Ryan Kraus 

Andrea Frank 

Digital Photo

September 2025

Animate and Inanimate 

This project pushed me in ways that I did not expect. While the photos include both animate and inanimate subject matter, I believe that my project itself,  is primarily inanimate. Having a project focused on the inanimate does not feel good, but I recognize that the inanimate is an important part of life. There are moments in life that don’t feel great, and I think this project reflects that. 

Each object carries a different meaning for me, but in this context, parts of those meanings fade away. In reality, these objects have an animate quality, but as I photograph, edit, print, and present them in a new form, they become inanimate. Questioning the intimacy of an object.

This feeling of this transition, Animate to Inanimate,  is similar to other, less desired parts of life. 

Ryan Kraus

Ridgewood, Queens, New York

February 2025

I find pleasure in a change of location. Spending time in Ridgewood, Queens provides a change of pace and scenery—but more importantly, influence. I often feel like I am only able to create bodies of work that impress me when I am not in my home. I question whether this is based in reality, or if it is just a thought in my own mind.

I like my time in Ridgewood.

There’s something about the light, the quiet bustle of the neighborhood, the way people move through the streets—it all feels unfamiliar enough to stir something in me. I walk more here. I notice more. I shoot more. My camera feels like less of a tool and more of a companion, helping me translate this temporary displacement into something tangible.

These photographs reflect those small shifts, moments where observation becomes intention.

Images taken on 35mm film between 2022 and 2025.

Ryan Kraus

Prof.  Uliyanova

Analog photo- Final Project

May 2025 

When I look at the work I created for the final project, I see parts of my life. From refrigerator magnets to dirty dishes and aspects of my home life, my personality is present. I do not love taking photos of myself, but when I look at this body of work, I see myself. While the work might not include a physical aspect of myself, I am in every photo — from the simple fact that I took the photo, making me a part of the imagery, to the small details that one might notice. I am present.

This project became less about what was in front of the lens and more about what was behind it. Each object is a reflection of how I see and experience the spaces I inhabit. Through this work, I realized that even without consciously inserting myself into the frame, my perspective, my choices, and my emotions inevitably shaped the final image.

Glimpses into the unnoticed or overlooked parts of my daily life that together create a larger picture of who I am. The mundane becomes meaningful.

Hand printed in New Paltz, New York

-r

Ryan Kraus

Revisiting My Childhood Home

On my 21st birthday, I visited the home where I spent 13 years- growing, developing, and becoming myself.

Waking up in my childhood room sparked memories of both joy and sadness. The sound of geese honking on the river, the familiar shadows on the ceiling, and the smell of sulfur water helped me appreciate the little things I no longer have.

The photos below not only document a place where I once resided but also capture the memories I was unable to document. They serve as a bridge between past and present, a reminder of the intangible emotions tied to spaces that shaped me.

I am grateful for the opportunity to document a place where I once rested and called home. I am thankful for my cameras ability to turn my childhood memories into a tangible work. These images are not just records of a physical place, but of the emotions, stories, and time that continue to shape me.

All images were taken on 35mm film, New Paltz, New York.

Ryan Kraus

In the Manner Of: Graciela Iturbide

Analog Photography

Prof. Uliyanova

When I look at Graciela Iturbide’s Travel Notebook and Frida’s Bathroom, I see beauty in simplicity along with a complex range of emotions. Iturbide documents what she sees and helps me feel the way she feels. I am in awe of her ability to capture rock formations, nature, trees, and even a bathroom, infusing each image with a story and emotion.

In my opinion, Iturbide captures subjects that may seem simple, but through deep contrast, framing, and environmental context, her work gains deeper meaning and significance.

I aimed to document subjects I encounter in my day-to-day life, applying similar framing and printing techniques.

Thank you Graciela 

-r

Ryan Kraus

Prof. Uliyanova

Intergenerational Influence

February 19th 2025

Intergenerational Influence 

The works above demonstrate the transition of artists’ minds from one generation to another. The work above contains two photos Russell T. Coughlin, my great-grandfather, captured in 1984 and 1985. These works are compared against my photographs taken in 2025.

I never met my great-grandfather, but I see a connection between our imagery, process, and eye. Photos not only document time but also reveal how unseen forces influence one’s work. When I engage with Coughlin’s work, I connect to a part of history I was unable to experience firsthand.

I am able to connect to his work on a deeper level, as I am using the same camera and lens he once used. From my notes, he likely used a 6x6 Hasselblad for the work above, whereas I use his Nikon F3.

Both works contain self-portraiture and documentation of the surrounding landscape.

Ryan Kraus

Work and Rest

December 9th, 2024

Prof. Viktorsha Uliyanova

Work and Rest is a project that is very close to me. I sometimes struggle with maintaining a work-life balance, and through my documentation of Work and Rest in New York City, I am now finding different ways to rest. I think the idea of rest can be viewed in many different ways, but ultimately, it brings someone joy. I would not say that all work does not bring someone joy, but I think it is very difficult to balance both aspects. I often think that while I am working, it can be seen as rest as I truly enjoy my job, but sometimes I forget to rest.

