Judy called it "crooked photography" opposing the “straight” purity dogma of the Steiglitz crowd still reigning in the 1980s-1990s. After printing in her cellar darkroom, she deeply hand-marked images in her studio with ink, paint, glitter, glue, varnish, hand-drawn text, and dye transfer often inspired by Persian miniatures, Medieval manuscripts and Indian art. As she defiantly wrote for one photographic group exhibition: “My statement is that a photograph is a piece of paper and you can do any damn thing you want with a piece of paper.”