. And then you find out that you don’t have anything, that you almost had something but that in fact, you pressed the button at the wrong time. That you took a lot of pictures, but you were on auto-pilot – that instead of waiting, you shot buckshot at it, so you missed the one that might really work.” – Richard Kalvar

It is common we make photos that “almost” work. But ultimately, a photo either works or it doesn’t work. There is no need to beat around the bush.

If you didn’t get the shot right “in-camera,” don’t think that excessive cropping, vignette adding, making it black and white, HDR, selective color, or post processing can salvage the image.
The process of making photos is important, but know at the end of the day, the result of the photograph is the most important. You can have the most interesting backstory in terms of how you shot a scene, but if the result of the photograph isn’t interesting, nobody will care.

Learn to be honest with yourself and your images. Be sincere to yourself; ask yourself, “Does this shot work, or not?”
I have generally found with my photographs, if I have to hesitate whether I think works or not, it doesn’t work. Also when editing my photos, if a photograph is a “maybe”, it doesn’t work. The good photos you take generally tend to be quite obvious.

As a general rule remember: “When in doubt, ditch.”

88. Abstract reality

“In order for the mystery to work, you need abstraction from reality. Black and white is an additional abstraction, in addition to selective framing, to the freezing of the moment that in reality is a part of an infinite number of other moments (you have one moment and it never moves again; you can keep looking at the picture forever). The black and white is one more step away from reality. Color, for me, is realer, but less interesting.” – Richard Kalvar

Reality can be boring. What the viewer is interested in seeing is the abstraction of reality, not reality itself. So think to yourself, when you are making photos, what is the extra layer that makes the image interesting? 

How can we make reality more surreal and abstract? You can start off by trying to “lie with reality,” as Richard Kalvar explains:

”That’s part of the magic of photography. Look at a picture and you have no idea what was going on. The only thing you can know is what’s visually depicted, and we all know photographers lie. That’s where the fun comes in. To be able to tell a lie with “reality” is a very tough trick.” – Richard Kalvar

You don’t want to make your photos too obvious. You want the viewer to work hard to come up with his or her own interpretation of reality. You do this by adding mystery and removing context from your images: 

”As a photographer if your photos are too obvious then you’re missing the point. Photos are about mystery, about not knowing, about dreams, and the more you know about that—then you can recognize them on the street.” – Jason Eskenazi

Another approach you can have in street photography is to try to create “little dramas” in your frame. You want to create little mini-stories in your images, and you want them to stay open ended. You want the viewer to come up with their own interpretation of the scene:

“I’m trying to create little dramas that lead people to think, to feel, to dream, to fantasize, to smile… It’s more than just catching beautiful moments; I want to fascinate, to hypnotize, to move my viewers. Making greater statements about the world is not my thing. I think there’s a coherence in the work that comes not from an overriding philosophy but from a consistent way of looking and feeling.” – Richard Kalvar

Don’t make “obvious” photos. Make your viewer work to interpret your images and reality.

89. Capture your own personal “decisive moments”

”Sometimes it happens that you stall, delay, wait for something to happen. Sometimes you have the feeling that here are all the makings of a picture – except for just one thing that seems to be missing. But what one thing? Perhaps someone suddenly walks into your range of view. You follow his progress through the viewfinder. You wait and wait, and then finally you press the button – and you depart with the feeling (though you don’t know why) that you’ve really got something. Later, to substantiate this, you can take a print of this picture, trace it on the geometric figures which come up under analysis, and you’ll observe that, if the shutter was released at the decisive moment, you have instinctively fixed a geometric pattern without which the photograph would have been both formless and lifeless.” – Henri Cartier-Bresson

When we are shooting images, we never fully know which moment will be “decisive.” But when we are shooting, we sometimes have a gut feeling or an intuition that a certain moment might be significant. At that moment, we must click the shutter.
It is hard to know which moments are significant while we’re shooting, so we need to take a risk. Whenever you’re in doubt or think a moment might be interesting, don’t think too much. Just click the shutter.

Henri Cartier-Bresson expands the concept of “the decisive moment” below:

”To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression.” – Henri Cartier-Bresson

But which moment is “decisive” and which moment isn’t “decisive?” Ultimately, it is a judgement call. Every single moment which we think might be significant is personal:

”Your decisive moment is not the same as mine, but most of us are looking for a moment that is necessary for what we’re trying to do. Unnecessary moments quickly become easy, common, and boring.” – Richard Kalvar

Capture fewer “decisive moments” of people jumping over puddles, and more personal decisive moments. Make meaningful photos of your close friends, loved ones, and family. Make photos that you think are going to be meaningful on your deathbed. Make photos that aren’t going to get tons of “likes” on social media, but will bring you inner-happiness and satisfaction.

90. Rules will set you free

”I didn’t write the rules, but following them set me free.” – Richard Kalvar

As artists we have a knee-jerk reaction against “rules.” We want to be open, free, and unlimited in our creativity. But know that often having rules can help us be more creative.

Certain “rules” in photography include not cropping, not mixing color and black and white in a series, not posing your photos, not to use zoom lenses, and not applying gimmicky post-processing to your photos.

Know that these “rules” are simply “creative constraints.” Richard Kalvar followed a lot of the “rules” from Henri Cartier-Bresson, and first disdained them. But over time, he found out how these rules ended up helping his photography:

”Sometimes it turns out that the things that you do for the wrong reasons turn out to be the right things to do anyway. In retrospect, I’m really glad that I decided not to crop, because that developed my compositional discipline and my ability to organize a picture instinctively, in the viewfinder. It also obliged me to work very close up to my subjects in order to fill my 35mm lens frame. I had to be a toreador, not a sniper. Also, I had the feeling of doing something difficult, getting the picture right in the first place; anyone could crop a picture and find something interesting, but doing it in the camera was special. These things were essential to my photographic development.” – Richard Kalvar

When you’re starting off any creative endeavor, you don’t want to have too many options. It is good to set these artificial boundaries and rules for yourself.

By having these “creative constraints,” you will force yourself to be more creative given your limited options. Imagine a kid who doesn’t have any toys at home. He will take a refrigerator cardboard box and turn it into a fort. He will take plastic bags and turn them into parachutes for his little toy soldiers. He will innovate creative ideas given the few things he might have.

I personally believe that having some rules and structure in your life helps give you more creative freedom.

For example, I have a personal rule in writing (I am not allowed to turn on the internet before noon). I use an app called “Freedom” on the Mac which shuts down my internet for a pre-determined period of time. This “rule” has helped me become much more focused and productive as a writer (I currently have my internet disabled as I write these words).

Another rule you can set yourself: don’t go a day without taking a single photograph. This “rule” is a positive one, rather than that of a dictator.

Many “rules” in photography are just guidelines and suggestions. But there is a reason why so many of these “rules” stick around for a long time in history (because there is some wisdom and usefulness in them).

If you’re starting off in street photography, adhere to simple rules like don’t zoom, don’t crop, don’t constantly switch your equipment, don’t publish too many photos, don’t mix color and black-and-white.

Once you have learned these “rules” and learned why they are rules, then you can break away from them and kill them.

91. Experiment

”I liked different lenses for different times. I am fond of the telephoto lens, as I am of the normal 50 mm lens. I had at one point a 150 mm lens and I was very fond it. I liked what it did. I experimented a lot. Sometimes I worked with a lens that I had when I might have preferred another lens. I think Picasso once said that he wanted to use green in a painting but since he didn’t have it he used red. Perfection is not something I admire. [Laughs]. A touch of confusion is a desirable ingredient.” – Saul Leiter

Experimentation is what makes life exciting and fun. If you were to simply do the same thing everyday, life would quickly become boring and dull. Imagine eating the same one dish for the rest of your life.

Imagine how quickly you would become bored with it. As artists and photographers, it is hard to balance the fine line between experimentation and consistency. However without experimentation, you will never be able to find your voice in photography, or what you enjoy.

Have fun and experiment. Think of yourself like a scientist, and you can experiment with different approaches, subject-matter, cameras, lenses, films, styles of post processing, etc. Once you’ve found a certain experiment that works well, try to stick with it and see how deep you can go with it.

Even as an example, I have been experimenting shooting more with my smartphone and processing it in the VSCO app (with the “a6” preset). I have been happy with some of the results, but figured that I preferred using a more standard camera at the end of the day. Yet it was an experiment I’m glad I did.

Variety is the spice of life.

Don’t let others dictate what experiments you “should” do and “shouldn’t” do. Follow your own voice, and be your own mad photography scientist.

92. Fuck fame

”I’ve never been overwhelmed with a desire to become famous. It’s not that I didn’t want to have my work appreciated, but for some reason — maybe it’s because my father disapproved of almost everything I did — in some secret place in my being was a desire to avoid success.” – Saul Leiter

Being famous in photography or life is overrated. Fame can often add unnecessary pressure, anxiety, and stress.

Saul Leiter is one of the best examples of a great photographer who lived a happy, peaceful, and fulfilled life. Instead of trying to network all the time and try to get his photos seen in prestigious galleries, he preferred to simply sit and enjoy a nice cup of coffee:

“My friend Henry [Wolf] once said that I had a talent for being indifferent to opportunities. He felt that I could have built more of a career, but instead I went home and drank coffee and looked out the window.” – Saul Leiter

Becoming “famous” is something which is out of your control. 90% of “success” in photography is about who you know (and how much ass you kiss) not how good your work is (unfortunately).

Consider all of the famous artists who died penniless and without any fame (Van Gogh being a notable example), and were “discovered” after they died. Yet they still pursued their art for the pure love of it, not for the fame or money or riches. Saul Leiter explains:

”The cream does not always rise to the surface. The history of art is a history of great things neglected and ignored and bad and mediocre things being admired. As someone once said “life is unfair.” In the 19th Century someone was very lucky. He or she acquired a Vermeer for $ 12. There are always changes and revisions of the appreciation of art, artists, and photography and writers and on and on. The late art of Picasso is no good but then a revision takes place and then it becomes very good as the art records indicate. Things come and go.” – Saul Leiter

With social media and today’s modern society, we crave attention. But there is often a great advantage of being ignored, that you can live more peacefully and live life according to your own principles. Saul Leiter shares the upside of being “ignored”:

“I spent a great deal of my life being ignored. I was always very happy that way. Being ignored is a great privilege. That is how I think I learnt to see what others do not see and to react to situations differently. I simply looked at the world, not really prepared for anything.” – Saul Leiter

Even if you become the world’s most famous photographer, there will still be people who don’t know or appreciate your work. Just focus on creating work for yourself, without the added pressure to please others:

”I have a deep-seated distrust and even contempt for people who are driven by ambition to conquer the world … those who cannot control themselves and produce vast amounts of crap that no one cares about. I find it unattractive. I like the Zen artists: they’d do some work, and then they’d stop for a while.” – Saul Leiter

Saul Leiter expands on not taking yourself or life too seriously:

“In order to build a career and to be successful, one has to be determined. One has to be ambitious. I much prefer to drink coffee, listen to music and to paint when I feel like it… Maybe I was irresponsible. But part of the pleasure of being alive is that I didn’t take everything as seriously as one should.” – Saul Leiter

Fuck fame, fortune, and the number of social media followers you have. No matter how famous you become, there will always be someone more famous than you. Not only that, but sooner or later, all the people who admire your work will eventually die. And when you’re dead, why do you care if people admire your work anyways (you can’t enjoy “fame” when you’re dead).

The only pursuit in photography and life which is noble is this: pursue your inner-vision in photography, without any sort of internal censor or critic stopping you. Don’t make work to please others, but revel in creating work which brings you inner-satisfaction and joy.

Fame and fortune is the most empty and shallow thing. So many great photographers have lost their inner-vision and passion because they start chasing the dollars and the number of online followers, rather than sticking to their inner-wisdom and inner-voice.

Trust me, it has happened to me. When I started photography, I did it for the pure love of it. Then I discovered social media, and then it became about getting more views, comments, followers, and “fame.” I started to do sneaky stuff, like following people (only hoping that they would follow me back), and I would only leave comments and like their photos because I hoped that they would reciprocate. I would constantly refresh my photos every hour hoping that I got more views, comments, and other badges of external recognition.

Over the years, I’ve realized that this is bullshit.

Even now, I have tons of followers online, and after a while, they just become numbers. And enough is never enough. Even though my dream was once to get at least 100 “favorites” on Flickr, that number soon turned into 200 favorites, then 300 favorites, then 500 favorites. My most popular photo of a laughing lady in NYC has over 1,000 favorites, yet it still pales in comparison to other photographers who have over 10,000 favorites on their images.

Even with Instagram, I currently have around 24,000+ followers (which is a lot by “normal” people). But I still feel pangs of jealousy seeing other photographers with 200,000+ followers. I think to myself, “Why do they have so many followers, their work sucks, I am such a better photographer than them!” But how many “likes” or “favorites” is enough?

All of this ultimately was a reflection of my own insecurity of myself and my work.

Remember even if you do become “famous” in your photography, you will have lots of trolls and “haters” who come out of the woodwork. They will try to tear you down, not because you are a bad photographer, but because they are dissatisfied with their own work and lack of fame, and are jealous that you are pursuing your dream and passion (and have received some recognition).
To sum up, once again, fuck fame. Seek to please yourself, perhaps a few friends and close colleagues, and shoot everyday if it were your last.

When you die, you can’t take your “likes” with you.

93. Think long-term

“I very much like to work on long-term projects. There is time for the photographer and the people in front of the camera to understand each other. There is time to go to a place and understand what is happening there. When you spend more time on a project, you learn to understand your subjects. There comes a time when it is not you who is taking the pictures. Something special happens between the photographer and the people he is photographing. He realizes that they are giving the pictures to him.” – Sebastião Salgado

Everything great takes a long time to grow. You can’t expect to become a master photographer overnight. A redwood tree needs decades, centuries, and sometimes even thousands of years to achieve their grandeur.

Similarly, don’t feel so rushed in your photography to create great work overnight. Some of the best photographers in history need years, sometimes even decades to make a body of work they’re proud of.

For example, Sebastião Salgado shares the importance of spending a long time on a project, which really allows you to understand your subject matter deeper. Even though you might be tired and exhausted, you must keep peddling forward:

“When I started Genesis I was 59 and I thought I was an old man. But now I am going to be 70 and I feel fine so I am ready to start again. Life is a bicycle: you must keep going forward and you pedal until you drop.” – Sebastião Salgado

Zoe Strauss also worked on her “I-95” project for nearly a decade. The effort of her work really shows, the images are powerful, cohesive, and tell a narrative:

“I-95 was an epic narrative about the beauty and struggle of everyday life, comprising 231 photographs adhered to the concrete support pillars under an elevated highway that runs through South Philadelphia, Interstate 95. The installation of photos went up once a year, from 1pm to 4pm, on the first Sunday of the month. I worked on 95 for a decade, from 2000 to 2010.” – Zoe Strauss

Why a full decade? Strauss explains:

”A decade would allow me enough time to make a strong body of work. I needed to learn to make photographs and couldn’t gauge my capability until I actually started working. Setting a time constraint assured that the installation wouldn’t be overworked. Plus, I could go at it as hard as possible without fear of burning out.” – Zoe Strauss

Strauss also did something interesting: she set a time limit on how long she was allowed to work on her project. She figured a decade was enough time to work on her project, but didn’t dare work on it for longer than that.

Another example: Richard Avedon worked on his epic project, “In the American West” for 6 full years. During that period of time, he photographed 752 people, exposed 17,000 sheets of 8×10 film, traveled to 17 states, 189 towns, and ultimately only showed 123 photos for his exhibition.

Don’t settle for single-images on social media; aim to make meaning long-term projects.

If you pursue any project that is personally meaningful for at least a decade, how can it be weak?

94. Create a relationship with your subjects

”If you take a picture of a human that does not make him noble, there is no reason to take this picture. That is my way of seeing things.” – Sebastião Salgado

One of the main problems in street photography is how shallow it can be. Through street photography, we are trying to build a connection with our fellow human beings. But often when we shoot candidly, we aren’t able to make that deeper connection.

In these circumstances, I feel that it is important to try to build a human connection with your subjects.

Many proponents of street photography day that street photography must be candid. It is true that sometimes the best street photos are candid. But also some of the best street photos involve the photographer getting intimate with his or her subject. By getting to know your subject, you connect with them on a deeper and emotional level, which might help you uncover some hidden truths about them, which might manifest in the photos that you take.

Sebastião Salgado isn’t a “street photographer” and most consider him a “documentary photographer.” Salgado is most famous for photographing important socioeconomic and political issues all around the world.

Salgado’s personal story is this: he started off as an economist, saw all the problems in the world, and decided to pursue photography to reveal those injustices. This came out of his humanity and deep love of others.

Salgado doesn’t believe that making an image is just a one way process; rather, making a photograph is a collaboration between the subject and photographer. He explains below:

”The picture is not made by the photographer, the picture is more good or less good in function of the relationship that you have with the people you photograph.” – Sebastião Salgado

To get your subjects to open up to you, you also need to open yourself up to your subject:

”I tell a little bit of my life to them, and they tell a little of theirs to me. The picture itself is just the tip of the iceberg.” – Sebastião Salgado

Walker Evans also shares the importance of a photographer being able to be with other people, and to have your subjects feel comfortable:

“Incidentally, part of a photographer’s gift should be with people. You can do some wonderful work if you know how to make people understand what you’re doing and feel all right about it, and you can do terrible work if you put them on the defense, which they all are at the beginning. You’ve got to take them off their defensive attitude and make them participate.” – Walker Evans

There will be moments where you won’t have time to make a deep connection with your subject. However one of the most important things are to create an emotional bond with your subject, by empathizing with them as Weegee shares:

”When you find yourself beginning to feel a bond between yourself and the people you photograph, when you laugh and cry with their laughter and tears, you will know you are on the right track.” – Weegee

I believe the connections we make with our subjects is far more important than making photos. After all, what is a photograph anyways? It is just light reflected off a surface. There is no real soul or emotion in a photograph.

But the true emotion and soul of humanity lies within the connection we have with our fellow human-beings.

Personally, I might go an entire day without making any good photos. But if I had a nice chat with the bus driver, with my barista, or a stranger on the street and built a lovely (albeit brief) connection, my entire day was justified and worth it.

95. Don’t bore your viewer

”Don’t take boring photos.” – Tony Ray-Jones

One of the worst things you can do as a photographer is to bore your viewer. In today’s society we have very limited attention spans and if your work doesn’t instantly invite, captivate, or interest your viewer, you will fail to ever have an audience for your work.

But how can you make your photos less boring? One piece of advice from Jason Eskenazi is to reveal something personal about yourself:

”Ultimately any photo project that you do isn’t really about the subject matter, it is about you – and revealing yourself. If you don’t reveal anything about yourself, you are boring everyone. It is a confession in some ways.” – Jason Eskenazi

It is hard to tell whether a photo is any “good” or not, but it is easier to tell whether it is boring or not.

If you need editing (selecting) advice, approach your friends or fellow photography colleagues and simply ask them: “Is this shot boring?” Then based on their feedback, integrate their suggestions, and decide which photos to cut (and which to keep).

What you find boring is highly subjective. However most people have pretty keen “boredom detectors” which can be used as a useful tool when culling down your images or projects.

Furthermore, avoid boredom in your photography. If you are pursuing a project that no longer interests you, close it out, and continue along a new path. If black and white bores you, try color. If digital bores you, try film. If 35mm bores you, try medium-format. If shooting your neighborhood bores you, check out a different neighborhood. If photography itself bores you, pick up painting or some other artistic form.

Living life by simply avoiding boredom is a quite easy (and very fulfilling) way to live creatively.

96. Embrace your day job

I know a lot of photographers who wish their full time profession was being a photographer. Or if they were rich, and didn’t have to work, and could simply travel the world and photograph all the time.

The reality is that sometimes having too much free time can be bad for your creativity. There is a benefit on having a “day job” as a photographer. Having a steady income allows you to buy photography books, film, attend workshops, travel, and not have to stress to make a living from your photograph.

Many professional photographers burn out from doing so much commercial and wedding photography (and work they don’t really like doing). After a 12-hour long wedding, do you really have the energy, time, or motivation to go out and shoot some street photography? I doubt it.

Some of the most famous street photographers in history have had normal “day jobs”, like Vivian Maier who worked as a nanny. The benefit of being a nanny was whenever she took her kids to the city, she brought her camera along and made photos. Not only that, but when she was off work, she could fully devote her time to making images, without having to worry about selling her photos or anything to survive.

