Imboden has shown her photography work in groups and solo shows at galleries and museums throughout the United States, South America, Europe and China.

Her most recent monograph, "Reflections; 25 Years of Photography", was published in 2009 by Insight Editions with essays by Arthur Ollman, Julian Cox and John Wood.

[2] Imboden's work with water began in 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.

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.

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 them transparent in some places while still reflective in others.

Through the relationship of the models in front of and behind the mirror, as well as her camera angle, she discovered a similar effect to the refractive properties of the water.

With a newfound passion and enthusiasm to explore this new dimension, Imboden would eventually try to recreate the same effect in a complex studio environment, revisiting her work with the mirrors with the addition of an assortment of gels, colored backdrops, and cloths.

Much of the work created through this process has a more psychological, sometimes narrative quality, often depicting figures that bear resemblances to archetypal characters throughout mythology.