[1] Inspired by Gordon Parks, who promoted the camera as a weapon for social justice, Frazier uses her tight focus to make apparent the impact of systemic problems, from racism to deindustrialization to environmental degradation, on individual bodies, relationships and spaces.

[3] Speaking to The New York Times about her position, Frazier said: "We need longer sustained stories that reflect and tell us where the prejudices and blind spots are and continue to be in this culture and society....

[7] Frazier reports drawing and painting from a young age, and credits her Grandma Ruby's with setting high expectations for her achievements.

The photographic work of LaToya Ruby Frazier includes both images of personal spaces, intensely private moments and the story of racial and economic injustice in America.

As Frazier explains, "the collaboration between my family and myself blurs the line between self-portraiture and social documentary"[27] Often her work focuses on the plight of her home town of Braddock, Pennsylvania which became financially depressed after the collapse of the steel industry in the 1970–80s.

[30] Informed by documentary practices from the turn of the last century, Frazier explores identities of place, race, and family in work that is a hybrid of self-portraiture and social narrative.

[3] A 2018 special issue of Atlantic Magazine featured aerial photography and an essay by Frazier documenting the impact of the assassination of Dr. Martin Luther King.

Frazier's work was featured in the 2019 New York Times Magazine Money Issue for her photo essay on the people of Lordstown, Ohio, after the General Motors plant shut down.