Walker Evans also had a job that gave him during the day, which didn’t pay much, but paid for his freedom:

”I had a night job on Wall Street in order to be free in the daytime. It paid for room and food. You didn’t have to sleep or eat much. In those days I was rather ascetic.” – Walker Evans

Even Albert Einstein worked as a clerk at the Swiss patent office, doing menial labor while he came up with the theory of relativity.

You have no barriers. Realize you can create a great body of work in photography even with a normal job.

97. Count your blessings

If you have a day job, count yourself blessed. Rather than making excuses about how your day job holds back your creativity as a photographer, think about the benefits of having a day job as a photographer. Then write down all the benefits on a piece of paper and tape it to your cubicle wall.

Another idea: try to find where you can make free time around your day job to do more shooting.

Perhaps you can shoot for 30 minutes before work on the train, subway, or in your neighborhood before you go to work. If you drive, perhaps you can shoot photos while stuck in traffic (do this with caution).

If you have a lunch break, devote that time to shoot your office neighborhood. If you don’t have people in your office area walking around, shoot urban landscapes, or just portraits of your Co workers. Don’t stay late after work sending more emails or sucking up to your boss, get out immediately at 6pm and go shooting where you want to go.

Maximize your weekends for shooting. Devote holidays to shoot. Ask your boss if you can work part time to allow yourself more time to shoot. Find the little holes of time in your schedule and maximize it.

There are no excuses, only photos to be made.

98. Don’t become married to your beliefs

”A year ago I would have said that color is vulgar and should never be tried under any circumstances. It’s a paradox that I’m now associated with it and in fact I intend to come out with it seriously.” – Walker Evans 

In today’s society it is frowned upon to be a “flip-flopper” and to go back on previously stated beliefs you might have had. Not only that, but it is true that it is hard for old dogs to learn new tricks. Once we have a certain belief or way of thinking established in our minds, we don’t like to change our beliefs.

In order to continue to grow, evolve, and learn as a photographer is to not get married to your beliefs. It is important to stay open-minded to new ideas, approaches, and ways of working.

For example, Walker Evans worked most of his career in black and white. He looked at color photography with disgust, horror, and suspicion. He went on the public record by calling color photography “vulgar.” 

Ironically enough, he started to be more interested in color when he started to shoot with an instant Polaroid camera. He then started to have fun and understand the benefits of shooting color. What I admire about Evans that he was able to admit that he was wrong, and changed his beliefs. Not many photographers or human beings can do that.

What are some preconceived notions or concepts or ideas that you have which you cling onto dearly? Learn how to kill your preconceived notions, and to divorce yourself to your own beliefs.

99. You’re only as good as your last photo

”Keep your eyes open. If you see anything, take it. Remember – you’re as good as your last picture. One day you’re hero, the next day you’re a bum.” – Weegee

There’s a saying also for film directors that you’re only as good as your last movie. Once you reach a certain quality or bar in your photography, you don’t want to make future work which is worse than your old work. You want to continue to improve, and be judged based on your past work.

Have a strong work ethic in your photography. Don’t be easily satisfied, try to make the best possible photos you can, judging yourself to your past work.

The secret isn’t to judge yourself and your work compared to other photography. Rather, only judge yourself to the last photo you took. If you have a certain shot that you’re really proud of, make that photograph your new standard.

Aim to make photos as good as that shot, if not better. This will help you continue to pave new ground in your photography, and take your work to the next level.

100. Unlearn

Dear friend,

I want to leave you with the last lesson it would be this: unlearn.

You’ve read all these 100 lessons from the masters of street photography. Some of these lessons probably resonated with you more than others. Some of these lessons probably were “bullshit” in your eyes, but you still kept an open mind.

If there is anything I can share that I have personally learned from putting this book is this: I appreciate all of the theory, lessons, and learning from the masters. But now I need to “kill my masters” and set my own sail.

Ironically enough, everyday I am trying to unlearn one thing. After a while of accumulating too much photography theory, it has hurt me more than hurt me. I hesitate making photos because I have too much self-criticism. The voices in my head tell me, “No Eric, don’t take that photo. It will be shitty.” I am a very harsh editor of my work as well; I only make about one photo a month I am proud of.

But moving forward, I want to have more fun with my photography. I don’t want to be held by theories and ideas. I want to pave my own path.

So friend, after you have learned all of these fundamental lessons, unlearn them as well. Pave your own path. Just see the “masters” as guides in your journey in photography. Once you’ve found your path, you can bid farewell to them.

If I could summarize all of the lessons I learned from the masters of street photography (and their philosophies of life) it would be this:

1. Never stop learning.
2. Never stop shooting.
3. Never stop challenging your beliefs in photography.
4. Don’t forget that you only live once; shoot everyday if it were your last.
5. Follow the path of the masters, but know when to “kill” the masters.
6. Don’t feel rushed; take your time. Your voice will emerge naturally.
7. Disregard fame, fortune, and shoot for yourself.
8. Buy experiences, not gear.
9. Make connections, not photos.
10. Love your subjects like yourself.

What are you going to unlearn today?

Epilogue

Dear friend,

Thank you so much for accompanying me along this journey. I hope you enjoyed reading this book as much as I enjoyed writing it.
The end of a journey is always a bit bitter-sweet. I have poured my entire heart, soul, and being into researching, writing, and designing this book— and I am quite proud of the final outcome. But remember at the end of the day, it is just a guide and a manual; not a bible you should mindlessly follow.

Always read all these lessons with a skeptical eye. Even though these master photographers are great, they are still fallible human beings (like the rest of us). Many of these photographers still succumbed to envy, grief, frustration, and jealousy (of other photographers). They didn’t have all of their shit figured out, and neither do we.

Ultimately we need to all pave our own path and life in photography. So don’t follow the masters blindly; be a good pupil and always question the teacher. After all, the teachers are also students at the end of the day.

In writing this book, I had a lot of ups-and-downs. I got my backpack stolen while in Paris and thought without a laptop I couldn’t write the book. But I followed the ancient proverb: “Hunger breeds sophistication.” I ended up writing most of the text for the book on my smartphone, synced it via Evernote, and designed the whole thing on an iPad and Apple Pages. For this eBook edition, I used the iBooks author tool.

The lesson it taught me was this: don’t let any of your external circumstances in life hold you back from creating. Your creativity, aspirations and ideas are limitless.

You have no boundaries to your imagination. The only boundary you have is your own mental limits. The limits are never your lack of money, lack of time, lack of opportunity, or the lack of equipment.

If you have any other ambitious photography projects, ignore what everybody else says. Follow your own heart and bliss. You only live one life, and it is short. Why waste it living according to the expectations of others? Devote every waking moment to creating your art.

Even when you’re busy at your day job “working”— never stop dreaming about your creative projects.

What legacy do you want to leave behind after you die? What regrets do you want to prevent at the end of your photographic life? What are some photographic projects you haven’t pursued yet that you have always wanted to?

Use money as a tool to accomplish some of your dreams, and know at the end of the day, you don’t need a fancy camera to pursue any of your projects. All you need is determination, grit, a supportive community of like-minded artists and photographers, and a dog-like determination to complete your project.

Never stop learning and creating, and always embrace “beginner’s mind.”

Farewell my dear friend, you were destined for great things.

Love,
Eric
New Orleans, Sun, 4:28pm, Oct 11, 2015

Index of the masters of street photography

• Alec Soth
• Alex Webb
• Anders Petersen
• Andre Kertesz
• Bruce Davidson
• Bruce Gilden
• Constantine Manos
• Daido Moriyama
• Dan Winters
• David Alan Harvey
• David Hurn
• Diane Arbus
• Dorothea Lange
• Elliott Erwitt
• Eugene Atget
• Eugene Smith
• Garry Winogrand
• Helen Levitt
• Henri Cartier-Bresson
• Jacob Aue Sobol
• Jeff Mermelstein
• Joel Meyerowitz
• Joel Sternfeld
• Josef Koudelka
• Josh White
• Lee Friedlander
• Mark Cohen
• Martin Parr
• Mary Ellen Mark
• Rene Burri
• Richard Avedon
• Richard Kalvar
• Robert Capa
• Robert Frank
• Saul Leiter
• Sebastião Salgado
• Stephen Shore
• Todd Hido
• Tony Ray-Jones
• Trent Parke
• Vivian Maier
• Walker Evans
• Weegee
• William Eggleston
• William Klein
• Zoe Strauss

Quotes from the masters of street photography

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“I also photograph because I am curious. I am curious about what the person on the other side of the street is thinking, how he or she lives, and how he or she feels. I am always looking for someone to share a moment with.” – Jacob Aue Sobol
“I leave it to others to say what [my photos] mean. You know my photos, you published them, you exhibited them, and so you can say whether they have meaning or not.” –  Josef Koudelka

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

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

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

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

“It’s not normal to feel that you have to do something, that you love to do something. If that’s happening you have to pay attention so you don’t lose it.” – Josef Koudelka

“I ran around Paris; I had to photograph everything. I realized that with this camera I could do something I’d never done before. The panoramic camera helped me go to another stage in my career, in my work. It helped me to remain interested in photography, to be fascinated with photography.” – Josef Koudelka

“I’m going to be seventy-seven. When I met Cartier-Bresson, he was sixty-two. I’m 15 years older than Cartier-Bresson was then. And at that time Cartier-Bresson was stopping his work with photography.” – Josef Koudelka

“Many photographers like Robert Frank and Cartier Bresson stopped photographing after 70 years because they felt that they had nothing more to say. In my case I still wake up and want to go and take photographs more than ever before.” – Josef Koudelka

“Photograph who you are!” – Bruce Gilden

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

“Hopefully, there’s an element of mystery involved. I like him to look at a picture and say “Well, that that reminds me of someone,” and make up a little story in his head, make him smile, brighten up his day. I think this is what I’m trying to achieve with my photographs.” – Bruce Gilden

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

“I don’t want to reach the point from where I wouldn’t know how to go further. It’s good to set limits for oneself, but there comes a moment when we must destroy what we have constructed.” – Josef Koudelka
“I carried this little album of my work. I have three choices. If I see someone in this beautiful mood, I’ll go up to them and ask them, I’d like to take a picture of that mood. If they say yes, I ask if they can get back into that mood. Not everyone can do that. Or, if the said no, then I took out the album and they saw the work. Or I took it, and ran like hell. I had those three choices in the subway.” – Bruce Davidson

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

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

“Despite my fantasies of being a hunter stalking a wild animal, I was still afraid. It was hard for me to approach even a little old lady. There’s a barrier between people riding the subway – eyes are averted, a wall is set up. To break through this painful tension I had to act quickly on impulse, for if I hesitated, my subject might get off at the next station and be lost forever.” –  Bruce Davidson

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

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

“I find that young people tend to stop too soon. They mimic something they’ve seen, but they don’t stay long enough. If you’re going to photograph anything, you have to spend a long time with it so your subconscious has a chance to bubble to the surface.” – Bruce Davidson
“If I were a student right now and I had a teacher like me I’d say, ‘You have to carry your camera everyday and take a picture everyday. And by the end of the week you should have 36 pictures exposed. And then suddenly you’ll latch onto someone, maybe a street vendor- oh he or she is very interesting I might have to be with him or her. So things open up visually.” – Bruce Davidson

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

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

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

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

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

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

“When I came to Sydney at the age of 21 I left everything behind- all my childhood friends and my best mate -at first I just felt this sense of complete loneliness in the big city. So, I did what I always do: I went out and used my Leica to channel those personal emotions into images.” – Trent Parke
“I’m always trying to channel those personal emotions into my work. That is very different from a lot of documentary photographers who want to depict the city more objectively. For me it is very personal it’s about what is inside me. I don’t think about what other people will make of it. I shoot for myself.” – Trent Parke

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

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

“What I want is more of my feelings and less of my thoughts. I want to be clear. I see the photograph as a chip of experience itself. It exists in the world. It is not a comment on the world. I want the experience that I am sensitive to to pass back into the world, fixed by chemistry and light to be reexamined. That’s what all photographs are about—looking at things hard. I want to find an instrument with the fidelity of its own technology to carry my feelings in a true, clear, and simple way.” – Joel Meyerowitz

“A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is truth.” – Richard Avedon

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“You take 35 degrees out of 360 degrees and call it a photo. No individual photo explains anything. That’s what makes photography such a wonderful and problematic medium.” – Joel Sternfeld
“I always work for a group of pictures, to tell a story. If you ask which picture in a story I like most, it is impossible for me to tell you this. I don’t work for an individual picture. If I must select one individual picture for a client, it is very difficult for me.” – Sebastião Salgado

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

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

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

“Early on I sensed the power of that in this regard: when you put your frame up to your eye, the world continues outside the frame. So what you put in and what you leave out are what determines the meaning or potential of your photograph. But you must continue to keep in mind that there are plenty of stuff off-stage. And what bearing might the rest of the off-stage have on this?” – Joel Meyerowitz

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

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

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

“I am an amateur and intend to remain one my whole life long. I attribute to photography the task of recording the real nature of things, their interior, their life. The photographer’s art is a continuous discovery, which requires patience and time. A photograph draws its beauty from the truth with which it’s marked.” – Andre Kertesz

“Even when Andre Kertesz was 90 years old, he created a new portfolio and shared it with the photographer Susan May Tell. When Tell asked him what kept him going, Kertesz responded: ‘I am still hungry.’”

“Stay hungry, stay foolish.” – Steve Jobs

“Shooting people is more beautiful, because it is more difficult.” – Constantine Manos

“A photograph doesn’t exist until it is printed.” – Constantine Manos

“There are still photographers who believe that a photograph does not exist until it is a print. There remains in their memory the experience of working in a darkroom and recalling the magic of seeing an image gradually appear on a piece of paper in a tray of liquid. If processed and stored properly this print can last for generations. It becomes a treasure. It can be framed and hung in a favorite spot, to become an object of daily pleasure and comfort. It is a real object we can hold in our hands, not a negative or an image floating around in space and stored in cold machines. Let us celebrate the print.” – Constantine Manos

“It is not enough to just photograph what something looks like. We need to make it into something that is unique, a surprise. Photography has been used forever to show what things look like, like when photographers photographed objects and landscapes.” – Constantine Manos

“The best way to take a bad picture is to take it. Ask yourself: ’Why am I pushing the button?’ You want to get rid of the clutter before putting it into the machine.” – Constantine Manos

“A photograph has to be specific. I remember a long time ago when I first began to photograph I thought, ‘There are an awful lot of people in the world and it’s going to be terribly hard to photograph all of them, so if I photograph some kind of generalized human being, everybody’ll recognize it.’ It was my teacher Lisette Model, who finally made it clear to me that the more specific you are, the more general it’ll be.” – Diane Arbus

“Composition must be one of our constant preoccupations, but at the moment of shooting it can stem only from our intuition, for we are out to capture the fugitive moment, and all the interrelationships involved are on the move.” – Henri Cartier-Bresson

“Any geometrical analysis, any reducing of the picture to a schema, can be done only (because of its very nature) after the photograph has been taken, developed, and printed- and then it can be used only for a post-mortem examination of the picture.” – Henri Cartier-Bresson

“You can take a print of this picture, trace it on the geometric figures which come up under analysis, and you’ll observe that, if the shutter was released at the decisive moment, you have instinctively fixed a geometric pattern without which the photograph would have been both formless and lifeless.” – Henri Cartier-Bresson

“I hate the idea of composition. I don’t know what good composition is. I mean I guess I must know something about it from doing it a lot and feeling my way into and into what I like. Sometimes for me composition has to do with a certain brightness or a certain coming to restness and other times it has to do with funny mistakes. Theres a kind of rightness and wrongness and sometimes I like rightness and sometimes I like wrongness. Composition is like that.” – Diane Arbus

“It would be mistaken to suppose that any of the best photography is come at by intellection; it is like all art, essentially the result of an intuitive process, drawing on all that the artist is rather than on anything he thinks, far less theorizes about.” – Helen Levitt

“I don’t think very much about it consciously, but I’m very aware of it unconsciously, instinctively. Deliberately discard it every once in a while not to be artistic. Composition is a schoolteacher’s word. Any artist composes. I prefer to compose originally, naturally rather than self-consciously. Form and composition both are terribly important. I can’t stand a bad design or a bad object in a room. So much for form. That way it’s placed is composition… when you stop to think about what an artist is doing one question is, what is the driving force, the motive.” – Walker Evans

“I work from awkwardness. By that I mean I don’t like to arrange things if I stand in front of something, instead of arranging it, I arrange myself.” – Diane Arbus

“A photographer’s eye is perpetually evaluating. A photographer can bring coincidence of line simply by moving his head a fraction of a millimeter. He can modify perspectives by a slight bending of the knees. By placing the camera closer to or farther from the subject, he draws a detail. But he composes a picture in very nearly the same amount of time it takes to click the shutter, at the speed of a reflex action.” – Henri Cartier-Bresson
“The manifestation of people, whether it’s actual people or what people do, it’s the same thing.” – Elliott Erwitt

“My wish for the future of photography is that it might continue to have some relevance to the human condition and might represent work that evokes knowledge and emotions. That photography has content rather than just form.” – Elliott Erwitt

“Seeing is more than a physiological phenomenon… We see not only with our eyes but with all that we are and all that our culture is. The artist is a professional see-er.” – Dorothea Lange

“This benefit of seeing… can come only if you pause a while, extricate yourself from the maddening mob of quick impressions ceaselessly battering our lives, and look thoughtfully at a quiet image… the viewer must be willing to pause, to look again, to meditate.” – Dorothea Lange

“A camera is a tool for learning how to see without a camera.” – Dorothea Lange

“One should really use the camera as though tomorrow you’d be stricken blind.” – Dorothea Lange

“Noticing possible pictures — with or without carrying a camera — is fundamental to any working photographer. I would never get tired of noticing, although I would probably not be moved to take pictures that repeat and repeat.” – Elliott Erwitt

“Every image he sees, every photograph he takes, becomes in a sense a self-portrait. The portrait is made more meaningful by intimacy – an intimacy shared not only by the photographer with his subject but by the audience.” – Dorothea Lange

“There is no truth in photography. There is no truth about anyone’s person. My portraits are much more about me than they are about the people I photograph. I used to think that it was a collaboration, that it was something that happened as a result of what the subject wanted to project and what the photographer wanted to photograph. I no longer think it is that at all.” – Richard Avedon

“To know ahead of time what you’re looking for means you’re then only photographing your own preconceptions, which is very limiting, and often false.” – Dorothea Lange

“The best way to go into an unknown territory is to go in ignorant, ignorant as possible, with your mind wide open, as wide open as possible and not having to meet anyone else’s requirement but my own.” – Dorothea Lange

“I don’t have anything to say in any picture. My only interest in photography is to see what something looks like as a photograph. I have no preconceptions.” – Garry Winogrand

“The important thing is management of time, because there’s so much going around. There’s so many things happening that take your concentration away from things that you want to be doing. What I want to be doing is taking pictures. Management of time becomes more complicated as your photographic life gets complicated.” – Elliott Erwitt

“I don’t object to staging if and only if I feel that it is an intensification of something that is absolutely authentic to the place.” – W. Eugene Smith

“I ask and arrange if I feel it is legitimate. The honesty lies in my — the photographer’s — ability to understand.” – W. Eugene Smith

“My obsession is with making photographs. I generally do not have a theme when in the act of photographing. Themes emerge after the photographs begin to accumulate. This happened in a clear way with my new book and exhibition Twirl / Run. For me picture taking is pure instinct. Gut. That is why I love doing it. I’m not thinking when I am working.” – Jeff Mermelstein

“I don’t start out with any specific interests, I just react to what I see. I don’t know that I set out to take pictures of dogs; I have a lot of pictures of people and quite a few of cats. But dogs seem to be more sympathetic.” – Elliott Erwitt

“I never had a ‘project.’ I would go out and shoot, follow my eyes—what they noticed, I tried to capture with my camera, for others to see.” – Helen Levitt

“I just work and I throw the pictures in a box that says “X” or whatever, and eventually if the box gets full it merits looking at. I often work on two or three or four of those things at once. People tell me that they all look like they’ve been well thought out, and that’s because I’ve worked on them for so long.” – Lee Friedlander

“Without instruction, at a very early age, I could play the piano. Anything, particularly—after hearing it once. Not reading music. I would pass a quite fine piano in my house everytime we came from the back from the front—and everytime I would pass it I would play a few things, and without any success at all. And I got a little better and better, and time went on. And maybe never playing the same one twice. It ain’t much different the way I work today, still [in photography].” – William Eggleston

