I am a Belgian non-professional photographer with a background in architecture. My photography began to grow more intensively through the architectural photography I make for my architectural design office, but over time my visual language shifted increasingly toward cinema, especially film noir and neo-noir. The work of cinematographers such as Roger Deakins (*No Country for Old Men*), Jeff Cronenweth (*Fight Club*) and Greig Fraser (*The Batman*) has strongly influenced the way I look at light, space and atmosphere. I am drawn to grit, deep shadows, artificial light, strong colour relationships and carefully controlled images in which the environment is not just a backdrop, but part of the story. Low-key lighting, chiaroscuro, silhouettes, reflections, haze, bloom and occasional optical imperfections are all elements I embrace when they reinforce mood and emotional tension. Low-light photography has become one of the main threads in my work. Concerts, night-time events, street theatre, public gatherings and urban scenes offer the unstable, imperfect and emotionally charged light conditions that interest me most. I am less interested in simply recording what happened than in finding the fraction of a second in which gesture, light, space and atmosphere align. A face disappearing into shadow, a figure isolated from a crowd, a moment of fatigue behind a costume or a sudden shift in colour can become more meaningful to me than the obvious peak moment. As a frequent visitor to concerts and street theatre, I have often found it frustrating that professional photographic equipment is only permitted for accredited press. For that reason, I have regularly photographed these environments with a compact Sony RX100. Those restrictions unexpectedly sharpened my attention to timing, proximity and available light. The combination of stage lighting, human energy, movement and fleeting expressions strongly connects with what I want to explore photographically. My interest in events also extends beyond photography. Through a range of volunteer roles, I have experienced the event world from multiple perspectives: artist support, bar work, festival layout design, site coordination and organisation. That background makes me attentive not only to performers, but also to the audience, logistics, backstage dynamics and the spatial framework that makes an event possible. I am interested in the complete ecosystem of an event rather than only the stage. The same approach carries into sports photography. Although sport demands a different rhythm and technical discipline, I look beyond the decisive action for moments of anticipation, physical effort, isolation and tension. Compression, gesture and the relationship between subject and surrounding space remain central to how I construct these images. Street photography is where many of these interests come together most clearly. I approach the street through storytelling rather than pure observation. I am drawn to unusual people in ordinary settings, visual contradictions, fleeting interactions and moments where context changes the meaning of a person or gesture. Often the photograph begins with something slightly unresolved: an obscured face, an unexpected colour relationship, a reflection, a strange posture, a figure separated from the crowd, or a moment of stillness inside a chaotic environment. My background in architecture continues to shape the way I frame. I naturally look for layers, geometry, spatial tension, negative space and the relationship between people and the built environment. Even in portraiture or documentary work, I rarely see the subject as isolated from its surroundings; space is always part of the narrative. I am curious, critical and constantly learning. As a parent and as a lecturer in architecture, I am used to feedback, reflection and questioning my own decisions. That mindset also informs my photography: I am always analysing why an image works, why it fails, and how a stronger visual idea might emerge next time. My taste is highly eclectic. That openness shapes my photography. I do not want to be confined to a single subject or genre; instead, I am interested in building a consistent visual identity across architecture, concerts, events, sports and street photography. Across all of these areas, the recurring subject of my work is human presence: how people inhabit light, space and temporary situations. I want to make photographs that do more than describe what was there — images that carry atmosphere, tension and ambiguity, and leave enough unresolved for the viewer to construct a story of their own.