The next day, Dojc found himself in the visual arts building at Ryerson Polytechnical Institute.
Dojc had written no exams, never assembled a portfolio --indeed, did not own a camera, let alone know how to use one.
Inspired by the surrealistic art of French photographer and painter Guy Bourdin, Dojc opened his own commercial studio.
Revelling in the challenge, and borrowing heavily from the likes of Bourdin, Man Ray, Rene Magritte, and Egon Schiele, Dojc pushed the boundaries of his art, creating provocative, eye-catching fantasies for such clients as Apple, Porsche, Club Med, and Panasonic.
After the Iron Curtain fell in 1989, Dojc started returning to Slovakia to visit his aging parents.
With his cameras, Dojc began accompanying her, producing a series of compelling black and white photographs of old Jews, cemeteries, and synagogues.
Dojc presented a slide show of these photographs to a reunion of childhood friends in Prague in 2005.
Dojc was immediately overwhelmed, visually and emotionally.
"Once we entered, we could not leave," Dojc told one interviewer.
But these books are a kind of monument to those who perished." At another point, Dojc showed the pictures to Moshe Halbertal, a senior fellow at the Shalom Hartman Institute in Jerusalem.
"What do you mean?" asked Dojc. "Nothing here has been Photoshopped." The scholar pointed to a photograph of an old prayer book.
