John Krauss

John Krauss


My photographs reflect my curiosity about life and nature. I try to look for the unusual in the ordinary faces that pass us each day or landscapes we look upon. I especially enjoy using natural light to capture the moment.

My interest in photography dates back to the 60’s when I was photo editor for a high school newspaper and year book. Six years ago, I made the transition to digital work and have attended five different photography workshops in Santa Fe, Maine, Colorado, Cuba, and Paris.

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About My Work:


One of my photographs was featured in the November 27, 2011 Sunday


New York Times Travel Section under Why We Travel. See:



Entitled Three Ladies and Fidel was taken in Havana, Cuba when I took a photography course in March 2011.



Steve Mannheimer. Former Art Critic for the Indinapolis STAR and artist comments on Krauss’ photography.

These are quite good. Krauss has a real sensibility, and these images reveal a dimension of him that many of his academic colleagues — and former governmental friends — might never have guessed.

At their best, these images reveal an inner narrative, an implicit visual pilgrimage into the composition and into the heart of a metaphoric moment that Krauss can see. This sense of escape into the image counterpoints a general compositional symmetry that could easily become merely stale, formulaic and confining. Somehow — and that’s his magic — Krauss avoids this and achieves equipoise rather than frozen stability. Consider this mountainscape from Colorado — the eye travel up through the center of the image, the heart of the valley, then leaps to the distant peak that serves as a fulcrum upon which the entire sky is balanced. The symmetry is almost but not quite perfect, just enough off to keep the eye moving, creating that sense of “dynamic equilibrium” (as Mondrian said in another context) – of interlocked forces arrested mid stride.

Yes, there are thousands of similar images available from countless sources. What makes Krauss’s photographs better? Visually, it’s just a subtle centimeter one way or another, the slightest measure of proportion or placement, the same difference that makes one face somehow just more handsome than another that might otherwise be its twin.

It is this ballet of the almost-symmetrical and the nearly centered that creates the inner life of the images — as if the artists knew the eye reaches for that perfection but the head knows it is always just beyond our grasp, even if only by an inch or a centimeter. In that gap, we hear the heart of Krauss’s work.

For me, as a dyed-in-the-canvas painter (and former art critic for The Indianapolis Star), photography is a challenge and a conundrum on a semi-philosophical level: What degree of manipulation/management of viewing angle and compositional dynamic is acceptable to achieve harmonies or alignments that we immediately accept in the “made-from-scratch” graphic arts such as painting, where we accept the fact a priori that our view has been constructed (rather than managed)?

I think f

Pricing Information:

My standard size print is 16″ x 24″.
Other sizes are available. Please contact me.

Frame photographs are $350
Unframed photographs are $225


BA, Colorado College, JD, Indiana University School of Law – Indianapolis

Santa Fe Photo Workshops

  • Digital Photography
  • Power of Light
  • Portraits in Cuba w/ Jock McDonald

Maine Media Workshops

  • Colors of Maine w/ Allison Shaw
  • Street Photography in Paris w/ Peter Turnley

Rocky Mt. Photography School&


Indianapolis Arts Center

Indianapolis Museum of Art

Rivera Photo Club, Indianapolis

Photo Venture Camera Club


2010 Honeywell Center Photography Show, Wabash, IN,
The Hull won 2nd place in color competition
Open Arms of Santa Fe (black and white) was also selected for participation in the show.

2010 Images of Nature Competition. Eagle Creek Park, Indianapolis.
Colorado Columbine –Third Place
Open Arms of Santa Fe – Third Place
The Falls – Honorable Mention



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