法兰西-斯库利-奥斯特曼是一位艺术家、教育家和斯库利与奥斯特曼工作室的共同拥有者，也是乔治-伊斯特曼博物馆的客座学者，两者都位于纽约州罗切斯特。 奥斯特曼在美国和国际上的大学、博物馆和艺术学校授课并发表演讲。

作为一名艺术家，她的 "睡眠 "展览得到了包括《美国艺术》、《巴黎摄影杂志》和《乡村之声》等媒体的好评。  作为一名教育工作者，奥斯特曼因其对早期摄影工艺的广泛知识而受到认可，包括湿版和干版、感光、蓝晒、蛋白和盐纸印相工艺。 

她与她的丈夫马克一起，在1995年至2002年期间共同出版和编辑了《火棉胶杂志》季刊。

你可以在Elizabeth Opalenick的（2021年）、（Don't Press Print）、（De-Re-Constructing）中看到奥斯特曼的图片和文字。Royal Photographic Society, (2021); New Dimensions In Photo Processes: A Step-by-Step Manual for Alternative Techniques, by Laura Blacklow (2017), Salted Paper Printing by Christina Z. Anderson (2017), Das Kollodium, Peter Michels (2015); Alternative Photographic Processes, Brady Wilks, (2015); Photography Beyond Technique, by Tom Persinger (2014), Eclats de Photographie, (2011); The Book of Alternative Photographic Processes by Christopher James (first two editions), Le Vocabulaire Technique de la Photographie by Anne Cartier-Bresson (2008), and the third edition of Photographic Possibilities, by Robert Hirsch (2008); Photography's Antiquarian Avant-Garde, The New Wave in Old Process Photography by Lyle Rexer (2002), Coming into Focus by John Barnier (2001), 以及其他出版物。

她的版画和凹版画已经在法国、波兰、瑞士、日本和美国各地的画廊和博物馆展出。

奥斯特曼的作品被以下机构收藏：巴黎欧洲摄影协会、德克萨斯州休斯顿美术博物馆、东京日本大学、纽约罗切斯特乔治-伊士曼博物馆、德克萨斯大学哈里-兰瑟姆中心、瑞士洛桑爱丽舍博物馆、德克萨斯州休斯顿美术博物馆、弗吉尼亚州罗诺克陶布曼艺术博物馆、纽约康奈尔大学赫伯特-约翰逊艺术博物馆，以及众多私人收藏。

France Scully Osterman is an artist, educator and co-owner of Scully & Osterman Studio, and guest scholar at George Eastman Museum both in Rochester, NY.  Osterman teaches and gives talks at universities, museums and art schools in the US and internationally.

As an artist, she has received glowing reviews of her "Sleep" exhibit including Art in America, Paris Photo Magazine and the Village Voice.  As an educator, Osterman is recognized for her extensive knowledge of early photographic processes including wet and dry-plate collodion, photogenic drawing, cyanotype, albumen and salt print methods.  

Together with her husband, Mark, she co-published and edited The Collodion Journal quarterly from 1995 to 2002.

You can find Osterman's images and writing featured in Workshop Stories, by Elizabeth Opalenick, (2021); Don't Press Print: De/Re-Constructing the Collodion Process, Royal Photographic Society, (2021); New Dimensions In Photo Processes: A Step-by-Step Manual for Alternative Techniques, by Laura Blacklow (2017), Salted Paper Printing by Christina Z. Anderson (2017), Das Kollodium, Peter Michels (2015); Alternative Photographic Processes, Brady Wilks, (2015); Photography Beyond Technique, by Tom Persinger (2014), Eclats de Photographie, (2011); The Book of Alternative Photographic Processes by Christopher James (first two editions), Le Vocabulaire Technique de la Photographie by Anne Cartier-Bresson (2008), and the third edition of Photographic Possibilities, by Robert Hirsch (2008); Photography's Antiquarian Avant-Garde, The New Wave in Old Process Photography by Lyle Rexer (2002), Coming into Focus by John Barnier (2001), and many other publications.

Her prints and ambrotypes have been exhibited in galleries and museums in France, Poland, Switzerland, Japan and throughout the United States.

Osterman's work is in the collections of the Maison Européenne de la Photographie, Paris; Museum of Fine Art, Houston, Texas; Nihon University, Tokyo; George Eastman Museum, Rochester, New York; Harry Ransom Center at the University of Texas; Musée de l'Elysée, Lausanne, Switzerland; Museum of Fine Art, Houston, Texas; The Taubman Museum of Art, Roanoke, Virginia; Herbert F. Johnson Museum of Art, Cornell University, New York, and numerous private collections.

She is represented by Tilt Gallery in Scottsdale, Arizona and Photo Gallery International in Tokyo, Japan. For more information go to: http://www.tiltgallery.com/  https://www.pgi.ac/en/ and http://www.collodion.org