One could argue that there are plenty of talented and creative artists to be found in this world, that every artist has a unique perspective and style. However, it also seems that every great once in a while, along comes an artist who breaks the normal boundaries of art far beyond his modern fellow artists. Ruadh DeLone, an artist from Rheden, Netherlands, fits into this category of a photographer/ photomanipulation artist in his own level of class. His original work is expressive, odd, thoughtful, and stunning. While some of his pieces are definitely simply artistic, others seem to be making a powerful statement about life.
from Angels series
DeLone’s photographs impressed us here at Noupe.com so much, in fact, that we decided he was one that definitely needed an interview. His answers show just how much his work seems to originate from his perspective of life and death.
Noupe/Ruadh DeLone Interview
Noupe: How would you describe your style of photography?
Ruadh: In search of the uncommon things within the common.
Noupe: When did you get started in photography?
Ruadh: I started with photography late 2007. Before that time I used to draw a lot.
Noupe: And what first drew you to this medium?
Ruadh: I just found I could make a drawing within 1/100 of a second using a camera. Never realised it before.
Noupe: From whom or where do you draw your inspiration?
Ruadh: My main inspiration I get from my own daily life. Just looking at people, news, etc. Music is also a great inspirator.
Noupe: Where does each “story” for your photographs come from?
Ruadh: The subjects that are in my mind. I think a lot about life and death, the short time we are here on this planet. I think the main reason for making images is to stop time a little bit. To freeze the moments in life and kill death.
Noupe: What would you describe as your most difficult shoot up to this point? Why was it particularly troublesome?
Ruadh: I have done a personal series called Verganglichkeiten and it was a very personal one. I found it hard to use myself as a model and trying to translate my thought into images. It’s about the hunger to stay alive and never grow old.
Noupe: What has been your favorite project and why?
Ruadh: The Never Grow Up series. It was fun to change my kids into a mix of kids and old people. It was interesting to see what small adjustments could do to faces.
Never Grow Up Series:
Noupe: Do you have a preference between a traditional darkroom versus a digital one? Why?
Ruadh: I have very little experience with the traditional darkroom so I cannot compare the two. Of course the digital offers far more playground in the postprocessing but looking at traditional photographs you can feel the soul they have. The digital ones miss that kind of feeling.
Noupe: What is a favorite software or hardware that you currently use? Why?
Ruadh: My hardware is a Pentax K7 (camera and lenses), I use a curtain as background and don’t have all the fancy lights. Just low profile and I am very pleased with it. It gives my images a slightly strange look. The boys with all the state of the art hardware just look the same in my humble opinion. Smooth, top-notch, delicate. Beautiful but no real signature on it. That’s my opinion. The Pentax is just great to work with. It has a more crispy look compared to other big brands which I have also tried.
Noupe: Do you promote/ market your photography? If so, how?
Ruadh: I post my series on behance.net and fotoblur.com. When you get featured on Behance, it generates a lot of publicity. I think they have a great concept for the audiovisual world.
Noupe: Do you complete your work on spec or is it commissioned by clients?
Ruadh: I do a lot of personal work and seal some of it. I also work for companies. My heart lies in the personal works because it gives you complete freedom in the whole process.
Noupe: What advice would you give to undiscovered creative designers or photographers?
Ruadh: Follow your heart. Try to make your own work and don’t overpromote it. Work hard, be sure you have the drive and try to make your own style. It sounds strange but try not to find too many tutorials, try to do it all by yourself. It’s the only way you will learn everything you’ll need to become authentic.
Selected Sample Work from Ruadh
Egotrips – A Box of Self Portraits
The New Villians and Victims
New York Times, 1950