Jonathan Decoste - Director of Photography

We sat down with Jonathan Decoste, a passionate Director of Photography recognized through several awards. Most recently, he won the prize for Best Cinematography – Fiction for IXE-13: LA COURSE À L’URANIUM – Episode 3, presented in collaboration with AQTIS 514 IATSE, at the 2025 Gémeaux Awards.

In this profile, discover his craft, his sources of inspiration, and the importance he places on teamwork!

What inspired you to become a Director of Photography, and what is your career path?

My passion for image and framing dates back to my childhood. I was lucky enough to attend an alternative school where experimentation and curiosity were encouraged. Starting in high school, I was able to explore film and photography by working in a darkroom, framing graduation photos, and getting involved in extracurricular projects. That's where I discovered how much I loved telling stories through images.

I then studied film at Cégep de Saint-Laurent, followed by communications (film profile) at UQAM. Like many, I thought I would become a director, but I quickly realized that what truly fascinated me was framing, playing with light, and transforming a vision into images. That’s when I recognized myself as a Director of Photography.

My path was thus built on curiosity, networking, and a lot of practice.

On IXE-13: La course à l’uranium, what was the biggest visual or technical challenge, and how did you overcome it?

The biggest challenge was recreating Montreal in the 1940s and 50s in a context where almost no vestiges of that era remain. Filming in 2023–2024 and creating the illusion that we were in 1945 required immense preparation and creativity. We wanted to immerse the viewer in a credible universe, inspired by film noir and spy series, which demanded close collaboration with the set design, costume, hair, and make-up teams. Every detail—such as the cars, props, hairstyles, and lighting—had to contribute to that immersion.

Another challenge was adopting a new working method. For the first time in Quebec, we were able to develop the visual rendering directly on set thanks to colorist Karim El Katari. I could already see an image close to the final result on the monitor, and the entire team could adjust their work accordingly. This approach not only saved time in post-production but also allowed us to refine the aesthetic and give IXE-13: La course à l’uranium its unique visual signature.

What moment in your career will remain Engraved in your memory forever?

I often think back to my first feature film, Roche, papier, ciseaux by Yan Lanouette Turgeon. I still remember the last day of shooting. After the final scene, we all jumped into the air and hugged each other. It was a team victory!

What sticks with me most about my career are these human moments: the bond between colleagues, the family you form for the duration of a shoot... and the sadness when it ends. Those are the memories that mark me and motivate me with every new project. A film is never made alone; it takes many people coming together to tell a story.

What advice would you give to young people who dream of becoming a DP and making a place for themselves in the Quebec industry?

First, be curious. Experiment and test your ideas. Cinematography is not a recipe to follow: it is a sensibility, a vision, and a language that develops over time. Today, you have access to tools that I didn't have when I started: cameras everywhere, accessible editing and color grading software. Take advantage of this to shoot, take photos, edit, color grade... and most importantly, tell stories.

Surround yourself with people who share your aspirations. Networking is essential: it’s often an established person who gives you your first chance. In Quebec, the industry relies on great solidarity and closeness between teams. You quickly learn to work together and be versatile, and this culture of collaboration gives a unique strength and color to our productions. Don't be afraid to ask for internships or other opportunities to learn—you have nothing to lose. Contact technicians using the member directory on the AQTIS 514 IATSE website. And above all, remember: cinematography is a marathon, not a sprint. You build your career project after project, with patience, passion, and perseverance.