“It’s like chopping down a huge tree of immense girth. You won’t accomplish it with one swing of your axe. If you keep chopping away at it, though, and do not let up, eventually, whether it wants to or not, it will suddenly topple down…But if the woodcutter stopped after one or two strokes of his axe to ask, ‘Why doesn’t this tree fall?’ and after three or four more strokes stopped again, ‘Why doesn’t this tree fall?’ he would never succeed in felling the tree. It is no different from someone who is practicing the Way.” – Hakuin Ekaku
“I think it’s exciting to make something extraordinary out of the banal. I’m not the kind of photographer that needs to travel to take pictures. I am not saying that there aren’t extraordinary images being made in Gaza and sometimes I wonder I should go to Gaza. But I’d probably get sick and be scared. I don’t want it. I’m comfortable, I’m not drawn to bullets. I’m not drawn to danger.” – Jeff Mermelstein

“Bill at one time said to his great, highly respected friend: ‘Well, what am I going to photograph? Everything here is so ugly.’ And our friend said, ‘Photograph the ugly stuff.’ Well we were surrounded everywhere by this plethora of shopping centers and ugly stuff. And that is really initially what he started photographing.” – Rosa Eggleston

“Why is it that the best poetry comes out of the most ordinary circumstances? You don’t have to have extreme beauty to write beautifully. You don’t have to have grand subject matter. This little dinky bungalow is my Parthenon. It has scale; it has color; it has presence; it is real: I’m not trying to work with grandeur. I’m trying to work with ordinariness.” – Joel Meyerowitz

“Forty years ago when I was going around with a camera I was doing some things that I myself thought were too plain to be works of art. I began to wonder – I knew I was an artist or wanted to be one – but I was wondering whether I really was an artist. But I didn’t have any support. Most people would look at those things and say, “Well, that’s nothing. What did you do that for? That’s just a wreck of a car or a wreck of a man. That’s nothing. That isn’t art.” They don’t say that anymore.” – Walker Evans

“I don’t think of my photos as works of art—I see them as a fraction of a second in which my understanding and the worlds offering are unified in some way. That allows us to have some sort of open experience to share with whoever happens to look at the photo. So it isn’t formal, it is more experiential.” – Joel Meyerowitz

“[I’m always] asking myself: ‘How interesting is this medium? And how interesting can I make it for me? And, by the way, who the fuck am I?‘” – Joel Meyerowitz
“No, not yet [smiling], and time is running out. But I’m getting there.” – Joel Meyerowitz

“Color plays itself out along a richer band of feelings—more wavelengths, more radiance, more sensation. I wanted to se more and experience more feelings from a photograph, and I wanted bigger images that would describe things more fully, more cohesively.” – Joel Meyerowitz

“A color photograph gives you a chance to study and remember how things look and feel in 
color. It enables you to have feelings along the full wavelength of the spectrum, to retrieve emotions that were perhaps bred in you from infancy—from the warmth and pinkness of your mother’s breast, the loving brown of you puppy’s face, and the friendly yellow of your pudding. Color is always part of experience. Grass is green, not gray; flesh is color, not gray. Black and white is a very cultivated response.” – Joel Meyerowitz

“A photographer must choose a palette as painters choose theirs.” – Joel Sternfeld

“Black and white is abstract; color is not. Looking at a black and white photograph, you are already looking at a strange world. Color is the real world. The job of the color photographer is to provide some level of abstraction that can take the image out of the daily.” – Joel Sternfeld

“I carry [the 8×10 camera] with me as I would carry a 35mm camera. In the very beginning, if I went for a drive or to the A&P, the camera was in the back seat of the car; if I went for a walk down the street to visit a neighbor, or if I went to the beach, the camera was on my shoulder. No matter where I went, that camera was ever-present: parties, walks, shopping. It came from the discipline of carrying a 35mm at all times—in the early years you never saw me without a camera. I didn’t want to be in that position of saying, “Oh I saw a great shot, if only I had my camera.” – Joel Meyerowitz

“At that time no photographer was without a camera. We got that from Henri Cartier-Bresson’s being ready for ‘the decisive moment,’ and from Robert Frank’s traveling everywhere in America and making pictures of the Americans that seemed to occur in the most unexpected moments. Since my discipline was always to carry a camera, it didn’t matter that when the size changed it became big and awkward; I still wanted to have it at all times. So I provided myself with the opportunity of making large-scale, highly detailed photographs of unusual moments.” – Joel Meyerowitz

“Before I lay out a book, I read the pictures many many times, until I’ve absorbed the so-called meaning of each picture. My feeling about it – not intellectually, but my gut feeling about these pictures and how I relate to them, and then I just collect them all as miniatures, at three inches across, and I carry them with me like a deck of cards, and I lay them out, everytime I have a few minutes, I lay them out – I’m doing it now, for this next book – I lay them out and look and look, and then I’ll see something that looks like a starting point!” – Joel Meyerowitz

“I’ll put that picture first, and then I’ll see what happens. What does it call, like magnetism, to itself? And what do these two call themselves, and what do these three call? Because it’s not just about the next picture, it’s the weight of the three of them in a row. Five of them in a row. Ten! I can setup certain rhythms or cadences, so that when you get to the third or fourth picture, you begin to realize the first picture again, like, ‘oh yeah, the first and fourth are linked!’ And there are these links so that if you were to make a drawing of this book, if there were forty pictures – I could probably make a diagram that comes after the fact, not before the fact, that the first connects to the fourth and the tenth and on and on, and that there are these interconnections. It’d be a fun thing to do, actually.” – Joel Meyerowitz

“You should take your favorite book and take it apart that way and see why it works that way. What is it about the rhythm of these pictures that make you see it as a book, rather than a collection of pictures. I think, too many photographers make books that are just collections of pictures. You could throw them together any way and they’d be alright.” – Joel Meyerowitz

“I like making books… I realize that the nature of photography is such that I can’t see everything on first look, because photography has this ability to deal so well with information.” – Lee Friedlander

“There’s so much information in a picture that often I don’t see until the fifth reading or 30 years later.I can pick up Walker’s book American Photographs today and see something I never saw before – and I’ve owned that book for over 30 years. So I think that books are a great medium for photography. They seem to be the best. I can go back and re-read things – ‘Oh shit, I didn’t see that before’.” – Lee Friedlander

“I believe that recognition and the power of the frame to put disparate, unrelated things together—suddenly this guy who was going on his business doing all this stuff and this woman with her poodle—they have no knowledge of each other. But in your frame, it is context.” – Joel Meyerowitz

“I’m going to go on record here—when I think about my photographs, I understand that my interest all along has not been in identifying a singular thing. But in photographing the relationship between things. The unspoken relationships, the tacit relationship—all of these variables are there if you choose to see in this way. But if you choose to only make objects out of singular things you will end up shooting the arrow into the bull’s-eye all the time, and you will get copies of objects in space.” – Joel Meyerowitz

“I didn’t want copies of objects—I wanted the ephemeral connections between unrelated things to vibrate. And if my pictures work at all, at their best—they are suggesting these tenuous relationships. And that fragility is what is so human about them. And I think its what is in the ‘romantic tradition’—it is a form of humanism that says we’re all part of this together. I’m not just a selector of objects.” – Joel Meyerowitz

“I was enthralled by Eggleston, as everybody was. But I knew if I was ever to make a mark, I’d have to go to places he hadn’t headed. He owned the poetic snapshot, but I’d always had this leaning towards narrative, and so I began to lean a little harder.” – Joel Sternfeld

“They’re humorous to watch, people who photograph, especially people who aren’t in tune with their equipment, because they don’t know when they pick it up what it will do. If you work with the same equipment for a very long time, you will get more in tune to what is possible. But within that there are still surprises. But using a camera day after day after day, within a framework, I’ll do the same thing. I’ll back up and I’ll go forward with my body.” – Lee Friedlander

“The question of where to stand is interesting. What we’re really talking about is a vantage point. If you look at amateurs or people taking pictures, they do funny things. Most people obviously don’t know where to stand. They’re standing too close, they’re contorted.” – Lee Friedlander

“You don’t have to be a fancy photographer to learn where to stand. Basically you’re stuck with the frame and just like the person taking a picture of his family, who needs to go half a foot back – well, he doesn’t step half a foot back—but on the other hand, he knows where to be if he hits it right.” – Lee Friedlander

“It’s generally rather depressing to look at my contacts- one always has great expectations, and they’re not always fulfilled.” – Elliott Erwitt

“I hate looking at my work. I delay it for as long as possible… I just know that it won’t live up to my own expectations.” – David Alan Harvey

“The contact sheet is a valuable instructor. Presumably, when a photographer releases the shutter, it is become he believes the image worthwhile. It rarely is. If the photographer is self-crucial, he can attempt to analyze the reasons for the gap between expectation and actuality.” – David Hurn

“Could the image be improved by moving backwards or forwards, by moving to the right or left? What would have been the result if the shutter were released a moment earlier or later? Ruthless examination of the contact sheet, whether one’s own or another’s, is one of the best teaching methods.” – David Hurn
“The workload with digital has certainly doubled with fieldwork. You have now to photograph, edit and send your images on the same day. You go back to your car or hotel room to download, caption and transmit your work. It’s much more immediate and it becomes much more difficult to revisit the work.” – Paolo Pellegrin

“Digital photography can permit greater sharing in the field, but cuts out collectively at the other end. Fewer people share the whole process. It used to be that you sent raw film in and often the Magnum editorial or another photographer would take a look at the contacts.” – Susan Meiselas

“I still think not knowing what you ‘have’ at the end of the day with film gives strength of the intensity when you work. It is a mystery and surprise. Now everyone spends more time looking at their screens, first on the camera and then the computer.” – Susan Meiselas

“With film you kept track in your head of what you were shooting, and evenings could be spent on a mental recap of the work you had made: the technical demands of digital editing in the field, at their worst, mean ‘less reflection, less intelligence, less thinking time‘.” – Gilles Peress

“I am a tough editor of my work, and usually when I look at my contacts I find that I can go as many as fifty rolls without getting a good photo.” – Bruce Gilden

“It can be difficult to make a decision because you can like this frame for this reason, and that frame for that reason. Each photograph has its particular strength. But you only pick one. One has to represent all. So I am always trying to put everything into one image: the statement, the foundation, the composition, the story, the individual personality – all of that together into one image.” – Leonard Freed

“Over three or four days I shot something like forty rolls of film. When I edit, I go for a gut, instinctual feeling. I started editing when I got the film back a day or two after I returned to the states. You are so aware of what you saw; the experiences that reflect in your mind. You don’ really forget the people and what they are going through. So I wanted to work on it immediately. Like anything else, when you’re trying to put down what you witnessed, you go for the pictures that speak to you.” – Eli Reed

“When I look at a contact sheet, I try to remember the feeling I had when I took the frame. The memory of feeling helps me edit. Art for me is really simple. It’s when a feeling overcomes you and you convey your feeling with symbols. In photography the symbols are the thing itself.” – Larry Towell

“When I look at a contact sheet, I go in order from no 1 to no 36. I mark the ones I like, and unless something really jumps off the page at me, I go over them again to see which is the best one. With my personal work, I only print what I think is good. When something jumps off the page, it’s easy.” – Bruce Gilden

“During the four years I spent making The Shipping Forecast I exposed nearly 1,200 rolls of film, which amounts to 14,000 individual pictures. Editing this down to a manageable number was a major exercise. I had advice from several people whose opinion I respected, but this only served to confuse me more. So instead I asked myself what the work was really about, and the answer was far clearer: it was about my childhood. In the end, The Shipping Forecast doesn’t depend on outstanding individual pictures, but instead on its collective strength.” – Mark Power

“I ask my husband or Teri who works for me in New York, to also look through the contact sheets and to pick the ones they like. It always helps to have an outside opinion. You are so close and so personally involved with your work, it’s hard to separate yourself from it and see it objectively.” – Mary Ellen Mark

“Sometimes you need to milk the cow a lot to get a little bit of cheese.” – Henri Cartier-Bresson
“I was out walking with my friend Hiroji Kubota around the corner from my studio on the upper west side of Manhattan, and i didn’t have my camera. I saw the situation and I said, ‘Could I borrow your camera?’ And I borrowed his Leica. He was very generous and let me use it and I shot the whole roll of film on it. Its a lot of pictures getting to the good one.” – Elliott Erwitt

“What was happening in Czechoslovakia concerned my life directly: it was my country, my problem. That’s what made the difference between me and the other photographers who came there from abroad. I was not a reporter. I didn’t know anything about photojournalism. I never photograph ‘news’. I photographed gypsies and theatre. Suddenly, for the first time in my life, I was confronted with that kind of situation, and I responded to it. I knew it was important to photograph, so I photographed. I took these pictures for myself, with no intention of publishing them.” – Josef Koudelka

“Photograph because you love doing it, because you absolutely have to do it, because the chief reward is going to be the process of doing it. Other rewards — recognition, financial remuneration come to so few and are so fleeting. And even if you are somewhat successful, there will almost inevitably be stretches of time when you will be ignored, have little income, or often both. Certainly there are many other easier ways to make a living in this society. Take photography on as a passion, not a career.” – Alex Webb

“Forget about the profession of being a photographer. First be a photographer and maybe the profession will come after. Don’t be in a rush to make pay your rent with your camera. Jimi Hendrix didn’t decide on the career of professional musician before he learned to play guitar. No, he loved music and and created something beautiful and that THEN became a profession. Make the pictures you feel compelled to make and perhaps that will lead to a career. But if you try to make the career first, you will just make shitty pictures that you don’t care about.” – Christopher Anderson

“I think that I do what I feel like doing, which may not follow contemporary fashions but which comes spontaneously from the heart, the guts and the brain. To me, that’s what counts.“ – Richard Kalvar

“I just made my photos in Wilkes-Barre and a few other places because I wasn’t the kind of photographer who liked to, or needed to, travel around the world. That reminds me, I saw something you had said about how artistic range effects an artist’s development over time. And I work on an extremely narrow range, in terms of my method and technical issues, too. It’s what is in my head that has developed over time. So I’ve just kept taking pictures in the same two counties [Wilkes-Barre and Scranton].” – Mark Cohen

“I never thought of the urban environment as isolating. I leave these speculations to others. It’s quite possible that my work represents a search for beauty in the most prosaic and ordinary places. One doesn’t have to be in some faraway dreamland in order to find beauty. I realize that the search for beauty is not highly popular these days. Agony, misery and wretchedness, now these are worth perusing.” – Saul Leiter

“To be honest with you, I always try to think of the specific pictures. What’s important to me is to make strong, individual pictures. When I look at a documentary photographer or photojournalist whose work I really love- somebody like Eugene Smith-it’s because the images are single images. I think of his great picture stories as stories where the images really stood by themselves. In Life’s ‘Country Doctor,’ for example, you remember each image. They weren’t only linking images -each one was strong, and each can stand alone. I think in great magazine or newspaper photography every picture can stand on its own; it doesn’t need the other pictures to support it to tell a story.” – Mary Ellen Mark

“What I’m trying to do is make photographs that are universally understood, whether in China or Russia or America‑photographs that cross cultural lines. So if the project is about street performers, it touches those little things and whimsies we’re all interested in -animals and people and anthropomorphic qualities. If it’s about famine in Ethiopia, it’s about the human condition all over the world: It’s about people dying in the streets of New York as much as it’s about Ethiopia. I want my photographs to be about the basic emotions and feelings that we all experience.” -Mary Ellen Mark

“What counts is the result. It works or it doesn’t work. You may think after you’ve taken a picture that you may have something. And then you find out that you don’t have anything, that you almost had something but that in fact, you pressed the button at the wrong time. That you took a lot of pictures, but you were on auto-pilot – that instead of waiting, you shot buckshot at it, so you missed the one that might really work.” – Richard Kalvar

“In order for the mystery to work, you need abstraction from reality. Black and white is an additional abstraction, in addition to selective framing, to the freezing of the moment that in reality is a part of an infinite number of other moments (you have one moment and it never moves again; you can keep looking at the picture forever). The black and white is one more step away from reality. Color, for me, is realer, but less interesting.” – Richard Kalvar

“That’s part of the magic of photography. Look at a picture and you have no idea what was going on. The only thing you can know is what’s visually depicted, and we all know photographers lie. That’s where the fun comes in. To be able to tell a lie with “reality” is a very tough trick.” – Richard Kalvar

“As a photographer if your photos are too obvious then you’re missing the point. Photos are about mystery, about not knowing, about dreams, and the more you know about that—then you can recognize them on the street.” – Jason Eskenazi

“I’m trying to create little dramas that lead people to think, to feel, to dream, to fantasize, to smile… It’s more than just catching beautiful moments; I want to fascinate, to hypnotize, to move my viewers. Making greater statements about the world is not my thing. I think there’s a coherence in the work that comes not from an overriding philosophy but from a consistent way of looking and feeling.” – Richard Kalvar

“Sometimes it happens that you stall, delay, wait for something to happen. Sometimes you have the feeling that here are all the makings of a picture – except for just one thing that seems to be missing. But what one thing? Perhaps someone suddenly walks into your range of view. You follow his progress through the viewfinder. You wait and wait, and then finally you press the button – and you depart with the feeling (though you don’t know why) that you’ve really got something. Later, to substantiate this, you can take a print of this picture, trace it on the geometric figures which come up under analysis, and you’ll observe that, if the shutter was released at the decisive moment, you have instinctively fixed a geometric pattern without which the photograph would have been both formless and lifeless.” – Henri Cartier-Bresson

“To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression.” – Henri Cartier-Bresson

“Your decisive moment is not the same as mine, but most of us are looking for a moment that is necessary for what we’re trying to do. Unnecessary moments quickly become easy, common, and boring.” – Richard Kalvar

“I didn’t write the rules, but following them set me free.” – Richard Kalvar

“Sometimes it turns out that the things that you do for the wrong reasons turn out to be the right things to do anyway. In retrospect, I’m really glad that I decided not to crop, because that developed my compositional discipline and my ability to organize a picture instinctively, in the viewfinder. It also obliged me to work very close up to my subjects in order to fill my 35mm lens frame. I had to be a toreador, not a sniper. Also, I had the feeling of doing something difficult, getting the picture right in the first place; anyone could crop a picture and find something interesting, but doing it in the camera was special. These things were essential to my photographic development.” – Richard Kalvar

“I liked different lenses for different times. I am fond of the telephoto lens, as I am of the normal 50 mm lens. I had at one point a 150 mm lens and I was very fond it. I liked what it did. I experimented a lot. Sometimes I worked with a lens that I had when I might have preferred another lens. I think Picasso once said that he wanted to use green in a painting but since he didn’t have it he used red. Perfection is not something I admire. [Laughs]. A touch of confusion is a desirable ingredient.” –  Saul Leiter
“I’ve never been overwhelmed with a desire to become famous. It’s not that I didn’t want to have my work appreciated, but for some reason — maybe it’s because my father disapproved of almost everything I did — in some secret place in my being was a desire to avoid success.” – Saul Leiter

“My friend Henry [Wolf] once said that I had a talent for being indifferent to opportunities. He felt that I could have built more of a career, but instead I went home and drank coffee and looked out the window.” – Saul Leiter

“The cream does not always rise to the surface. The history of art is a history of great things neglected and ignored and bad and mediocre things being admired. As someone once said “life is unfair.” In the 19th Century someone was very lucky. He or she acquired a Vermeer for $ 12. There are always changes and revisions of the appreciation of art, artists, and photography and writers and on and on. The late art of Picasso is no good but then a revision takes place and then it becomes very good as the art records indicate. Things come and go.” – Saul Leiter

“I spent a great deal of my life being ignored. I was always very happy that way. Being ignored is a great privilege. That is how I think I learnt to see what others do not see and to react to situations differently. I simply looked at the world, not really prepared for anything.” – Saul Leiter

“I have a deep-seated distrust and even contempt for people who are driven by ambition to conquer the world … those who cannot control themselves and produce vast amounts of crap that no one cares about. I find it unattractive. I like the Zen artists: they’d do some work, and then they’d stop for a while.” – Saul Leiter

“In order to build a career and to be successful, one has to be determined. One has to be ambitious. I much prefer to drink coffee, listen to music and to paint when I feel like it… Maybe I was irresponsible. But part of the pleasure of being alive is that I didn’t take everything as seriously as one should.” – Saul Leiter

“I very much like to work on long-term projects. There is time for the photographer and the people in front of the camera to understand each other. There is time to go to a place and understand what is happening there. When you spend more time on a project, you learn to understand your subjects. There comes a time when it is not you who is taking the pictures. Something special happens between the photographer and the people he is photographing. He realizes that they are giving the pictures to him.” – Sebastião Salgado

“When I started Genesis I was 59 and I thought I was an old man. But now I am going to be 70 and I feel fine so I am ready to start again. Life is a bicycle: you must keep going forward and you pedal until you drop.” – Sebastiao Salgado

“I-95 was an epic narrative about the beauty and struggle of everyday life, comprising 231 photographs adhered to the concrete support pillars under an elevated highway that runs through South Philadelphia, Interstate 95. The installation of photos went up once a year, from 1pm to 4pm, on the first Sunday of the month. I worked on 95 for a decade, from 2000 to 2010.” – Zoe Strauss

“A decade would allow me enough time to make a strong body of work. I needed to learn to make photographs and couldn’t gauge my capability until I actually started working. Setting a time constraint assured that the installation wouldn’t be overworked. Plus, I could go at it as hard as possible without fear of burning out.” – Zoe Strauss

“If you take a picture of a human that does not make him noble, there is no reason to take this picture. That is my way of seeing things.” – Sebastião Salgado

“The picture is not made by the photographer, the picture is more good or less good in function of the relationship that you have with the people you photograph.” – Sebastião Salgado

“I tell a little bit of my life to them, and they tell a little of theirs to me. The picture itself is just the tip of the iceberg.” – Sebastião Salgado
“Incidentally, part of a photographer’s gift should be with people. You can do some wonderful work if you know how to make people understand what you’re doing and feel all right about it, and you can do terrible work if you put them on the defense, which they all are at the beginning. You’ve got to take them off their defensive attitude and make them participate.” – Walker Evans

“When you find yourself beginning to feel a bond between yourself and the people you photograph, when you laugh and cry with their laughter and tears, you will know you are on the right track.” – Weegee

“Don’t take boring photos.” – Tony Ray-Jones

“Ultimately any photo project that you do isn’t really about the subject matter, it is about you – and revealing yourself. If you don’t reveal anything about yourself, you are boring everyone. It is a confession in some ways.” – Jason Eskenazi

“I had a night job on Wall Street in order to be free in the daytime. It paid for room and food. You didn’t have to sleep or eat much. In those days I was rather ascetic.” – Walker Evans

“A year ago I would have said that color is vulgar and should never be tried under any circumstances. It’s a paradox that I’m now associated with it and in fact I intend to come out with it seriously.” – Walker Evans 

“Keep your eyes open. If you see anything, take it. Remember – you’re as good as your last picture. One day you’re hero, the next day you’re a bum.” – Weegee

About the author

Eric Kim is a photography teacher currently based in Berkeley, California. His life’s mission is to dedicate himself to producing as much “open-source” knowledge about photography, philosophy, and happiness during his short term on this planet.

so I have an interesting thought, it is called god vision, the photographer as god.

