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White grew up in a small town of Ohio, where his influences were mostly his family and the rural parts of America. He was a founding member of the Photo-Seccesion movement. He was friends with Alfred Stieglitz and helped advance photography as an art form. He moved to New York City later in life to be closer to Stieglitz and to further promote his work.

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This photograph was taken by Clarence White, but was edited by Stieglitz. It was taken in 1903. There is not much information on this specific photograph, but it is from the portfolio "Camera Work."

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This photograph Model in New York Studio was taken by Clarence Hudson White in 1920. White had moved to New York City in 1906 in order to pursue his goals as a photographer.

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Edward Weston has been called "one of the most innovative and influential American photographers." He photographs a very extensive variety of subjects. Most of his photos were taken in California, where he lived for much of his life.

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Tomato field was taken by Weston in 1937 in Monterey Coast. Weston's purpose of this photo was to draw the viewers eye to how we view and experience landscapes. Weston's photography is similar to Paul Strand's photograph in a way and he accomplishes the same goal but differently. Weston's photos are more unpredictable than Strand's urban man-made structure photos. He effectively brought photography out of the city and into rural America.

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Cabbage Leaf was taken by Edward Weston and printed in 1951. Weston photographed cabbage arrangements over 9 years. It depicts an everyday object with great precision, while making the viewer also aware  of the strangeness or the qualities of strange in the image.

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Andre Kertesz was Hungarian born photographer known for his contributions to photo essays and composition. He personally believes he did not receive the recognition he deserved for his work. He even served in World War I and after that moved to Paris. He worked for a French newspaper where he published most of his photos.

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This image was taken by Andre Kertesz in 1954. He spent a long time photographing in New York from his apartment window. He uses recent snowfall to create a contrast between the ground and the foreground, creating curving lines in this photograph. His technique was called "surveillance" as he was very observant as a photographer.

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This image was taken by Kertesz in 1962 in Long Island. This photograph was taken later in his career, and was very unusual to what he usually shoots, as it includes figures from his personal life. The man in the photo is his friend and business partner. This photograph is full of symbolic meaning. He has implied that the broken bench refers to the breakdown of human relationships, as well as the mind and the body.