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Andy Warhol

What Camera Did Andy Warhol Use? The Big Shot and SX-70

Warhol is most closely associated with the Polaroid Big Shot for commissioned portraits, but he also used the portable SX-70. His instant photographs became source images for silkscreen portraits.

By ThatPainter Team 2 min read
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Andy Warhol is best known for using the Polaroid Big Shot during formal commissioned portrait sessions. He also used the more portable Polaroid SX-70, so the Big Shot was not his only camera. Warhol’s instant photographs were working images: he selected them as source material for silkscreen portraits rather than treating each photograph as the finished artwork.

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Which Polaroid cameras did Warhol use?

Camera Role in Warhol’s practice
Polaroid Big Shot Portrait Land Camera Most closely associated with formal, close-up portrait sessions. Warhol began using it soon after it entered the market in 1971, according to The Andy Warhol Museum; the Whitney also describes its portrait role.
Polaroid SX-70 A more portable, versatile camera that the Whitney identifies as part of Warhol’s early-1970s practice, including everyday photography. See the Whitney Museum of American Art’s exhibition account.

Warhol bought his first Polaroid in the mid-1960s, before the Big Shot’s 1971 introduction. The distinction between the two models is practical: the Big Shot is tied to portrait framing and flash, while the SX-70 offered portability for snapshots. Museum sources support those roles, not a broader technical comparison.

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How did a Polaroid become a Warhol portrait?

  1. Photograph the sitter. For a commissioned portrait, Warhol made multiple Polaroid snapshots rather than relying on a single exposure.
  2. Select a source image. He chose one photograph to serve as the basis for the portrait.
  3. Translate it into a painted work. The selected image informed a silkscreen, and Warhol painted the background to suit the sitter. The photograph was one stage in this process, not the finished commissioned portrait. The Warhol Museum, the Whitney’s Family Album account, and the University of Michigan Museum of Art’s record for Unidentified Woman #30 document the relationship between Polaroids and portraits.

Instant photography suited this workflow because Warhol could see an image quickly. The museum accounts also describe the photographs as high-contrast images that flattered sitters and worked well when translated into silkscreen and paint.

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What do the photographs reveal about his way of working?

The repeated snapshots were part of image-making and selection, not simply a demonstration of a camera. Warhol’s remark, “I think anybody can take a good picture,” is attributed by The Andy Warhol Museum’s Photo Policy to his book Exposures (1979).

The Whitney’s 2026 exhibition Andy Warhol Family Album featured 732 photographs, focusing on images from 1972–1973. That figure counts the exhibition selection; it is not a count of all the photographs Warhol made. See the Whitney’s 2026 press material.

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