It took a long time to deconstruct  the positivist conception of objectivity and truth that had underpinned the   street or documentary photography  of the 20th century and to accept that  photography is  an interpretation of the present  produced from a particular perspective of diverse,  fluid  subjects. 

 Consequently, there are many kinds of photographies and our  understanding of the past  today are the pictures, images, and memories scattered throughout the city like a collection of snapshots strewn upon its floor, some prominently displayed, some a little obscured, others well buried. All can be picked up and re-circulated to differing ends. Indeed, somewhat akin to the “cut and paste” of contemporary digital culture that enables various elements to be easily combined, manipulated, and, of course, disposed. 

 The circulating images in our visual culture are an important part of the way we think and maintain our vast reservoir of sharable and contested meanings and memories as well as structuring our encounters with other human beings. In this image-world images continually shift the meaning of things and we  make new images out of the old.  Images are  in flux or  ever becoming. Images situate us, just as we make images from them.