JOHN DIEPHOUSE
**RUBY ARTIST OF THE YEAR 2024**
John Diephouse was named an ARTIST OF THE MONTH an astounding 5 times in 2024 and
was therefore automatically entered into the 4th Annual ARTISTS OF THE YEAR EVENT.
Here he won the RUBY ARTIST OF THE YEAR 2024 title which neatly stacks on top of
his previous win of CRYSTAL ARTIST OF THE YEAR 2023.
He is one of only two artists who have claimed two of these prestigious and coveted titles.
Gallery Ring once again invites you to come and sit down with John Diephouse
— this time to explore and make acquaintance with his alluring and enigmatic images of people,
which have collectively formed into a significant division of his immense and diverse body of work.
Listen in as he discusses the challenges and benefits of photographing people compared to still objects and how after an inauspicious start he found his own process to procure inspiration, spontaneity and impressive results
— here in the following feature and interview which was created in recognition
and celebration of his RUBY ARTIST OF THE YEAR 2024 title.
“What I seek to share are images with which I have a strong and instinctive personal connection. My goal is to create images that evoke a story of some kind that often moves far beyond the relatively literal boundaries of traditional photography. Images often suggest a sense of time and place, or reflect a rich and ethereal interplay of color, shape or form.”
John Diephouse is a primarily self-taught photographer and digital collage artist, based in Michigan. He has exhibited widely over the past twenty years or so and has earned recognition in local, regional and national exhibitions. His work is also included in several corporate and private collections.
* Remembering Sarah *
Photography
GR - Welcome back and congratulations! This is your second time winning an Artist Of The Year title and interview. Can you describe your artistic outlook and proclivity compared to a year ago? How would you say you and your work have grown or changed?
JD - Thank you, I’m honored to have the opportunity. I continue in my efforts to create interesting images that suggest a story or dialog of some sort (actual or imaginary) and encourage viewers to think differently or question their underlying assumptions about the image they are viewing. My body of work is really an ongoing evolution rather than a deliberate path. I find that changes are more the result of serendipity and opportunity than any mindful plan.
GR - Images of people that deliver powerful human expressions and emotions constitute a sizeable portion of your work which ranges across many subjects and styles. At what point in your career did this topic gain momentum? Did you see it forming on its own or was it a deliberate goal? What is it about people that you are trying to capture, express and share?
JD - Although I continue to work in all my familiar areas of subject matter, over the past year or so I found myself concentrating on the human form — informal portraits as experienced in the moment. For many years I avoided photographing people due to being a bit self-conscious and intimidated by the sense of perceived intimacy of posing subjects for formal portrait work. About 15 years ago I started taking photos of musicians performing. With the attention focused on the performers, I felt freed up to be in the moment and to just act without all the thought process of framing, exposure, and so forth. I discovered that shooting bursts of several frames per second yielded many more memorable images that would have been missed if I concentrated on the perfect composition. People are in constant motion and the memorable image often occurs in a fraction of a second. Over the past couple of years, I have somewhat “rediscovered” the sense of wonder of this process vs. more static subject matter and began actively exploring other settings to practice this, including street fairs, historical reenactments and public demonstrations. In doing so, I am trying to capture moments that reveal human experience and personality, whether real or implied, that freeze a look, a gesture or a micro-expression that communicates emotion or suggests an experience. The most successful tend to have a degree of ambiguity while also having some universal sense of shared experience.
* The Next Move *
Photography
GR - How does the art and task of photographing people compare to your other subjects? Does it present unique challenges? People — especially children — don’t necessarily excel at patience, silence and stillness as easily as a flower or staircase does. Would you say you have less control over the situation and the productivity?
JD - I think it presents unique challenges or opportunities. Capturing images of people (or animals as well) that are dynamic, often in almost constant motion, doesn’t allow for the same thoughtful, slow-paced and deliberate approach. It really requires letting go of any sense of controlling the action and being willing to just flow with the activity. While I may take dozens of shots of more static subjects, photographing people (for me, at least) usually involves taking hundreds of shots, many or most of which will get discarded. There is definitely a sense of less control but spontaneity captures something far more memorable than if I had tried to compose the action.
GR - One imagines that working with people would include a level of rapport, correspondence and cooperation. Does this active relationship bring unexpected inspiration and spontaneity to the plan and results? Do you find the finished images of people feel more alive to you and produce an increased connection and attachment compared to your other work?
JD - Very few of my people-related images are posed and are often taken with the subject being minimally aware of my presence, which is part of capturing spontaneity. Photographing people (especially children), often at festivals or historical reenactments, requires observing constantly, anticipating potential movements or expressions while not making the subject self-conscious. When I am successful with this, the result feels very authentic and unfiltered. I connect to the images in a different but no less intense way than other subjects. A great image sparks a connection or reaction that is very satisfying.