Through this project, I decided I would like to replicate it in other cultures. I feel like America is a very work-driven country, which can be detrimental to everyone if rest is not taught the same. I get the feeling that speech like “twenty-hour workdays,” “the grind never stops,” and “I do not need to sleep ten hours a day” has a direct impact on how someone views their job and rest. 

Without messages of rest and the reassurance that rest is normal, we are left to burn out. I do believe that working hard is the key to success, but it is key to the success that you are after, not others.

This project encourages me to slow down when I need to, but also be aware of the work that I enjoy.

—R

(845)-416-5860

Ryansphotoworks.com

Ryansphotoworks@gmail.com

NewPaltzPhotoWorks@gmail.com

Ryan Kraus

Interior Exterior Project Statement 

October 28th, 2024 

Prof. Viktorsha Uliyanova

Starting this project, I had my mind set on family portraits. I captured satisfying black-and-white portraits when I began, but then I slowed down with ideas. When printing the November issue of New Paltz Photo Works, I developed a strong body of work that I am titling “Man and Machine.”

I believe the “Man and Machine” series highlights the symbiotic relationship between humans and machines in the creation of goods, art, and necessities. Both subjects are reliant on each other. The photos feature pressmen and print machines.

Without the pressmen, the machines would not function. Even if the machine were automated, there would still be a need for human oversight—to correct, adjust, and maintain it. On the other hand, without the machine, the pressman has no job. All pressmen are trained to operate the machines, but the machines must exist for them to learn from. This relationship means that neither subject can survive without the other, creating a mutual dependency.

If this “Man and Machine” relationship is not maintained, consider the broader implications. For instance, if either subject were absent, 26 artists would not see their work printed, 1,500 people would not receive the newspaper, and staff members would lose their jobs. When creating or viewing works of art, it’s essential to remember the impact it has on you and those around you. 

Image one shows a pressman checking the papers fresh off the press. He ensures that the contrast, spacing, and line weight are correct. Notice how he comfortably stands under the press while the machines move dangerously fast.

Image two shows the spool of paper being used to create the newspaper. Two spools are needed for each issue, and due to their weight, forklifts are required to lift them.

Image three captures the moment ink is being applied to paper. This printing press, built in the mid-1900s, still produces countless bodies of work daily.

Image four depicts the lead pressman checking the issues “hot off the press.” He ensures that everything meets “print” quality. Without the lead pressman, no work would be produced.

The theme of interior and exterior applies to “Man and Machine” because the subjects man and machine are one or connected deeply and reflect one another. 

Save print media by supporting print media.

—R

(845)-416-5860

Ryansphotoworks.com

Ryansphotoworks@gmail.com

NewPaltzPhotoWorks@gmail.com

Ryan Kraus

Portals and Screens Project Statement 

September 30th 2024  

Prof. Viktorsha Uliyanova

The Portals and Screens project was challenging for me because of the time I needed to commit. As a photographer, I tend to create works in public and during trips. For example, during my most recent trip to Ireland, I shot 15 rolls of film through cities and the countryside. This project proved difficult as I had to force myself to get out and shoot. However, there were many positives to this aspect, including new technical skills, new ways to view the world, and a fresh approach to planning projects.

For Portals and Screens, I decided to dedicate two main project shoot days along with my regular shooting. The first shoot involved light painting, and the second utilized an external Profoto flash. The light painting photos didn’t translate well to paper, but digitally, they were on par. These two shoots helped me get into the groove of shooting, and I was able to create a narrative for myself. I feel that street photography has a narrative based on others and what the elements provide.

Throughout this project, I stepped out of my comfort zone and shot most of my photos alone. I believe loneliness is reflected in the final four photos. In each image, there is a trace of a person, but none are visible. The photo of the windows shows a coffee pot and a newspaper, implying someone was there, but they are absent. The photo of the chair is full of rips, tears, dents, and stains. Someone must have sat there at some point, but they aren’t photographed. Is their imprint still visible? Can you imagine the person who sat there? The photo of the mirror also fits this idea. Mirrors were created to allow people to see themselves, but this one doesn’t. As a viewer, I ask: What would this mirror look like with you in it? What would it look like with anyone in it? Would the effect of the photo change if a face were present? I wanted to explore the portals of humanity that allow us as individuals to see into the past, the present, and the future. One may consider a portal, to be a way to peer into various realities; I wanted to translate this idea into my images.

The final photo is a portrait that shows the artist holding a mirror at head height. The mirror, which normally reflects oneself or someone else, now blocks you from seeing who is behind it. The mirror the artist is holding reflects the once gravel road, now overgrown. This ties the project together with the idea of how people have used these objects—mirrors, chairs, tables, and the road—but time has passed since someone was last there. The time that has passed, whether long or short, changes the object as seen by the photographer.

Use the Portals and Screens project as a way to view scenes, or portals into scenes, absent of people but bearing the imprint of humans. I wonder what a photograph with no human imprint would look like. I wonder what a portal with no human imprint would look like? Is there a way to create this? Can you capture something so raw it lacks any trace of human presence?

—R

(845)-416-5860

Ryansphotoworks.com

Ryansphotoworks@gmail.com

NewPaltzPhotoWorks@gmail.com