Among her subjects were Jacques Henri Lartigue, André Kertész, Duane Michals, and Barbara Morgan, who along with photographer Max Waldman were her biggest inspirations.

She created moments expressly for the camera, exploiting photography's ability to slice time into 1/2000 of a second, revealing to the viewer what the naked eye can't see.

[2] Greenfield describes her use of the medium format Hasselblad camera and how it influenced her: In my early work, I used the black frame (the negative's actual border), to interact dramatically with my subjects.

"[7] Since these early experiments, her photographic method has stayed pretty much the same - shooting just one moment out of a phrase of movement, and never digitally compositing the dancers' positions in the frame.

[3] Her most recognized commercial assignment was the series of advertisements she created for Raymond Weil watches in 1993, which appeared on billboards and ads worldwide.

Invited to participate in "Le Printemps de Cahors" in France in 1994, she projected her images onto a 30-foot high water screen in the Lot River.

The dance was performed at the Sydney Opera House, Sadler's Wells in London, the Joyce Theater in NYC and Theatre de la Ville, Paris.