Walker Evans
Walker Evans makes American documentary Photography in 1930s. He has a splendor vision of documenting "American Life". His shots serve as a historical document during the Great Depression. His purpose of this kind of documentary is to record and demonstrate what is important about any sort of event, people or place. His shots contain selected excerpts from the entire observational experience. His pictures are all black and white. Most of his shots are horizontal and vertical depending on his subject. He emphasizes on the poor people, all classes, who are unsuccessful during the Great Depression. He also focuses on automobiles, architecture, American urban taste, commerce, small scale, large scale, the city street atmosphere, the street smell, the hateful stuff, women's clubs, fake culture, bad education and religion in decay. 
Bud Fields and His Family, Hale County, Alabama
Starving Cuban Family, 1933
Lee Friedlander
He begins photographing the American social landscape in 1948. His photographs bring to the surface the correlation of everyday life that comprise our modern world. He has a unique vision that underscores the two-dimensionality of the picture plane and the potential for photographs to contain varying levels of reflection, opacity, and transparency. The pictures are mostly sepia and black and white. Most of his shots are horizontal and vertical depending on his subject. He has a lot of ideas such as street images, trees, gardens, landscapes, nudes, the industrial and post-industrial environment, portraits and self-portraits. His significance lies much more i his early photographs. using his camera, he gave shape to the cliché of life. Lee was experimenting with different camera formats and frame ratios. Within the span of the 89 images in Frederick Law Olmsted Landscapes he shifts from his Leica, to a Noblex pivoting lens panoramic camera, to his Hasselblad Superwide, and the results are noticeable beyond the obvious frame shape.
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