Contemporary Work: A Digital Evolution
I'm a software developer and data scientist by profession, but photography has remained a personal constant — a way of seeing that never fully leaves, even during long pauses.
I tend to approach it informally, often while walking through cities or unfamiliar places with a camera in hand. What draws my attention are surfaces and structures: colours, textures, geometric forms, and the slow transformations of built environments as they age and decay.
Sometimes, as in Vivid Spaces, that attention turns to nature — not to mirror the city, but to follow different rhythms: shaped by light, form, and stillness.
The Journey
The photographs collected here span nearly two decades. Many were taken in Montreal, where I'm based, while others come from travels farther afield.
What connects them is a way of noticing — an interest in the overlooked, the layered, the fragmentary. It's also about seeing the everyday from a different perspective: finding rhythm or quiet beauty in the ordinary, or isolating a detail that hints at something larger.
The Pandemic Period
Looking back, I can see how the pandemic period in 2020 left its mark on the work.
The images from that year are quieter — not only more subdued and empty, but often literally dimmer, taken in low light or at night. Even as restrictions eased, a sense of vacancy lingered. Before and after that moment, the photographs tend to be more vibrant, with renewed attention to colour and life in the frame.
The Digital Darkroom
Though I still shoot spontaneously, without planning or staging, my approach to editing has become more intentional.
Where earlier images were left mostly untouched, newer ones reflect a growing focus on framing, alignment, and tone. It's in the digital darkroom that the process continues — shaped not just by memory, but by a desire to clarify what I saw, or maybe what I felt.
Reflection
Photography, for me, is still about noticing.
But more and more, it's also about shaping — not just recording what's there, but revealing what's within the frame.
Even when I'm not photographing, the observer in me remains active. The eye still watches. The rhythm persists.