Bottom Paint #3

Bottom Paint #3 16″x20″

Bottom Paint #2

Bottom Paint #2 16″x20″

Family Tree 20″ x 16″

Ferry Pilings

Ferry Pilings 16″ x 20″

Fogged In # 2

Fogged In # 2 16″ x 20″

Hashamomuck Pond East View #2

Hashamomuck Pond East View #2 16″ x 20″

Rock and Ghosting Surf

Rock and Ghosting Surf 16″ x 20″

Sea Foam #1

Sea Foam #1 16″ x 20″

Sea Foam #3

Sea Foam #3 16″ x 20″

Sea Foam #4

Sea Foam #4 16″ x 20″

Waterfront Reflections #1

Waterfront Reflections #1 16″ x 20″

winter surf #5

Winter Surf #5

Daniel Jones, Beach Fences #1

Beach Fences #1



Daniel has lived in New York and California. He earned a B.A. at California State University Northridge, where he studied illustration and painting. He now resides on the North Fork of Eastern Long Island with his wife and two daughters.

While pursuing a career in illustration, Daniel was employed at a Los Angeles photo lab. It was here that his interest in photography gained momentum. Visits to gallery and museum exhibits of Edward Weston, Minor White, Paul Strand, and others strongly influenced the direction he would take.

Beginning in 1986 he started to photograph the California landscape. Daniel started out as many photographers do, working in color and shooting with a 35mm camera. It was not long before he realized that 35mm did not match his vision. He soon moved on to medium and large format. It was around this time that he began to work primarily in black and white. Daniel feels that black and white renders the subject surreal and emphasizes form and texture. At ease with his equipment and film choices, he photographed extensively and put in many hours of darkroom work.

Since 1990, when Daniel sold his first photograph, he has devoted all of his efforts to fine art photography. He is best known for his finely crafted prints of Eastern Long Island, which seem to possess a luminous three-dimensional quality. He has exhibited in numerous solo and group shows, receiving many honors. Daniel s work is found in many public and private collections.

Biographical Notes:

B.A. California State University Northridge

Solo and Two Person Shows
Tulla Booth Gallery, Sag Harbor, NY
Sag Harbor Picture Gallery, Sag Harbor, NY
Suffolk Community College, Riverhead, NY
Lizann Tops Gallery, East Hampton, NY
East End Arts Council, Riverhead, NY
Smithtown Township Arts Council, St. James, NY
Dakota Ridge Gallery, Jim Thorpe, PA
The Imagine Gallery, Port Jefferson, NY
South Street Gallery, Greenport, NY

Group Exhibitions
Master s Exhibit, Southampton College, NY
Studio 703, Port Jefferson, NY
Giraffics Gallery, East Hampton, NY
EEPG, Ashawagh Hall, East Hampton, NY
Water Mill Museum, Water Mill, NY
East End Arts Council, Riverhead, NY
Sag Harbor Picture Gallery, Sag Harbor, NY
Parrish Art Museum, Southampton, NY
Freeport Arts Council, Freeport, NY
Rockville Centre Arts Council, Rockville Centre, NY
Lizann Tops Gallery, East Hampton, NY
Ann Harper Art Annex, Amagansett, NY
Hutchins Gallery, C.W. Post, Brookville, NY
Graphic Eye Gallery, Port Washington, NY

Selected Honors
Sono Arts Festival, 1st place
Westport Arts Festival, Best in Show
Mystic Arts Festival, 1st Place
Washington Square Art Exhibit, 1st place
Huntington Township Art League, 1st place
Audubon Society, Best New Artist


“Daniel Jones black-and-white landscapes are in the photographic tradition of Edward Weston and Ansel Adams. His classical topographical studies combine a strong sense of place with nuances of mood and atmosphere that win out over objectivity.”
Helen Harrison of the New York Times: 8/21/94

“Mr. Jones consistently comes across as a photographer trying to make each work a nuanced essay. Often the goal is to emphasize nature s overlooked but rich contrasts, like those between textured and smooth, hard and soft, or, in  Low Tide, LI , between still forms and the motion of unstable mud along the tide lines. A brilliant shine on a water pool contrasts with hazy mountains in a Montana scene, and the black-and-white scheme is compelling in an Alaska view that makes the snow on distant Mount McKinley seem part of the foreground. Mr. Jones is also consistent in the creation of solidly crafted compositions.”
Phyllis Braff of the New York Times: 1/24/99

“Mr. Jones is a formalist, composing his images as rigorously as Piet Mondrian or Josef Albers. The comparison is apt, for despite what seems to be Mondrian s strict linear geometry and Albers symmetrically balanced colors, those painters relied on sensation and intuition to make their pictures work, and the same is true of Mr. Jones. His highly refined sensibility, the impulses that make him strip away everything nonessential but insists on recording every nuance of what remains, is born of a similar desire to explore the basics of perception by moving beyond what is readily visible. The stark silhouette of Mr. Jones’s  Dock in Fog  could hardly be seen so dramatically to enhance tones and textures, to bring out the scene s complementary mixture of clarshel baskets and a shovel; through the doorway we see a yard bathed in overexposed sunlight. It has the bleached look we associate with the dreams of the afterlife.”
Robert Long of The East Hampton Star: 1/15/04