20 Women in Analog Photography You Need to Know in 2025!
In the Western history of art, women were usually relegated to the role of muse, girlfriend, or wife, or the "odd one" whose work needed to be examined due to the "weirdness" of the woman's work. Women and enlightened men understand this is problematic. Some of you may know that for the past four years, I have written a monthly feature for FRAMES Magazine called The Female Gaze; it solely features women's work in photography, viewed through a woman's gaze (mine.) I researched, curated, and wrote about the work of 112 different women photographers in 36 different columns. Researching that feature introduced me to many more incredible women and their work that I might not have known of otherwise, many more than I had the opportunity to showcase.
Women may have achieved greater recognition in photography than in the history of painting or sculpture. Yet, still, the history books do not cite our accomplishments as frequently as they do those of men. For example, Harvard University maintains a History of Photography timeline online. Of the 44 years cited with essential events, four mention women's achievements, and 40 are attributed to men. How is it that photography historian Naomi Rosenbaum found 250 women with vital contributions to the field, ranging from Julia Margaret Cameron to Tina Modetti, Margaret Bourke-White, and Cindy Sherman, and in 1997, the National Museum of Women in the Arts gave the first-ever international survey of women's achievements over photography's first 150 years, but Harvard only found four are important enough to recognize?
Although women in America (I can only speak to what I know) worked for years to get parity in many fields, parity has not happened. I thought it might come several times during my lifetime, but it did not. Had I written this during the Obama or Biden eras, some of my feelings would be slightly different—still disappointed, but perhaps more hopeful that change would come. However, the war on women has gone nuclear with the advent of the retaking of the White House by Trump and his administration implementing Project 2025 ideas of how our country should be. I don't want to dwell on politics; this is not the place. But it gives some context to why I feel even more strongly now than I did 6 months ago about showcasing women's work in photography.
When Michael Behlen offered me this fantastic opportunity to curate a feature about 20 women, I was beyond thrilled. Because our contributions over time have gone wanting recognition, I did not limit myself to work that is only contemporaneous; the work you will see here ranges from that made decades ago to that produced in the past few years. Additionally, because the analog side of photo is a subset of a large field, I focused on trying to show work by women whose work had not been featured at Analog Forever previously (though some in the group of 20 have.) I hope you find yourself inspired by these incredible women and their work. I know I am.
-Diana Nicholette Jeon,
20 WOMEN IN ANALOG PHOTOGRAPHY YOU NEED TO KNOW IN 2025!
Helena Aguilar Mayans | @helenaaguilarmayans | helenaaguilarmayans.com/
Commentary from Diana Nicholette Jeon
I ran into Helena Aguilar Mayans' work on the Julia Margaret Cameron awardees list a few months ago. I was taken by the sensitive imagery and her subdued, elegant use of color. That led me to explore her website. Much of her work is set in abandoned locations, invoking a Turbeville feel, but with a unique contemporary sense that sets it apart from simply an imitation. Aguilar Mayans makes her images using a Kiev 60 TTL camera; the film she used for the photographs I selected here was Lomography 120 color ISO 800. This combination works well for the 'romanticized grunge' style of work she makes.
I look forward to seeing what Aguilar Mayans does in the future.
ARTIST BIO
I am Helena, a Fine Art photographer working with film photography, I love to visit ruins and forgotten places, antiques, flowers, and classic literature, and I love to create work inspired by female characters from bygone eras. I create with all my heart and soul and I want my photographies to be a portal to an ethereal and dreamy universe to escape from the ordinary world.
I live in Olot, northern Catalonia (Spain) and I spend some periods in Belgium too. I have a BA in Fine Arts and a MA in art education both from the University of Barcelona.
My work explores the concept of beauty in decay and women's own spaces. The relationship between ruins, Nature and humanity. I am very inspired by female characters from bygone eras and my photographs are a gateway to other realities. Some artistic and literary movements of the nineteenth and twentieth centuries are also a great source of inspiration to develop my projects. Nostalgia is also a recurrent theme in my work.
For years, I have been traveling around Europe looking for abandoned locations that serve as stages to create my images. Visiting these vestiges I wonder what these spaces inhabited by women would have been like; in an exercise of revisiting history, in a subject where references are lacking and shunning total recreation. It is also a look at the past from the experience of the present. Inspired by the idea of "a room of one's own" forged by Virginia Woolf, I seek to explain these spaces of one's own, which end up becoming mental spaces and shelters for contemplation. At the same time, my work is also a way of registering a heritage that is slowly disappearing and a medium to bring these places back to life. I am very inspired by the art of the Pre-Raphaelites, the Decadents, the Symbolists, and the Aesthetes among others but the work of Julia Margaret Cameron, Francesca Woodman and Deborah Turbeville has been crucial to start my journey in photography and develop my work. I have been discovering all of them over the years and their work always came in important moments. I always say that discovering the work of Julia Margaret Cameron when I was 14 years old opened up a new universe and made me start experimenting with photography.
A side of traveling to look for these derelict places, sometimes I also create my own scenes from home. I capture my images on film photography and I make the artistic direction of most of my projects. My work has been exhibited and published in various national and international media.
I work with film photography, a lot with color film in the last years but I also have some work shot in black and white. I also work a lot with the cyanotype process but I haven't posted much work created with this technique on my pages. I am currently working on a series created with this technique that I hope to share in the near future. My favorite technique I learnt back in University was photo etching, I hope to work with this technique in the future again, too.
Robin Assner-Alvey | @rhassneralvey | robinassner-alvey.com
Commentary from Diana Nicholette Jeon
Robin Assner-Alvey prints her images onto DASS transfer film and then uses sanitizer to transfer the emulsion to papers such as Fabriano or Artistico. These images are monumental in scale, standing as tall as 114" in height.
Assner-Alvey's braveness at making herself into what art historians call "the Grotesque" captured my attention. The conceptual way she uses collage and varying tools, including brayers, bone folders, squeegees, and pressure, infuses and underlines her theme of what is left of herself after giving all day, every day as a mother. The literal gashes, gouges, and ghosting in the resulting images of her own deconstructed and re-composed body are metaphors for what she (and many other women) experience. Her use of materials is clever and incisive.