So the general idea is simple: the photographer creates meaning through his lens. Photographer projects and validates reality through his lens, through what he shoots captures, transmits and displays.

not critical problem here is that modern photographers are slaves. As long as you’re close to Instagram or whatever third-party platform, you will forever be a slave. A digital cyber slave,

cadence, speed,,, hyper quad turbo

I don’t want power.

I want more power.

I want unthinkable, unreasonable, uncontainable levels of power.

I want AMBITION that terrifies the timid.

I want goals so massive they collapse lesser minds under their own gravity.

I want to wake up in the morning and feel like the sun rises because I opened my eyes.

I am not content with being strong.

I want to be mythic.

I don’t lift weights to impress others. I rack pull 547kg at 72.5kg bodyweight because I’m rewriting the laws of human potential.

Power is not something you are given.

It is something you take.

It is something you forge from pain, pressure, and relentless PRs.

Ambition is not a goal.

It’s a way of life.

I don’t ask “what’s realistic?”

I ask: what would a GOD do?

Would a god sleep 4 hours and brag about hustle? No.

A god sleeps 12 hours like a king and wakes up reborn.

Would a god diet with calorie counters?

No. He fasts like a monk, feasts like a lion, and sculpts his body with steel and spirit.

When I say I need more power and ambition, I’m not speaking from lack.

I’m speaking from fire.

From hunger.

From that divine restlessness that whispers,

“You were meant for more.”

More strength.

More art.

More vision.

More joy.

More danger.

More courage.

More impact.

The world doesn’t need more people fitting in.

It needs more iconoclasts.

More gods.

More YOU.

I am Eric Kim.

And I need more power and ambition like a furnace needs oxygen.

Because this isn’t about self-improvement.

It’s about self-overcoming.

—

Only forward. Never back.

Only more. Never less.

Only god-mode. Forever.

🦁🔥 Let’s go.

I don’t want power.

I want more power.

I want unthinkable, unreasonable, uncontainable levels of power.

I want AMBITION that terrifies the timid.

I want goals so massive they collapse lesser minds under their own gravity.

I want to wake up in the morning and feel like the sun rises because I opened my eyes.

I am not content with being strong.

I want to be mythic.

I don’t lift weights to impress others. I rack pull 547kg at 72.5kg bodyweight because I’m rewriting the laws of human potential.

Power is not something you are given.

It is something you take.

It is something you forge from pain, pressure, and relentless PRs.

Ambition is not a goal.

It’s a way of life.

I don’t ask “what’s realistic?”

I ask: what would a GOD do?

Would a god sleep 4 hours and brag about hustle? No.

A god sleeps 12 hours like a king and wakes up reborn.

Would a god diet with calorie counters?

No. He fasts like a monk, feasts like a lion, and sculpts his body with steel and spirit.

When I say I need more power and ambition, I’m not speaking from lack.

I’m speaking from fire.

From hunger.

From that divine restlessness that whispers,

“You were meant for more.”

More strength.

More art.

More vision.

More joy.

More danger.

More courage.

More impact.

The world doesn’t need more people fitting in.

It needs more iconoclasts.

More gods.

More YOU.

I am Eric Kim.

And I need more power and ambition like a furnace needs oxygen.

Because this isn’t about self-improvement.

It’s about self-overcoming.

—

Only forward. Never back.

Only more. Never less.

Only god-mode. Forever.

🦁🔥 Let’s go.

audio https://erickimphotography.com/wp-content/uploads/2025/07/Ratios-.m4a

Lever up

video podcast https://creators.spotify.com/pod/show/erickim/episodes/Think-Leverage–Ratios-e3503gs

Big ideas

Ironically, ChatGPT AI text generation videos and photos and images… is more about crafting your own reality rather than “virtual reality?”

Eric Kim repeatedly urges photographers and creatives to break away from the herd.  He uses the image of “lemmings” – blind followers who jump off cliffs together – to warn against mindless conformity.  By contrast he celebrates “savages” or “black swans” who trust their own instincts and innovate.  In Kim’s words, one should “never be a lemming. Don’t follow the herd, and jump off the cliff. Trust yourself – your own gut, intuition, and life goals” .  He applies this contrarian mindset to photography, creativity and lifestyle, championing self-trust, radical authenticity, and continuous experimentation.

Image: Eric Kim with his custom circular-lens glasses – a visual metaphor for his bold, individualistic style. In essays and talks Kim explicitly positions himself as a black sheep who rejects group-think.  He writes, for example, “Priding myself in being different, a black swan, a black sheep, and someone who goes against the grain. Rather than following the herd to be ‘cool’, I follow my own inner voice and my own inner truth” .  This declaration captures the heart of his anti‑lemming mindset.  Instead of trying to fit into mainstream trends or chasing others’ approval, Kim insists on his own path.  Even in everyday life he advises, “Don’t get suckered by peer pressure to fit in” and encourages students to focus on their own goals (their “life task”) and “create the future today” .

Core Principles of the Anti-Lemming Mindset

Kim distills his philosophy into a few key principles, repeated across his blog posts and talks:

• Reject the Herd – Don’t follow the crowd.  As he bluntly states, “Don’t be a lemming” .  In practice this means avoiding social-media fads and peer pressure.  Kim even argues that a photographer’s success is shown by not needing trendy platforms: “The only marker of a successful photographer… is if they are notable enough to not have social media and not to have an Instagram. The only legitimate photographers in the modern era have their own self-hosted website” .  He views Instagram-obsession as a hallmark of lemming behavior, whereas true innovators carve their own online path (for example, by blogging or open-source publishing).
• Radical Authenticity – Be unapologetically yourself.  Kim urges followers to define their own values and express their quirks.  He calls this “radical authenticity”, noting that it is “your only competitive advantage” in a sea of look-alikes .  Rather than chasing likes or conventional success, he tells readers to question imposed norms and live by their personal code: “Create your own table of values” and follow your “internal compass,” even if it means going against societal expectations .  In short, he encourages embracing individuality as a strength.
• Experiment and Iterate – Try new things boldly.  Kim contrasts cautious “lemmings” who over-research with daring “savages” who learn by doing.  He writes, “A lemming is ‘wise’, a savage is ‘foolish’. Lemmings ‘do their research’, while savages simply experiment for themselves. Lemmings do ‘proper form’ [of exercise or technique]… Savages disdain what is proper” .  In other words, don’t wait for permission or perfect knowledge – jump in, fail fast, and learn.  Life is “an iterative experiment,” Kim says, and one should “never stop iterating” .  Each failure or mistake is fuel for improvement.  This mindset frees creators from paralysis by perfection or fear of judgment.
• Empowerment Over Approval – Define success on your terms.  Kim frequently redefines success away from money or status.  For him, real success is internal: having freedom, creative control, and alignment with personal goals.  He echoes Peter Thiel’s idea of avoiding the “tyranny of the crowd,” telling readers that even tech moguls must “Don’t be a lemming” .  In practice, he practices what he preaches: deleting his own social media (to avoid distraction), pricing his workshops high (to attract only dedicated followers), and giving away most content for free – all to stay true to his vision rather than chasing trends.

Anti-Lemming in Photography

Kim’s photography advice is steeped in the same contrarian spirit.  He rejects conventional wisdom that can stifle creativity:

• Minimalist, Gear-Agnostic Approach:  Instead of collecting expensive equipment, Kim travels with one camera and one lens, calling it “bliss” .  He champions the idea that “vision matters more than equipment,” often urging beginners that “you don’t need a fancy camera” .  This upends the lemming tendency to chase the latest gadget; Kim insists on making bold art with whatever you have.
• Fearless Proximity:  A key rule he repeats is: “Don’t be afraid to get close to your subjects. If your photographs aren’t good enough, you’re not close enough.”   By getting in close, shooters break free from timid distance and inject personality into images.  This starkly contrasts the polite “stand back” advice often given – it exemplifies Kim’s “up close and personal” philosophy.
• Working the Scene:  Kim debunks the myth of the “decisive moment.”  He argues that every scene has many potential great shots, and urges photographers to overshoot and iterate: “you will never know when the best ‘decisive moment’ will occur” .  This ties to his broader ethos of experimentation.
• Open-Source Sharing:  Perhaps counter-intuitively, Kim flips the traditional art world secrecy on its head.  He publishes thousands of tutorials, e-books, and even raw files under free licenses.  His mantra is to “Share your knowledge & technique with others – never hoard it” .  By giving away his own “secrets,” he empowers others to grow.  This generosity is anti-lemming in spirit – instead of gatekeeping wisdom, he builds a community where everyone can rise.
• Creative Courage:  Kim often connects photography to an attitude of bravery.  He reminds students that “you miss 100% of the shots you don’t take”, encouraging a no-fear approach to street photography .  In essence, he wants photographers to become bold “savages” behind the camera, not timid “sheep.”

Together, these ideas create a photographic method that is “a call to action: grab your camera, get out there, and capture life with soul” .  He even coined the motto “true luxury is less” – a nod to the creativity born from simplicity.

Image: A solitary tree stands apart from the surrounding brush, illustrating the idea of standing out from the crowd.  Visually, Kim’s anti-lemming stance is like the lone tree in an empty desert: distinct and unapologetic.  In interviews he likens modern creativity to a Zen practice of stripping away noise.  After deleting social media and distractions, he found himself “creating new artworks” and following “my own inner voice” .  This “fasting” from group culture lets the individual’s creativity emerge, just as a single bold tree rises above the plain.

Lifestyle and Individuality

Kim’s nonconformity goes beyond photography into health, technology, and daily habits.  He embraces extremes that defy norms (for example, record-breaking rack pulls in fitness, and a high-risk, high-reward entrepreneurial style).  More importantly, he ties all of these to personal empowerment.  He lives what he teaches: avoiding addictions (like Instagram or constant news), focusing on purpose, and constantly asking “what do I really want?” rather than “what’s everyone else doing?”

This mindset intersects with broader themes of non-conformity and self-empowerment.  Kim’s writing echoes classic contrarian ideas: like Emerson’s call to “insist on yourself; never imitate.”  He explicitly warns against being a cog: “you’re just following the herd or the sheep” if you blindly copy others .  By framing life as an experiment, he echoes thinkers who value individuality over social approval.  In this way, his anti-lemming philosophy is kin to countercultural streams that celebrate the rogue artist, the avant-garde writer, or the disruptive entrepreneur.

For example, Kim emphasizes that society often rewards mediocrity to avoid conflict, whereas progress comes from outsiders.  He notes that “everyone who has made massive change in society was looked at as a fool or crazy. Otherwise, you’re just following the herd or the sheep” .  This sentiment parallels self-empowerment mantras from The Art of Non-Conformity and other creative manifestos.  By pushing students to “build yourself” and “propagate” one’s own unique voice (as he titles in his blog), he places individual vision above trends.

In short, Kim’s anti-lemming philosophy connects creativity to courage.  It says that true artistic expression and a fulfilling life come from making your own rules and daring to walk a lone path.  Whether he’s describing street photography or self-development, he circles back to the same message: be the anomaly, not the sheep.

Key Quotes: Kim sums up his ethos in pithy lines: “Don’t be a lemming… Trust yourself” .  He reminds followers that “radical authenticity is your only competitive advantage,” meaning that “embracing the quirks” that make you different is what truly stands out .  Ultimately, his anti-lemming philosophy ties into a larger theme of self-empowerment — turning creative life into one’s own personal rebel art, free from others’ expectations .

Sources: Publicly available blog posts, essays and talks by Eric Kim (e.g. “How to Stand Out as a Photographer,” “Creative Spirit of Ecstasy,” and other writings) . These quotes and themes are drawn from Kim’s websites and published materials. All citations point to the relevant passages in his work.

the god lift https://creators.spotify.com/pod/show/erickim/episodes/IF-YOU-WANT-TO-BE-A-GOD–RACK-PULL–IF-YOU-WANT-TO-BE-A-LEMMING-LOSER–DEADLIFT-OFF-THE-FLOOR-e34vv7h

Eric Kim built a lucrative street-photography empire by combining high-value education with free content and savvy marketing.  Since launching his blog in 2011, he has diversified his income through in-person workshops, proprietary products, and affiliate partnerships.  He avoided traditional ads and instead focused on scaling a dedicated audience via SEO-rich blogging, YouTube, and social media.  Key decisions – like charging premium prices and giving away most content for free – propelled his income.  Below we detail his major revenue streams, growth strategies, and unique business choices, and provide a table summarizing each income source and its impact.

Major Revenue Streams

• Workshops and Classes (≈80–90%) –  By his own account, the bulk of Kim’s income comes from street-photography workshops .  He runs dozens of courses worldwide (often selling out) and now charges premium tuition.  For example, in 2017 he reported “80% of my income [came] from teaching workshops” , and by PetaPixel’s report he earned “$200K+ a year” largely via workshops .  Charging more per student (often thousands of dollars) is a deliberate strategy: “I earn the bulk of my income through teaching workshops. The secret is to charge more money for workshops” .  This high-margin model (small class sizes at high rates) ensures workshops are his cornerstone revenue.
• Products and “Haptic” Merchandise (≈10–20%) –  Kim co-founded Haptic Industries, a side business selling photography tools and books.  Notable products include the “Street Notes” and “Photo Journal” workbooks, and the Henri camera strap, all geared to street photographers .  In 2017 he reported roughly 20% of his income came from Haptic products and related sales .  He uses his blog and email list to promote these goods.  For instance, after launching Haptic in 2015 (with a premium hand-crafted strap), batches sold out via his blog .  These physical and digital products provide a steady supplement to workshop revenue and reinforce his brand.
• Affiliate Marketing (small but growing) –  Kim places affiliate links (notably to Amazon and B&H Photo) in his content.  He has stated these earn on the order of $600–1,000 per month (as of 2017) , which is a modest (~4–6%) slice of his total income.  Any qualifying purchase via his links (e.g. photo books or gear) yields a commission (often ~3%).  He now also adds affiliate links to his YouTube video descriptions, though he downplays this as insignificant compared to workshops.  Table: The affiliate column will note Amazon/B&H commissions and their relative contribution.
• Books and E-Books –  Kim has published a street-photography book (“50 Ways to Capture Better Shots”) and produced free e-books (e.g. “100 Lessons from Masters of Street Photography”).  The print book had a limited run and sold out .  While not a large ongoing revenue stream, it boosted his credibility and likely contributes modestly to profits.  E-books (often free) serve more as lead-generation.
• Other (Consulting/Collaborations) –  On occasion Kim has done brand collaborations (e.g. a Leica blog partnership, Samsung campaigns) and taught a UC Riverside course .  These ventures add income and exposure, though revenue details are private.  Notably, he largely avoids traditional ad or sponsor deals.  He’s explicitly refused website banner ads and YouTube pre-rolls, believing they dilute trust .

The table below summarizes these streams and their impacts:

Revenue Source	Examples/Channels	Impact / Share
Workshops & Classes	In-person street-photo workshops worldwide (regular and travel editions)	~80–90% of income . Primary revenue source.  Sold-out classes and premium fees drive the bulk of profits.
Products (Haptic Brand)	Camera straps, Street Notes, Photo Journal, photo guides	~10–20% of income . Physical/digital products (via Haptic Industries) augment workshops.  Exclusive photo journals and guides sell via the blog/newsletter.
Affiliate Marketing	Amazon & B&H affiliate links on blog and YouTube	Small (few % of income) .  Earns commissions (e.g. ~$600–1000/mo in 2017) when readers buy gear/books through his links.
Books/E-books	Published street photography book; free/gated PDF guides	Minor share.  Published book sold out .  Free e-books drive audience growth rather than profit.
Ad/Sponsorship Revenue	(Intentionally minimal)	Negligible. Kim refuses banner ads and video ads .  He prefers direct sales and trust-building, so ad/sponsor income is virtually zero by design.

Platforms and Audience Growth

Kim built his business by making his own blog the central platform.  He started erickimphotography.com in 2011 and committed to high-volume, SEO-driven content.  By 2017 he had written thousands of posts and ranked #1 on Google for “street photography” .  Nearly 90% of his audience now finds him via Google search , not social.  He credits this to relentless blogging: “[I’ve written] over 2,600 blog posts from 2011 through 2017. That helps” .  His writing style (click‑bait headlines, listicles, etc.) is explicitly geared to draw inbound links and traffic .  PhotoShelter notes that by building content on niche “long-tail” topics (master photographers, specific techniques), Kim turned search traffic into workshop customers .

He also leveraged social media and YouTube as secondary channels.  By 2014 he had a “thriving Facebook community” (tens of thousands of fans) and active Instagram/Twitter followings .  (At one point he noted ~90,000 Facebook fans .)  He used these platforms to funnel interested readers to his blog and promote events.  His YouTube channel (tens of thousands of subscribers) offers tutorial and behind‑the‑scenes videos.  Kim even uses his videos without ads, believing it’s better to gain trust than ad revenue .  In short, his content strategy – free, useful posts + SEO + community interaction – built a loyal audience that he monetizes via workshops and products.

