posable cameras and other easy-to-use equipment,
such as the auto-focusing camera developed in
Japan, further cemented the longstanding fascina-
tion with the medium. Photography entered the
digital age with the manufacture of products that
further expanded amateur use, such as camera
phones, automatic vending machines dispensing
photo stickers that created the Print Club (Purinto
Kurabu) craze, and other devices, with the Internet
allowing almost instantaneous circulation of images.
ThomasCyrilSeealso:Araki, Nobuyoshi; Domon, Ken; History of
Photography: Interwar Years; Hosoe, Eikoh; Ishi-
moto, Yasuhiro; Kawada, Kikuji; Morimura, Yasu-
masa; Pictorialism; Shibata, Toshio; Sugimoto,
Hiroshi; ‘‘The Decisive Moment’’; Toyko Metropo-
litan Museum of PhotographyReferences
PhotoGuide Japanwebsite: http://photojpn.org.
The History of Japanese Photography. Houston and New
York: Museum of Fine Arts, and the Japan Foundation,
2003.
The Founding and Development of Modern Photography in
Japan, Tokyo: Tokyo Metropolitan Culture Foundation
and Tokyo Metropolitan Museum of Photography, 1995.HAROLD JONES
American
Harold Jones’s career in photography has spanned
more than 40 years. He has been involved with the
industry in its many facets—as a museum curator,
gallery director, director of a photographic archive,
a teacher of studio photography at the college
level, and as a professional photographer. As an
undergraduate student at the Maryland Institute of
Art in Baltimore in the early 1960s, Jones studied
both painting and photography. When applying to
graduate programs, he produced a portfolio of
black-and-white photographic self-portraits that
were painted over half their surface. At the time,
he did not know of anyone else working in this
manner, and did not know how to refer to this
collection of hybrid images. Fortunately for him,
his prospective graduate advisor, Van Deren Coke,
liked the work and took Jones on as a student at
the University of New Mexico in Albuquerque.
Following his graduate work, Jones spent several
years as an assistant curator at the George Eastman
House in Rochester, New York, but left in 1971 to
become the first director of the Light Gallery in
Manhattan. Tennyson Schad, owner of the Light
Gallery, hired Jones to operate what was then only
the second major gallery devoted to the sale of art
photography in New York City. The Witkin Gal-
lery had opened in 1969 and sold nineteenth-and
twentieth-century photographs, but the Light Gal-
lery focused on the work of contemporary pho-
tographers, including Harry Callahan, Aaron
Siskind, Frederick Sommer, and, later, Robert
Mapplethorpe. The gallery’s success was attributed
to Tennyson Schad’s willingness to show young,
unknown photographers and to trust his staff and
directors in their artistic decisions. While Jones left
in 1975 to become the first director at the Center for
Creative Photography, Light Gallery continued to
impact the contemporary photography scene until
it closed in 1987.
The Center for Creative Photography at the Uni-
versity of Arizona in Tucson was established in May
of 1975 to house the purchased archives of Ansel
Adams, Wynn Bullock, Harry Callahan, Aaron Sis-
kind, and Frederick Sommer. As the center’s first
Director, Jones oversaw the earliest programs at the
center, which included publication of a journal, in-
house and touring exhibitions, and continued collec-
tions acquisition. In 1977, Jones left the center, but
he stayed in Tucson, to start a program of photo-
graphy instruction at the University of Arizona. The
photography of Harold Jones is difficult to categor-
ize, and there are no generalizations that satisfacto-
rily describe his varied body of work. His original
dual training in painting and photography led to a
practice that Jones referred to as ‘‘photodrawings’’—
gelatin silver prints that are worked with a variety
of hand-colored surfaces. Over the years, Jones
used ink, food coloring, and oil paints as well as aJONES, HAROLD