How did you discover your passion for photography and get started in the industry? My passion for photography began in high school when I took a photography class and instantly fell in love with the process. That led me to complete a DEC degree in photography at Dawson College in Montréal. After graduating, I worked as a photo assistant for three years, which gave me a solid foundation and an inside look into the industry. While many assistants juggle shooting and assisting at the same time, I made the decision to fully commit to developing my own practice. It felt important to focus entirely on building my style and portfolio.

What interested you about food and product photography and led you to specialize in these arenas? I grew up on a farm—more specifically, a raw-milk cheese factory run by my parents, who were both passionate and visionary. That connection to food and local products naturally shaped my artistic direction and led me to food photography. From there, I expanded into product and lifestyle work.

What I love about food and product photography is that you can build the image from scratch. Every element is intentional. I invest a lot of time in pre-production; the better the preparation, the more room we have for creativity on set. It all comes down to details: refining the lighting, perfecting the props and setting a clear artistic direction are what make an image successful.

You’ve recently been engaging in personal projects that have been focused on expanding your artistic vision. What have you been working on? I love collaborating with small, inspiring businesses on personal projects. These partnerships often give me full creative freedom while helping offset production costs. I always try to carve out time during the year for creative shoots. Commercial work is essential, of course—it pays the bills—but creatively speaking, it’s through personal projects that I get to experiment, take risks and push my visual language further.

And it’s all connected. These creative explorations often influence the commercial work that follows. They show what I’m capable of when there are no limits. Recently, I collaborated with a small maple syrup brand that gave me carte blanche, an ideal setup to dive back into still life and macro photography. For that shoot—and most of my test projects—I work closely with my friend and creative partner Rachel Lecompte. Bouncing ideas off each other always takes the concept to the next level.

These projects are a big part of my evolution as an artist. Time and again, they’ve led directly to commercial opportunities when a brand or agency spots something fresh and unexpected in the images.

What was it like to work on your recent creative shoot for the New York City–based wine bar Lai Rai, and what techniques were you focusing on in this project? Lai Rai is a Vietnamese natural wine bar in New York City’s Chinatown. The concept was to bring a fashion sensibility to a restaurant shoot. Rather than focusing only on the food, we wanted to capture the atmosphere and energy of the space. It was a chance to try out techniques I don’t usually use and to play with new tools.

I always try to bring motion into my personal projects. In the past, I’ve explored movement through talent or lighting, but I had never experimented with camera movement itself. I’m not a gearhead and don’t own many cameras, but I thought the Nishika N8000—a quirky 1989 camera with four lenses that create 3-D-style GIFs—would be a fun one to try. I used it for the first time on Lai Rai’s shoot and also explored motion blur by combining ambient light, strobes and a slow shutter speed with intentional camera movement. There was definitely some trial and error in the studio beforehand; I’ll admit the test shoot was a bit stressful, especially since I was also diving back into film photography for part of the project. But the stress was absolutely worth it—we are really happy with the final images. A few months after releasing the project online, we were contacted by a major US company for a five-day food and fashion shoot in new York City, and the clients specifically wanted that same kind of motion blur!

Tell us about Studio Idéal, the photography studio you’ve established in Montréal. What has made this your dream photography studio? Before founding Studio Idéal, I was in a shared space with other photographers and visual artists for eight years. It was great at first, but as productions grew larger, it began to feel cramped. Food shoots often stretch over several days, and it’s important that the team and clients feel comfortable and that the vibe stays positive. Over time, I developed a vision of my ideal space based on other North American studios I visited and what I felt was missing in Montréal. After a three-year search, I found a 4,880 sq. ft. industrial garage and worked with Ivy Studio to bring my dream to life. We created a cozy, warm and functional studio with street level-access and a full kitchen, designed specifically for food and still life photography.

In addition to Studio Idéal, you’ve recently established a prop rental company. What attracted you to this idea, and what has this experience been like? In major cities around the world, you’ll find prop rental houses that cater to tabletop and still life photography. I couldn’t believe Montréal didn’t have one—it was a real gap in the market. Over the years, I’d built a personal collection of props and ceramics out of love for beautiful objects. During the pandemic, I finally had the time to turn this passion into a business. That’s how Fonds & Formes was born, an extension of Studio Idéal that offers curated prop rentals for local creators.

What photography equipment have you been using lately, and what do you enjoy about it? I’ve been particularly drawn to frames lately. With all the space at Studio Idéal, I can use large frames to block ceiling reflections, diffuse or bounce light, or shape light creatively. They’re simple but incredibly effective whether I’m using strobes or continuous light. I also love adding subtle colors to my lighting setups, so I have expanded my filter collection and had a lot of fun experimenting with it.

What do you think about the current state of the industry, and where do you see it headed? The industry is changing fast. We’re often asked to do more with less: tighter budgets, shorter timelines and higher expectations. That’s why adaptability and collaboration are so important. Motion has increasingly become a part of still photography sets, so it’s crucial to build teams that can pivot. I think it’s also wise to stay informed about AI tools—they can save time during post-production or help spark ideas if used thoughtfully.

Would you recommend other photographers branch out into other related businesses as well? It can be a great way to round out your perspective and understand your core craft more deeply. That said, as your career evolves, specialization can be key—especially when working with larger clients who are looking for specific expertise.

Do you have any advice for photographers just starting out today? Let passion guide you—it’s what sustains you through the challenges and helps you grow your creativity. Be curious, assist other photographers and take the time to develop your own style. It’s a long game but one filled with discovery and evolution. ca