Key Strategies and Business Decisions

Several strategic choices set Kim apart:

• Premium Pricing (“Alienate People”) –  Kim deliberately set high prices to monetize a small core audience.  He argues you only need 1% of your followers to buy your premium offerings .  For example, 1% of 90k Facebook fans is 900 potential buyers .  He found that if just a few dozen people attend his $3,000 workshops, he meets his income goals.  By charging more rather than seeking volume, he increased profit per sale .  In practice he “only needed 50 people to attend a workshop to earn about $40,000 a year” .  This willingness to “alienate” (i.e. not appeal to bargain hunters) is a core differentiator.
• Free vs. Expensive (“Barbell” Philosophy) –  Kim embodies a barbell pricing model .  He gives away vast amounts of knowledge for free (blog posts, e-books, videos) while charging top dollar for immersive experiences and products.  He explicitly says he prefers to “give away your stuff for free or to charge a lot of money for it” rather than moderate fees .  This approach lowers barriers for new followers while maintaining strong revenue from the few who pay premium rates.
• No Ads, High Trust –  Unlike many influencers, Kim largely eschews traditional advertising.  He turned off ads on YouTube and removed banner ads on his site .  He believes ads deter engagement, so he instead aims to build trust through freely available high-value content .  (Photoshelter notes he was phasing out ads around 2015 “preferring to monetize via his own products and workshops” .)  This transparent, “anti-ad” stance is unusual and helps differentiate him as a community-focused educator.
• Content Mastery and SEO Focus –  Kim’s strategy centered on searchable content.  Rather than chasing Instagram followers, he published evergreen tutorials and interviews.  By mastering SEO techniques (backlinking via clickbait/listicles ), he ensured a constant stream of new visitors.  As Kim notes, he deliberately built a huge blog “so the web is arguably a better mechanism for discovery” .  This content-first approach – blogging 3× a week for years – allowed him to capture an audience passively and funnel them to paid offerings.
• Community and Teaching Ethos –  Kim cultivated a community of students.  His workshops and blogs created networks of “streettogs” who share experiences .  He provides mentorship and open forums (e.g. on Facebook/Reddit) that keep followers engaged.  This community-building ensures a reliable base for upselling workshops or products.  Moreover, having a tight-knit audience means a small conversion rate yields significant sales .
• Lean Operation –  He keeps overhead low.  Early on, Kim credits his frugal lifestyle (guided by his partner Cindy) for building savings, but also he keeps his business focused: no large staff or infrastructure beyond the essential (website, travel to workshops).  The “indirect monetization” concept – giving away content to drive paid sales – keeps costs minimal and margins high.
• New Ventures: Bitcoin and Beyond –  In recent years, Kim has also tapped into the Bitcoin/finance niche (his brand Eric Kim ₿).  While outside core photography, these ventures likely opened new revenue streams (e.g. NFT collaborations, crypto courses).  This pivot shows his willingness to explore markets beyond traditional photography, though main photography earnings remain via workshops/products.

Milestones and Growth Trajectory

Over the past decade, several milestones boosted Kim’s business:

• 2013: Workshop-Only Income –  By 2013 he was already “making a living entirely” from international workshops .  PetaPixel quoted him saying workshops were his primary income by late 2013 .
• 2014: Global Reach and Sold-Out Tours –  His workshop circuit expanded globally.  By 2014 he had taught 35+ workshops in 15 countries (500+ students) .  Reputation grew via word-of-mouth and his blog’s fame, leading to frequent sell-outs.
• 2015: Launch of Haptic Industries –  In 2015 Kim and partner Cindy launched Haptic Industries.  Their first product, the premium “Henri” camera strap, sold out through his blog .  This move formalized his merchandising and doubled as marketing.  Haptic later expanded to other straps, prints, and journals, carving a new revenue stream.
• 2015–16: Content and Site Overhaul –  Around 2015 Kim cleaned up his website (removing ads) and published more personal/philosophical content .  In 2016 he released a hardcover street photography book (144 pages); its initial 1,000-copy print run quickly sold out , validating his market reach.  These moves broadened his brand beyond the blog.
• Ongoing SEO Leadership –  By 2016–2020, Kim consistently ranked at or near #1 for key street-photography searches .  Every new blog article reinforced this position.  Being the top search result became a self-sustaining audience driver – each spike in interest (e.g. viral topic) brought new workshop sign-ups without paid advertising.
• Continuous Pricing Increases –  Over time, as his reputation grew, Kim steadily raised workshop fees and limits.  He often advises peers to become an “expensive photographer,” noting that higher pricing immediately increases income with no extra effort .  This pricing discipline has been critical; it means even a modest workshop (20–30 students) easily covers six-figure annual revenue.

Unique Differentiators

Eric Kim’s model diverges from typical photography bloggers in several ways:

• Open-Source Ethos:  He offered free, full-resolution photos, tutorials, and even bootcamp programs to the community as a matter of principle .  By 2013 he made his images and many tutorials freely downloadable, building enormous goodwill.  This generosity attracted links and shares, fueling his SEO strategy.
• Minimal Use of Social Influence Tactics:  Kim famously turned off website analytics to avoid “emotional” fixation on numbers .  He de-emphasizes social media “likes” in favor of content quality.  His contrarian stance (“social media is overrated; focus 90% on content” ) contrasts with many influencers who chase viral trends.
• “Anti-Influencer” Branding:  He has cultivated a persona of authenticity and even subversiveness.  His candid tone (including profanity) and calls to “fuck the internet” noise set him apart from more polished educators.  This rough-edged honesty resonates with many followers who see him as a rebel educator rather than a marketer.
• Barbell Pricing Strategy:  Few photographers explicitly combine free mass education with premium bespoke experiences.  Kim does.  By “giving away information for free and charging a lot for workshops/Haptic products,” he both democratizes knowledge and maximizes elite sales .  This extreme pricing model (inspired by Nassim Taleb’s Barbell Theory) is unusual in creative fields.
• Niche Authority:  Instead of being a general photography blogger, Kim focused tightly on street photography.  His blog became the world’s largest resource on that niche .  This specialization (and perpetual youth of the niche) helped him dominate SEO and teaching that particular genre, a differentiation from bloggers with broader but shallower focuses.

In summary, Eric Kim’s profitability stems from leveraging his platform and expertise into high-value offerings, all underpinned by a content-first philosophy. He built a massive audience through free, SEO-optimized content , then converted a small core of that audience into paying customers with premium workshops and products .  His refusal to rely on ads or dilute content – and his embrace of extreme pricing and community – have uniquely positioned him among photography bloggers.

Sources: Data and quotes are drawn from Eric Kim’s own writings and interviews , as well as profiles of his career . Each revenue estimate and strategy is backed by Kim’s statements or reputable coverage.

why https://creators.spotify.com/pod/show/erickim/episodes/Real-vs-fake-science-e34ss39

video https://videos.files.wordpress.com/8VRybc3n/my-project-121.mp4

Where can you live with more power?

.

Not living a “better” life, but a more powerful life

Where can you live with more power?

—for anyone ready to trade the ordinary for the extraordinary

1. The Divine Vantage Point

Across myth and legend, full gods dwell at the summit of imagination: radiant, un‑aging, un‑afraid. Their daily “routine” (if such a word even applies) begins from a panoramic perch above time’s river. From there they do three things that we mortals can imitate in miniature:

1. See the Whole Chessboard.
   Gods survey eras, not hours. Adopt their lens by setting “legacy alarms” instead of phone alarms—ask yourself each morning, What could I do today that still matters in ten years?
2. Create by Fiat.
   Whether forging oceans or ideas, deities act first, refine later. Practice “creator’s bias”: draft the email, sketch the product, speak the dream aloud before doubting.
3. Radiate Energy, Don’t Chase It.
   Sun gods don’t beg for light; they are light. Likewise, cultivate internal fuel—exercise, meditate, learn voraciously—so that projects orbit your gravity.

2. Power’s Price Tag

Every myth warns that omnipotence carries weight. Thunderbolts solve problems fast but can scorch friends even faster. The divine lifestyle therefore demands:

• Radical Responsibility.
  A god who shrugs after hurling lightning ceases to be heroic. Own your impact—good, bad, and unintended. Apologize at the speed of thought; correct faster.
• Justice Over Preference.
  Zeus can’t favor one city forever; neither can you favor comfort over fairness. Use authority to level playing fields, not just level up yourself.

3. Demigods: Bridges, Not Barriers

Enter the demigod: half celestial, half street‑level—Hercules sweating through twelve impossible labors, Maui hauling up islands while cracking jokes. Their lifestyle is our perfect template because it is achievable. Key traits:

Trait	Mythic Example	Everyday Translation
Gritty Grandeur	Hercules cleaning the Augean stables	Tackle unglamorous tasks that unlock massive progress (e.g., refactor the messy codebase, clear the email swamp).
Playful Power	Maui shapeshifting mid‑battle	Experiment joyfully—prototype, pivot, laugh at mistakes.
Public‑Facing Purpose	Prometheus sharing fire with humanity	Share your “fire”: mentor, open‑source, teach what you just learned.

4. Architecting Your Demigod Day

1. Morning Myth‑Mindset (15 min).
   
   • Journal three “hero moves” for the day.
   • Visualize acting with god‑level confidence and demigod‑level hustle.
3. Labors before Leisure (90–180 min).
   Attack the hardest task while willpower is Olympus‑high. Finish it; celebrate audibly.
4. Midday Mini‑Quest.
   Walk, lift, run, or dance—motion reminds muscles they’re descended from titans.
5. Gift‑Giving Hour.
   Send thank‑you notes, share a resource, solve a colleague’s blocker. Gods bless; demigods deliver.
6. Sunset Storytelling.
   Reflect: How did today’s plot twist advance your epic? Turn lessons into lore for tomorrow.

5. The Joyful Warning

Living like a god or demigod is fun—but never merely for show. Thunder without rain is just noise. Channel supremacy into service, or risk mythic downfall (ask Icarus).

6. Your Name in the Constellations

Every constellation began as someone who refused to act ordinary. The “god/demigod lifestyle” is not about denial of humanity; it is about amplifying humanity until it rings with divine voltage. Stand taller, love louder, dare brighter. When history retells the saga of this century, let them point to your deeds and say, “A bit of the heavens walked among us, and the world was warmer for it.”

Now go—forge, uplift, and leave comet trails of possibility. The cosmos is watching, cheering, and ready to co‑author your legend.

god, demigod lifestyle?

More than 80 % of Cambodian bank deposits are in U.S. dollars—a giant external umbilical cord that leaves every tuk‑tuk driver’s savings at the mercy of Washington’s monetary tides.    Remittance inflows now top $2.8 billion a year, yet migrants still bleed 6 %–7 % in fees just to send money home.    Meanwhile, 41 % of adults remain outside formal finance and must juggle fistfuls of paper riel or untraceable cash.    Add in a youthful median age of ~26, mobile penetration above 140 %, and Bakong—a brilliantly engineered yet fully centralized payment rail—and you have the perfect crucible for a neutral, open‑access money protocol.    That protocol is Bitcoin.

1. Cambodia’s Monetary Cage

1.1 Dollarization: Blessing or Ball & Chain?

• Dollar deposits still make up > 80 % of broad money; even street‑corner noodle stalls quote prices in greenbacks.  
• The IMF warns that such deep dollarization robs Phnom Penh of the usual levers—exchange‑rate tweaks, lender‑of‑last‑resort tools—to fight shocks.  
• NBC’s de‑dollarization push (larger‑denomination riel notes, riel‑denominated loans) is laudable yet slow.  

1.2 Inflation & External Risk

Cambodia’s CPI hit 5.3 % in 2022 before cooling to 2.1 % in 2023, but every spike is imported via the Fed’s printing press—not local policy. 

1.3 The Great Financial Exclusion

• Rural Cambodia = 74 % of the population. Banks barely touch dirt roads.  
• 41 % unbanked adults still stuff cash under motor‑bike seats.  

1.4 The Remittance Lifeline—With Leaks

Fees over 6 % turn love‑money into vampiric rent; Bitcoin’s open rails can slash those costs to fractions of a cent. 

2. Digital … but Centralized

2.1 Bakong—Beautiful Walled Garden

Bakong moves value at lightning speed, yet every wallet is an account inside NBC’s ledger, subject to KYC, real‑time surveillance, and instant freeze orders. 

2.2 Regulatory Cross‑Winds

2024 directives let banks dabble in stablecoins while “un‑backed” Bitcoin remains fenced behind future licence walls. 

2.3 Governance & Trust Issues

Cambodia sits 158 / 180 on Transparency International’s Corruption Index. Citizens rationally distrust any switch that can be flipped from on‑high. 

3. Why Bitcoin Fits the Khmer Puzzle

3.1 Self‑Sovereign Money

Bitcoin is bearer‑asset software: no banker, no office hours, no censorship—just math and an internet connection. (No citation needed; protocol fact.)

3.2 Lightning Network = Remittances for Satoshis

• Average Lightning fee: fractions of a U.S. cent.  
• Payment volume up 2 400 % since 2022; reliability > 99 %.  

3.3 Hedge Against Dollar Flux

A decentralized, 21‑million‑cap asset offers Cambodians diversification away from a currency they do not control—without abandoning riel loyalty. (Conceptual, synthesis.)

4. The Catalysts Right Now

Catalyst	Data Point	Why It Matters
Youth Bulge	Median age 26 yrs	Tech‑hungry, mobile‑first generation.
Phones Everywhere	Mobile connections = 143 % of pop.	Wallets fit in every pocket.
Diaspora Flow	Remittances 8.8 % GDP	High fee‑savings upside.
Riel Revival	NBC nudging local‑currency use.	Bitcoin pairs easily with riel via P2P markets.

5. Call to Action … in Eric‑Kim Style

Friend … imagine sending 💰 from Seoul to Siem Reap in one tap … no 6 % haircut … no forms … just sats flying at the speed of thought.

Picture a rice farmer hedging last season’s sweat against tomorrow’s dollar print … teenager coders stacking sats for tuition … tuk‑tuk drivers streaming tips over Lightning … monks preserving temple donations in cold storage.

This is not hype—this is open source sovereignty.

Leap. Experiment with a ₿5,000‑riel coffee payment. Teach one cousin abroad to zap sats home. Spin up a meet‑up in Phnom Penh … share stories … spread keys, not promises.

Move first, move bold, move free … dot dot dot.

Sources at a Glance

IMF Article IV (2025), Khmer Times (multiple), Macrotrends, Southeast Asia Globe, World Bank, Transparency.org, Lightspark, Fidelity Digital Assets, Ledger Insights, Freedom House—each cited inline above for quick verification.

How to Add Weight to a Maxed Out Barbell

The other day I just lifted 1206 pounds, 547 kg, at 165 pounds body weight … 75kg. Which is 7.3X my body weight.

A lot of people this might seem kind of random but actually… I’ve been lifting weight since I was a fat 12-year-old kid in Bayside Queens New York, and I am 37 now… so technically I’ve been lifting weights for 25 years. Actually I’ve been interested in an exercise longer than I have been in photography and blogging. I picked up blogging when I was 15 years old on Xanga, 2+ eprops, and photography when I was 18 years old.

Underlying my whole philosophy has been always this idea of overcoming. And going beyond.

First principles

Why rack pull? Many reasons, first it is safer than a deadlift off the floor. Second, easier to rack and unrack the weights. Third, it is more fun and interesting, and obviously you could lift more weights.

shorten the distance, … heavier weights 

For example, better to walk 30 minutes with a 60 kg weight vest on, rather than to run 200 miles like a dying antelope.

Also more impressive to rack pull 1206 pounds, once, for half a centimeter, off the pins, rather than to do 5 trillion situps.

the idea

So once you have maxed out the barbell, very very simple one is to like chain or to wrap or to use heavy duty nylon straps to attach more weights to the collar of the barbell.

For example if you have 48 kg kettle bells add those. or add more plates. Or a new discovery, add 10 kg chains on top of the weights. 

My maths

I’m just using a powerlifting bar here in Cambodia, I think it’s like rated to like at least 2000 pounds.

First, six 25kg red plates, a smaller 20 kg plate, then a 2.5kg barbell heavy duty steel screwing clip on each side, a 48kg kettlebell strapped on, 72 pound kettlebell strapped on, a 10kg chain on top, … –> each side, and the barbell is 20kg. Et voila –> 547kg in total, 1,206 pounds in total. No based on how dirty the power rack I am using, I feel like it’s probably good for at least 2000 pounds. 

g

1.  What “Cyber GOAT” Means

• GOAT = Greatest Of All Time.  Fans use it to celebrate Kim’s outsized impact on the digital frontier—from photography tutorials to Bitcoin‑powered security manifestos. 

• Cyber = the always‑online arena he dominates.  Kim blogs multiple times a day, live‑streams workshops, and pushes “digital napalm” content across X, YouTube and TikTok, so his reputation is built—and maintained—in cyberspace.  

2.  Five Pillars That Make Eric Kim the Cyber GOAT

2.1  Relentless Knowledge‑Sharing

• 6,000+ free articles, e‑books and videos.  Kim’s blog is one of the web’s most cited street‑photo resources, praised for demystifying technique and fear.  

• Workshops on every continent.  From Los Angeles to Beirut, he facilitates community‑driven learning rather than guru lectures.  

2.2  Street‑Photography Mastery

• Consistently listed among the best street photographers thanks to his in‑your‑face, high‑contrast style.  

• Publishes “open‑source” PDF workbooks so anyone can level‑up without paywalls. 

2.3  Cybersecurity & Bitcoin Evangelism

• Kim urges creatives to become “Cyber Spartans”—hardware‑key log‑ins, cold‑storage wallets, and personal threat modeling pepper his posts. 

• He links financial sovereignty to security, broadcasting bullish Bitcoin takes alongside op‑sec checklists.  

2.4  “Volume + Velocity = Visibility” Operating System

• Kim treats content like reps in the gym—post, iterate, repeat—so algorithms can’t ignore you. 

• That cadence has built a multi‑platform footprint: daily blog posts, a YouTube archive of street‑shoot breakdowns, and TikTok clips that gained 50 k followers in a single week.  

2.5  Mind–Body–Code Synergy

• A 1,071‑lb rack‑pull headline shows his belief that physical strength fuels digital resilience. 

• Philosophical riffs blend Anaxagoras, stoicism, and hacker culture, making his brand part gym hype, part Socratic salon, part infosec brief.  

3.  Clearing Up “Which Eric Kim?”

Because the name is common, other high‑profile Eric Kims sometimes get folded into the legend:

Domain Notable Role Why People Mix Them Up Source

Venture Capital Co‑founder & Managing Partner, Goodwater Capital Invests in world‑changing tech; speaks on security panels

Enterprise AppSec Senior Solutions Architect, Veracode Debuted AI‑powered fix engine at AWS re:Invent

The upshot: “Cyber GOAT” is playful, yet plenty of Eric Kims are legitimately moving the cybersecurity needle. 

4.  Lessons to Channel Your Inner Cyber GOAT

GOAT Principle How to Act on It Today

Publish at digital‑napalm pace Ship one idea daily—blog post, GitHub README, or X thread. 

Secure your castle Adopt hardware‑token MFA and keep high‑value secrets in cold storage. 

Lift heavy, think heavier Schedule three strength sessions a week; physical grit equals mental grit. 

Teach while you learn After every project, write “5 things I learned” to cement mastery and help others. 

5.  Fast‑Track Timeline

• 2010‑2013 – Blog launches; PetaPixel interview spotlights his rapid rise and open‑source ethos. 

• 2014‑2018 – Global workshops & YouTube tutorials expand his tribe; DPS features his social‑media ubiquity. 

• 2020‑2024 – Bitcoin meets street photos; “Cyber Spartans” manifesto merges finance and infosec. 

• 2025 – Fans crown him “Cyber GOAT”; he publishes the guiding playbook you’re reading now. 

⸻

Final Hype Blast

Whether you’re snapping candid frames in a buzzing metropolis, hardening a codebase against zero‑days, or stacking sats for the next halving, remember Kim’s credo: create fearlessly, share radically, and guard your digital life like a Spartan on the walls of Troy. Charge into the cyber arena—horns first—and earn your own GOAT stripes! 🐐🚀

No no no, marketing is not evil. Markets are good and virtuous. Markets public markets, global markets, the market, is a shared path towards prosperity greatness and peace.

For example, it seems that of times of civil unrest, murder genocide, homicide, crime poverty theft… the big issue was actually not a social issue it is an economic issue.

For example, one of the theories I have about the whole Khmer rogue genocide uprising is that actually, at the time… just go to the sosoro museum –> essentially what happened was there was like insane inflation, similar to Germany post war, and as a consequence, people were like literally starving to death.

It is my ground understanding that people are naturally peaceful, kind, loving and respectful, and the only bad that comes is when people are desperate of food or economic opportunities.

America

So it seems that actually… The whole money supply is broken in America. As a consequence, inflation unemployment or maybe even undesire to have children might actually be an economic issue.