* Memory Of The Asylum *
Digital collage
* Loss (Forever) *
Digital collage
GR - LOSS (FOREVER) and MEMORY OF THE ASYLUM exhibit common traits — a layered black and white setting with an unrelated and dominant face emerging and hovering in the centre creating a mysterious and unsettling atmosphere. Can you talk about the inspiration, intention and process for these breathtaking and powerful images? Were the finished products planned at the outset?
JD - Neither of the images was planned but rather, each was the result of the experimentation process I use in creating collages. It starts with images that I like but often aren’t strong enough to stand on their own. The faces in these collages reflect a deep, thoughtful or sorrowful visage. The cemetery and the closed mental hospital are equally evocative subjects. When joined together, the impact of the images seems to be multiplicative rather than additive, as the interplay between the face and background image creates a compelling narrative that transcends the basic images used in each piece.
* Uncertain Intentions *
Photography
GR - UNCERTAIN INTENTIONS cleverly suggests a palpable mood and narrative with minimal colour and other superfluous, visual information. The boy’s knee plays a crucial role as this pose accentuates and supports the disheartened and powerless expression on his face and makes a cogent argument that an unwelcome disruption to the plan just ensued. What is the story — real or implied — behind this powerful photograph and can you talk about how it came to be?
JD - As mentioned earlier, I try to catch subjects somewhat unaware. This was taken at a Civil War reenactment and the young actor was nibbling on food and appeared to be daydreaming. This image is the last in a series where the subject became aware of my presence and turned a bit shy and sort of withdrew into a somewhat self-protective posture. The title is my projection of the subject’s uncertainty about what my aim was in taking his picture. Interestingly, after this shot, I waved and received a wide grin and return wave. This is not an uncommon occurrence!
* Wistful *
Photography
GR - In WISTFUL, the playful, messy hair and frilly, cheery dress belie the cross and serious expression on the girl’s face. The viewer wishes to see what interrupted the moment and caused this unlikely and sour reaction during playtime. Was it your intention to leave the viewer wondering about the circumstances? What would you like the viewer to feel, contemplate or understand here?
JD - This is the best-case result of shooting from the hip, relying on serendipity, without over-thinking composition, framing or content. This young girl had been romping with her friends — perhaps a bit too energetically — and had been ordered to sit down by her mother. Her friends continued to romp and this captured the split second of her observing her friends carrying on without her. I think the viewer can imagine various stories that might result in such a wistful gaze. It lasted only a second and her attention shifted elsewhere and the look and the moment, was gone.
* Wishing For A Breeze *
Photography
GR - WISHING FOR A BREEZE is another work which follows a possible theme along with LOSS, UNCERTAIN INTENTIONS and WISTFUL. Children are usually portrayed playing and smiling and enjoying their youth, however you tend to show them sad, pensive, upset or demonstrating a wisdom beyond their years. Is this a deliberate choice of yours and does it reflect something personal?
JD - I find that young people experience the same range of emotions as adults but often lack the adult filters used to mask their feelings. What my images attempt to capture is that unfiltered, usually very fleeting, look, expression or posture that suggests a thread of a story that viewers will naturally relate to, using their own experiences and perceptions to form a narrative. I think the themes are universal and relatable, even if not an accurate reflection of the actual situation depicted. Obviously, the composition and titling of my photos reflects my own interpretation or inner dialogues, which sometimes come as a surprise to me!
* Lay Down Your Weary Head *
Photography
GR - It seems most of your photographs are taken outdoors. Do you ever set up traditional photo shoots in a studio complete with lights, softboxes, seamless backdrops and models? What kind of camera and equipment do you use?
JD - When I began trying to photograph people, I went through a (very abbreviated!) phase of attempting to do formal, studio portraits. I quickly discovered that it felt stilted and uncomfortable, as poses often feel forced, artificial and unnatural. For people-oriented images I generally shoot with a Sony A7R Mark III or Mark IV. The high megapixel sensors allow me to shoot from a distance and crop without losing clarity or detail. As the quality of smartphone cameras has improved, I use my phone for more in-the-moment, street photography. These images often become the basis for my collages.
GR - Who are you when you are not taking photographs? What are your interests and favourite pastimes? Ice cream in the park? Biking? Sudoku? Yoga?
JD - I enjoy a variety of relatively solitary activities. I enjoy my morning crossword puzzle and usually have a jigsaw puzzle in process. I love to walk and find wandering in the woods to be a calming and contemplative — and healthy — activity. My spouse and I love to wander the back country roads and visit small towns around the area. I love to read and watch movies as well.
* Enigma *
Digital collage
GR - It was a total pleasure having the chance to talk with you again and to get updated on the latest in your prolific career. Thank you for visiting and sharing the stories behind the stunning and gripping photographs — and congratulations on winning RUBY ARTIST OF THE YEAR 2024!
JD - I am very honoured to receive the Ruby Artist of the Year award. Thank you for the range of stimulating opportunities you provide to share my creative efforts! I thoroughly enjoy the scope of topics your competitions provide and look forward to continuing to share my images with you in the future!
* Sisters (Jealousy) *
Photography