If you have ever tried to emulate the raw, energetic, and often aggressive style of Eric Kim, you know that his aesthetic is defined by more than just courage—it is defined by proximity. Kim’s mantra, “Creep closer,” requires a specific optical formula. While he currently champions the fixed-lens Ricoh GR III (a 28mm equivalent), his classic body of work and his advice for budding street photographers lean heavily on the 35mm focal length. When we analyzed the gear that built his reputation—from his Canon 5D days to his Leica MP obsession—we found that a fast, wide-normal prime lens is the heartbeat of his “Grit and Grain” aesthetic.
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Our Top Pick: Sigma 35mm f/2 DG DN ContemporaryValue Pick: Canon RF 35mm f/1.8 Macro IS STMHigh-End Pick: Sony FE 35mm f/1.4 GM
To recreate Eric Kim’s style, you need a lens that forces interaction. Unlike the telephoto compression used in wildlife photography, where distance is a safety mechanism, street photography demands presence. Kim famously advises beginners to use a 35mm lens because it is wide enough to capture context but tight enough to isolate subjects without extreme distortion. However, for his more modern, aggressive “flash and grit” look, a 28mm is essential. Below, we break down the best primes to achieve this look, focusing on tactile feedback, autofocus speed, and close-focusing capabilities.
The Tactile Master: Sigma 35mm f/2 DG DN Contemporary
When we tested the Sigma 35mm f/2 DG DN Contemporary, we were immediately reminded of the Leica Summicron lenses Eric Kim adores. This lens is part of Sigma’s “I Series,” featuring an all-metal construction and a manual aperture ring that clicks with satisfying precision. For a street photographer, this tactile feedback is crucial—it allows you to change settings without looking at the camera, a technique Kim emphasizes for shooting from the hip.
Optically, this lens delivers high micro-contrast, which is vital for that punchy, black-and-white look Kim is famous for. In our field tests, the autofocus was snappy enough to catch fleeting moments on busy sidewalks. While it isn’t as wide as the 24mm lenses used by adventure photographers like Jimmy Chin, the 35mm focal length provides a natural, “human eye” perspective that grounds your images in reality.
The Close-Focus Specialist: Canon RF 35mm f/1.8 Macro IS STM
Eric Kim’s early work was defined by a cheap Canon EF 35mm f/2 on a 5D body. The modern spiritual successor to that lens is the Canon RF 35mm f/1.8 Macro IS STM. One of Kim’s specific praises for the Ricoh GR series is its “Macro Mode,” which allows him to get uncomfortably close to subjects for dynamic, distorted portraits. This Canon lens mimics that capability perfectly with a 0.5x magnification ratio.
During our review, we found the stabilization (IS) to be a game-changer for shooting at slow shutter speeds in low light—another staple of street photography. While it lacks the weather sealing found on lenses used for epic landscapes, its lightweight build makes it invisible on the street. It is the perfect entry point for photographers wanting to emulate Kim’s “get close” philosophy without breaking the bank.
The Ultimate Performer: Sony FE 35mm f/1.4 GM
For those who demand the absolute best optical quality, the Sony FE 35mm f/1.4 GM is a masterpiece. While Eric Kim often preaches that “gear doesn’t matter,” he also shot extensively with a Leica MP and Summicron lens—a setup costing thousands. The Sony GM recreates that high-end rendering with creamy bokeh and razor-sharp corners. If you are looking to mix street photography with a cinematic aesthetic similar to Peter McKinnon’s style, the f/1.4 aperture gives you that 3D pop.
We were particularly impressed by the de-clickable aperture ring and the linear focus response, which makes manual zone focusing intuitive. It is larger than our other picks, but the image quality is undeniable. If you want your street portraits to have that “magical” separation while retaining the grit of the environment, this is the lens to choose.
Conclusion
Recreating Eric Kim’s style is less about the brand and more about the focal length and your physical approach. Whether you choose the tactile Sigma 35mm f/2, the versatile Canon RF 35mm Macro, or the premium Sony GM, the key is to set your focus, stop down to f/8, and get close. For more options across different mounts, check our guides on Nikon, Fujifilm, and Third-Party lenses.
Frequently Asked Questions
Why does Eric Kim recommend a 35mm lens for beginners?
Eric Kim recommends 35mm for beginners because it offers a balance between context and subject isolation. Unlike 28mm, which requires you to be extremely close, 35mm allows you to capture street scenes from a comfortable distance while still feeling immersive.
Can I use a 50mm lens for Eric Kim’s style of street photography?
Generally, no. Eric Kim considers 50mm too tight for street photography, as it flattens the image and removes the viewer from the scene. His style relies on wide-angle distortion and proximity to create energy.
What is the ‘Ricoh GR Effect’ and how do I get it with a lens?
The ‘Ricoh GR Effect’ refers to a high-contrast, sharp, wide-angle look (28mm). To replicate this on an interchangeable lens camera, use a 28mm prime lens (or 18mm on APS-C) and shoot in high-contrast monochrome with a deep depth of field (f/8).
Does aperture matter for Eric Kim’s street photography style?
While fast apertures like f/1.4 are nice for low light, Eric Kim typically shoots at f/8 to f/16 using ‘zone focusing.’ This ensures that everything from 1.5 meters to infinity is in focus, allowing him to capture moments instantly without autofocus lag.
Why does Eric Kim use a flash in street photography?
Kim uses flash to separate the subject from the background, add contrast, and create a surreal, gritty aesthetic. A lens with a leaf shutter (like on the Ricoh) or a camera with high-speed sync helps achieve this look in daylight.