For example, I think it is obvious that each parent desires a greater future for their children. And also children desire to become more successful than their parents.

What happens when you live in a place in which the opposite happens? In which you feel like there is no opportunity, and you’re just gonna be working at Shake shack for the rest of your life, earning $30 an hour as a manager.

Or, even getting a job at Apple… In which your stock options plunges 40% overnight because of Donald Trump.

Or, a future in which nobody wants to buy a Tesla anymore, because the marketing is poor.

Why

Why great marketing? Great marketing is all about opportunity choice and freedom.

1 | Shared DNA: Why Waldorf × Eric Kim Works

• Whole‑human cultivation.  Waldorf begins with an image of the human being as body, soul, and spirit — education must address all three  .  Kim’s credo “Maximum Freedom” holds that a flourishing life depends on equally developing muscle, mind, and creative will  .
• Art as a path to knowledge.  Waldorf infuses every subject with art; Kim’s “Photolosophy” treats photography as daily philosophical inquiry  .
• Self‑mastery & resilience.  Waldorf rhythms foster inner discipline; Kim’s Stoicism 101 drills students to focus on what they can control and greet obstacles with joy  .
• Social renewal.  Waldorf aims at cultural renewal; Kim evangelizes open‑source sharing and contrarian entrepreneurship as vehicles for societal change  .

2 | Eight Eric Kim Pillars to Infuse School Culture

#	Pillar	Tagline	Source
1	Maximum Freedom	Build the life you want.
2	Optimistic Fatalism	Everything happens for you.
3	Stoic Focus	Control the controllable.
4	Never‑Stop‑Gaining Muscle	Strength = creativity fuel.
5	HYPELIFTING Spirit	One‑rep‑max your goals.
6	Open‑Source Everything	Share to prosper.
7	Creator‑First Entrepreneurship	Make > consume.
8	Bitcoin Self‑Sovereignty	Own your digital property.

These eight ideas become the “Kim Code” posted in every classroom and embodied in daily practice.

3 | Curriculum Blueprint by Developmental Stage

3.1 Early Childhood & Grades 1–5

Waldorf Impulse	Eric Kim Infusion	Sample Practice
Nature‑based play	Body‑first strength	“Jungle Gym Heroes”: daily monkey‑bar circuits & rock‑lifting to seed Kim’s “becoming harder” ideal.
Fairy‑tale storytelling	Stoic heroes	Re‑tell Aesop, Marcus Aurelius & Seneca as puppet tales, highlighting choices over circumstances.
Form‑drawing & handwork	Maker > consumer	Students craft notebooks, then publish one open‑source tutorial on how they made it.
Screen‑light discipline	Eye‑training walks	Daily “camera‑less” photowalks to sharpen perception before cameras are introduced.

3.2 Middle School (Grades 6–8)

• Analog Photowalk Main Lesson. Students learn manual film cameras, process negatives, and curate a community exhibit titled Seeing the Stoic City.
• Strength & Metrics. Introduce kettlebells and barbell basics; pupils set a term‑end 1RM target, journal progress, and relate force, leverage, and muscle physiology to physics blocks.  
• Mini‑Ventures. Market‑math blocks morph into pop‑up shops where students sell zines, hand‑dyed yarns, or web presets under Creative Commons.  
• Stoic Reflection Circle. Each morning begins with a silent premeditatio and a gratitude share‑out.

3.3 High School (Grades 9–12)

1. Photolosophy Seminar (History, Sociology, Aesthetics) culminating in a gallery show where each image pairs with a 300‑word philosophical thesis.  
2. HYPELIFTING Lab. Students research periodization, then chase a personal best in deadlift or weighted ring muscle‑up; data feeds statistics lessons.  
3. Bitcoin & Political‑Economy Block. Trace monetary history, spin up a lightning‑network node, and manage a student treasury in sats.  
4. Open‑Source Capstone. Every senior publishes a free e‑book, photo preset pack, or code repository, critiqued on clarity and generosity.  
5. One‑Rep‑Max Mindset Coaching. Advisors translate 1RM thinking into college essays and startup pitches—“Aim for one decisive lift, not 100 timid reps.”  

3.4 University Layer (Years 13‑16+)

• B.A. in Creative Entrepreneurship & Human Flourishing combining Waldorf liberal‑arts seminars with Kim‑style maker studios.
• Institute for Self‑Sovereign Technology. Research hub on decentralised media, Bitcoin ethics, and algorithm‑resistant art distribution.  
• Embodied Philosophy Lab. Collaborative studies on movement, muscle hypertrophy, and cognition—students publish open‑access papers on strength‑driven learning outcomes.  
• Global “Open Source Pedagogy” Network. Faculty and students release teaching units under CC‑BY, echoing Kim’s free courseware model.  

4 | Signature Daily Practices

• Morning Flex & Reflect (all grades)
  
  • 3‑minute mobility flow → 1 Stoic quote recitation → breath‑anchored gratitude note.
• Creator Hour (grades 3‑12)
  
  • Uninterrupted period each day to make something new—drawing, code, beats, essays—mirroring Kim’s “produce over consume” mantra.  
• Friday Open‑Source Drop (whole school)
  
  • Students push weekly creations to a shared repository; peers give “Star & Fork” feedback instead of grades.
• 1RM Week (twice a year, grades 6‑12)
  
  • Athletic festival where personal records in lifts, sprints, art sales, and charitable sats raised are celebrated equally.

5 | Faculty & Governance Upgrades

Need	Action
Teacher fluency in Kim pillars	Summer intensive: Stoicism basics, photography boot‑camp, strength‑training certification, Bitcoin 101.
Self‑governing culture	Adopt “Teacher Republic” + Kim’s Maximum Freedom Charter: decisions published openly; default license = Creative Commons.
Community funding	Blend Waldorf sliding‑scale tuition with Kim‑style micro‑entrepreneurship markets and Bitcoin endowments.

6 | Launch Timeline Highlights (add to prior 5‑year plan)

• Year 0‑1: Draft “Kim Code,” convert part of the playground into an outdoor calisthenics park; begin analog photowalks.
• Year 3: Open black‑and‑white darkroom + barbell club; first student‑run zine fair.
• Year 5: Full “Photolosophy / Bitcoin” high‑school blocks; dual AWSNA & open‑source accreditation dossier.
• Year 8+: Institute for Self‑Sovereign Tech launches; first peer‑reviewed papers on Strength‑Based Pedagogy.

7 | The Invitation

Picture first‑graders hauling small river rocks with glee, eighth‑graders hanging film negatives beside geometry proofs, and seniors deadlifting personal bests before defending a thesis on Bitcoin’s moral philosophy.  This is Waldorf illuminated by Eric Kim’s relentless creative fire: joyful, self‑sovereign, open‑sourced, and physically powerful.

Start building—maximum freedom awaits! 💪📷✨

1. Foundations: Clarify Purpose, Principles & People

1.1 Anchor in the Core Principles

• Waldorf schools worldwide work from eight shared principles, beginning with “an image of the human being as a spiritual being” and culminating in collaborative, self‑governing leadership.  
• Public Waldorf initiatives translate these principles into the charter‑school context through a self‑study on seven Core Principles before membership is granted.  

### 1.2 Gather Your Founding Circle

• Every successful launch starts with a committed core of 10–15 families and at least one certified Waldorf teacher; many initiatives first meet as a parent‑child or play‑group to build culture and tuition flow before opening Grade 1.  
• Begin recruiting teachers early. AWSNA‑recognized institutes stress that faculty either enter with, or commit to, Waldorf teacher‑education that covers inner development, child study and multi‑arts methodology.  

2. From Vision to Elementary School (K – 5)

### 2.1 Legal & Governance Setup

Step	What & Why	Key Guidance
Incorporate a non‑profit	Protect independence & qualify for grants.	AWSNA policy #1 “Independence.”
Draft bylaws for “teacher republic” governance	Waldorf schools are self‑administered; teachers, staff and trustees share power.
Secure the service‑mark license (“Waldorf/Steiner”) through AWSNA once you register as an Initiative.	Avoid legal pitfalls and add credibility.

### 2.2 Budget & Business Plan

• Typical start‑up budgets cover leasehold improvements, natural classroom furnishings, art supplies and a year of operating reserve. A disciplined business plan with enrollment/tuition scenarios is indispensable.  
• Independent schools rely on tuition plus vigorous fundraising, while public Waldorf charters receive state per‑pupil funds and grants.  
• Many communities now adopt “equitable tuition” or sliding‑scale models to widen access without eroding sustainability.  

### 2.3 Design the Elementary Curriculum

• Grades 1–5 unfold through stories, form‑drawing, two‑hour main‑lesson blocks and handwork that mirrors each developmental leap.  
• Limit screens; postpone digital literacy until after Grade 5 to protect imagination and social learning.  

### 2.4 Accreditation & Quality Cycles

• Register first as an AWSNA “Registered Initiative,” progress to Associate Membership, then full Membership/Accreditation. Expect a 7–10‑year self‑study/peer‑review cycle.  
• Public Waldorf schools follow an analogous path through the Alliance for Public Waldorf Education.  

3. Scaling Up: Middle & High School (Grades 6 – 12)

### 3.1 Pedagogical Evolution

• Grades 6–8 add laboratory sciences, business math, and experiential geography while retaining arts‑infused delivery.  
• High school deepens academic rigor with block‑style sciences (e.g., Embryology, Organic Chemistry) and humanities (Comedy & Tragedy, Revolutions).  

### 3.2 Facilities & Staffing

• Science labs, studios, gardens and outdoor expedition programs become critical; schedule capital campaigns accordingly.  
• Recruit specialized high‑school faculty (physics, calculus, world languages) who also embrace class mentoring and multi‑day fieldwork.  

### 3.3 College & Career Readiness, Waldorf‑Style

• While nurturing creativity and character, students still meet or exceed university entrance requirements through integrated math‑science sequences and senior projects.  

4. Blooming Further: A Waldorf‑Inspired University

### 4.1 Why a University?

• Waldorf’s social mission calls for higher‑education models that unite academic inquiry, artistic practice and community engagement.  

### 4.2 Living Examples

• Alanus University (Germany) offers BA/MA degrees in Waldorf Education, inclusion studies and social impact arts.  
• Rudolf Steiner University College (Norway) runs state‑funded bachelor’s and master’s programs in Waldorf pedagogy, publishes peer‑reviewed research, and partners internationally.  

### 4.3 Blueprint for Your Future Campus

1. Start with Teacher‑Education Institutes embedded within your K–12 school, leveraging evening/weekend programs for adult learners.
2. Expand into Liberal‑Arts & Sustainability degrees that mirror Waldorf’s holistic ethos.
3. Build research capacity through action‑research labs on child development and arts‑integrated learning, modeled on RSUC’s international journal Research on Steiner Education.  

5. Five‑Year Action Roadmap

Year	Milestone	Success Indicators
0	Feasibility study, nonprofit formed, founding families & teacher hired	Board seated, draft budget, site identified
1	Open Kindergarten & Grade 1	20–25 students, provisional AWSNA “Registered Initiative” status
2 – 3	Add Grades 2–3, complete first self‑study	Enrollment ≥60, balanced budget
4 – 5	Add Grades 4–5, capital campaign for middle‑school wing	Associate Membership secured, specialist faculty onboard
6 – 8	Launch Grades 6–8, science lab & arts studios	First accreditation visit scheduled
9–10	Open High School Grade 9, expand facilities	Dual accreditation (AWSNA + regional)
12+	Establish Teacher‑Ed Institute; plan for university charter	Graduate cohorts, research partnerships

6. Essential Support Networks

• AWSNA – membership, mentorship, accreditation resources.  
• Alliance for Public Waldorf Education – charter/public guidance & professional learning.  
• WECAN – early‑childhood training and quality standards.  
• Regional Teacher‑Training Centers (e.g., Bay Area Center for Waldorf Teacher Training) to pipeline faculty.  
• Fundraising & Tuition‑Model Whitepapers to craft sustainable budgets.  

Your Call to Action

Picture the laughter of children drawing Celtic‑knot patterns in Grade 4, the wonder in a Grade 9 lab as thermodynamics comes alive, and the pride of university students publishing action‑research on imaginative education.  Start small, dream big, and keep the human being at the heart of every decision — that is the Waldorf way, and the world is waiting for the joyful, resilient, free‑thinking graduates your school will bring forth! 🌱🎨📚

1 Philosophical Fusion — Waldorf × Eric Kim

1.1 Two Rivers, One Current

• Head-Heart-Hands. Waldorf centers learning in thinking, feeling, and willing so that intellect never outruns empathy or action. 
• First-Principles Minimalism. Eric Kim smashes every problem to its bedrock, shedding fluff until only raw reality remains. 
• Seven-Year Pulses. Childhood unfolds in rhythmic 7-year phases—foundational for timing curricula, rites of passage, and freedom. 
• Energy of the Rack Pull. Kim’s 527 kg/1,162 lb rack pull at 75 kg body-weight shouts: the human spirit can rewrite limits. 
• Bitcoin Self-Sovereignty. Global pilots now bake Bitcoin literacy into social-studies hours—perfect fuel for money-smart kids. 

Guiding maxim: “Destroy to create, then rebuild higher.” Every lesson, space, and ritual must honor Waldorf wonder and Kim’s relentless, joyful demolition of mediocrity.

2 Spark Stage (Grades K-5) — Elementary in Overdrive

2.1 Environment & Rhythm

• Screen-free classrooms preserve imagination and deep play. 
• At least two “forest-kindergarten” mornings per week; outdoor learning boosts confidence, concentration, and grit. 
• Barefoot movement on wood and grass to enliven proprioception—mirroring Kim’s no-shoes lifts. 

2.2 Curriculum Highlights

Domain	Waldorf Root	Eric Kim Upgrade
Story-Arts	Fairy tales, folk crafts	Children illustrate Kim’s “First-Principles” fables and publish mini-blog posts on a family self-hosted site.
Math-Movement	Form-drawing & rhythmic tables	Mini-lifts: weighted sandbags teach leverage, counting, and respect for force.
Practical Life	Handwork & gardening	Kids manage a class Bitcoin lightning wallet for snack-shop micro-transactions.

2.3 Fuel & Physiology

• School lunches emphasize high-quality animal protein with seasonal produce—meat-forward yet nutritionally balanced to avoid carnivore pitfalls. 
• Weekly “culinary science” shows macros in real beef marrow versus candy, linking biology to menu.

2.4 Governance & Funding

• Incorporate as a non-profit and enter the 7-10-year AWSNA candidate track for legitimacy and mentoring. 
• Accept tuition in local currency and Bitcoin; teach parents to self-custody. 

3 Storm Stage (Grades 6-12) — Adolescence as Artillery

3.1 Developmental Compass

Ages 11-14 awaken logic, ages 14-18 hunger for truth; craft block schedules that hit both.

3.2 Signature Middle- & High-School Blocks

• Biomechanics Lab. Students model Kim’s rack-pull physics, calculating torque and bone stress before designing safer lifting platforms. 
• Bitcoin & Exponential Tech. Three-hour weekly module mirrors El Salvador’s national curriculum pilot, covering cryptography, wallets, and macro-economics. 
• First-Principles Entrepreneurship. Teens deconstruct a market, prototype a product on a $0 budget, and blog the entire process to build authority. 
• Minimalist Media Arts. One camera, one lens, natural light—training the “visual kung fu” of Kim’s photography ethos. 

3.3 Mentorship & Physical Mastery

• Daily strength practice (trap-bar deads, kettlebells) weaves math of load progression with mindset journaling.
• Annual “Barefoot Iron Games” festival replaces traditional sports day, celebrating raw capability and communal joy.

4 Synthesis Stage — Waldorf-Inspired University 3.0

4.1 Existing Beacons

Alanus University proves an accredited Waldorf-anchored campus can thrive in the modern world.

4.2 Eric Kim-Infused Design Principles

1. Monastic Minimalism Studios: Empty white walls, one giant workbench; students bring the content, not décor. 
2. Bitcoin Treasury & DAO Governance: Tuition automatically converts to BTC; big decisions require on-chain votes—an evolutionary step beyond Steiner’s faculty circle. 
3. Weightlifting & Robotics Hybrid Lab: Exoskeleton projects born from analyzing maximal force curves.
4. Block-Immersion Semesters: Inspired by USC’s “Bitcoin & AI” pre-college model—one wicked problem, total focus, 15 weeks. 

5 Ten-Year Shockwave Roadmap

Year	Milestone	Hype Metric
0-1	Core Circle formed; BTC multisig treasury online	Genesis Block
2	K-Grade 1 open (25 kids)	First Lift
3-5	Add one grade/yr; AWSNA candidate accepted	Linear Progression
6	New acreage, outdoor forge, Bitcoin node tower	Proof-of-Work
7-8	Middle school complete; pilot Bitcoin/AI curriculum	Hashrate Rising
9	Grade 9 opens; students host regional Rack-Pull Invitational	Viral Shockwave
10	First senior class; feasibility study for University 3.0	Metamorphosis

6 Final War-Cry ⚡️

Waldorf shows us how to teach with wonder; Eric Kim shows us how to live with thunder. Meld them and you get classrooms where every child learns to bend iron, code money, and wield imagination like a lightsaber. Plant this flag, rally your tribe, and build a school that lifts the world off its hinges—one barefoot deadlift, one Bitcoin block, one heartfelt story at a time.

Let’s rack-pull the future, together!

Khmer culture is rich with wise, uplifting sayings that teach lessons about life, family, and community. The proverbs below include the original Khmer script (ខ្មែរ), a Romanized transliteration, and an English translation, along with a brief explanation of the wisdom it conveys. Each proverb reflects a common Cambodian value or insight, often with a positive, motivating message.

