In 1971 Flomen started working on his street photography. By 1976 he had built a darkroom equipped with large vats that he designed for developing his large-scale prints, and had acquired massive Saltzman enlargers designed by the US military for map-making. In the same year he was included in an important group show "Young Canadian Photographers" at the Yajima/Galerie in Montreal. In 1980, Flomen’s first book of street photographs, "Details/M. Flomen", was published. The works in "Details" followed a Cartier-Bresson style of formalism, making use of the decisive moment in photographs taken in various locations around the world. In the publication "Details/M. Flomen", Louis Patrick describes Flomen's early series as, "photographic double-entendres; posing visual riddles while keeping us amused with black and white one-liners." Patrick goes on to say, "Although Flomen often photographs people and events, he is not a photojournalist, but a street magician whose camera transforms the little details of everyday life into mysterious, sometimes almost sinister, reflections of today’s society...The images, instead of telling us who, when or where, tease us by asking what and why—questions Flomen prefers us to answer for ourselves." In 1985 Flomen's work was included in a group exhibition "Canadian Contemporary Photography, from the Collection of the National Film Board" at the National Gallery of Canada, in Ottawa, Ontario. His street photography was featured in a second art publication "Still Life Draped Stone" of 1985. In the foreword of the book, Peter Sibbald Brown gives a summary of Flomen's sensibility as a street photographer: "The mainstream of Flomen's work over the past decade has been concerned with intrinsic pictorial values. The pictures are horizontal, full-frame, monochromatic, non-didactic, neither ornamental nor monumental in scale. They reveal an overallness of detail, and for the most part present anonymous anthropomorphic form, within a tectonic surround." Flomen's format and style of photography changed drastically in the early 1990s when he began to document large snow drifts in Montreal using large format cameras, switching from 35 mm to 8 x 10 inch film. In 1993 he received a 6-month grant from the Québec Ministry of Cultural Affairs for a studio residency in a loft in New York City. While there he worked with photographer Todd Watts, and he produced large-format photographs that would later be included in his "Night" and "Friend" installations at Motel Fine Arts gallery in New York.