- Following 6.8K
- Followers 19K
- Engagement 4.58%
- Avg likes 951
- Avg comments 28
About Jono Melamed
Jono Melamed (@yoneland) is an Artist creator on Instagram, also filed under Art & DIY. The account has 18,978 followers and 1,326 published posts. Recent posts average 951 likes and 28 comments, an engagement rate of 4.58%.
With 19K followers, Jono Melamed is a micro creator by the common 10,000 to 100,000 definition. Jono Melamed follows 6,771 accounts, so the audience is roughly 2.8 times the size of the list followed. Jono Melamed uses an Instagram professional account. Flinque files Jono Melamed under Artist, with Art & DIY as a secondary category.
The Instagram bio for Jono Melamed runs to 23 words across 2 lines. The latest activity Flinque has on record for Jono Melamed dates from April 2026.
1,326 Posts
Of the 10 most recent posts shown for Jono Melamed, 9 are carousels and 1 is a single image. That mix leans toward carousels. Jono Melamed has built a substantial archive of 1,326 posts. Against the audience, that is roughly 14 followers for each post published. All 10 carry captions, averaging 187 words each. The captions are written mainly in English. Words that recur across them include place, through, i’ve, public and it’s.
Tintypes made at my studio in Tucson.
I’ve never known a longing like this one and I’m a better man for it. I wish you all a love like the one that I share with this place.
One could spend a lifetime talking about this place and never say nearly enough about its beauty. At close to 1.9 million acres, Grand Staircase Escalante is the largest National Monument in the lower 48 and is a remarkably remote wilderness. Within its boundaries, one is presented with an utterly preternatural playground— a place so wild and unyielding, that it was one of the last parts the country to be mapped.
Established in ‘96 by President Clinton, the monument was reduced in size by nearly half in 2017 by President Trump, a move that was reversed in 2021 during the Biden administration. This time around, the congressional criminals that are in favor of liquidating our public lands are taking a different approach and introducing legislation that would overturn the monument’s management plan. If they succeed, it would not only leave the monument exposed to mining, drilling, and harmful OHV use, but also set a dangerous precedent for other public lands.
We simply cannot let this happen.
This landscape feels like a wound, like a collection of lacerations and bruises from a lucid dream that someone else had. Unfinished and ever-changing, every moment that passes works to gouge this beauty from the Earth as the choreography of time flaunts its indifference.
It’s in places like this that we’re taught how to breathe — how to drown ourselves in silence and revel in our insignificance. It’s in places like this that we are treated to truly untrammeled wilderness, an integral part of our natural heritage as Americans and a crucial resource to any and all human beings. It’s in places like this that we’re reminded how an unfinished landscape, much like ourselves, is an exercise in proving just how beautiful a wound can be.
To learn more about what you can do to help support the continued stewardship of Grand Staircase Escalante National Monument, follow and.
Tintypes of various sizes made in Southern Utah.
5/1- 4-9pm and 5/2- most of the day.
…and just like that, my studio season in Tucson is coming to a close. It’s been a fun season, full of many new faces and a bunch of fun events, and as I wrap things up I’m feelin’ awfully grateful for the folks came by the studio or my booth to take a seat and make a moment. Thank YOU. Truly.
Anyhoo, I’ve got one more event in Arizona before I pack up and head north and that event is in Sedona at my buddy Rovang‘s place.
Friday night (5/1) we will be having an opening for first Friday where I’ll be showing some new work as well as making Tintype portraits on site. will be showing some of his oil paintings and will be also be showing some of his ceramic work. The work will be on display through the weekend and I will be making tintypes Saturday (5/2) for most of the day as well.
Come on by and hang out. Maybe make a tintype?
It’ll be a good time with some good folks.
If I don’t see ya, then I’ll see ya next season!
Booking info in my bio.
I’ve held onto this work pretty tightly, more tightly than I hold onto most things. I think that’s what we’re supposed to do when we accidentally create something that we love. I’m sure my mother would agree with that. For the last year or so, I’ve been using the wet plate collodion process to document the public lands that are being threatened by the current iteration of our political apparatus.
This process is what our first photographers brought with them into the frontier and, in doing so, they created images that completely shifted the scale of the American experience. To me, this work has served as a tether through time to previous moments in history where our politicians were still in the business of building monuments instead of tearing them down. As we stand in the face of the the largest threat that our public lands have ever known, using this historic process has felt like not only a necessary progression of my practice as an artist but also an important opportunity for me to stand in gentle dissent as a dirtbag.
I can’t be counted on for much but you can count on me to keep throwing my tiny purple truck into the wilderness in the simple service of silver. I am not one to stand on the street screaming about much of anything, but I’ll take to the wild and bellow like a bull in the only way I know how.
Tintypes made in Bears Ears, Grand Staircase Escalante, and Ironwood National Monuments as well as Big Bend National Park.
It is a big and formidable place, humbling in its scale and consistently exhibiting the kind of wild indifference that can only be found in the desert. As you move through the park and the wildlands on its periphery, it is made abundantly clear what kind of world we traded to accommodate our misguided human desires. It’s difficult, dare I say impossible, to walk through this landscape and not find yourself resenting the arbitrary boundaries that have been built at its edges.