ARTIST BIO
Robin Assner-Alvey (b.1978, Massachusetts) is a practicing artist working with photography, video, and installation. She received her Bachelor of Fine Arts from the University of Connecticut (2000) and her Master of Fine Arts from the Ohio State University (2002). Her work examines corporality and asks viewers to consider the experience of living in their own skin. She experiments with various photographic processes to push the boundaries of what a photograph can be as well as to question what it means to be a woman. Throughout Robin's art practice, she uses her personal experiences as a starting point for her ideas and then investigates those ideas photographically, usually using her own body. Robin's most recent solo exhibition was Reassembled at Manifest Gallery in Cincinnati, OH in 2022. She has an upcoming solo exhibition at the Schmidt Art Center in January 2026. Her art has been exhibited in various solo and group shows throughout the United States. You can view her work on her website: www.robinassner-alvey.com.
Robin is also a Professor of Art in the Leigh Gerdine College of Fine Art at Webster University in St. Louis, MO. She has been teaching at Webster since 2003 where she teaches all levels of photography and video. Robin loves experimenting with photography and pushing her students to investigate the limitless photographic possibilities. In 2017, she received the Emerson Excellence in Teaching Award and the William T. Kemper Award for Excellence in Teaching.
Lynn Bianchi | facebook.com/bianchilynn | @the_real_lynn_bianchi| lynnbianchi.art
Commentary from Diana Nicholette Jeon
I'm a huge fan of Lynn Bianchi's photographs that she includes under the theme Heavy in White. The work was made in the 1990s using a Nikon F camera and Kodak High-Speed Infrared film. Conceptually, it is as if she foreshadowed a mad convergence of the Dove 'Real Women' campaigns meets the female gaze meets fine art photography print. They are provocative in their humor and are meant to make you think about empowerment vs. expectations. The use of IR film and gold toning makes them exquisite prints, yet their whispery ethereality also comes across over a screen or in her book. These are but a sample of the series; make sure to check her website for the rest. You won't be sorry.
ARTIST BIO
Lynn Bianchi is a fine art photographer and multimedia artist who has shown her work in over thirty solo exhibitions and in museums worldwide.
Bianchi's photographic work has been shown at Brooklyn Museum, Yale Art Gallery, Tokyo Metropolitan Museum of Photography, Musée de l'Elysée in Switzerland; Art Gallery of Ontario in Toronto among others. Servitude I from the Heavy In White series was added to the collection of Walker Art Center in 2019. The work is also reproduced in the Walker's catalogue The Expressionist Figure among such artists as Edgar Degas, Willem de Kooning, David Hockney, Pablo Picasso, etc.
Bianchi's art has been featured in over forty publications, including The Huffington Post, Juxtapoz Magazine, Encyclopedia of Food and Culture, Vogue Italia, AnOther Magazine, Phot'Art International, and GEO. Lynn's work resides in numerous private collections across the globe, including Manfred Heiting's and Edward Norton's, as well as in museum collections including Museum of Fine Arts in Houston, Texas, Biblioteque Nationale de France in Paris, Musée Ken Damy in Brescia, Italy and 21c Museum in Louisville, Kentucky among others. She has recently exhibited in New York City at The Untitled Space, The Armory Show and BitBazel Miami NFT salon at Salomon Arts Gallery among others.
In 2011 Lynn began working in the video field and has to date produced about 30 multimedia works. Her most recent projects are frequent winners of Best Experimental Awards and have been shown at various festivals all over the world, including New York Shorts International Film Festival, Odense International Film Festival, Montreal Independent Film Festival, Berlin Shorts Award, Moscow Shorts, Lund Architecture Film Festival, Budapest International Foto Awards, Tokyo International Foto Awards, New Earth International Film Festival in Poland, Toronto Film Magazine Festival among others. Most recently, Bianchi's video work New York Minute participated in over 20 different film festivals around the world and was shown to the public at Cinema Village and Alamo Drafthouse in New York City among others.
Lynn's latest works are suspended between Henri Cartier-Bresson's idea that to photograph is to hold one's breath with all faculties converged in an effort to capture fleeting reality, and the belief that flowing processes that transcend reality cannot be entirely captured by static images. By capturing the natural world Bianchi illustrates our human emotions and motivations. The perpetual movements of the ocean or the endless variations of a skyscape reflect our own shifting internal gestures. The artist looks for the precise moment when mastering a static or moving image becomes a great physical and intellectual joy.
Jessica Burko | @jessicaburko/ | jessicaburko.bsky.social | jessicaburko.com
Commentary from Diana Nicholette Jeon
Jessica Burko makes her images using a phone camera, though her final output is not a print. She adjusts them in Photoshop and prints them using a laser printer in letter-sized sections. As her substrate consists of reclaimed wooden drawers, she paints the insides and then coats them heavily with layers of encaustic media, the accepting substrate for the transfer.
The concepts and themes in Jessica Burko's photo installations resonate fully with my interests and sensibilities. She speaks to her experiences as a mother and an American woman, and this is an area I am especially interested in, so I am a huge fan of the installations she builds. The final works retain the flaws that come with transfer as the method of making. Because the works are about her life experiences, it is as if she has imbued the work with herself by the nature of the transferring work, with the flaws serving to show the scars she holds within and the fragility of the encaustic transfer mimicking skin. The works are ambiguous enough that we can each find meaning in them; at the same time, the thoughtfulness and specificity of her choices leave us with a good idea of what she experienced.
ARTIST BIO
Jessica Burko is a mixed-media artist combining photography with encaustic medium through image transferring techniques. She has been exhibiting her work since 1985 in solo and group exhibitions throughout the United States including venues such as Attleboro Arts Museum, Danforth Museum, Rochester Museum of Art, NH, Maine Museum of Photographic Arts, the Shelter in Place Gallery, and on the set of Ben Affleck's 2010 film, The Town. Burko earned a BFA in Fine Art Photography from Rhode Island School of Design, and an MFA in Imaging Arts and Science from Rochester Institute of Technology.
In addition to being a practicing artist, Jessica Burko is an independent curator with more than thirty exhibitions produced since 2000, and her professional background includes the position of Gallery Director at Stonehill College from 2000-06, Executive Director of the artist collective Boston Handmade from 2007-14 , Marketing Director at Kingston Gallery from 2016-19, and Creative Director at the Photographic Resource Center, Cambridge, MA from 2019-24.
Through her Arts Marketing business, Burko Creative, Burko supports artists in achieving their creative and professional goals with consultations, lectures, workshops, and partnerships with organizations such as ArtsWorcester, South Shore Artists, and Mass MoCA's Assets for Artists Program. Jessica Burko is originally from Philadelphia and currently lives in Boston, Massachusetts. Her workspace is in the Wareham Studio Building in Boston's South End where she has been producing her photography-based mixed-media work since 2006.
