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"The camera ist an instrument that teaches people
how to see without a camera."
(Dorothea Lange)

I studied communication design at the University of Applied Sciences in Munich from 1987 to '91 and graduated with a children's book (published by Coppenrath Verlag).
Directly after that I studied philosophy and ethnology for a few semesters, but since my daughters were already born and very small at that time, I attended far fewer lectures than I would like to tell you here.
Nevertheless, an alert mind and the human condition in all its facets interest me just as much as they did back then. 

For me, being a good photographer means pressing the shutter button at important moments, but also putting the camera aside at the right moment.
I also work as an illustrator. Sometimes with Photoshop and sometimes I leave pictures completely unedited.
Life, death, birth and age is my special attention in all my work.
For some perhaps still worth knowing:
I like the music of Max Richter, the way Friedrich Gulda strikes the keys and the voices of Siri Gjære, Otto Sander and David Bowie.
I adore the architecture of Francis Kéré, the paintings of Sebastiao Salgado,
texts by Jean Liedloff, the language of Hermann Hesse and the glass works of Bongchull Shin.

I love (still do) watching my daughters sleep and cutting my husband's hair.

1991: Diploma in Communication Design (University of Applied Sciences Munich) afterwards employed as graphic designer and illustrator 
of more than 100 different children's books for publishers like Random House, Bonnier, Ravensburger and many more. 
2004 change to photography.
Since then employed for publishing houses and agencies, as well as clients from business, culture and society.

Parallel work as a freelance artist
Life, death, birth and age always play a central role.

The Süddeutsche wrote in the culture section:
"Susanne Krauss manages in a very short time to build trust and to make a portrait not only a reflection of the person, but an intimate moment
with the camera. 
How does she do that? Perhaps because Krauss treats all "objects" with the same unprejudiced respect - famous musicians as well as the "bad guys" from Hamburg's neighborhood."

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