The audience for Steichen’s early photographs—readers of Camera Work, visitors to 291, and members of amateur camera clubs—were important within artistic circles, but their number was small compared to the audience he would address following the war. Indeed, Steichen’s large and painterly early prints, perhaps because of their rarity, are now far less known by the general public than his portraits of Greta Garbo, Marlene Dietrich, Gloria Swanson, and other celebrities that appeared in Condé Nast’s Vogue and Vanity Fair in the 1920s and 1930s, or his fashion and advertising photographs that shared those same pages. Moreover, while the circulation of Camera Work never topped a thousand (and was often much less) and its intended audience was an intellectual elite, the Condé Nast publications catered to a much larger and broader readership, one hungry for just the sort of glamorous celebrity portraiture at which Steichen excelled.
FROM http://www.metmuseum.org/toah/hd/stei/hd_stei.htm

Edward Steichen photos from the International Center of Photography:
https://www.icp.org/browse/archive/constituents/edward-steichen?all/all/all/all/0

After moving back to California in 1926, Weston began his work for which he is most deservedly famous: natural forms, close-ups, nudes, and landscapes. Between 1927 and 1930, Weston made a series of monumental close-ups of seashells, peppers, and halved cabbages, bringing out the rich textures of their sculpture-like forms. Weston moved to Carmel, California in 1929 and shot the first of many photographs of rocks and trees at Point Lobos, California. Weston became one of the founding members of Group f/64 in 1932 with Ansel Adams, Willard Van Dyke, Imogen Cunningham and Sonya Noskowiak. The group chose this optical term because they habitually set their lenses to that aperture to secure maximum image sharpness of both foreground and distance. 1936 marked the start of Weston’s series of nudes and sand dunes in Oceano, California, which are often considered some of his finest work. Weston became the first photographer to receive a Guggenheim Fellowship for experimental work in 1936.

FROM https://www.edward-weston.com/edwardweston

In 1941 the National Park Service commissioned noted photographer Ansel Adams to create a photo mural for the Department of the Interior Building in Washington, DC. The theme was to be nature as exemplified and protected in the U.S. National Parks. The project was halted because of World War II and never resumed.

The holdings of the National Archives Still Picture Branch include 226 photographs taken for this project, most of them signed and captioned by Adams.

http://www.archives.gov/research/ansel-adams/

“Put me down with people, and it’s just overwhelming,” Bubley exclaimed in an interview. Like most great photojournalists, she found her art in everyday life, and she successfully balanced her artistic ambitions with the demands of commercial publishing. Edward Steichen, curator of photographs at the Museum of Modern Art and the era’s arbiter of taste, was a great supporter of Bubley, whose work embodied his aesthetic ideal that photography “explain man to man and each to himself.” She was shown in several group shows at the Museum of Modern Art and was given a one-person show at the Limelight, Helen Gee’s legendary coffee house and the only gallery specializing in photography in New York during the 1950s. Bubley worked primarily for the printed page, however, and like her colleagues, can be only partially understood in the context of today’s gallery-oriented photography world, in which photographs are shown as isolated works of art.
FROM http://www.estherbubley.com/bio_frame_set.htm

http://www.loc.gov/rr/print/coll/womphotoj/bubleyintro.html

https://www.loc.gov/exhibits/wcf/wcf0012.html

https://lens.blogs.nytimes.com/2011/08/02/tender-moments-in-the-maelstrom-of-war/