1983, while out photographing, she became intrigued by specular bursts of sunlight bouncing off puddles after a heavy rain. She continued to explore the reflective properties of water until one day a friend volunteered to model nude in a stream Imboden had been photographing in. The human form, distorted, reflected, and transformed as it was submerged in water, would eventually become the inspiration for her life's work. Imboden would continually discover new ways to explore her subject matter. Her early images incorporate the moving water of streams or the unavoidable reflection of trees. These are graphic elements that further transform the figure in ways that heighten the psychological aspect of the work. Later, in images such as Dead Silences I & II, Imboden photographed above the surface of a black lined kiddie pool, which improved the visibility of the reflection as well as the magnification and refraction of the water. The images working with this method illustrate elongated forms, fluid and often tranquil due to the stillness of the water. Imboden's work with the human form and water incorporate three distinct layers; the body above the surface of the water, its reflection, and the body submerged. When she eventually began photographing underwater, she would also use the meniscus of the water to further distort and transform the body. Her images throughout the years of 1997–2000 feature bizarre, organic forms – familiar in their flesh but alien in their reconstructed form. In an interview, Imboden is quoted as saying "... there is nothing more repulsive nor more attractive to us than flesh. This confrontation with flesh in an unidentified form makes us uncomfortable. We don’t know what we are looking at, but we know it is human.” Working with mirrors Photographing models in water was not an option during the cold winter months for Imboden. To continue to deal with reflections and human figures throughout the year, she began using mirrors in 1989." The problem was that the mirrors only provided one reflective layer, instead of the three. She had grown accustomed to working with what models that displayed potential to distort and transform the figure. Her early attempts at disrupting the clean and crisp reflections involved smearing oil on the mirror's surface, as seen in Untitled #2455. Seeking to alter the surface even further, Imboden, began scratching the silver backing off of the mirrors she was working with and making