A trained linguist, Eva Worobiec spent most of her working life as a teacher of languages, and developed an interest in photography as a corollary to work. She gained her Associateship in 1987, which was published in The Royal Photographic Journal (the first colour panel ever to do so), and followed this with a Fellowship in 1994, a panel which showed details of flowers presented in a highly abstract manner.

For several years Eva was a member of Chimera and was then invited to join Arena, the nationally known group of photographers based in the south of England. Whilst she does enjoy monochrome work, most of her images are produced in colour. Her most significant work appeared in “Ghosts in the Wilderness: Abandoned America”, a shared project with her husband Tony, which documents the depleting communities of eastern Montana, western Nebraska, North and South Dakota and the Pawnee Grasslands of northeast Colorado. On publication, this book was widely reviewed, not only throughout the photographic press, but also in heavyweight publications such as The Guardian, The Independent, The Washington Post and Stern magazine.

A keen traveler, Eva then followed up this body of work with a related project capturing the dwindling glamour of many of the independent diners, motels, hotels, launderettes and theaters that continue to survive despite the odds. These photographs are an attempt to celebrate the iconic beacons which epitomize the American dream and to ensure that they do not become a fading memory and have been published by AAPPL under the title “Icons of the Highway: a celebration of Small-Town America”.

Having spent most of her life living near the coast, she also has a large body of work on this aspect of landscape photography, which led to a recent collaboration with Susan Brown, Trevor Crone, Paul Mitchell and Tony Worobiec to self-publish a highly successful book, “The Coast: A personal view of the English coastline”. Her newest work during a 3-week trip to the United States, revisiting many of the old locations photographed for “Ghosts in the Wilderness”, consists largely of black-and-white images taken on a converted digital infrared camera, thus representing a complete change of approach.