How was the trip to Paris, was it fruitful in terms of your photography?
Paris was magnificent. The winding streets, tlittle shops, café culture and fashionable people; it was a marvellous. And the Eiffel Tower, I never expected to be so moved by the sight of it. One week in Paris allowed me to see Paris, the celebrity. I tend to feel more creative in familiar surroundings. When others see things only for what they are, my hope is to touch a bit deeper.

You had the opportunity to create your own story shoot, did something inspire you to take the shots you did, did you go to Paris in a particular mind set or did you just let your creative juices flow?
I moved to the city in my late teens and was immediately enthralled by the urban experience. Yet, photographically, I enjoy it most in the absence of city-dwellers, bearing witness to the marks they leave on the city, focusing on the architecture, the artefacts created by man. I think this is apparent in my photography which often lacks a human subject. I’m also quite partial to night photography for similar reasons.

While shooting in Paris, I found that it has been photographed so much that it became very difficult to be original. I wished for special access to get the shot that no other could ever have the chance to get. But restricted to the beaten path, I think the best moments that I captured were the human moments, moments that could never be repeated in quite the same way. For example, the old man smoking a cigar at an outdoor café, or the young girl having her picture drawn by a street artist. Those people had spirit and I found inspiration in them.

How has the competition changed your life, do you think that you would be in the same place without it today?
While I hope to never be in the same place as I was the day before, this competition brought me many great places: Paris, of course, but also Barcelona and Valencia on the same trip; a gala event at the CN Tower in Toronto; midnight guerrilla poster campaigns. I’m so grateful for the opportunities the Metro Photo Challenge has offered me, challenging me to believe in myself and to reach just a little bit higher. It has been a very fulfilling experience.

Do you think you will carry on by yourself now that the trip to Paris with Metro is over, do you think you will actively pursue your photography or keep it as a passion?
Actually, I have been making a greater effort to moonlight in photography, and work has also found its way to me. One of my photos is now illustrating the cover of a hardcover novel – The Way Home by George Pelecanos. Incredibly, that photo was taken on the same foggy night as Midnight Tram to Humber. That said, I am not at a point where I want my photography to be responsible for putting food on my plate.

Of the shots you took on the trip, which one is your favourite, the one you are most proud of?- the story behind it?
Unfortunately, my favourite shot is the shot that I didn’t take.
I was on a terrace in Le Marais for a drink and just as I set my camera down, the most magnificent sight passed me by… a young woman with long brown hair, sporting the obligatory beret, came cycling past with an antique gold picture frame hung across her torso. Had I captured it, it would have been my favourite photo.

Were you a bit scared of going to Paris, did you feel there was pressure on you to reproduce the same success as Midnight Tram to Humber?
I did feel quite a bit of pressure in the days leading up to the trip. The Canadian winter was awfully cold and I had been hibernating for months. I was really busy so I hadn’t been shooting as much as usual. When we landed in Paris, I decided to take things as they came while keeping a sharp eye on my surroundings. I figured, worst case, I would enjoy myself. I went home with over 2000 photos that kept me busy for many more weeks sorting, processing, and altogether reviewing my shots in a brand new light.

You had better equipment to shoot with this time round, it was part of your prize, did this make it easier to take the shots?
I adore my new camera, but it made shooting somewhat less spontaneous because of its unfamiliar interface. I went from being a Canon guy to a Nikon guy overnight. Every shot required an extra touch of consideration in preparation. Mind you, it was worth the switch… the focus on this camera is so precise, and it does wonders in low-light situations. It’s a dream camera.

Do you feel like the Metro competition helped you realise your full potential, your dream?
I feel that the Metro Photo Challenge awakened a potential that is being realized in new ways every day. It gave me the confidence to take more chances in showing my photography. For the month of May, a collective of area photographers (including myself) had a gallery show at a local restaurant, at Leslie Jones in Toronto. Our show’s opening was a great success, complete with live music, great food and a full house of supporters. I sold 3 prints that night. Without the support of Metro and that of its panel of judges – Marco Delogu, Paul Kelly, Paul Wearing, Urban Bradhe – I might not have accepted the invitation to show my work publicly, and it is certain that I would have sold nothing.

Because Metro’s reach is so global, your work has and will again be seen by over 20 million people – how does this feel? Is it exciting or daunting to know so many people have seen your work?
While heights are daunting, Metro’s global reach is exciting in perfect measure. If I allowed myself to get more excited, I expect my fear of heights would kick in. I like being on the ground, so it’s probably a good thing that I can’t fully comprehend the idea that 20 million people around the world will start their day looking at my photography. What a thrill! I wish I could capture it in a photograph.