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All images by Julien Coquentin. Used with permission

Photographer Julien Coquentin has been slowly releasing a special series on Behance called “Black Seasons.” At the moment of publishing this piece, he has released his 7th part. It’s an ongoing project documenting parts of his childhood that were very important to him. Julien grew up in France and then travelled to Montreal for a few years. Upon coming back, he tried to reconnect with the things he left behind. Julien was a different man and so he takes these photos not only for himself, but for his daughters and their daughters.

We talked to Julien about the project that in some ways is a family tree story telling photo project.

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Screen Shot 2015-07-06 at 9.56.06 AM

Photographer Bruce Gilden is a legend amongst so many photographers and especially in the Magnum Photo agency. Very recently the agency shared a new video showcasing the photographer doing what he does: walking around the the streets and photographing people with a flash in their face. While there are loads of photographers condemn his tactics, he takes photos that are quite telling of the people he shoots.

Much of what he’s shooting looks a lot like his previous work: flash in the face, black and white photos, capturing people as they go about their lives on the street.

You can watch Gilden talk about his work in the video after the jump. What do you think of him and his work? We’d love to hear in the comments below.

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One softbox camera right. Non-freeze action mode, I.E normal shooting mode ISO 100, 1/160th at f5.6 with the light set to +0.7

One softbox camera right. Non-freeze action mode, I.E normal shooting mode
ISO 100, 1/160th at f5.6 with the light set to +0.7

Flashes and strobes are some of the most important pieces of kit to many photographers. In fact, lots of photographers can make the output of any traditional camera and lens look great as long as they just have the lighting kit that they use. Lighting is so important to many photographers because it lets them accurately get across their specific creative vision any time of the day or night no matter what the lighting situation is. It literally allows them to create the photos that they want–and it’s even better when these lights are off-camera and can be positioned anywhere one wants.

Here are some of our favorite strobes, flashes and monolights.

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Chris Gampat The Phoblographer Western Digital My Passport Wireless review images (2 of 7)ISO 4001-40 sec at f - 6.3

Mylio. Dropbox. Google Photos. EyeFi Cloud. Adobe Cloud. If you’re a more modern photographer, then all of these sound familiar to you. But if you also take a look in your desk drawers you’ll find solutions from Western Digital, LaCie, etc. For the most part they’ll work, but what about years from now when those hard drives start to fail? And what about years from now if these photo services fail?

What photographers used to do is take their negatives in for development, then print them and then someone in the family was responsible for archiving the family history in album after album. The hardcover photo album is still a wonderful relic of the past, but its simple nature is very archaic and not fast enough for today’s world. Seriously, who has time to sit there and put photos into an album?

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Chris Gampat Julianne Margiotta's Edits (54 of 56)ISO 4001-60 sec at f - 3.2

Almost everyone dreams of getting their hands on a full frame 35mm digital camera, and while people want it, they don’t need it necessarily. So why would you need a full frame camera? Two reasons are high ISO image quality and more megapixels, particularly if your job demands these things. Additionally, if you need a shallower depth of field than what you’re capable of getting (though wide aperture lenses are always available) then you may need a full frame camera. But again, this isn’t entirely necessary.

Not many people really NEED a full frame camera–and if you do then why not shoot with 120 film or 645 medium format digital?

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Chris Gampat The Phoblographer Asus ux501 laptop (3 of 9)ISO 4001-100 sec at f - 2.8

Don’t put every image that you shoot into your portfolio.

That’s the very first thing that I find myself telling photographers who pitch their work to the site and unfortunately don’t get featured. Figuring out which photos should go into your portfolio can be tough to do unless you know how to think and emotionally remove yourself from the photo itself.

To build a better portfolio, you have to keep shooting and then become a slave to the camera and your own creative ideas. It’s how you’ll get better and continue to evolve and change your work. But there are loads of things to think about when actually putting the photo portfolio together to show off to the world.

Here’s what you should consider, though it surely isn’t the end all be all list.

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