In all of its milky teal magnificence, the Rio Grande snakes its way between our nation and our southern neighbors in Mexico. It is not only the lifeblood of both the human and animal communities along its banks, but also the pulse of the entire region. Be it a river, spring, or dingy dusty pot hole, there is nothing in the desert that is more powerful than water and that fact is baked into this landscape around every big damn bend of The Rio.
On my first morning in the area, I watched a beaver gently swim downriver while the sun crept over The Chisos Mountains. She was quiet and playful, delicately spinning in circles as she bounced from country to country, flaunting her limited understanding of our terrestrial politics. As she floated out of sight, I couldn’t help but wonder what we think we’re protecting when we carve a place like this into pieces.
I don’t care what side of the aisle you’re on, or who you’ve been voting for as of late, if you can’t agree that this place needs to stay intact, then you aren’t paying attention. If the only way to protect our way of life is to the destroy the sanctity of the wild spaces that make this country worth living in, then maybe our way of life isn’t worth protecting.
No goddamn wall belongs in this place.
Not now… Not ever.
8x10 tintype made outside of Tucson in 2023.
3 featured artists:
Doors open 4pm
TinType studio portraits will be taken live on site during the event. Book your time immediately as slots fill quickly.
Portraits with Jono scheduled first come first serve via a link in his bio
About the artists:
Jono Melamed is a photographer living and working in the American Southwest. Through the use of both modern techniques and the historic wet plate collodion process, he creates portraits and landscapes that feel untethered from time while exploring themes of cultural memory, legacy, and our relationship to the dirt beneath our feet. He is currently working to use the historical wet plate process to document the public lands that are at risk due to our ever-shifting political climate.
Jesse Greenwood is a Tucson, AZ-based painter whose work specifically seeks to examine how we navigate orienting ourselves to our discernment of reality in a cultural, emotional, and spiritual context. Greenwood’s work is an interest in embodying the intersection between the human condition and the anecdote of color arranged on a flat surface— an intersection of suggested reality, of perception beyond the periphery, and a resonance of a life beyond purely physical depiction. Greenwood’s paintings are invitations to consider that perhaps a memory’s reflection can be as interesting as a supposed reality, to consider what it might look like to view one’s experience through a less-literal lens.
Alex Rovang is a ceramics artist residing in Sedona, Arizona. The May 1st show will be an opportunity for him to unveil an evolution of his ongoing southwestern cactuses project to now include wood fired pieces from two separate wood firings taking place in Arizona at and as well as new iterations of his matte black sculptural work, some of which featuring glass artwork from Jordan Ford.
So, fuck it… no grandiose sentiment or lofty verbiage.
Here are 14 moments where I knew exactly why I was grateful to be alive.
Jono Melamed's engagement
Jono Melamed's engagement rate on Instagram is 4.58%, between 3% and 6%, or 3 to 6 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 22 followers. An average post collects 951 likes and 28 comments, close to 34 likes for each comment.
Engagement rate
4.58%
- Avg likes
- 951
- Avg comments
- 28
- Interactions : followers
- 1 : 22
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Frequently asked questions
These answers about Jono Melamed are generated from the Instagram profile data Flinque holds for the account.
Who is Jono Melamed?
Jono Melamed (@yoneland) is an Artist creator on Instagram, also filed under Art & DIY. Jono Melamed uses an Instagram professional account. The Instagram bio for Jono Melamed runs to 23 words across 2 lines.
How many followers does Jono Melamed have?
Jono Melamed has 18,978 followers on Instagram (19K). Jono Melamed follows 6,771 accounts, so the audience is roughly 2.8 times the size of the list followed. Jono Melamed has built a substantial archive of 1,326 posts.
What is Jono Melamed's engagement rate?
Jono Melamed's engagement rate on Instagram is 4.58%, between 3% and 6%, or 3 to 6 likes and comments per 100 followers. On a typical post that comes to about 1 like or comment for every 22 followers. An average post collects 951 likes and 28 comments, close to 34 likes for each comment.
What does Jono Melamed post about on Instagram?
Flinque files Jono Melamed under Artist, with Art & DIY as a secondary category. Of the 10 most recent posts shown for Jono Melamed, 9 are carousels and 1 is a single image. The 10 recent Instagram captions Flinque holds for Jono Melamed repeatedly use the words place, through, i’ve, public and it’s. Jono Melamed writes those captions mainly in English.
How do I contact Jono Melamed for a collaboration?
Jono Melamed's contact details are not published on Flinque's public profile. The Instagram bio links to 3 external sites, and a free Flinque account opens those links. Brands with a free Flinque account can shortlist Jono Melamed and use Flinque's outreach tools wherever a contact route is on file.
Links
Jono Melamed's own Instagram profile is the one outbound link Flinque publishes for the account, and the 3 bio links open after signing up.
Public profile data sourced from Instagram. Flinque is not affiliated with Jono Melamed.