Julien Coquentin’s *Tôt un dimanche matin: Journal de Montréal* is a sustained photographic portrait of Montréal, made through daily observation over two years. Published by Lamaindonne in 2013, the 112-page French-language book gathers 90 photographs that move across the city’s seasons rather than presenting a single, definitive view of it. Its subject is not Montréal as spectacle, but the accumulation of streets, weather, intervals, and encounters through which an urban place becomes familiar.

The book’s distinctiveness lies in the breadth of its photographic means. Colour and black-and-white images appear together; small and medium formats alternate; analogue and digital photographs share the same sequence. These shifts are not treated as demonstrations of technique. They allow Coquentin to adjust his visual language to changing circumstances, producing a record that is varied without losing its authorial coherence. The result is a form of urban poetry grounded in attention rather than monumentality.

That approach gives the work particular value within the tradition of the photographic city diary. Coquentin’s Montréal is observed repeatedly, across time, so that the book’s meaning emerges through relation and rhythm as much as through individual images. The sequence registers the city as lived experience: mutable, layered, and resistant to a single style. For collectors, the book deserves attention as a clearly defined early publication by a photographer whose project depends on sustained commitment, formal range, and a close dialogue between place and sequence. It is also a concise record of a two-year encounter with Montréal, shaped into a considered book rather than a loose collection of views.

The volume is a hardcover measuring approximately 23.5 by 21 by 1.5 centimetres. Its French title and compact format reinforce the intimate, journal-like character of the project while keeping the emphasis on the photographs and their ordering.