Jean Hincker was born in Paris, on July 9th, 1958. After cinematographic studies, it returns to the photography which it practices since 1975. Impassioned by pulling, it narrowly interferes the laboratory and the catch sight. While privileging a direction in the field of creation - exposures, publications, collections… it carries out orders for news agencies, companies and various institutions. Its work on nature as of its installation in the south-west of France takes the step in its concerns of photographer. It joined a field of expression thus named Feuillagisme*.
It obtains in 1992 the photographic price Reuter and the price of the best publication of the year allotted to Sunday Times Magazine for the photography of its report: “danger in the forest”, written by J-C Barn.
At the beginning of 2008, it publishes in the Atlantica editions a book of photographs on the forest landaise: “Forest of Gascogne, the spirit of the forest”.
At the beginning of 2009, its second work entitled “the hidden side of the plant, draws to me a sheet” prefaced by Yann Arthus-Bertrand leaves to the Atlantica editions.
It returns regularly to the portrait and contemporary documentary photography, disciplines at the origin of its attachment for photography. It starts a series entitled “Village people”, portraits of inhabitants of villages of the department of the Moors. To date three villages “were visited” by the photographer: Goos, Azure and Hastingues.
At the beginning of 2010, it signs a book on the Aquitanian coast: “Littoral Aquitanian, Except season, banks and drifts of Hendaye to the Low register point” to the Atlantica editions. One year later it publishes in the editions the edge of water a work on the forest landaise destroyed by the Klaus storm entitled “the Moors, a devastated forest”.
It intervenes in the school framework and the prison medium systematically.
Since 1986, Jean Hincker lives and works in the Moors (South-western of France).

The feuillagism is distinguished from the landscape kind by its more intimate dimension, more introspective. It is a field of expression and perception where the photographer can sometimes melt his glance in an obsessional or hallucinated way. This kind, like all the intimists kinds, lends itself much to the interventions of laboratory: the foliography (Hincker, Tanguy), the chromate finishing (Martin), the invaluable turn (Dumas-Grillet).