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Jason Langer
Jason Langer

Jason Langer

Country: United States
Birth: 1967

Jason Langer is a notable photographer, best known for his black and white film photography, capturing atmospheric and introspective images.

Langer was born in Tucson, Arizona and grew up in Ashland, Oregon. Langer studied photography at the University of Oregon from 1985 to 1989. After graduation, Langer moved to San Francisco and apprenticed with some of the Bay area's most well-renowned photographers including Ruth Bernhard, Arthur Tress, and Michael Kenna, who became his mentor and lifelong friend. During that time, Langer learned much from Michael Kenna and influences from Kenna remain present throughout Langer's two-decades of photographic work.

His photographs have been exhibited in numerous galleries and museums internationally, including solo exhibitions in cities such as New York, Paris, London, Tokyo, and Moscow. Langer's work has also been featured in various photography publications and books.

Many of Jason Langer's photographs have been praised for their poetic and evocative qualities. Langer shoots using film, meaning that he does not know exactly what photographs he has until the film is developed. He photographs in black and white and prefers to photograph at night. He avoids photographing human faces, which increases the mystery of his works.

Langer is also a sought-after photography mentor, having taught photography at the Academy of Art University for 12 years and Santa Fe Workshops since 2014. Langer is known as a mentor in photography, teaching students to use the medium for self-understanding. “Jason seems to have absorbed the entirety of photo history, particularly the so-called “New York School”, identified by historian Jane Livngstone in her book of that title from the early 1990’s: Arbus; Avedon; Brodovitch; Croner; Davidson; Donaghy; Faurer; Frank; Grossman; Klein; Leiter; Levinstein; Levitt; Model; Vestal and Weegee. Jason loved shooting the city and printing it very darkly. He is a classicist. He is contemporary guy who sees things though more modern eyes.”

He has received recognition and awards for his contributions to the field of photography. Langer's work continues to be exhibited and collected by art enthusiasts and collectors worldwide.

 

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More Great Photographers To Discover