Laura Burlton | @chalk_dreams | lauraburlton.com
Commentary from Diana Nicholette Jeon
These mainly mixed media works from Laura Burton range from the alcohol transfer process to wet plate collodion to 4x5 and 8x10 images made using Ilford paper rather than film to toy cameras. Her method of bringing the images to their final form included gold leaf, tea toning, and collage. I enjoy the mark of the hand that permeates all these works, which is also true of her "chalk dreams" work (not seen here but which uses hand-drawn chalking behind portraits shot on a Holga.) These images leave me with a lot to unpack and more questions than I have answers, which keeps me going back to them.
ARTIST BIO
American photographer and Artist, Laura Burlton is best known for her whimsical and beautifully executed photographs of children immersed in playful chalk drawings of her own creation. Invoking fairytales, surreal scenes and dreamscapes, she invites the viewer to immerse themselves into a word of darkness and mystery of her own making. Her images draw reference from archetypes new and old, Greek Icons, traveling circus, and modern day fashion photography. In her practice she uses humble costumes, masks, dramatic lighting and a host of antiquated and modern photographic techniques to elevate her subjects to a mysterious and otherworldly existence. Whether staged in vignettes of her own making or on simple backgrounds, her subjects are painted in lush colors or gilded,becoming jewel-like allegories of the artist's own imagination, drawing the viewer in.
Her lifelong love of photography is evident in the enthusiasm and commitment she brings to her craft. Her photography has been showcased in galleries and museums as close as Houston and as far away as Canada, Austria and Spain. Her work is also part of the permanent collection of the Museum of Fine Arts Houston many private collections worldwide.
K.K.DePaul | facebook | www.kkdepaul.com
Commentary from Diana Nicholette Jeon
I've been a superfan of K.K. DePaul since I saw her work Only Child some years back. The images seen here are recent, and include a found image in Across the Miles; the remaining pictures were made with Scala film in a Canon camera. All the photos are transferred onto paper or cloth and then worked further to become mixed-media photo objects.
I'm fascinated by the way she uses media to help to tell her stories of secrets. The fracturing and layering dovetail the reality of secrets in real life. They become buried and clouded and learned only via the selected memories of the person telling them. DePaul is a master at her chosen material, mixed media photography. Her elusive images haunt me the way secrets haunt a family legacy.
ARTIST BIO
K.K. DePaul is an explorer of secrets, combining and recombining bits and pieces of memory to make sense of her family stories.
"I have always been fascinated by multiple interpretations, double exposures, and the ambiguities that arise depending on which character is telling the story. My process begins with a collection of elements...images...writing. As I move the elements around, a visual narrative begins to take shape, signaling a new understanding of parallel stories. My use of collage indicates a story told in two voices, representing identities that have been torn apart, stripped, reflected upon, and ultimately reconstructed."
Artist, Photographer, Educator, and Gallery Director, K.K DePaul brings a multi-faceted background to her extensive career in the arts.
Kim's award-winning work as a textile artist and photographer has received national and international attention, and has been included in the corporate collections of: Smith-Kline, The Mayo Clinic, and Capital Blue Cross, and the private collections of photographers: Charlotte Niel, Christopher James, Sophie Zenon, and Sarah Moon.
Her work has been published in Black&White Magazine, EyeMazing, Diffusion, and PhotoWorld (China). Most recently, she has been the recipient of the 10th Julia Margaret Cameron Award, with two exhibitions in Barcelona, and she was part of the exhibition, Tribe, at the Fox Talbot Museum in the UK and at the Center for Photographic Art in Carmel CA.
Diane Fenster | www.lensculture.com/diane-fenster | @dianefenster | facebook.com/dianefensterphotography
Commentary from Diana Nicholette Jeon
Most people probably think of Photoshop when Diane Fenster's name is mentioned, as she earned her place in the Photoshop Hall of Fame very early after its invention. But she also worked with large-format Polaroid pack films. One of my favorite photographic installations is her Magdalena Laundries work (worth the internet search.)
Ever since pack film stopped being produced, Fenster had been searching for a method that would give a similar look and allow for varying substrates. She learned of the sanitizer transfer method, which led to this series. These images were made using a Holga lens on a digital camera. She then printed the photos onto inkjet transparency film and made emulation transfers onto Kozo paper. That allowed her work to have a similarity to the look and feel of her older Polaroid work.
The process is a metaphor for the increasing fragility we experience as we age. To Fenster, "Both the process's mechanics and the image's physicality feel like a shedding of skin. This peeling away relates to the evidence of waning and loss within myself and others."
The work does portray this. It isn't easy sometimes to find ways to speak to concepts visually. Still, Fenster's thesis and methodology work hand in hand here, allowing viewers to understand the idea even if they are too young to experience it personally. I applaud the use of media here.
Artist Bio
Self-taught photographer exhibiting since 1990. My art first received notice during the era of early experimentations with digital imaging and has been called an important voice in the development of a true digital aesthetic. I view myself as an alchemist, using digital, alternative processes, and traditional photographic tools to delve into fundamental human issues. My work is literary and emotional, full of symbolism and multiple layers of meaning. Since I first began creating images I have always tried to leave the window open to allow serendipity to float into my work. Using a plastic lens and hand held long exposures allows for the accidents to occur. There is something very freeing about using a workflow where one surrenders control and lets chance help shape the image. Working with light provides an added dimension especially as it interacts with the people I am photographing, often in unexpected ways.
