In her career as a photographer, she worked in a wide variety of materials, process and formats, although she is best known for her strip prints which she stumbled upon while shooting with a malfunctioning camera.

During her graduate school days, Blondeau, experimented with concepts such as transparency, repetition, patterning and narrative in her work.

The abstract imagery and multiple overlapping exposures that resulted intrigued Blondeau, and she began to create these images purposefully.

Although Blondeau only had two solo exhibitions during her short career, she was a part twenty-five group shows, eleven after her death.

These images included close ups of telephone wires, parking lots, old warehouses being watched over by a ghostly female face.

The results were prints in which a white form of greater or lesser transparency, depending on the speed at which she had wound the film, and the exposure provided to the image at the moment of capture.

In her first strip prints, the actions of the characters seem designed more to produce a challenging visual appearance than to suggest a dramatic meaning .

A man in an open-necked sport shirt is seated in front of the usual back background at two points in the strip about a quarter of the way from the left edge and about two-thirds across.

Joan and Gunther, 1969: Blondeau attacked abstract quality in her work and took her camera outdoors to record specific, non-directed events .

Blondeau continued to produce images after she had been diagnosed with cancer, and reflected her response to the events occurring in her life with highly charged emotional imagery that speaks directly of her reactions in the face of impending death.

Blondeau produced a series in which she enlarged single 35mm frames to approximately 20x24 inches on high-contrast film and then placed these large transparencies on top of silver or gold mount board.

Applying acrylic paint to the back of certain parts of the transparencies, Blondeau was able to focus attention on the most important aspects of the scene represented in the picture.

Eadweard Muybridge was well known for his photography series, Sallie Gardner at a Gallop, or Horse in Motion in 1872, when he was hired to resolve the question of whether or not all four of a racehorse's hooves were ever off the ground simultaneously.

In order to do so, Muybridge experimented with cameras and tripwires, and was able to capture the horse in motion ultimately ending the debate that all four hooves do leave the ground at once.

Artist Thomas Eakins, another one of Blondeau's previously mentioned influencers, went on to briefly work with Muybridge in Philadelphia and created his own independent motion studies series in the mid-1880s.

Additionally, although scientist Etienne-Jules Marley did not interact with the other two historical influences, his work similarly utilized taking multiple consecutive frames a second to create animation and motion.

The work of these three figures heavily contributed to the development of the motion picture, and encouraged Blondeau to experiment with the exposure time on her photographs.

Blondeau utilized the format and the continuous-exposure techniques employed by these historic figures to expand the time referent of her photograph.

The show featured other artists such as Ray Metzker, William Larson, Ken Josephson, John Wood, and Michael Bishop.

Her second show at the Laurence Miller Gallery, Permutations, features her 1968-1972 time and motion panoramas, in addition to her 1970 street scenes printed as large positive images on orthochromatic film, her experimental nude studies, and her final work of the "Black Border Series" from 1974.

Her work is archived in the Visual Studies Workshop in Rochester, New York and was commemorated with a memorial solo exhibition and correlating catalog at the Philadelphia College of Art Gallery, from December 4, 1975 - January 23, 1976.

A Catalogue, Barbara Blondeau 1938-1974 featured works from the Exhibition and an essay was published by Visual Studies Workshop in the same year.

Barbara Blondeau's esteemed friend and student, David Lebe, has been actively working on developing her legacy with the Philadelphia Museum of Art.

After she passed, Lebe was a critical aspect in putting together the Memorial Exhibition and editing a catalog of Blondeau's work.

Blondeau's stylistic influences are evident throughout his work with the inclusion of experimenting with different forms, such as hand coloring, photograms, and light drawings.

In addition to showing her works, the Philadelphia College of Art has created The Barbara Blondeau Memorial Grant, which is awarded to students of Photography and Animation on basis of merit.

Barbara Blondeau, 1938–1974 Edited by David Lebe, Joan S Redmond, and Ron Walker; Rochester, NY: Visual Studies Workshop, 1976.