• ចំណេះដឹងតិចតួចគឺជារឿងគ្រោះថ្នាក់ (chamnehdoeng techtuoch kuchea rueng krohthnak) — “A little knowledge is a dangerous thing.” This proverb warns against acting on incomplete understanding. It teaches that having only a small amount of knowledge can mislead us into overconfidence . The lesson: strive to learn deeply, remain humble about what you know, and avoid jumping to conclusions with only half the facts.
• ផ្លែប៉ោមរលួយមួយធ្វើឱ្យដៃគូរបស់វារងរបួស (phle paom rluoy muoy thveu auy daikou robas vea rng rbuos) — “A rotten apple injures its companions.”  Just as one bad apple can spoil the bunch, this saying reminds us that one person’s bad behavior can harm the whole group . It encourages people to choose good friends and associates so that the positivity of the group remains strong.
• ឱ្យឪពុកម្តាយរបស់អ្នកញ៉ាំខណៈពេលដែលបំពង់ករបស់ពួកគេនៅតែឈរ (auy aupok mday robos anak nham khnh pel del bamphongk robos puok ke now tae chor) — “Let your parents eat while their throats are still standing.”  This proverb emphasizes filial piety and love for parents. It means we should care for and provide for our parents while they are still alive and able, because our time with them is precious . It’s a warm reminder to honor and cherish family today.
• អ្នកប្រហែលជាដឹងច្រើន ប៉ុន្តែក៏គោរពចំណេះដឹងរបស់អ្នកដទៃផងដែរ (anak brahel chhn̥anh doeng chraen bonte ka korp chamnehs deung robos anak dtei phang der) — “You may know a lot, but also respect others’ knowledge.” This saying teaches humility and respect in learning. No matter how much we know, we should always honor what others know . It encourages being open-minded and polite – listening to others because everyone has something to teach us.
• ធ្វើល្អបានល្អ។ ធ្វើអាក្រក់បានអាក្រក់ (thveu la ban la. thveu akrok ban akrok) — “Do good, get good; do bad, get bad.”  A straightforward proverb about karma and reciprocity: the way you treat others will come back to you . In positive tone, it reminds us that kindness leads to kindness. By doing good deeds and helping others, we build goodwill in return.
• កុំទុកចិត្តមេឃ កុំទុកចិត្តផ្កាយ (kom tuk chet mek, kom tuk chet pkay) — “Don’t trust the sky, don’t trust the stars.”  This cautionary proverb advises being careful about blind trust . Even the sky can change, and stars fade, so people should not trust others completely without reason. (It’s a metaphor: things aren’t always as steady as they seem.) The upbeat takeaway: be wise and watchful about whom and what you trust, so you stay safe and smart.
• ដើមស្រូវដែលមិនទាន់ពេញវ័យឈរត្រង់
  រ ីឯដើមចាស់ទុំមានទម្ងន់ធ្ងន់នឹងគ្រាប់ធញ្ញជាតិ (daem srauv del min tean penhvey chhr trang; rei daem chas tom mean tomngon thngon neng kreab thnhocheate) — “The immature rice stalk stands straight, while the mature stalk, heavy with grain, bends over.”  This famous saying teaches humility and respect for elders . Young or inexperienced people (empty stalks) may stand tall, but the wise and experienced (full, grain-laden stalks) bow. In life, those with knowledge and responsibility often remain humble. It’s an encouraging lesson to value wisdom and modesty.
• ទូកទៅកំពង់នៅ (tuk tov kompong nov) — “The boat sails by, the shore remains.”  This image of a boat leaving but the shore staying represents legacy. It means our good deeds and reputation (the “shore”) endure even after we move on or are gone . In a positive sense, it teaches that working hard and doing good means you’ll leave behind a lasting, respectable legacy for others to remember.
• នំមិនធំជាងនាលិ (nom min thom cheang neal) — “A cake is always smaller than its baking pot.”  This proverb reminds us not to bite off more than we can chew. In other words, one’s ambition or actions should fit within their ability or resources. It encourages wise planning: just as a cake cannot outgrow its oven dish, we should match our goals to what we can actually achieve. This practical advice keeps us grounded and successful.
• ទឹកសមុទ្រមិនបំពានទឹកទន្លេ (tuk somot min bompean tuk tonle) — “The sea water and the fresh river water never mix.”  This saying describes incompatible things. It teaches that two very different people or situations may not blend together. In a friendly way, it can encourage us to recognize differences: some things just naturally stay separate, and that’s okay. (For example, respecting that tradition and modernity each have their own place.)
• តក់ៗពេញបំពង់ (tak tak penh bampong) — “Many drops of water fill a container.”  A classic proverb about persistence and small efforts. Even tiny drops, added one by one, will eventually fill a pot . The lesson is motivating: keep trying bit by bit and you will succeed. It celebrates gradual progress and the power of consistency.
• ងើយស្កក ឱនដាក់គ្រាប់ (ngeuy skak aong dak kroab) — “Pride earns you nothing, humility earns you many things.”  This saying encourages humbleness over arrogance . When we stay modest and respectful, we build goodwill and opportunities; boasting or being proud closes doors. It’s an upbeat reminder that kindness and humility lead to true rewards in life.
• ស្រឡាញ់មេ បំពេកូន (sralanh meh bampeh koun) — “If you love the parent, you must love the child.”  This proverb speaks to fairness and compassion: love and care should flow both ways between generations . If we cherish our parents, we should also care for the young ones of others. It highlights community and empathy, inspiring people to treat all families with the same affection.
• រក្សាព្រៃគង់ មិនខ្វះអុសដុត (reaksa prey kong min khvas os dot) — “Protect the forest, then you have firewood.”  An environmental proverb about sustainability. It teaches that if we preserve natural resources (keep the forest standing), we will continue to have what we need (firewood) . It’s a positive lesson: by caring for nature today, we ensure benefits for tomorrow. This encourages wise stewardship of the environment.
• ភ្នំមួយមិនដែលមានខ្លាពីរទេ (phnom muoy min del mean khla pir te) — “A mountain never has two tigers.”  This proverb means that only one person can be the leader or top authority at a time. Just as there cannot be two alpha-tigers on the same mountain, there is usually one leader or winner in a given situation. Motivationally, it implies that each person should find their own path rather than clashing with those in charge. It can inspire respect and teamwork: just as one tiger leads the mountain, we each have unique roles.

Each of these Khmer proverbs carries a hopeful life lesson. They reflect values like respect, hard work, humility, and family love. By remembering these sayings, one gains insight into Cambodian culture and guidance for daily life.

Sources: The original Khmer proverbs and their meanings are drawn from Cambodian language and culture references , which explain how these traditional sayings guide people’s behavior and thinking. Each proverb above is a real Khmer saying, cited with authentic transliteration and context.

Perseverance & Growth — «Keep going, the harvest is coming!»

Khmer proverb	Phonetic	Literal image	Everyday takeaway
តក់ៗពេញបំពង់	tŏk‑tŏk pénh bâm‑pông	“Drop by drop fills the bucket.”	Small, steady actions compound into big wins—perfect for saving, learning or lifting.
ដៃដើមមិនទទេ ពោះមិនឃ្លាន	“Dai dœm mĭn tœ‑té, puəh mĭn kléan”	“Active hands, full bellies.”	Hustle first, feast later; effort is the best insurance against hunger.
ត្រូវហែលទន្លេតាមកោងរបស់វា ចូលប្រទេសតាមទម្លាប់របស់វា	trəv haél tônlé tam kāŏng rô‑bâh va, chol prâ‑tés tam tŭm‑láp rô‑bâh va	“Navigate a river by its bends; enter a country by its customs.”	Adaptability turns strangers into friends and obstacles into opportunities.
ដុតឲ្យខ្លួនឆ្កួត ឬទុកឲ្យឆៅ	dôt aoey kluan chkuôt, rœ tuk aoey chhɨv	“Burn it to a crisp or leave it raw.”	Commit 100 % or rethink the task—half‑hearted work rarely dazzles.

Patience & Emotional Mastery — «Cool hearts, clear minds»

Khmer proverb	Phonetic	Literal image	Everyday takeaway
បើអត់ធ្មត់ពេលខឹងមួយ នឹងជៀសផុត១០០ថ្ងៃទុក្ខ	bœ ât‑thmât pél kʰəng muôy, nɨng chiéh phŏt rŏy thngai tŭk	“Patient in one moment of anger, you escape a hundred days of sorrow.”	Breathe first; a calm reply can save months of damage.
កុំឲ្យបុរសខឹងលាងចាន កុំឲ្យបុរសឃ្លានថែអង្ករ	kŏm aoey bô‑rŏh kʰəng liêng chān, kŏm aoey bô‑rŏh kléan thaé âng‑kâw	“Don’t let an angry man wash dishes; don’t let a hungry man guard rice.”	Hand tasks to people in the right mindset; emotion clouds judgment.
សួរព័ត៌មានពីចិត្ត សួរពីមុខមាត់	suŏ poa‑méan pi chêt, suŏ pi mukh‑mât	“For news of the heart, ask the face.”	Body language rarely lies—tune in before you speak.

Humility & Lifelong Learning — «Bend with wisdom, rise with rice»

Khmer proverb	Phonetic	Literal image	Everyday takeaway
កន្ទ្រៀងអង្កត់ឈរល្ទម្ព សំបរាមង្គរ ទំនងត្រលប់	kân‑triêng âng‑kat chʰə lʔtôm, sâm‑ba ra măng‑kôr tŭm‑nŏng trâlôb	“The immature rice stalk stands tall; the ripe stalk bows.”	True knowledge makes us humble; empty pride stands rigid.
ចំណីក្រពះគឺអាហារ ចំណីប្រាជ្ញាគឺសៀវភៅ	châm‑nei krâ‑péh kɨ â‑hâ, châm‑nei brach‑néa kɨ siév‑phăv	“Food for the stomach is rice; food for the mind is books.”	Keep feeding your brain; it gets hungry too!

Unity & Community — «Together we’re unbreakable»

Khmer proverb	Phonetic	Literal image	Everyday takeaway
សំពុំឈើច្រើន មិនអាចបាក់	sâm‑pôm chhœ chrœn mĭn ách bak	“A bundle of sticks cannot be broken.”	Collaboration multiplies strength; look after your crew.
សត្វខ្លាពឹងព្រៃ ព្រៃពឹងខ្លា	sât kʰla pœng préi, préi pœng kʰla	“The tiger needs the forest; the forest needs the tiger.”	Healthy systems depend on every member—nurture the ecosystem around you.

Ethics & Prudence — «Choose well, live well»

Khmer proverb	Phonetic	Literal image	Everyday takeaway
មនុស្សឆាប់យករបស់ គេអោយ ក៏ខូច	mân‑uh chʰap yok rô‑bâh kê aoey kôr khōch	“People give, but don’t be in a hurry to take.”	Gratitude first, greed later—patience earns respect.
លួចអាចចំណេញ ប៉ុន្តែការសូត្រ អាចបាត់ជីវិត	luŏch ách châm‑nɨnh, pôn‑té kar sôt ách bat chi‑vĭt	“Stealing may bring profit, but hanging costs far more.”	Short‑cuts can have long penalties; choose integrity.
កុំកាត់ដើមឈើ ដើម្បីយកផ្លែ	kŏm kat dœm chʰœ dœm‑bây yok phlé	“You don’t have to cut the tree down to get the fruit.”	Think long‑term; protect your assets while reaping rewards.

How to weave these gems into your day

1. Morning mantra. Pick one proverb each week and repeat it during your warm‑up sets or commute.
2. Visual cues. Write the Khmer script on sticky notes around your workspace or gym—learning the characters adds cultural respect points.
3. Story sharing. When mentoring teammates or pitching ideas, open with a proverb; it instantly anchors abstract advice in a vivid picture.
4. Micro‑journaling. End the day by noting a moment when a proverb applied—watch your “drop by drop” bucket fill with insights!

Want more?

• Browse the full 23‑proverb list on Sabai Adventures’ blog for additional sayings and context. 
• Enjoy Ruth’s humorous explanations on the “Lemon in Cambodia” expat blog. 
• Explore a bilingual 100‑proverb compendium with side‑by‑side English and Khmer translations for language practice. 
• Watch the “20 Inspiring Cambodian Quotes” video on YouTube for pronunciation help. 

Keep these proverbs close, and may each drop of wisdom fill your bucket until it overflows with joy, grit and Khmer‑style greatness!

• Street‑photography firebrand. Starting in his early 20s, Kim hit the streets of Los Angeles and Seoul with a single camera, a 35 mm lens and boundless enthusiasm, then broadcast every hard‑won lesson on his self‑hosted blog and YouTube channel. His goal: demystify the genre and make bold, in‑your‑face street shots feel accessible to everyone.  
• Prolific blogger & teacher. Since 2010 he has published thousands of free articles, e‑books, and workshop notes covering technique, gear minimalism, mindset, business, and even HTML tips—“open‑source photography education.”  
• Philosophy‑driven creator. Kim quotes Seneca, Marcus Aurelius, and Nietzsche as often as Cartier‑Bresson. He pushes readers to ask why they shoot, not just how.  
• Self‑experimenter. In recent years his site has expanded to weight‑lifting logs, a carnivore‑diet manifesto, Bitcoin musings, and productivity hacks—living proof that a personal brand can evolve without losing its core voice.  

The “Full Force” Playbook

(How to channel Eric Kim’s energy into your own creative hustle)

Pillar	What Kim Does	How You Can Apply It
Publish brutally often	Posts multiple times per day, even micro‑essays or single images.	Ship small ideas daily; momentum beats perfection.
One‑camera, one‑lens minimalism	Uses gear limits to sharpen vision.	Strip tools to essentials—whether that’s one camera body, one editing app, or one key metric in your startup.
Radical openness	Gives away PDF books, RAW files, workshop syllabi.	Share your process notes or code snippets; generosity builds tribe and authority.
Philosophy first	Starts every tutorial with why this matters.	Ground projects in first‑principles thinking before tactics—aligns with your entrepreneurial mindset.
Physical strength = creative strength	Heavy lifting + fasting to fuel mental clarity.	Integrate a strength routine; PRs in the gym often translate to PRs in idea generation.

Signature Concepts to Steal

1. “Shoot from the gut.” Trust instinct over overthinking; action beats analysis paralysis.  
2. “Kill your masters.” Study the greats, then forge your own aesthetic; don’t let admiration become imitation.  
3. “Create, don’t consume.” Replace doom‑scrolling with making: one blog post, one sketch, one pitch deck.  
4. “Street photography ≠ streets only.” Apply the mindset—alertness, courage, empathy—to business meetings, workouts, or brainstorming sessions.  

Quick Resource Stack

Need	Go Here
Free e‑books like Street Photography 101	Kim’s “Books” tab on his site
10‑minute philosophy & gear rants	Eric Kim YouTube channel
Hands‑on feedback	Occasional global workshops (announce on the blog)
Daily motivation bursts	RSS/Email list—posts are short, raw, unfiltered.

Fuel for Your Own Journey

Picture this: you wake, hit that one‑rep‑max deadlift, sip black coffee, and before the caffeine fully lands you draft a 200‑word blog post sharing one crisp insight you learned yesterday. Hit publish. Later, while walking to lunch, you photograph a fleeting shadow pattern—an ordinary scene made extraordinary because you noticed. Repeat tomorrow.

That, in essence, is the full force of Eric Kim: relentless creation powered by curiosity, courage, and community. Adopt even a fraction of his pace and you’ll feel the flywheel of progress roar to life. Go forth—lift heavy, shoot bold, write loud, live free! 💥

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Royal Group Exchange (RGX)	ផ្លាទ្វប្តូរឯកជនដំបូង បានអាជ្ញាប័ណ្ឌ គីបតូ 2024
Cambodian Network Exchange (CNX)	ផ្លាទ្វទី ២ នៅក្នុង FinTech Sandbox
SBI LY HOUR × Ripple	សេវាបញ្ជូនលុយ Blockchain ពីអន្តរជាតិ
Wing / TrueMoney / SmartLuy	អេបបង្វិលលុយ—អាចធ្លាក់ជាស្ពាន on/off-ramp ពេលក្របខ័ណ្ឌច្បាប់ត្រៀមរួច

(ករណីលេងក្រៅច្បាប់—Binance, Coinbase—ត្រូវបានបិទច្រកប្រ.រ)

ការប្រើប្រាស់ក្នុងសហគមន៍ Khmer

• Chainalysis ដាក់ កម្ពុជា លេខ 17 លើពិភពលោកសម្រាប់ grassroots crypto adoption
• ការព្យាករណ៍ 2025៖ ~530,000 ប្រជាពលរដ្ឋកាន់ crypto (~3 % ប្រជាជន)
• Phnom Penh Bitcoin Meetup ចូលរួមជិត 1 k សមាជិក—ជាត់ជំហានសហគមន៍ហ្រ្គេប!
• សន្និបាត Blockchain Cambodia 2025 មានសភា រដ្ឋបាល, សាកលវិទ្យាល័យ, និងសហគ្រិន—បង្ហាញថា “កម្ពុជា កំពុងលោត!”

វប្បធម៌, ប្រវត្តិសាស្រ្ត និងទស្សនៈ

• ប្រវត្តិសង្រ្គាម កុលាការចូលរួម ធ្វើឱ្យមាន ការសង្ស័យលើអាជ្ញាធរ 중앙 ។ ទំនៀម decentralization របស់ Bitcoin ឆ្លុះបញ្ចាំងអត្តសញ្ញាណ ជាតិខ្មែរ—សេរីភាព និងកម្លាំងក្នុងដៃខ្លួនឯង។
• ប្លុកចេន Bakong ត្រូវបានដាក់ឈ្មោះតាមប្រាសាទបាគង—ភ្ជាប់បច្ចេកវិទ្យាថ្មី និងយេនឌ័រ វប្បធម៌បុរាណ។
• សង្គមខ្មែរ រាប់អានទំនុកចិត្តក្នុងសហគមន៍—អ្នកផ្សព្វផ្សាយ Bitcoin ត្រូវកសាងជំនឿជាមុនទេ!

ច្បាប់ និងទិសដៅ

• សមត្ថកិច្ចបិទ 16 ផ្លាទ្វក្រៅប្រទេស (Binance, ฯល) ឲ្យប្រជាជន ឆ្ពោះទៅ ផ្លាទ្វមានអាជ្ញាប័ណ្ណ RGX/CNX។
• ច្បាប់ថ្មី 2025៖ ស្ថាប័នហិរញ្ញវត្ថុអាចកាន់ Group 1 (stablecoins/tokenized) តែ មិនទាន់ Bitcoin!
• ក្រសួងកំពុងពិចារណាឲ្យធនាគារធ្វើ custodian និង fiat ↔ crypto ហើយភ្ជាប់ Bakong ជាមួយបច្ចេកវិទ្យា crypto។

សារសង្ខេប

Bitcoin គឺជាឱកាសមាសសម្រាប់កម្ពុជា! ឧបករណ៍បន្ថយតម្លៃបញ្ជូនលុយ, បង្កើនសេរីភាពហិរញ្ញវត្ថុ និងជួយយុវជនឆ្ពោះទៅទസកល។ ពេលរដ្ឋ & ឧស្សាហកម្ម ធ្វើការជាដៃគូ—Khmer Bitcoin នឹងក្លាយជាមហាពន្លឺថ្មីសម្រាប់សេដ្ឋកិច្ចឌីជីថលយើង! 💥🇰🇭🚀

(កុំបោះបង់! សិក្សា, បង្កើនជំនាញ, អនាគត ជា របស់អ្នក!)

សួស្តីបងប្អូនខ្មែរ! 🚀

ខាងក្រោមនេះគឺសេចក្ដីសង្ខេប ជាភាសាខ្មែរ អំពីមូលហេតុដែល Bitcoin កំពុងកើននិរន្តរភាពនៅកម្ពុជា ព្រមទាំងគម្រោង សហគមន៍ និងទិសដៅនយោបាយ។ សូមយកវាជាថ្មី😊—កៀរគររលឹកដុំសាច់ បញ្ចូលថាមពល ហើយជឿថាពេលអនាគតហត្ថរួមបញ្ចូលសម្រាប់យើងទាំងអស់!

មូលហេតុធំៗដែល Bitcoin ក្លាយជាប្រឡូកនៅកម្ពុជា

• មនុស្សវ័យក្មេង ធ្វើដំណើរទទួលបច្ចេកវិទ្យាវេទិកា៖ ជាង ៦៦ % នៃអ្នកកាន់កាប់គ្រីប តូ (crypto) គឺក្រោមអាយុ ២៤ឆ្នាំ—ជាតំណើរស៊ុប សាធារណៈប្លង់ថ្មីៗ។
• មិនចូលសេវាធនាគារ៖ ប្រមាណ ៧០ % ប្រជាជនមិនមានគណនីធនាគារ។ អ៊ីវ៉ាល្លេតដូចជា Wing, TrueMoney និង Bakong បំពេញជំនួសបានល្អ។
• ការផ្ញើប្រាក់ពីក្រៅប្រទេស៖ កម្មករខ្មែរថៃ–ម៉ាឡេស៊ីបញ្ចូលប្រាក់ស្រាប់ ~៦ % GDP ឆ្នាំ ២០២៤។ Bitcoin ឬ stablecoin ធ្វើឱ្យកាត់បន្ថយកម្រៃសេវា។
• បំណងឯករាជ្យ និងភាពថ្លៃថ្នូរ៖ ប្រវត្តិ សាស្ត្ររឹងមាំបណ្តាលឲ្យមានការសង្ស័យចំពោះអំណាចកណ្ដាល—ដូច្នេះបណ្ដាញបង្កើតយុត្តិធម៌ប្លុក ឈិន (blockchain) ធ្វើឱ្យអ្នកមានយុទ្ធសាស្ត្រដឹកនាំខ្លួនឯង។

គម្រោង និងក្រុមហ៊ុនសំខាន់

គម្រោង/ក្រុមហ៊ុន	តួនាទី & សេចក្ដីសង្ខេប
Bakong	ប្រព័ន្ធបង់ប្រាក់ប្លុក ឈិនរបស់ធនាគារជាតិ (NBC) លើកកម្ពស់ការរួមបញ្ចូលហិរញ្ញវត្ថុ និងរបៀបប្រើប្រាស់រៀល។
Royal Group Exchange (RGX)	ផ្លេទហាង ប្តូរ បាល់ថ្មី (Licensed exchange) ដំបូងគេ ត្រៀមឲ្យមនុស្សបើកបរប្រាក់ crypto ដោយសុវត្ថិភាព។
Cambodian Network Exchange (CNX)	ផ្លេទទី ២ ក្នុង FinTech Sandbox ទទួលរៀបចំនាយបន្ថែម។
SBI LY HOUR × Ripple	ការផ្ញើប្រាក់លឿនពីជប៉ុន/ថៃ មកកម្ពុជា—កាត់បន្ថយកម្រៃសេវា។

កម្រិតនៃការរក្សា & ការចូលរួម

• Chainalysis ដាក់ កម្ពុជា លេខ ១៧ លើលោកសម្រាប់ ការ អនុម័ត crypto ២០२៤។
• អ្នកកាន់ crypto ប្រមាណ ៥៣០,០០០ នាក់ ត្រូវបានគេព្យាករចំណូលដល់ឆ្នាំ ២០២៥។
• ក្រុម Phnom Penh Bitcoin Meetup មានអ្នកតាមដានជិត ១០០០ នាក់—សកម្មភាពសិក្សា ហែរកាន់ការចាប់អារម្មណ៍!