My images have appeared in numerous publications on photography digital art. I've been a guest lecturer at many seminars and conferences, internationally exhibited and a part of museum, corporate and private collections. In 2001 I was the first artist inducted into the Adobe Photoshop Hall Of Fame. My work appears in the APERTURE monograph METAMORPHOSES: PHOTOGRAPHY IN THE ELECTRONIC AGE, WOMEN, ART AND TECHNOLOGY published by MIT press, and ART IN THE DIGITAL AGE edited by Bruce Wands, School of Visual Art, NYC. Recent recognition includes inclusion in DODHO Magazine's PORTRAIT issue Top 100 portrait photographers and book and FINE ART PHOTOGRAPHY AWARDS issue and book, two Honorable Mentions for selections from my Clothed In Widows Weeds series Self-portrait and Digital Manipulation/Collage categories of the 25th Julia Margaret Cameron Award for Women Photographers 2025. Bronze Award in Fine Art / Collage in the Budapest International Foto Awards BIFA 2024. Honorable Mention in the Digital Manipulation and Collage category of the 24th Julia Margaret Cameron Photography Awards 2024. Invited artist for the Art-Icon exhibition in Paris, supported by the ICP New York Center for Photography and other partners. Photolucida's Critical Mass Top 200, 2022, shortlisted for the Royal Photographic Society's International exhibit 164, inclusion in the International Center of Photography (ICP) #ICP Concerned exhibit and book, Honorable Mention Non-professional Self-Portraits 20th Julia Margaret Cameron Awards for the series Shiva: for Ella Ruth, inclusion in SOBRE UNA MUJER (ABOUT A WOMAN), exhibit at AMA- Art Museum of the Americas,Washington, D.C. 2022 MOSCOW INTERNATIONAL FOTO AWARDS (MIFA.) Images from my series Penumbral Epiphanies received two Honorable Mentions. Categories were Non Pro Fine Arts Portrait and Non Pro Fine Arts Collage, CATEGORY WINNER • PORTRAITS Non-professional (Disequalibrium series) 2022.
Barbara Dombach | facebook | @barbaradombach | barbaradombach.com
Commentary from Diana Nicholette Jeon
Barbara Dombach makes quirky, unique works using analog techniques such as wet plate. Her self-portrait-based imagery makes me feel, "I wish I made this." Yet the works I have elected to show you here have a different look and feel than her usual style. These beautiful hand-colored images in Vestiges of a Vanished Era document the remains of once loved, coveted, and serviceable automobiles. These vehicles from the past are metaphors for that era's population growth and new suburban mobility. Created using a Hasselblad Pan dual format camera on both Kodak Infrared HIE and T-Max 100, she developed the film herself, made prints on Ilford MG Matt fiber paper, and then applied Marshall's oils and pencil as hand coloring. The quaintness of the techniques she uses marries well with the aging vehicles and adds to the conceptual underpinning of the work.
ARTIST BIO
Barbara Dombach is a self-taught, award-winning photographer from Lancaster County, PA, and uses a variety of photographic mediums to express memory, identity, place, time and story-telling. Throughout her 35 years of experience in film and alternative types of photography, she has taught workshops, lectured and juried gallery exhibits and she has exhibited works in many solo and countless group exhibits.
Dombach's distinctive approach to her images has earned her recognition; the Female Gaze, July, 2023 an interview by Diana Nicholette Jeon, Finalist in Critical Mass, Julia Margaret Cameron Awards for Women Photographer's, Spider Black & White, Diffusion X, Hand Magazine, Seities Magazine, Imprints Women Photographers, Diffusion Magazine, Jill Enfield's Guide to Photographic Alternative Processes, Featured artist on The Studio Q Show Live!, Film Photography Podcast, selected as an Artist in Residence at Acadia National Park and awarded an Artist Grant to complete a body of work using Kodak HIE Infrared film from her local city.
Judit German-Heins | @juditghphotography | juditgermanheins.com
Commentary from Diana Nicholette Jeon
Judit German-Heins was awarded the Denis Roussel award by Rfotofolio last year, which is how I learned of this tintype series, A Monster In the Shape of a Woman. That is where I first saw this work, a selection of which are shown here. My not-hidden proclivity as a viewer of photography is for emotional works that make me feel deeply; this work does that. The work is tragic and beautiful with a hint of "take that you bully" also present in two images, and emotional. Although German-Heins has several bodies of potent work, I selected this series as it seems to be on point for the issues American women face today.
ARTIST BIO
Judit German-Heins is a Hungarian-American photographer who resides in Kingston, NY. She received her MFA in Photography and Integrated Media at Lesley University College of Art and Design in 2023. She creates handmade images using historical photographic processes, which connects her main interests in humanity, politics and history.
She was a recipient of the Denis Roussel award in 2024. Her images and portfolios have been awarded by the NY Center for Photography, the Worldwide Photography Gala Awards, Houston Center for Photography, Gallery Photographica, and Photographers' Forum Magazine. She was a Critical Mass finalist in 2023 and 2019.
Her works were selected for juried group shows in Houston, New York, Spain and Germany. Her article "Tintype Portraits: A 19th Century Process Documents 21st Century Society" was published in 2018 in The Big Photo Zine.
Judit was an Artist in Residence at the Erie Canal Museum 2024. Her tintype-portrait project connected women's history with contemporary women workers along the Erie Canal.
Kym Ghee | facebook.com/kym.ghee | @kym_ghee
Commentary from Diana Nicholette Jeon
I love these images made by Kym Ghee. All of the work was created using a Pentax K1000 and Tri-x 400, save for No Trespassing, which was made using a paper negative in a pinhole camera, then rephotographed on Tri-x 400 and double exposed with another image. The images are melancholy, perhaps grief-stricken, ambiguous, and sometimes made with a unique POV. I stay with them, searching for answers. In my world, if an image causes me to stop, stay, and think, that means an image succeeded.
ARTIST BIO
Kym Ghee is a Los Angeles based visual artist of Appalachian heritage who works in photography, text and collage to explore internal and external landscapes. Ghee incorporates self portraiture, documentary and experimental processes to examine social issues including addiction, mental health, sexuality, urban American culture, politics and climate change. Her work also investigates the connections between memory, land and structure and the mysterious, intangible aspects of nature.
Ghee utilizes a variety of cameras and film emulsions, with Polaroids, pinhole photography, toy cameras and Tri-x film as main staples in her work.
Born in West Virginia, Ghee was raised in San Diego, CA. She attended the University of California, San Diego and received a BFA in Media with a focus on visual arts, photography and writing. Upon completion of her studies, she moved to Los Angeles, where she worked as a writer and portrait photographer. When the pandemic hit, Ghee returned to photography and collage to visually interpret a rapidly changing world.
She has been selected to exhibit her work in multiple national juried exhibitions and has shown at institutions including Griffin Museum of Photography, Center for Photography at Woodstock and Los Angeles Center for Photography, and as well as galleries in Los Angeles, New York City, Atlanta, and Palm Springs. Her photographs have been published in the Los Angeles Times, Sensitive Skin, and Pool Magazine Las Vegas.
