variety of chemical toners, often in combinations
that were thought to be incompatible. The resulting
images are unique and cannot be duplicated. Jones’
hand-colored effects range from subtle to direct and
are the result of continuing experimentation. Initi-
ally, he felt ambivalence about altering the surfaces
of his prints, feeling that it was an impure practice,
but ultimately he concluded that the making of the
photograph was the first phase of drawing, and
surface treatments and coloring constituted the
second phase.
In addition to experimenting with hand-coloring,
Jones’s approach is varied even within his unaltered
prints. Jones has worked with both multiple and
long-duration exposures to capture people in motion,
or to suggest apparitions. Rather than creating
intimate or psychologically probing studies, Jones
uses as his subjects everyday objects arranged in
compositions that require viewing and re-viewing.
Jones has described his delight in the process in
which a person moves beyond a superficial reading
of a photograph to a closer inspection. His images
reinforce the idea that a world continues beyond
the picture plane, that one is seeing a fragment of a
larger whole. While he often photographs everyday
objects, such as the supports of a water tower, or
laundry hanging on a folding rack, they are often
taken from an unusual vantage point or cropped in
unexpected ways. These varied approaches can
produce a range of effects from humor to mystery.
Sometimes Jones creates formal compositions that
submerge the meaning of the objects shown. When
the objects displayed can be discerned, however,
they appear neither mundane nor banal. Jones’
compositions and juxtapositions provoke questions
whose answers are often not found within the edges
of the photograph.
In addition to his work as a photographer, since
1977 Jones has been instructing students at the Uni-
versity of Arizona on the art of photography. As a
professor, Jones teaches introductory and photo-
techniques courses and also provides instruction in
documentary photography and self-portraiture.
The University of Arizona photography depart-
ment includes several studio photography instruc-
tors. The department promotes a philosophy of
creating photographs that communicate significant
personal substance by building on a broad back-
ground in the visual arts at large and through a
specific knowledge of the cultural, historical and
visual aspects of photography.
RebeccaSenfSeealso:Adams, Ansel; Callahan, Harry; Center for
Creative Photography; Coke, Van Deren; Galleries;
Hand Coloring and Hand Toning; Manipulation;
Mapplethorpe, Robert; Multiple Exposures and
Printing; Siskind, Aaron; Sommer, FrederickBiography
Born Morristown, New Jersey, 29 September 1940.
Received a diploma in painting from the New School
of Fine and Industrial Art, Newark, New Jersey,
1963; Maryland Institute of Art, Baltimore, Mary-
land, BFA in photography and painting, 1965; Uni-
versity of New Mexico, Albuquerque, New Mexico,
MFA in photography and art history, 1971. Adver-
tising Chairman, Gallery 61, Newark, New Jersey,
1962–1963; Wedding Photographer, Udel Studios, Balti-
more, Maryland, 1964; Official School Photographer,
Maryland Art Institute, Baltimore, Maryland, 1964;
Portrait Photographer, Jordan Studios, Baltimore, Mary-
land, 1965–1966; Gallery and Technical Adviser, Quivera
Bookshop and Gallery, Corrales, New Mexico, 1966–
1967; Assistant, University of New Mexico Art Museum,
Albuquerque, New Mexico, 1966–1968; Assistant Cura-
tor, Exhibitions, George Eastman House, Rochester, New
York, 1968–1969; Associate Curator, Exhibition and
Extension Activities, George Eastman House, Rochester,
New York, 1969–1971; Visiting Lecturer, Photography,
University of Rochester, New York, 1970–1971; Visiting
Lecturer, Photography, Cooper Union, New York City,
New York, 1971–1972; Director, Light Gallery, New
York City, New York, 1971–1975; Adjunct Associate
Professor of Art History, Queens College, New York
City, New York, 1974–1975; Director, Center for Creative
Photography, University of Arizona, Tucson, Arizona,
1975–1977; Director, Photography Program, Department
of Art, University of Arizona, Tucson, Arizona, 1977–
1985, 1991–1993, 1994–1995; Assistant Professor of Art,
Department of Art, University of Arizona, Tucson, Ari-
zona, 1977–1981; Associate Professor of Art, Department
of Art, University of Arizona, Tucson, Arizona, 1981–
1993; Professor of Art, Department of Art, University of
Arizona, Tucson, Arizona, 1993–present; Director, Grad-
uate and Undergraduate Programs, Department of Art,
University of Arizona, Tucson, Arizona, 1999–present.
Fellowship, George Eastman House, Rochester, New
York, 1967; National Endowment for the Arts Photogra-
phers Fellowship, 1977. Living in Tucson, Arizona.Individual Exhibitions
1969 University of California at Davis; Davis, California
1970 Rochester Photographic Workshop; Rochester, New
York
Barnes Gallery, Loomis Institute; Windsor, Connecticut
1972 Madison Arts Center; Madison, Wisconsin
1973 University of Massachusetts; Boston, Massachusetts
1974 Soho Photo Gallery; New York City, New York
1976 Spectrum Gallery; Tucson, Arizona
Light Gallery; New York City, New York
1977 Kresge-Art Center, Michigan State University; East
Lansing, Michigan
1978 Lightning; Neal Slavin Studio; New York City, New York
Harris 125 Gallery, University of Southern California;
Los Angeles, California
1980 Light Gallery; New York City, New YorkJONES, HAROLD