BEFORE & AFTER
For the last 15 years I’ve been helping families around the world restore precious family memories.
If you have damaged photos that you’d like restored, contact me using the form below.
Revolución en Retorno
“REVOLUTION IN RETURN”
THE REVIVAL OF PANCHO VILLA
Oye, mira.
Revolución en Retorno is my return to the archive as a living site, where José Doroteo Arango Arámbula gets remembered beyond the softened schoolbook version of “Pancho Villa.” I’m collecting and restoring photographs that time, censorship, and myth tried to break, because revolution doesn’t stay clean, and neither does history. Villa moves through resistance and harm, and I’m not here to sanitize either of them. I’m here to face what power tried to blur, and to let the images speak with their full weight.
This collection is visual justice and archival repair: I reanimate damaged originals with 3D ghost-mesh rendering, selective AI enhancement, colorization, and hand-painting in Procreate and Photoshop until the photograph can breathe again. When the archive has been torn, I practice embodied compositing, photographing parts of my own body to rebuild erased limbs, hair, fabric, and missing fragments, so the restoration holds a human cost and a human intimacy. My flesh becomes an extension of theirs as an accountable bridge between then and now.
I’ll be exhibiting these once finished across Canada and beyond.
The Ghost-Mesh Restoration Pipeline
I start with a blurred, damaged photo and treat the distortion as evidence, because the archive’s breakage is part of the record.
I run a 3D ghost-mesh scan with RealityCapture to capture the facial structure beneath the noise, anchoring the brow, cheek planes, mustache, and hat brim in geometry instead of guesswork. From that scaffold, I use AI as a restrained assist to stabilize features and rebuild continuity without letting it overwrite the source.
ll add skin and surface color through an inclusive, evidence-led parameter set that treats complexion as a product of light, environment, material, and imaging chemistry, not a stereotype. I’ll model illumination first by estimating time-of-day color temperature, shadow softness, and ambient bounce, then I’ll tune regional atmosphere through altitude, dust, humidity, and haze so the face reads like it exists in that landscape’s physics.
I’ll calibrate skin using melanin-forward values, undertone balance, and specular response, cross-checking against period-appropriate film stock behavior and the scan’s tonal range so the highlights don’t bleach and the midtones don’t collapse.
I’ll keep the AI pass constrained to continuity and denoising, then I’ll finalize in Procreate with measured shifts in warmth, pore texture, and edge falloff that match the mesh and the original grain, while documenting uncertainty where the archive doesn’t give enough information to claim precision.
BEFORE & AFTER