Kumi Oguro | @kumi_oguro | kumioguro.com
Commentary from Diana Nicholette Jeon
Kumi Oguro has spent her photographic career focused on female portraiture. I've been a superfan since I saw her work a few years back. Her long-term, untitled project of environmental portraiture speaks to me - or maybe to my fears - but always leaves me feeling "I wish I made that image!" Hers are not comforting images; quite the opposite. She shoots medium format square images using a Bronica S2A. Her choices of film—Provia and Portra—give her work a beautiful, sensual color palette. Yet despite the beauty, I'm always left with the sense that something terrible just happened or is about to. At the outset, Oguro made imagery based on her own experiences. Later, she adopted the Hester character from a John Irving novel, but now the tropes have been set aside, and she works from the fragmented stories in her head. Oguro chooses intentionally not to say what any given is about, as she likes the viewer to interpret her work through their cultural touchstones. Her work doesn't quite cross over into the world of the grotesque, but it often plays footsies with it.
ARTIST BIO
Kumi Oguro was born in Japan in 1972.
She began studying photography in London in 1996 and continued at the Royal Academy of Fine Arts in Antwerp until 2003.
In addition to photography, she also experimented with video and installation in a postgraduate program, Transmedia in Brussels. Her research theme in the program was the relationship between still and moving images.
This is also the subject of her thesis for the master course in Film Studies and Image Culture at the University of Antwerp in 2006.
Oguro has participated in exhibitions and art/photography fairs in Europe, the USA, Canada and Japan.
She created images for the production of the Flemish Opera.
Her images have been used in programmes for the Opéra national de Paris and the Festival D'Aix-en-Provence, among others, and have become the covers of several novels.
Her first book NOISE was published in 2008 by Le caillou bleu (Brussels).
Her second book HESTER was published by Stockmans Art Books (Duffel, Belgium) in September 2021. This book was shortlisted for the Belfast Photo Festival 2022.
In 2024 she won the BBA One Shot Award.
She lives and works in Antwerp, Belgium since 1999.
Elizabeth Opalenik | @elizabethopalenik | elizabethopalenik.com | www.workshopstories.com | facebook.com/elizabethopalenik
Commentary
Elizabeth Opalenik has an extensive portfolio of work and teaching that I would be surprised if readers did not know her and her work. I can't think of the Mordançage process and not think of her work and how she has pushed that particular realm of photography forward. So, the work I am showing you here might not be what you immediately associate with being Opalenik's; at least for me, it wasn't because I associate her more with the landscape and female nudes. A Journey Home is a print and text portfolio edition of 12 photographs in an edition of It is hand-printed and hand-embossed, with letterpress by Digger Pine Press and boxes handmade by the Amish, New Wilmington, PA.
I was drawn to this work because it seemed so personal. The final platinum palladium print work is beautiful; Opalenik initially used a Nikon camera and Kodak Tri-X and Ilford xp2 Super film to make the imagery. But it is the entire presentation of the set that impacted me. The Pennsylvania lands where she grew up are populated with people who have not subscribed to the "have it now" lifestyle so prevalent in the US. They work the land with the hands and tools of bygone eras, make food from scratch, and dress as if time had stood still in the 1800s. Everything about how this series is made pays homage to their way of life and its imprint upon Opalenik. The work is incredibly thoughtful, well-conceived, and just flat-out gorgeous (but all of Opalenik's work is gorgeous so that we would expect no less.) I urge you to visit her website and look at the entire series and its presentation.
ARTIST BIO
Elizabeth Opalenik lives and works in Oakland, California, but this peripatetic artist has often been on the move. For the Pennsylvania farm girl, a two-week photography workshop in 1979 at Maine Photographic Workshops transformed her life. Traveling to study and pursue her art, she landed in the south of France where she learned the technique of mordançage from its inventor Jean-Pierre Sudre. Opalenik was already investigating alternative printing methods, and quickly recognized the expressive possibilities of this technique. Just as quickly she introduced a variation to mordançage in which she manipulated the gelatin to produce a graceful draping effect, contributing her ground-breaking style of saving spidery veils of silver emulsion in each unique piece.
Her career has found her teaching or making images on six continents, seeking the beauty and grace that exists within all things while creating a sense of wonder and possibility in her students. Elizabeth believes that all good photographs are self portraits tracing ones life experiences. She is committed to her black and white darkroom, matching alternative processes like Carbon printing and Platinum Palladium to subject, combining digital usage when appropriate. Her preference is working with water in any form or illusion.
Elizabeth's work is collected, published and exhibited internationally. In addition, Opalenik also travels with Medical Ministry International, documenting the projects of eye doctors in Colombia, Bolivia and the Amazon.
Following a life-long dream, she published her first monograph, Poetic Grace-Elizabeth Opalenik Photographs 1979-2007. Her pandemic project conjured into existence Workshop Stories: changed through photography featuring the stories and images of over 100 prominent workshop photography teachers. Her website is www.elizabethopalenik.com.
Lydia Panas | @lydiapanas_ | lydiapanas.com
Commentary from Diana Nicholette Jeon
Lydia Panas makes gorgeous images—all of them. But the work shown here, My Tangerine Dream, made using a Hasselblad and Kodak Porta film, also has a disturbing quality. Panas' work is framed through a lens of psychoanalysis and feminism. The lush fruits are scattered and dissected, and the woman's arm is cut off from the body it belongs to. Throughout the series, the most we are given is two arms rather than one or none; if we saw more of the body in a different frame, it would not be quite so disquieting. Panas gives us food for thought—literally and metaphorically, beautifully wrapped.
ARTIST BIO
Lydia Panas is a visual artist working with photography and video. A first-generation American she was raised between Greece and the United States. Panas' work looks at identity and what lies below the surface, investigating questions of who we are and what we want to become. Her work is made in the fields, forests, and studio of her family farm in Pennsylvania. The connection she feels to this land is the foundation of her work.
Panas' work has been exhibited widely in the U.S. and internationally. Her photographs are represented in public and private collections including the Brooklyn Museum, the Bronx Museum, the Museum of Fine Arts Houston, Palm Springs Art Museum, Michener Art Museum, Allentown Art Museum, the Museum of Contemporary Photography Chicago, the Museum of Photographic Art San Diego, the Sheldon Museum, Zendai MoMA in Shanghai, among others. Her work has appeared in many periodicals such as The New York Times Magazine, The New Yorker, The Village Voice, French Photo, Hyperallergic, Photo District News, Popular Photography, and Rain Taxi Review of Books.
