In the world of photography, few artists challenge the boundaries between science and art as powerfully as Linda Alterwitz. Known for weaving medical imaging and technology into her visual storytelling, Linda invites viewers to explore the unseen layers of human existence, both physical and emotional.
In this exclusive PhotoWhoa interview, we revisit her evolving journey, gain fresh insights, and explore the deeper meanings behind her compelling work, which continues to blend data, memory, and the beauty of being human.
1. Your work often explores themes of identity, gender roles, and human relationships with technology and the environment. What inspired you to focus on these subjects?
Ans: I’m interested in individual and collective human experience and how unseen forces shape who we are and how we relate to one another. By integrating the authenticity of science with the communicative power of art, I aim to create a bridge between the visible and the invisible.
Through this intersection, I invite viewers to reimagine their connection to themselves, to others, and to the fragile systems that sustain us, both technological and ecological.
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2. How do you approach blending fine art photography with immersive installations and experiential productions?
Ans: The concept behind each project determines the final form—whether it’s presented as still photographs or an immersive installation. In the series Injection Site, for example, I used a high-resolution thermal camera to photograph the arms of 130 individuals shortly after receiving the COVID-19 vaccination.
The focus of the work is our shared human experience during the pandemic, rather than any single person’s story. Because of this collective theme, I chose to present the images as a large-scale grid installation.
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3. Can you describe your creative process when developing a new project, from concept to execution?
Ans: My creative process often begins with a moment of intuition, a concept that arrives suddenly and viscerally. In the case of Just Breathe, the idea emerged unexpectedly while I was attempting a long exposure photograph of ocean waves at night in the Dominican Republic.
My tripod, too unstable for the sand, slowly sank during the exposure. The result was a photograph not of waves, but of star moving across the sky. That accident sparked a new idea. I placed my camera on my husband’s chest as he lay on the beach, gazing up at the stars.
The 30-second exposure captured both his breath as his chest moved up and down. That image became the first in a series documenting the breathing patterns of over 200 participants. Each project becomes a process of discovery, guided by both curiosity and an openness to chance.
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4. How do you select locations and subjects for your photographs and installations?
Ans: Each project is very different. For Injection Site, I photographed family members, friends, and others who connected with me through word of mouth. The timing of the pandemic played a major role in where I photographed.
During the height of COVID-19, most participants preferred to be photographed outside their homes, masked and socially distanced. As conditions improved, I was able to visit people in their homes, creating a more controlled environment for using a high-resolution thermal camera.
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5. What role does lighting play in your work, and how do you manipulate it to convey mood and meaning?
Ans: In much of my recent work, lighting plays no role at all. I’ve been working primarily with a high-resolution thermal camera, which captures heat rather than light. These photographs are shaped by temperature differences, not conventional lighting techniques. Aside from subtle adjustments to contrast using Photoshop’s Camera Raw, the images remain unmanipulated.
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6. Do you prefer working with natural or artificial lighting, and how does your choice impact the final image?
Ans: When I’m not working with a thermal camera, I prefer to use natural light. Much of my work takes place in the field, often during the day, where I’m photographing the natural environment.
7. How do you decide on the scale and medium of your installations, and what factors influence these decisions?
Ans: I love creating work that evokes a wow moment. Scale and material play a powerful role in achieving that. In my project Self Without Interpretation, for example, I installed multiple two-story, semi-transparent fabric panels suspended from the ceiling.
Viewers could walk among them, touch them, and gently shift the fabric as they passed through the installation. The scale and material invited physical interaction, making the experience both intimate and monumental. I selected a specific type of fabric that allowed viewers to see through to other panels, reinforcing both individual and collective human experience.
That said, each project is unique. I let the work itself guide the scale and medium, while also considering the specific qualities of the exhibition space. I often tailor the presentation to best suit the venue, marrying the concept with the environment in which it will be experienced.
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8. You have mentioned being inspired by artists like Richard Misrach, Sally Mann and David Maisel. How have their works influenced your artistic journey?
Ans: Maisel, Mann and Misrach confront complex, often uncomfortable truths through visually compelling and beautiful imagery. I’m inspired by the tension each creates between vulnerability and beauty. Their unique styles of photography encourage me to look more closely at subjects I may not have considered before, and to approach them with greater understanding and empathy.
I have always connected with Richard Misrach’s words: “Beauty can be a very powerful conveyor of difficult ideas.” That quote has stayed with me over the years.
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9. Your work often reflects a deep connection to nature. How does your personal relationship with the environment influence your art?
Ans: The natural environment has always provided me with a sense of peace and connection. Yet, as my work increasingly engages with the climate crisis, I’ve been more focused on the interdependent systems that sustain us, and the vulnerabilities that threaten us.
10. How do you stay inspired and continue to evolve as an artist in a constantly changing creative landscape?
Ans: My work evolves quickly as I’m trying to keep up with the fast changes encompassing our world. The work must stay relevant.
About staying inspired, I find it helpful to keep two or three projects going simultaneously—it keeps me motivated and prevents me from falling into that void of uncertainty when there’s no new work on the horizon.
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11. Are there any contemporary artists or movements that currently inspire your work?
Ans: Richard Mosse’s work inspires me. It’s smart and relevant. I admire how he takes risks, both conceptually and technically, to address urgent global issues.
12. What has been the most rewarding aspect of seeing your work exhibited internationally?
Ans: In 2025, I exhibited a large-scale installation of Injection Site at FORMAT25 in Derby, UK. I was able to experience how the work resonated with an international audience.
I found that the conversations and responses stood apart from those I’ve had in the United States. The varied perspectives, shaped by cultural, political and personal contexts, was thought-provoking.
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13. Looking ahead, what themes or concepts are you excited to explore in your future projects?
Ans: My concepts evolve, each project grows out of the last, so I rarely know exactly where I’m headed until the next idea reveals itself. I’ve learned to trust that process. I’m confident that I’ll continue to explore the invisible forces that shape our lives, whether biological, environmental, or emotional.
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14. Which product from the PhotoWhoa store would you like to recommend to our audience if they want to learn digital effects?
Ans: I recommend the great bundles of actions, scripts and plugins that work well with Photoshop from PhotoWhoa.
15. What do you enjoy doing when you’re not photographing?
I love swimming outdoors in a lap pool, especially in a heated pool early in the morning on a cold day, watching the steam rise as I swim. I also enjoy the occasional plunge into the arctic ocean.
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Linda Alterwitz’s work reminds us that photography is not just about what we see, but about what lies beneath. Through her unique blend of science, art, and human experience, she opens a dialogue between technology and emotion, body and mind.
Her perspective invites us to question how we perceive reality and encourages us to look deeper. We hope this conversation inspires you to explore your own creative boundaries, just as Linda continues to redefine hers.
Be sure to check out all the work of Linda Alterwitz on her website.
