French photographer and digital artist based in France. Passionate about code and black & white photography, I live at the crossroads of technology and visual art — writing image-processing software, exploring computational imaging, and chasing the decisive moment in monochrome.
I came to photography through two doors at once: the darkroom and the terminal. As a software engineer by trade, I spent years building real-time systems, GPU pipelines, and computer-vision tools. As a photographer, I was drawn to the discipline of black and white — the way it strips an image down to luminance, contrast, and form, leaving nothing to hide behind.
Eventually the two paths merged. I began writing my own darkroom software — GPU compute shaders that reproduce the physics of silver-gelatin processes: zone-system tonal control, grain synthesis, chemical toning, dodge-and-burn masks. The result is DARKROOM, a real-time processing engine driven by MIDI faders during live projection performances. The gesture is the work.
When I'm not coding or printing, I shoot the city as a stage — architecture, rhythm, the fleeting gestures of people moving through structured space. My visual references range from the Zone System rigour of Ansel Adams to the humanist eye of Henri Cartier-Bresson, from Fan Ho's geometric precision to the raw grain of Daido Moriyama.
I believe the best photographic tools are the ones you build yourself. Every pixel pipeline I write starts from the same question a printer asks in the darkroom: how should this tone feel? Code is simply another creative medium — one that lets me answer that question at 60 fps on a GPU, or at 16-bit precision on a fine-art print.
Current obsessions: Ansel Adams' Zone System implemented as overlapping Gaussian masks, spectral B&W channel mixing, Perlin-noise film grain, and Sabattier solarisation — all running in real time in Rust and WGSL shaders.
DUSK LAB is my creative home — a portfolio for my photographic work and a bilingual magazine dedicated to the art and craft of black and white photography. The magazine covers everything from the Zone System to fine art printing, from film grain science to exhibition practice.
Whether you are a seasoned printer or picking up your first roll of Tri-X, the articles here are written for anyone who takes monochrome seriously.
Each essay in On Light & Silver explores a facet of black and white photography with both technical depth and artistic perspective. Topics include:
For prints, exhibitions, commissions, or collaboration inquiries:
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