Panas has degrees from Boston College, School of Visual Arts, and New York University. She is the recipient of a Whitney Museum Independent Study Fellowship and a CFEVA Fellowship. She has published three monographs, The Mark of Abel (Kehrer Verlag 2012), Falling from Grace (Conveyor Arts 2016), and Sleeping Beauty (MW Editions 2021). She divides her time between a farm in Kutztown, Pennsylvania and New York City.
Barbara Peacock | facebook.com/barbara.peacock.12 | @barbara.peacock_photo | americanbedroomseries.com
Commentary from Diana Nicholette Jeon
I'm sure you've seen Barbara Peacock's compelling series and book, American Bedroom. But you may or may not have seen this earlier work, Hometown. From its origin as an assignment in a photography class, the work spans 33 years, from 1982 through 2015. Although the later part of the series is digital, the earlier works are color and BW film. The BW images I selected were made using a Nikon F4 camera, Tri-X, and T-Max films, and printed on Ilford Fibre.
There is a quality to this work that reminds me of Pedro Meyer's Truth or Fiction series. It captures a slice of life through eyes filled with love and appreciation for the town and its residents. And if you are old enough, it takes you back to 1980s small-town life in a place where kids stayed outside until dark rather than scheduled to death with activities meant to get them into better colleges. The people seem down to earth and simple—but not simple-minded. This work earmarks the resident's life events and brings you back mentally to the time and place where it happened. It instantly evokes memories of my father's photographs of my sister and me. The series is magical if you can remember a small-town life that was less complex and where photographs were not as ubiquitous as they are now. It's probably magical even if you cannot.
ARTIST BIO
Barbara Peacock is an assignment photographer living in Portland, Maine. She studied fine arts at Boston University School of Fine Arts, and photography and filmmaking at The School for the Museum of Fine Arts/Tufts University. She began as a street photographer and gradually became an assignment lifestyle photographer for commercial clients and for Getty Images.
Commercial clients include Arm & Hammer, Coca-Cola, Disney, Toyota, Volkswagen & Nickelodeon and more.
Hometown–1982- 2015 -A thirty-year photographic project of the small town where she grew up and continued to live as an adult. Published by Bazan Photos Publishing, Brooklyn NY. Printed in the USA by Puritan Capital 2015
American Bedroom- Reflections on the Nature of Life – 2016 -2023 - A cultural and anthropological study of Americans in their private dwelling: their bedrooms. The project took seven years of travel to complete photographing in all fifty US states. Published by Kehrer Verlag and printed in Heidelberg, Germany 2023.
Barbara founded a non-profit organization in 2010 - 'The Nightingale Project' that teaches art and photography to needy children. The program travels with a mix of adults and high school students. Journeys so far have been to Haiti, Cambodia and New York.
Becky Ramotowski
Commentary from Diana Nicholette Jeone
Becky Ramotowski is well known in the FB toy camera and pinhole communities; she is an avid cheerleader for work in that area, going so far as to found World Toy Camera Day in 2003. Other than FB and her blog (Pinhole Palomino), Ramotowski and her work are as elusive as ice cubes on a hot summer sidewalk. Everything about these images sings "classic pinhole" to me. We see the beauty and flaws of the process that give them such a classic and timeless style. Yet, I know nothing about how these images were made other than that they are pinhole camera images, as she did not provide me with that data. It's possible she didn't track that kind of info because Ramotowski makes images for herself because of the joy of making. However, her contributions as a maker and cheerleader for other makers needed to be recognized.
ARTIST BIO
I could write a big ol boring resume or artist statement so you all would feel like you know me…but instead I'm opting to just tell you a few snippets about my past and my history as a photographer and pinhole artist.
The summer before I started first grade, I went on a six weeks long camping and road trip with my aunt and uncle to California and up the west coast to Seattle.
My parents bought an Imperial Mark XII camera for me to take along on the adventure. I've been smitten with photography since then.
My "formal" photo training came from my aunt Mary, who told me to hold the camera still and to keep it level. Being still and patient is my super power and it comes in handy for pinhole work…but holding the camera level is something I'm still trying to perfect!
My mother was a small-town newspaper reporter and photographer in Texas for The Dayton News in the mid 70's and I was her assistant. That experience led to my own newspaper gigs and eventually to writing 'The Secrets of Stargazing", a book about astronomy.
Astronomy is my true passion in life and is truly what makes me tick. It feeds my curious nature and the unknowns of the universe keep me humble.
Pinhole photography keeps me happy in that it is revealing yet keeps some things secret. Like me.
Becky Ramotowski-American
Founder Of World-Wide Pinhole Day 2003
Born in Kansas
Raised in Texas
Lives In New Mexico
Wanders the Universe
Dale Rio | @dale.rio.photography | dalerio.com
Commentary from Diana Nicholette Jeon
Dale Rio is a fascinating artist who always finds a way to bring the viewer to feel what she wants us to know from her projects, and her use of materials always makes it feel like her choices were intentional and made to underline the theme. That strongly appeals to me since materials have mana that can emphasize a project beyond simply the photographic print.
Her project I've shown here, Reconciliation, speaks about humans having severed their connection to nature. Using herself as the model, Rio sought to embrace the natural world and its wonder. The long exposures of her homemade pinhole camera (handmade tea tin can camera/Paper negative) create a complex, ghostly, and threatened world. The latter is essential, as she has stated that her natural surroundings often overwhelm her.
ARTIST BIO
Dale Rio is a photographic artist whose work explores issues such as mortality, the passage of time, and humanity's relationship with the natural world. Utilizing film and historic photographic processes, Dale employs "straight" photography to document the world around her and also creates conceptual work in response to that world. Her photographs have been shown extensively in the U.S., as well as in England, Germany, and New Zealand. They reside in private collections and have been reproduced in countless publications. She has authored one book and co-authored a second.
Dale received a BA in Studio Art from Smith College in 1993 and an MFA in Photography from Pratt Institute in 1996. In 1997, she was awarded a Fulbright Travel Grant and the Miguel Vinciguerra Grant to document life in rural Sicily. Upon her return to the States, Dale embarked upon a varied photographic career that has included freelancing, serving as a master darkroom printer, teaching, curating, and editing.
In 2018, Dale was the recipient of a Windgate Scholarship, which allowed her to study the Daguerreotype process at Penland School of Craft. She has attended residencies at Penland, the Studios at MASS MoCA, the Farmington Valley Arts Center (Connecticut), and Ars BioArctica at the Kilpisjärvi Biological Station in Finland.
