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Film removes the negotiation. You step in front of the lens, the shutter fires, and whatever was there is there. No softening it afterward, no second takes. Just what refused to leave.
Here’s Elle, photographed on the Mamiya C220 at f22.
I’m not chasing expression. I’m waiting for whatever a person can’t quite put away before the strobe fires.
Some of you already know if you’re in this work. Some of you are about to find out.
SPAO College Diploma Exhibition No. 21
Opening 5pm April 17
SPAO Photographic Arts Centre, Ottawa
Come find yourself.

SPAO College Diploma Exhibition No. 21 opens 5pm April 17.
Over the past year, I’ve been building a body of work that treats the face as both record and question. This exhibition is where it all steps into public view. One print on the wall, the rest waiting in the portfolio.
Some of you will see familiar faces. Some of you will see yourselves.
Here’s Olivia, photographed using a 60-year old Mamiya C220 at f22.
Photography captures life being lived. Film makes it undeniable.
Opening night: 5pm April 17
SPAO Photographic Arts Centre, Ottawa
Come find yourself.

Sharing the last of five sets ahead of my SPAO documentary critique tomorrow.
Here’s Petra shown two ways: Platon on the left, Arnaud Maggs grid on the right. The close-up stares straight at you while you’re busy decoding the grid.
Try swiping back and forth a few times and then just sit with both for a minute. Things shift when you linger. Curious what you notice. Drop a comment if something clicks.
All shot on film, partly because feeds are drowning in AI slop and partly because photography is proof someone was here. Film insists on that.

Sharing some recent work ahead of my SPAO documentary critique next week.
Here’s Monette shown two ways: Platon on the left, Arnaud Maggs on the right. The close-up stares straight at you while you’re busy decoding the grid.
Try swiping back and forth a few times and then just sit with both for a minute. Things shift when you linger. Curious what you notice. Drop a comment if something clicks.
I’ve got two of these coming over the next few days, worth seeing as a set.
All shot on film, partly because feeds are drowning in AI slop and partly because photography is proof someone was here. Film insists on that.