A 38 years old street and documentary photographer based in Afula, Israel, works on long term projects.
Also an English teacher and photography teacher for special aids students and student at high risk community in the education system.
Learned for his P.E Degree in photography and new media in PCK Photo center College.
Finished BED in English and special needs communities.
Finish B/w photography and printing from creative photography school, TLV and culture photography in National geographic Israel.
Most of my work is being done in the streets, telling the story of the simple man, the story of life and place.
Lately started to learn photo therapy as a tool for a better life and Education.
Student for curating art and photography.
It’s a long way home
Amir Lavon is an Israeli -based photographer and teacher whose work has been described as “street doco”, simultaneously visceral, hauntingly beautiful, and penetrative. His primary source of inspiration derives from the people he photographs on the corner of president and independence Avenue in Afula, a project which has developed into a documentary book, as well as a lesson plans, entitled it’s a Long way home.
Shooting street at day using only the artificial light that pours from storefronts, street lights, cars, and daylight, Amir captures dignified portraits of a marginalized community that has found themselves, for one reason or another, living on the street or merely passing through.
In addition to exhibiting his powerful collection, it’s a long way home; Amir Lavon will be unveiling a new series portraying individuals from the black Diaspora living in Afula City.
It is a journey into both sadness and hope, day light and territories that Amir is familiar with, as are the people in his photographs. And it is an excursion that is illuminative, stirring and
Ultimately fulfilling. The destination of this trip is president Street and independence Avenue in
Afula city and it is a passage made in the past 10 years.
As the title implies, the book’s focus is on people, on the street. Over 100 photographs of souls grace the pages in glorious black and white. Although this is a photo book, and the images stand incredibly strong on their own, Amir’s self-penned essay that begins the book is essential reading.
It is as raw and real as his photographs, but it also connects with the deeper, spiritual level that this documentarian is on. Amir writes that, “This book is about redemption, strength, and resilience amid addiction, poverty and street life”.
Even though these photographs are incredibly raw, some more so than others, they intensely reflect the connection that Amir has made with the people on president and independence street and embody the message that these are souls that are not completely lost, at least not yet. They exist, and that is where Amir’s Camera does perhaps the most important work – documenting their existence.
“This book is… a comment on the times and the people who birthed civilization, some of them the great Kingdoms of Africa, and how they fell and where they have been scattered. From the Valley of Kings to drug addiction, imprisonment, invisibility, and persecution, just for having frizzled hair. A neighborhood corner brutalized by police. A fragile society opposed by society. Souls Against The Concrete – poor but happy – misunderstood by society at large but still radiating the spirit of kings and queens. This collection of portraits represents a part of black history that shouldn’t be avoided- a small part of a great legacy that should be remembered. The struggles of the world
Desperately call for a different perspective on the problems we face.”
tried to produce what has become known as a portrait of the reality of life,
living on the streets of Afula city.
as a modern day Amir taking his love and wisdom to the streets of Afula through the medium of photography, his camera, is a powerful tool that connects with reality, just as photographer Daido Moriyama has been quoted; “For me, photography is not a means by which to create beautiful art, but a unique way of encountering genuine reality”.
seeks to dispel fears, capture human dignity, and bring clarity to a world that
outsiders rarely visit. This nuanced portrayal of nocturnal urban life offers a
powerful and rare glimpse into the enduring spirit of a slowly gentrifying
Harlem street corner and the great legacies of black history that live there.
The aesthetics gives way to ethical questions and political issues of belonging, of social status.
Street photographer and a teacher.
Works on long time projects.
“ Whose Streets”? “Our Streets”
This era was consumed by issues of police brutality, gentrification, AIDS, gay and lesbian rights, reproductive rights, Israel foreign policy and military actions, and education and labor relations.
Many of the protesters’ concerns are still making headlines news of today but more important than that is to “Photographing these events for the historical record of them”.
Photographing protests naturally connects you to looking at what is happening at the same time in the field of activism and social movements.
Are you just taking street photos, or do you have another job here? Are you a street photographer or an activist?
It’s a great question to ask every street photographer and a big mystery that is related to the medium of street shooting.
When you take part in a huge protest or in a social revolution you basically take part in creating the history, moreover you take pictures of it, how amazing is that thought.
Taking photos of social movements or a rally in the streets and later on editing them with text and deep thinking about it will eventually create a future narrative of a triumph, heroic stand and collectivist vision of society.
All street photographers develop their own aesthetic strategies, and this “new social agent” explicitly reflects on its own visual forms from the beginning of the nineties. I want to introduce the idea that, in a sense, alongside the ‘social turn’ of art, there is also a certain ‘artistic’ or ‘creative turn’ of activism. Symbolic gestures, performative actions, visual language and aesthetic creativity have become a common trait of street photography, art and social activism.
The photographs show the everyday political life of the city. People struggled, lost, fought, and occasionally won against powerful reactionary political and economic forces. The traces they left behind in print and photographs shed light on our era and remind us that things have been as bad before, if not worse, and that resistance flourished nonetheless.
As a street photographer I always examine what makes images of resistance resonate so loudly.
I explore the relationship of photography to protest and it’s donation to society during my work in streets of my country and my city.
The series is trying to capture the different ways in which protests can manifest: from people on the streets exercising their objection, the people’s voice, use of kids in the rally, body language and my photos.
Portraits of individuals, both friends and unknown, whose acts of resistance, however small or epic, were immortalized in a photograph, and adopted by communities as representative of something meaningful to their cause.
Another idea is that when you’re a street photographer that shows yourself during protest or a rally and being Captured on camera and with, your individual acts of defiance using your frames, have gone on sometimes to become symbolic of the movement they represent .
In my opinion street photography has a strong connection with your inner voice using protest as a tool of creating a symbol of standing up to power.
Street photography for me has become similarly emblematic as a symbol of peaceful resistance. What streets do you photograph? “Whose Streets? Our Streets!