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             Therefore, the topics of subjective and objective influence the truthfulness of an image, thus impacting on whether the aesthetics of an image violate our ethics. It has become a fact that when taking a picture we tend to forget that it doesn't take an accurate objective "recording of reality " (Sturken and Cartwright 2009), in spite, we make an "interpretation of reality" (Sturken and Cartwright 2009). Although, it is believed that cameras portray the world "from a detached subjective view point (Sturken and Cartwright 2009), as scientists argued that it was a way of producing representations through a mechanical recording device, rather than scientists subjective eye and hand "(Sturken and Cartwright 2009), according to Lodriguss (2006) there are no "film or digital camera that can perfectly and accurately record nature". This is a result of, even the choice of creating an image through a camera lens and "altering and having the subjective choice of changing spatial relationships between objects in the frame (Lodriguss 2006) influences the truthfulness of a photograph. The real world is not portrayed from accurate and pure objectivity, as the photographer themselves influence an image based on their aesthetics, cultural background, history, intentions and purposes of taking the shot in the first place. The process of the individual framing, zooming (Sturken and Cartwright 2009, page 1), and selecting different aspects of an image makes it a subjective process, therefore, limiting the truthfulness of an image, and whether we "believe in image over truth. According to Barthes, he referred to photographic truth as a myth, not because the photo isn't accurate but because "he regarded truth as always culturally inflicted, never pure and uninfluenced by contextual factors (Sturken and Cartwright 2009, page 18).

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             Furthermore, another aspect is how still photographs provide aspects of real life; however, limit truth as it "freezes time (Walden 2006).