In particular, he acted as an advisor to Edwin Land and the Polaroid Corporation in the development of the instant photographic process, and used it for aesthetic as well as technological purposes. Shortly before his death, he even gave a nod to the growing art form of video. Unlike some photographers, who destroy their negatives when alive or in their wills, Adams bequeathed his archive to the Center for Creative Photography in Arizona so that they would be available for future study and work. He saw his negatives in the musical sense as a score, and the print as a performance. By making his negative available, he gave future artists the opportunity to play their own variations on them.
"In the electronic age, I am sure that scanning techniques will be developed to achieve prints of extraordinary subtlety from the original negative scores....It is true that no one could print my negatives as I did, but they might get more out them through electronic means. Image quality is not the product of a machine, but of the person who directs the machine, and there are no limits to imagination and expression."16
Even by relinquishing control of his legacy to others at his death, he looks to its future preservation and evolution.
 (January 1993).iso/Files/Hyper/A-An/Ansel.cpt/ansel/card_9170_render.png){kind=link}