Photography cannot be considered to have a singular cultural status or static identity. There is better regarding of photography as a dynamic and dispersed field of images, practices and technologies. The compliance of ubiquity over this field of photography is that it can be in- distinguished from the discourses or institution choosing its utilization (Allen, 2003). Therefore, the historical context of photography is the multifarious and collective history of the same discourses and institutions. As a significant example, the history involved in police photography cannot be distinguished and separated from the institutions and practices of the justice system and criminology. Hence, it can be stated that photography does not appear to be having any unified or coherent history on its own apart from being documented in terms of several effects and uses. The meanings depicted by individual photograph have complete contingence, with key dependence upon the contexts within which photograph has been formed.