Dale has been involved with numerous photo and art centers across the country, and in 2015, she co-founded The Halide Project, a Philadelphia-based non-profit whose mission is the support of alternative and historic process photography. In 2021, she launched Point A to Point B: analog explorations, a print publication that features travel- and place-based alternative process photographic work, and in 2022 she founded Lux et Libera, an initiative that seeks to recognize the leading role women play in alternative process photography and create new opportunities for them.
Amanda Smith | @asmithartist | asmithartist.com
Commentary from Diana Nicholette Jeon
Many readers are likely familiar with Amanda Smith from her work running the A Smith Gallery in Johnson City, Texas. Or you may have taken an encaustic photo mixed-media workshop from her. However, it was her background as an accomplished photographer that led her to open A Smith Gallery to begin with.
The self-portraits in the calendrical series Pinhole Diaries were created using a broken Holga camera with the shutter and lens removed then altered to repurpose it as a pinhole camera using Tri-X 120 film, and. Made initially into Silver Gelatin prints in the darkroom, in later years, the prints were scanned and made into mixed media digital prints with encaustics. These, as shown, are darkroom prints.
I love work done using pinhole cameras, especially when they have people in motion. The ghosting and blur impart a somewhat magical quality to Smith's beautiful images, leaving us to ponder the now made now-mysterious landscape of her Texas home as she went about various activities.
ARTIST BIO
In the not to distant past, I was going thought my parent's belongings and found a letter my Dad had written to Santa Claus when he was eight years old. It was a really long letter trying to convince Santa he had been a good boy throughout the entire year. He wanted two things … a fishing pole and a Kodak. The request for the camera might explain my inherited passion for photography.
For years I was satisfied with just clicking the shutter and recording my surroundings. After moving to Austin in the early 90's I met a like minded group of photographers. We all were in need of not only clicking the shutter but creating art. So … my darkroom journey began. Watching an image magically appear in the developer is very addictive.
Soon thereafter, I began exhibiting my work all over the US though both juried and invitational exhibitions. My work has been included in both public and private collections.
Early in 2010, I decided to take a huge leaf of faith and open a physical gallery, not only to exhibit my work but also the work of other artist through juried exhibitions. A Smith Gallery formally opened it's doors in Johnson City in mid 2010. Eventually we became one of eight unique galleries in the Johnson City downtown area. During this time, I took on a partner, Kevin Tully. Together we operated the physical gallery space for a total of twelve years. As of 2023, we have taken the gallery completely online.
My personal work moved out of the darkroom about ten years ago. I currently shoot digitally, preferring the camera on my iPhone. Still finding the need to create with my hands, I use both the encaustic process and currently gilding images printed on kozo paper. My need for experimentation and creativity is never ceasing.
Aline Smithson | facebook.com/aline.smithson | @alinesmithson | alinesmithson.com
Commentary from Diana Nicholette Jeon
I'm guessing you would need to live on Jupiter to not know of Aline Smithson's work. Smithson is a prolific, well-exhibited photographer and sought-after instructor, reviewer, and juror. The images seen here are from the Shadows and Stains series, an older series created after her community darkroom closed. She was exploring her thoughts about 'the photograph' hand and the state of the photography at the time the images were made. She pondered the business, selling, the artist's viewpoint, the MFA way of thinking, the dying of the wet darkroom, iconic photography, toy cameras, digital cameras, edition and print sizes, old rules, and new challenges. The result was her idea to deconstruct the concept of a photograph and all that the idea of a photograph represents.
The images were shot with a Diana camera, which allowed for extended negatives, then the images were cut, overlapped, and text added. There is a fool the eye quality to the work; it appears to be layered on top of the print when, in reality, the layering, including the text, was done in the darkroom. The color was added after the print was made, using washes of oil paint.
Smithson wrote, "I sought to discard the idea of making the perfect print and merge my darkroom thoughts into the image. I wanted the shadows and stains of my photographic fingerprints as evidence that I had been in the darkroom."
I am interested in how photographers individually imprint an image via symbolism, details, or mark-making. Given that, it is not a great leap to imagine that I would love this series. But it isn't just the conceptual basis and markmaking that drew me to the work. If this makes any sense, the imagery feels comfortable, as if I have been to these sites before and experienced these places. It could be a coincidence; I grew up near a lake and Cape Cod in Massachusetts, and many of the images feel like New England. Smithson is a master at rewarding the viewer for looking more deeply. So it also could be that in meditating on her feelings about the darkroom and the photograph and the then-current state of photography, Smithson found a way to evoke an earlier era of photography that might give us the same feeling. I don't know and didn't ask; I'm a viewer engaging in speculation. I know that, like most great photographers, Smithson always finds a channel for her images to burrow into my mind and stay there for me to think about.
ARTIST BIO
Aline Smithson is an interdisciplinary artist, educator, editor, and filmmaker based in Los Angeles, California. She received a BA in Art from the University of California at Santa Barbara and was accepted into the College of Creative Studies, influenced by California artists such as John Baldessari and Ed Ruscha. After a career as a New York Fashion Editor, working alongside some the greats of fashion photography, Smithson returned to Los Angeles and her own artistic practice.
She has exhibited widely with exhibitions at institutions such as the National Portrait Gallery in London, the Smithsonian Air and Space Museum, the Griffin Museum of Photography, the Shanghai, Lishui, and Pingyqo Festivals in China, the Fort Collins Museum of Contemporary Art, the Santa Barbara Art Museum, and the Haslla Art Museum in South Korea. In addition, her work is held in major public collections and her photographs have been featured in numerous publications including The New York Times, The New Yorker, PDN (cover), the PDN Photo Annual, Communication Arts Photo Annual, and Harper's,
Smithson is the Founder and Editor- in-Chief of Lenscratch, a daily journal on photography. She has been an educator at institutions around the globe since 2001. Smithson received the Rising Star Award through the Griffin Museum of Photography for her contributions to the photographic community and she also received the prestigious Excellence in Teaching Award from CENTER. In 2022, the Lucie Foundation nominated her for Photo Educator of the Year. In 2024, the Los Angeles Center of Photography established the Aline Smithson Next Generation Award.
