Located in San Francisco, California, Erin Malone (b. 1963, USA) spends her days as a User Experience Design Consultant while wishing she was out in the field with her cameras. She received her first camera at 10 and taking it to Girl Scout camp, she promptly left it behind.

me 1972 A few years later and being much more responsible, she purchased her first manual SLR. Photo classes in high school and serving on the newspaper as a photographer, began her foray into “real” photography.

She studied design in college (BFA, Design, East Carolina University) and graduate school (MFA, Design, Rochester Institute of Technology). Photography has always been a part of her life but never the center. She has dabbled in classes periodically over the years but really revived her love of image making with the advent of the digital camera in 2001.

Coming full circle, Erin primarily works with film, vintage, plastic and lenseless cameras and in historic and alternative processes.

Erin’s photos have been shown in group and juried exhibitions across the United States, they have won several awards and are in a few private collections. Her work has been featured in publications such as B&W Magazine, Diffusion, Light Leaks and San Francisco Magazine and the San Francisco PBS produced program KQED Quest.

artist statement

“Perhaps most intriguing of all is that it is possible to photograph what is impossible for the human eye to see – cumulative time.”
—Michael Kenna

As a long-time practicing graphic designer, I have spent many years working with images and contemplating structures of composition with image and typography. The need to satisfy my creative side is expressed through photography and the images that I am both drawn to as a viewer as well as a maker tend to be the antithesis of the crisp, grid bound, modernist typographic, graphic design that I have spent many years making.

My imagery is about time, light, motion and the layers of what happens when these elements are mixed together. Blur, expressive motion, moody edges, double exposures, and color come together to create the image I see in my mind rather than what is specifically in front of my eyes.

Statements for individual bodies of work are on each portfolio gallery page.