Laurent Delhourme
Laurent Delhourme was born in Bordeaux (France) in 1968. After studying visual media, he became a self-taught photographer. He spent five years as an assistant at ELLE and Daylight studios, as well as for various fashion photographers, before embarking on a career as a portrait photographer in 1998. His work has since appeared in various magazines, corporate projects and advertising campaigns. At the same time, he moved into film in 2001 and made numerous documentaries for France TV / Canal+. He has covered various topics, including the Moudawana law in Morocco for the protection of women, the Madrid train bombings, abandoned street children in Budapest, the Women on Waves pro-choice organisation in Portugal, Carlos Ghosn in Japan and cotton farming in South Africa... He has also worked with the press agency CAPA on reports and corporate videos for Aigle, Total, Renault, Orange, Alcatel and EDF. For almost 20 years, Laurent has roamed the streets of Paris, Leica in hand. He tries to capture the emotions and poetic dimension of people who cross his path. All of his photos are linked to a story, a narrative, a unique moment. Laurent draws inspiration from the work of Elliott Erwitt, Garry Winogrand and Henri Cartier-Bresson, taking his place in a long line of humanist photographers. He photographs people in the street and observes them without bias or judgement. Laurent seeks to capture what is invisible in their daily activities. Far from using a journalistic approach, he aims to document his times. In the press Observer and chronicler of modern life, Laurent Delhourme's approach is part of the lineage of 20th century humanist photography. Lovers of images of Erwitt, Frank, Davidson, Weiss, Franck, Cartier-Bresson, Mark, Ronis, Freed, Evans, Maltête, Winogrand, Meyerowitz ... His universe is inspired by the heritage of all those photographers who knew how to document their time. He photographs the daily life of his contemporaries, of these anonymous people whom he meets over time in the working-class districts of Paris, on the sidewalks of Fifth Avenue or among the effervescence of Piccadilly Circus, the emotion remains always intact, lively. by this tireless and visceral desire to freeze unique moments. Born in Bordeaux (France), he has lived in Paris for over 25 years. At the age of 18, he discovered photography through a friend and it was at the age of 21 that he understood that his passion would make it his profession. People are the key word in his work, recognized for his portraits, he is the author of numerous advertising campaigns, his photos have been published in various French and international magazines. When he's not in the studio he continues to develop his art on the streets. He seeks to capture the invisible in the daily lives of the people he meets. Each of his photos is connected to a story, a story, a unique moment. These photographs concentrate humor, burlesque situations and everyday incongruities. If the photographer takes care of his framing, by choice, he never conceives a staging. He is sure that the behaviors of passers-by are interesting enough to let them express themselves in their entirety. He captures his images on the fly. Immediacy is his motto. In his early days, a book changed his view of the world in a book by Elliott Erwitt (Photographs 1946/1988), I was young and had never seen anything like it. For me it was a revelation! I discovered through Erwitt's work a true philosophy of life that has always fascinated me Laurent confides. This book, which he consults regularly, is still his bible today. Unlike his work as a portrait painter which requires mastering all the parameters of the shooting, for Laurent street photography is a moment of freedom, he lets himself be carried away by the people he meets and the emotions he meets. He feels. He walks instinctively, feels, he likes to be surprised, he captures the mundane in his daily life as discreetly as possible with his Leica M or his Leica Q. Working mainly at 28 and 50 mm he makes sure never to disturb the scene he photographs "I try to make myself transparent so as not to interfere with my environment". Laurent Delhourme has exhibited on numerous occasions, notably at the Paris photo fair (Grand Palais in Paris) and at the art photography festival in Arles (France). He released his first book Macadam Paname in October 2020 at Editions Hemeria, a black and white book on Paris. He is currently in preparation for a second book.
Adam Bartos
United States
1953
Adam Bartos visited local speedways in rural New York, Florida and New Mexico where drivers race the super-stock class of car on quarter-mile dirt oval tracks. This elemental class of driver-owned racecar competes without corporate sponsorship, for minimal prize money, simply for the pure thrill and sport of weekend motor racing on tracks all over the U.S. The intrinsic aesthetic Bartos captures is that of a rather crude and utilitarian technology glamorized by the singularity of its purpose and accumulated patina, acquired at high speeds on dirt tracks.It is said that stock car racing originated in the 1920s, during prohibition, when "moon runners" began boasting about the speeds of their nighttime trips, often on backcountry roads, illegally transporting liquor. Soon they began to race with each other for sport on weekends. (Famously, Robert Mitchum played one of these runners in the 1950’s cult classic, Thunder Road).Adam Bartos’s work has been exhibited widely. His books include: International Territory (Verso, 1994), which looks at the aging modern architecture of the United Nations’ headquarters and, implicitly, the ideals which created it; Kosmos (Princeton Architectural Press, 2001), a then inconceivable look into the Russian space program; Boulevard (Steidldangin, 2005), a dialogue between Paris and Los Angeles; Yard Sale Photographs (Damiani Editore, 2009) and Darkroom (Steidldangin, 2012). His work is in the collections of the J. Paul Getty Museum, Los Angeles; the Museum of Fine Arts, Houston; the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the San Francisco Museum of Modern Art, and others. In 2013, he was shortlisted for the Prix Pictet, a global award in photography and sustainability, for his series Yard Sale Photographs.
Amadeusz Swierk
Poland
1995
Amadeusz Świerk (born in 1995) is a documentary photographer based in Wrocław, Poland. Amadeusz strives to be an honest witness of the world. His work is often oriented on minorities – social, ethnic, religious and based on genuine experience of other human and his culture. Interested in ethnicity and natural way of living, he has done projects about Iranian nomads and informal subculture of people escaping society grown around wooden hut located in Polish mountains. Currently he is working on projects about a (in)famous district in the small town of Legnica, opioid addicts and personal, about his family. The Miracle District The story starts in a middle-sized town of Legnica, located in the southwest of Poland. It should have been unremarkable, but after World War II it had the dubious pleasure of stationing some 60,000 Soviet soldiers, who more or less dictated the town's life. During these difficult times, which ended very late in 1993, a small district called Zakaczawie (named from the local river) incidentally became a refuge for Poles' native life. Among the families of Polish railwaymen and strong Romani community relocated into the district by Communists, small businesses, cafes, pubs and cultural venues thrived, despite the dark shadow of the Soviet garrison. When the Curtain fell and the Soviets finally went away, the town of Legnica finally breathed a sigh of relief. Zakaczawie district wasn't especially lucky though. It's being left out by dynamics of Polish capitalism, omitted by investments and falling into disrepair. The ''Miracle District'' nickname of Zakaczawie gained a bitter and ironic edge, but generations of its citizens still retain a strong sense of community. There's crime, poverty and turbulent biographies being written by commercial exclusion, but many people actively decide to stay there despite the challenges. Contemporary Zakaczawie is a living witness of the winds of change, the whims of history putting the social microcosm of its citizens to new tests. It's not easy for them, but they have to live with it, and they do, mostly by simply staying together. This project aims to show that among the very visual poverty and dilapidation of the Miracle District, there are humans - families, friends, neighbors - trying to live their best. The author spent two years between them to go deep beyond the grim appearances, to understand these people as fully as possible, to become a witness - and to show to the world - their everyday, colorful lives, giving them an outward voice. The Miracle District The Shack Hidden among the scenic Karkonosze mountains in southwestern Poland, deep in the woods and well away from the popular tourist trails, The Shack – as its dwellers tend to call it – is a secret meeting place for a special bunch of people. Despite the lack of electricity and internet, every weekend, regardless of the season, The Shack is brimming with trekkers from various walks of life, who typically don’t have the opportunity to meet or interact. They seek shelter from social conventions and develop their own, unique and intimate, small-scale society and culture. The Shack is a place with rich traditions. Located off the beaten Karkonosze tourist trails, since the 1970s it has been popular with various groups of non-conformists. Hippies flocked there to escape the oppression of the Communist authorities. During the political transformations of the 80s, some of them joined Fighting Solidarity (Polish anti-Soviet and anti-communist underground organization), and The Shack became a print-and-distribution center of subversive leaflets. Throughout the years, both political and non-political visitors created a rich set of rules, The Shack’s unwritten code that acts as a tool for introducing newcomers and keeping a low profile. Breaking the code is punished by a system of humorous tasks. Over time, regulars started families and made professional careers, but they handed over The Shack’s traditions to the younger generation of visitors. There is a position of Shack Keeper, who stays there permanently. He lives alone in the wild, taking care of the building and getting along with its guests. He’s the unofficial leader within The Shack. The Keeper usually changes every few years. The Shack somewhat changes too, as Keeper’s personality influences the atmosphere.Today most Shack visitors come on weekends to escape civilization and relax for a bit. The flock of guests increased significantly during the pandemic; people tried to compensate for the scarcity of face-to-face contacts. The sense of belonging is built by working and eating together, among strangers. Guests forage wood from the forest and chop it, prepare meals on the wood-fired stove, share them with others by candlelight, play guitar, sing and dance – all without modern disturbances of internet and smartphones. The Shack dwellers want to experience the traditional way of life and stay among nature. Most appear occasionally, but there are always some who visit it regularly and enjoy it together.
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