The Magenta Foundation published her first significant monograph, Self & Others: Portrait as Autobiography. In 2016, the Smithsonian Air and Space Museum commissioned Smithson to a series of portraits for the Faces of Our Planet Exhibition. In 2018 and in 2019, her work was selected as a finalist in the Taylor Wessing Portrait Prize and exhibited at the National Portrait Gallery in London. In 2019, Kris Graves Projects commissioned her to create the book LOST II: Los Angeles that is now sold out. Peanut Press Publishing released her monograph, Fugue State in Fall of 2022, also sold out. Her books are in the collections of the Museum of Modern Art, the Getty Museum, the Los Angeles Contemporary Art Museum, the National Portrait Gallery, London, the Metropolitan Museum, the Guggenheim, among others. In 2022, Smithson was honored as a Hassleblad Heroine. With the exception of her iPhone, she only shoots film.
AnnMarie Tornabene | facebook.com/AnnMarieTornabene | @annmarietornabene | annmarietornabene.net
Commentary from Diana Nicholette Jeon
I fell in love with AnnMarie Tornabene's work after interacting with her in a Facebook group for women in photography. She has a long history in self-portraiture as well as being a photography model, and in fact, is one of the models in Lynn Bianchi's Spaghetti Eaters series I've shown above.
Much of her work has a sense of drama evoked via her skill in modeling.
Tornabene's images are created using analog and digital tools; she works with the one that is best for the project. She alternates between traditional photographic materials and modern technology in making her images. Her work is always thoughtful in conception, often poignant, and always beautiful. She frequently uses fairy tales as a metaphor for the emotional journey she leads her viewers on. The emotion she portrays is universal, so the imagery speaks to viewers across various demographics. These images are older, made in the late 90s and early 2010s. She used a Nikon FM2, a Diana, and a Holga with T-Max 400 and Agfa 25. The oder ones are silver gelatin and toned silver gelatin, while the newer are inject prints on Kozo paper.
ARTIST BIO
AnnMarie Tornabene is a New York – born photographer, now residing in France. She has spent more than 28 years exploring self-portraiture and her images deal with physical and psychological aspects of her life as it evolves - turning toward the narrative, which is often reminiscent of fairy-tales and also with the use of symbolism for creating visual metaphors.
As an artist and her long-time career as a professional artists' model, AnnMarie can physically express herself, playing with her poses for the camera either within the confines of her studio or in isolated outside locations. Technically speaking, she alternates between traditional photographic materials and modern technology to aid in her exploration.
Her influences are mainly based on the paintings and sculptures of the Old Masters, such as Botticelli, Caravaggio, the Pre-Raphaelite Brotherhood, and Rodin. In photography, her influences include, among others, Julia Margaret-Cameron, Anne Brigman, the Pictoralists, Francesca Woodman and Imogen Cunningham. And while music plays an important role in her creation process, it is also in the forest where there are only the sounds of nature that giver AnnMarie further inspiration.
AnnMarie graduated from Long Island University in New York with a BFA in Photography, magna cum laude. She has won several awards and exhibits internationally. She has been reviewed and published numerous times in magazines such as French publications The Eye of Photography, OpenEye, Corridor Éléphant as well as in The New York Times, Newsday, and other fine art online and print magazines/blogs. She has spoken about her work at universities and artists' groups and her images have invoked essays and prose. Her photography is included in several personal and institutional collections in the US, Canada, UK, Hungary and Japan.
DM Witman | Bluesky: @dmwitman facebook.com/dm.witman | @dm_witman/ | dmwitman.com
Commentary from Diana Nicholette Jeon
The images in DM Whitman's Love Letters were made on 8X10 negatives in a large format pinhole camera and then printed using the pigment of Sambucus Canadensis (elderberry). They tell the story of an ambiguous, perhaps somewhat toxic, love affair and its attendant longing and entanglement. It's an intriguing and brilliant use of media: the images, like the memories of the affair, will fade, leaving only the words written on the page—the "love letter." But what adds to the concept is the choice of plant. The plant's seeds, stems, leaves, and roots are toxic to humans; the berries can be consumed if cooked and seeded. Each image is 8 x 10 inches and a unique 1/1 print. Now, at 10 years of age, the ephemeral image still lives on, albeit faded.
ARTIST BIO
DM Witman is a trandisciplinary artist navigating the polycrisis employing photographic materials, video, and installation. Her practice investigates climate disruption–at the intersection of presence/absence, resiliency, and ecology–relying on both archival impulses and ephemerality. Her creative practice is an act of bearing witness, memorial, and synthesizing that which is existentially urgent–at once both a lament for what has been lost, and a call to action to cultivate care and resilience as stewards for what remains.
Her work has appeared in more than 120 solo and group exhibitions nationally and internationally. She has been selected for artist-residencies such as Ellis-Beauregard Foundation in Rockland, Maine; Monson Arts, Maine; How to Flatten A Mountain, Ireland.
Witman's work resides in the permanent collections of the Museum of Fine Arts Houston, Portland Museum of Art, Portland, Maine, and is placed within many private collections. She is affiliated with photo-eye Gallery, Santa Fe, NM and Maine Museum of Photographic Arts, Portland, Maine. Interviews and publications include Inside Climate News, The Guardian, BBC Culture, and WIRED. Her work has been recognized with grants from the Maine Arts Commission, The Kindling Fund (a re-grantor for the Warhol Foundation), The John Anson Kittredge Fund, and the Puffin Foundation.
Witman received her MFA from Maine Media College, and she holds a BS in Environmental Science from Kutztown University. She splits her time between the Borderlands of South Texas and Midcoast Maine. She is currently Assistant Professor of Photography at University of Texas Rio Grande Valley.
ABOUT THE CURATOR
Diana Nicholette Jeon is a Honolulu-based artist whose internationally exhibited work explores themes of loss, dreams, memory, and female identity through metaphor and personal narrative. Grounded in lens-based media, her practice blends digital and traditional techniques, often incorporating mixed media, printmaking, video, and sound. Jeon holds an MFA in Imaging and Digital Art from the University of Maryland, Baltimore County, and previously taught digital imaging and motion graphics at the college level before transitioning to full-time artmaking. Her work has been showcased in over 200 exhibitions worldwide, including solo shows at the Honolulu Museum of Art, Griffin Museum of Photography, and Head On Photo Festival. She has received multiple awards, including the Julia Margaret Cameron Award and Photolucida Critical Mass Top 200, and is featured in public and private collections, including the State of Hawaii Art in Public Places program. In addition to her artistic practice, Jeon writes about photography for OneTwelve Publications and FRAMES magazine.
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