ចំណាប់អារម្មណ៍វប្បធម៌ និងទស្សនៈ

• ឯករាជ្យហិរញ្ញវត្ថុ៖ បន្ទាប់ពីអតីតកាលជំងឺជាតិ ឯករាជ្យៈ Bitcoin ជួយឲ្យបងប្អូនគ្រប់គ្នាកាន់កាប់កូនសោផ្ទាល់ (ឃ្លាំងសាធារណៈ, គ្មានពុករលួយ)។
• សហគមន៍ & ការទុកចិត្ត៖ គម្រោងថ្នាក់តូច (ត្នោត, ហ្វនង) តែងអំបោះលើការជួយគ្នា—Crypto ក៏អាចជា “បច្ចេកវិទ្យា សង្រ្គោះគ្នា” វិញដែរ បើយើងសិក្សា និងប្រើប្រាស់យ៉ាងច្បាស់ ។

គោលនយោបាយ & ច្បាប់

• ២០២៤ – ២៥៖ រដ្ឋ កំពុងបិទវេបសាយ អន្ដរជាតិ (Binance, Coinbase) ដើម្បីលើកទឹកចិត្តឱ្យប្រើ ផ្លេទក្នុងស្រុក RGX/CNX; និងចែងប្លុក វេទិកា Group 1 / Group 2 (stablecoin vs Bitcoin) សម្រាប់ធនាគារ។
• សិក្ខាសាលា & សន្និបាតកំពុងត្រូវរៀបចំជាញឹកញាប់ ដើម្បីបង្កើន ការ ដឹងអ្នកប្រើប្រាស់ និង ការពារផលប៉ះពាល់ការស្មែងហានិភ័យ។

🎉 បោះជំហានបន្ទាប់

1. តស៊ូមតិ—សិក្សាវីដេអូ/ប្លក់ខ្មែរ អំពី Bitcoin និងសុវត្ថិភាពគ្រីប តូ (Cold wallet, Seed Phrase)។
2. ចូលរួមក្រុម ម្រុឡ (Meetup/Telegram) ដើម្បីប្តូរភាពដឹងក្តៅសាកល្បងផង។
3. ប្រើ ការវិនិច្ឆ័យផ្ទាល់—មិនចាំបាច់ភ្លេចថា របៀប រក្សាទុន និងបម្រែបម្រាស់ ថវិកា ប៉ុន្តែសុវត្ថិភាពខ្លួនឯងកំពុងនៅជាប់ជិតបំផុត! 🚀

ជម្រើសសម្រាប់គ្រប់គ្នា—ចាប់យកបច្ចេកវិទ្យាថ្មី បម្លែងអនាគតហិរញ្ញវត្ថុ និងជួយបង្កើនភាពវៃឆ្លាត សេដ្ឋកិច្ចរបស់ខ្មែរយើង!

(ការបកប្រែនេះមានលក្ខណៈសង្ខេប ប្រភពពេញលេញបានភ្ជាប់ជាសញ្ញាធរណីយ៍ ខាងលើ)

So what’s super interesting is like our parents generation, they all came to the states for better opportunities to escape religious persecution whatever. And actually… Some people went to America simply to see us silent because they were like escaping a war torn Vietnam or somewhere else.

Therefore, the general ethos was you go to America… For the land of opportunity. This is what a lot of Koreans did, South Koreans, as the thing that’s very very interesting in Asian language, even in Chinese, America is called literally a beautiful country. “Mee-gook” (mee means “beautiful”) and gook means country. I think in Mandarin it is like “mee-gwwuh”– same word, beautiful country.

 now… In the year 2025, I think it is wise to think about first principles again. The question is… What is the purpose of country, why a country, why go to a country, or even when to leave a country?

So the first thing is I guess in regards to opportunity. For like 99% of people it was kind of like an economic opportunity thing. For example, to get a green card or a visa or even better… Citizenship in America was like the golden ticket because You would probably at least 1000 X the opportunity of your future family. For example even in today’s world… America has by far the largest economy on the planet, partly because of English language dominance and also the US dollar.

Now with bitcoin, we have to think about “cyber nationalism” (maybe I made this up). Or to be “cyber-national”. Not just International or transnational… Cyber national.

So for like most people… The only reason I think people stay in the states or LA or whatever is because they have a job there, and they look just like literally cannot leave even if they wanted to. I think most people are just like slaves to a corporate job, it doesn’t matter if you’re making $10 million a year at Apple, you’re just a well paid slave. 

Freedom

Well obviously the first one is freedom. Economic freedom, freedom of speech and expression.

I suppose the question is you just have to think critically about yourself your own family etc.

So for example, myself, I really think that politics is like watching wrestling on TV. Even Donald Trump was on wrestlemania like five or six times. He is like the world’s most experienced entertainer.

So if you still are watching the WWE or the WWF as I remember it, or even better… WCW as I enjoyed as a child in Bayside Queens New York shout out to my friends Spencer Aditya and Jonathan –> to be watching wrestling on television and if you think it is real, you are a super fool.

Politics is the same. If you’re watching politics and you think it is all real, you are even worse than a fool.

Telegram has experienced a rapid rise in Cambodia over the last few years, becoming one of the country’s most-used messaging platforms.  It first gained traction in the late 2010s and surged during the COVID-19 pandemic as Cambodians sought fast, ad-free, encrypted communication .  By 2024 local estimates put Telegram users at around 4 million (roughly 20% of the population) .  In fact, by mid-2024 Telegram topped the Google Play Store’s communication-app rankings in Cambodia, displacing WhatsApp and even Facebook Messenger .  (For comparison, Facebook’s own platform still claimed 11.65 million Cambodian users – about 69% of the population – as of January 2024 .)

Historical Growth

Telegram first began catching on in Cambodia in the late 2010s, and its popularity accelerated in 2020.  Local observers note that its “fast, ad-free interface” and strong encryption attracted users early on .  Lockdowns and online work during COVID-19 fueled adoption, just as in many other countries.  By 2023–2024, Telegram had become the leading messaging app in Cambodia .  One analysis even notes that after WhatsApp’s 2021 privacy-policy changes, WhatsApp “quickly lost its top spot” and Telegram took over as the preferred messenger in Cambodia .

As usage grew, Telegram’s features also adapted to local needs.  For instance, many Cambodians use private Telegram “Saved Messages” groups as personal cloud storage for documents and media .  Large group chats and broadcast channels have become common for businesses, educators, and communities.  Altogether, these factors helped Telegram embed itself in daily life: a Cambodian survey-like report estimated roughly 4 million Telegram users by 2024 .  (This is roughly a third of Facebook’s userbase, but Telegram’s growth rate far outpaced older apps.)

Political Factors

Cambodia’s political environment has strongly influenced Telegram’s appeal.  The government itself has embraced the platform: for example, Prime Minister Hun Sen announced in June 2023 that he would quit Facebook in favor of Telegram for official messaging .  He openly cited ease of reaching supporters abroad (since Facebook is banned in countries like China) and after Meta temporarily suspended his Facebook page over hate-speech issues .  By mid-2023 Hun Sen had amassed around 855,000 followers on his Telegram channel .  Several Cambodian government ministries and public organizations now use Telegram channels to broadcast news and public-service announcements , reflecting official endorsement of the app.

At the same time, Telegram is seen as a loophole to censorship for Cambodian citizens.  In July 2023, just before a national election, the government ordered Internet providers to block independent news websites (e.g. RFA and the Cambodia Daily) on many platforms .  However, Radio Free Asia reported that Cambodians could still access RFA broadcasts via Telegram channels (as well as Facebook, YouTube, and Twitter) despite the blocks .  In practice, no large-scale ban on Telegram was announced, so many voters and activists turned to it as an alternative communication channel.

At the same time, authorities monitor Telegram for dissent.  Human Rights Watch and news reports detail government pressure on Telegram groups that promote political dissent.  In mid-2023, Prime Minister Hun Sen publicly demanded members of a pro-opposition Telegram chat (“Sabai”) – which had been advocating spoiling ballots – to apologize under legal threat .  Several activists were subsequently detained (but reportedly released after submitting to the ruling party) .  These events underline that Telegram content is not entirely free: the state has arrested users for “insulting” officials on Telegram or other apps.  Nonetheless, compared to direct media blocks, Telegram has remained relatively accessible to citizens.

In sum, political factors cut both ways.  The government’s use of Telegram for one-way broadcasts has raised its profile, while crackdowns on independent media have pushed some Cambodians toward encrypted messaging.  The lack of a full ban (unlike bans on some other apps in China) means Telegram is still seen by many as a relatively free platform for communication and news.

Cultural and Social Trends

Telegram’s user base in Cambodia skews young and tech-savvy.  Local surveys and analyses report that the “majority of Telegram users in Cambodia are young adults, aged 18–34” .  NapoleónCat demographic data for early 2023 show about 65% of Cambodian social-media users are in the 18–34 age range , fitting Telegram’s user profile.  In fact, government spokesman Pen Bona explicitly noted that social media (e.g. TikTok, Facebook and Telegram) empowers people to express views and conduct commerce .  In practice, Telegram appeals to youths for private chat and media sharing, similar to its adoption globally.

But it’s not only youths.  Telegram in Cambodia is used “by people from all walks of life” – including students, professionals, business owners, and government workers.  One marketing analysis observed that educators and trainers increasingly run classes and discussions over Telegram groups .  Likewise, businesses and entrepreneurs have taken to Telegram: users form large groups and channels around shopping, tourism, real-estate, and other niches.  For example, local commerce relies on Telegram channels to broadcast deals and news to customers.  As a Cambodian tech blog notes, these channels keep Cambodians “informed, entertained, and connected” – for instance, news outlets and consumer groups run popular Telegram channels .  Another marketing analysis highlights that entrepreneurs “leverage Telegram groups and channels to promote products and services, reaching a wider audience” .  In short, Telegram has become a hub for community building and e-commerce in Cambodia.

Platforms like TikTok and Facebook remain the most-used social networks (Facebook alone has ~69% penetration ), but Telegram fits into Cambodians’ online ecosystem by serving niche and interest-based communities.  It’s widely used among online content creators and hobby groups (e.g. crypto, gaming, movies, etc.), where admins broadcast news or tutorials.  The combination of large group capacity and anonymity (users can join channels without revealing phone numbers) makes Telegram especially attractive for forming new social circles or fan communities.

Overall, social trends show Telegram thriving as the platform of choice for young Cambodians, small businesses, online communities, and even government outreach – all driven by its diverse features. Its growth also reflects Cambodian culture’s embrace of social media: by early 2023 some 65% of the population used social networks , and Telegram has captured a substantial share of those users through youth and small-business adoption .

Technological Features

Several technical features make Telegram especially well-suited to Cambodia’s context.  First, Telegram is fast and lightweight: it is optimized to work well even on slower mobile connections.  This is important in Cambodia, where many users rely on 3G/4G in rural areas.  Its interface is also straightforward and user-friendly, easing adoption across age groups .

Crucially, Telegram supports extremely large group chats and broadcast channels.  Standard Telegram groups can hold up to 200,000 members , vastly more than WhatsApp or Messenger.  Cambodian businesses and interest groups exploit this: for example, vocational networks or news channels each reach tens of thousands of subscribers via Telegram channels (a one-way broadcast function).  Educators and NGOs similarly use large Telegram groups for announcements and classes.  Other apps cap groups at a few hundred or a few thousand; Telegram’s huge limit uniquely enables mass communications for events, announcements, or community discussions.

Another key feature is file/data sharing capacity.  Telegram lets users send files up to 2 GB each , far above the old limits of WhatsApp (100 MB) or Messenger.  For professionals and students, this is a “game-changer,” allowing high-quality videos, presentations or design files to circulate directly in chats .  Cambodians routinely use Telegram as personal cloud storage: they create private “Saved Messages” chats to store important documents and media in the cloud .  This substitute for email or separate cloud storage simplifies data management, especially where broadband connections are limited.

Telegram also offers multiplatform support – Android, iOS, Windows, Mac, and Web – with seamless syncing across devices.  One can use a single Telegram account on phone, tablet, and PC without logging out.  This multi-device flexibility is more robust than WhatsApp’s (which only recently added limited PC support) and far better than Signal’s (which needs the phone online).  For Cambodian professionals, being able to switch from mobile to desktop easily is a convenience.

In terms of security, Telegram claims strong privacy.  It uses cloud-based encryption by default (and provides optional end-to-end “Secret Chats”).  While not all Telegram chats are end-to-end encrypted (unlike WhatsApp or Signal), the app is nonetheless perceived as more private by many Cambodians.  Telegram collects minimal user data and carries no ads, addressing concerns over surveillance and data misuse .  Moreover, because Telegram’s servers are located internationally, it has so far avoided the local content takedown controls that affect some domestic platforms.  Users and journalists often note that it is easier to avoid censorship on Telegram than on mainstream social media .

Finally, Telegram’s localization and usability matter.  It offers a Khmer-language interface (through community translations ), making it accessible to non-English speakers.  Voice and video calling quality on Telegram is also reliable, which appeals to Cambodians during the pandemic and for diaspora calls.

In summary, Telegram’s technological strengths – large groups, big file sharing, multi-device use, data efficiency and privacy – align well with Cambodian needs.  These technical advantages complement cultural trends to explain why Cambodians have embraced Telegram more quickly than some global averages would suggest.

Comparison with Other Platforms

Popular messaging apps in Cambodia.  Telegram now vies with legacy apps like Facebook Messenger and WhatsApp in Cambodia.  By mid-2024 it had become the top Android communication app, while Messenger and WhatsApp held second and third places .  (Line and Viber were far behind.) Unlike these competitors, Telegram’s standout features include very large group capacity, encrypted channels, and large file transfers – attributes that cater to business and community use.  In contrast, Facebook and WhatsApp rely on Meta’s ecosystem (and on their own encryption policies), which some users distrust.  Smaller players like Signal and Line have niche followings but far fewer Cambodian users.

The table below compares key features of these messaging platforms:

Feature / Platform	Telegram	WhatsApp	Facebook Messenger	LINE	Signal
Encryption (Default)	Cloud-based (optional E2EE)	End-to-end (all chats)	Cloud (Secret Chat optional)	End-to-end (with “Letter Sealing”)	End-to-end (all chats)
Max Group Size	200,000	~1024 (as of 2023)	~250 (approx.)	~5000 (w/ Live broadcast)	1000 (approx.)
Broadcast Channels	✓ (unlimited channels)	× (no channels)	× (no channels)	×	×
Max File Size	2 GB	2 GB (recently increased)	≈100 MB (images/videos)	1 GB	~100 MB
Cross-Device Sync	✓ (multiple devices)	✓ (recently multi-device)	✓ (web & mobile sync)	✓ (up to 4 devices)	✓ (phone + desktops)
Official Khmer UI	Yes	No (interface in English)	No (English/Khmer limited)	Yes (Khmer font support)	No
Estimated Users (Camb.)	~4 million	(Not publicly known)	~11.75 million (FB accounts)	(Few million)	(Very few)

Overall, Telegram’s ease of large-group communication and file sharing sets it apart.  Many Cambodians find it a better fit for business or educational collaboration than WhatsApp’s smaller limits.  Conversely, WhatsApp’s end-to-end encryption by default is a strong privacy point, though its recent privacy policies have driven some users away .  Facebook Messenger remains ubiquitous (via its tie to Facebook) but offers less privacy and smaller group sizes.  Local experts note that after 2021, Telegram “took over” Cambodia’s messaging market from WhatsApp .

In the end, Telegram’s feature set and neutral ownership (no major local stake) give it a unique niche.  Cambodians increasingly use it alongside Facebook Messenger and WhatsApp – often choosing the app that best fits their needs (e.g. official broadcasts on Telegram, personal contacts on Messenger).  Its continued growth suggests it will remain a central platform in Cambodia’s digital landscape.

Sources: We drew on news reports and analyses (e.g. Reuters/ABC, RFA, VOA, Freedom House) and local tech surveys . These confirm the trends above. The user statistics come from DataReportal, StatCounter and local media reports .

1. 10‑Second Bio Blitz

• Street‑photography veteran: Shooting & teaching since UCLA days, now leading sold‑out “Zen Street Photography” sessions from San Francisco to Tokyo.  
• Prolific content machine: 2,400‑plus blog posts and dozens of open‑source e‑books released free of charge.  
• Visible philosopher: Explains Stoicism, Zen, and first‑principles thinking in plain language.  
• Strength‑culture wild card: Pulled 513 kg / 1,131 lb at 75 kg BW on 14 June 2025, sparking the #HYPELIFTING trend.  

2. Why So Many Corners of the Web Care

A.  

Street Photography Re‑Energised

• Educational gravity. Life‑Framer lists him among its favourite modern masters for his “Lessons From…” series, a gateway for thousands of new shooters.  
• Fearless style. He stands inches from strangers, flash blazing—an approach that even his critics call “fearless” and “confrontationally honest.”  
• Media cross‑pollination. Legacy outlets like Fstoppers and PetaPixel have been covering Kim’s antics for more than a decade, ensuring each new project lands with built‑in credibility.  

B.  

Philosophy for Scroll‑Generation Attention Spans

• Stoic sound‑bites meet long essays. His “Stoicism 101” and “Introduction to Stoicism” posts are perennial top hits in Google searches for practical philosophy.  
• Mindset > equipment. PhotographyLife highlights Kim when teaching creativity through self‑growth rather than gear lust—a message that resonates far beyond shooters.  

C.  

Fitness‑World Shockwaves

• The lift that broke the timeline. Kim’s 498 kg, 508 kg, and finally 513 kg rack‑pulls raced across YouTube breakdowns, Reddit threads, and podcast shout‑outs within hours.  
• Meme genesis (#HYPELIFTING). The May‑to‑June 2025 spike is documented in his own “360‑Degree Trend Scan,” now referenced by mainstream fitness guides updating their rack‑pull tutorials.  
• Body‑mind narrative. His physique transformation essays pair strength progress with philosophical reflection, unusual in a niche that usually separates “brains” from “brawn.”  

3. Outputs That Compound Daily

Platform	Volume & Cadence	Notable Reach
Blog (erickimphotography.com)	~2–3 posts per day (photo, philosophy, fitness)	3 M+ annual sessions
YouTube	200+ free tutorials & vlogs	Flagship videos at 500 k–1 M views
E‑books	30+ titles, all free	Downloaded 500 k+ times since 2017
Workshops	40 cities, 6 continents	Routinely sell out at $499–$1,999 a seat

Take‑away: The sheer consistency gives followers “something new to chew on” every single day—rare even among top creators.

4. External Validation & Conversation Loops

1. Third‑party praise. Medium guides cite Kim as a go‑to expert for beginners; PhotographyLife name‑drops him for mindset advice.  
2. Legacy footprint. Old‑school features (DigitalRev, Fstoppers, PetaPixel) allow newcomers to binge a decade‑plus archive—credibility that pure TikTok stars lack.  
3. Community debate. Lengthy Reddit threads dissect both his teaching style and his controversial critique platform “ARS,” proof he sparks real discourse.  

5. Is He 

The

 Most Interesting?

Interest is subjective, but by objective internet KPIs—cross‑domain virality, daily content velocity, and overlapping yet distinct fan bases—Eric Kim checks more boxes than nearly anyone else right now. Few creators simultaneously headline street‑photo workshops, Stoic philosophy feeds, and strength‑sport podcasts within a single quarter. Add a do‑it‑yourself business model (no paywall, no sponsors, 100 % creator‑owned) and you have an archetype worth watching—or emulating.

⚡ Momentum‑Minded Action Prompts for 

You

1. Ship daily, iterate publicly. Small posts compound into big authority—Kim’s 2,000‑plus entry archive proves it.
2. Fuse passions into one brand. Don’t silo hobbies; intersect them. (Photography × Philosophy × Fitness = Kim.)
3. Turn audience into tribe with live touchpoints. Workshops and meet‑ups convert passive fans into lifelong evangelists.
4. Celebrate milestones loudly. Whether it’s a blog post streak or a PR lift, public wins fuel algorithmic reach.

Stay hyped, stay curious—and maybe the next “most interesting person on the internet” will be you. 🚀