Ansel Adams, known for his large-scale black-and-white photographs of the American West, could still convey a sense of grandeur with his SX-70 at Yosemite Falls (1979).
He helped found Group f/64, an association of photographers advocating "pure" photography which favored sharp focus and the use of the full tonal range of a photograph. He and Fred Archer developed a system of image-making called the Zone System, a method of achieving a desired final print through a technical understanding of how the tonal range of an image is the result of choices made in exposure, negative development, and printing.

Most of Evans' work in the New Deal was done using an 8×10-inch (200×250 mm) widescreen camera. He said his goal as a photographer was to take pictures that were "literate, authoritative, transcendent."[1] Many of his works are in the permanent collections of museums and have been the subject of retrospective exhibitions at institutions such as the Metropolitan Museum of Art or the George Eastman Museum.

Polaroid provided Depression-era documentarian Walker Evans with an unlimited supply of film for his SX-70 in 1973, and the simplicity of Polaroid allowed the infirm Evans to film in the last years of his life. "No one should touch a polaroid until they're over 60,” Evans said.

Iconic pop artist Andy Warhol captured the moment of his own overload with Andy SneezinoMji (1978). Warhol often used the instant polaroid technology of another model, Big Shot, to take prints that served as the basis for silkscreen portraits.
The founder of the ideology of "homo universale", the creator of works that are synonymous with the concept of "commercial pop art". In the 1960s, he was the manager and producer of the first alternative rock band, The Velvet Underground. Several feature films and documentaries have been made about Warhol's life. Among the most famous works of Warhol are "Campbell's Soup Cans" (1961-1962) and "Marilyn's Diptych" (1962).