Gursky similarly works with large scale chromogenic prints that interrogate digital manipulation and the constructed nature of photographic truth, often using computer editing to alter or composite images into hyperreal scenes that blur the boundary between photography and digital art.

Guyton foregrounds digital processes and the material artifacts of digital image production, using inkjet printers and computer files to create works where pixelation and compression errors become central aesthetic qualities, directly paralleling Ruff's exploration of JPEG compression artifacts as visual subject matter.

Gütschow constructs large scale photographic images entirely through digital compositing, sharing Ruff's interest in how digital processes transform and reconstruct photographic imagery, producing chromogenic prints that interrogate authenticity and the fabricated nature of the photographic medium.