The position of photography under academic research context has multiple layers which imply that contemporary photographic theories and practices also have multiple layers. Due to general and contextual ubiquity present in contemporary photography it has led towards being a domain of research. This section does not discuss the theories and practices related to contemporary photography rather will focus on their extensiveness and wider application. A powerful response has been evoked from the viewers and this has helped in communicating various knowledge kinds (Szarkowski 1973). The contemporary theories related to photography are varied in nature such as related to photography aura and optical unconsciousness which have been the result of multiple essences that contemporary photography possesses on a viewer. One of the mostly discussed practices of contemporary photography as illustrated by Krauss and Colliers is the metaphorical similarity practice implying that a photograph is an idea that allows metaphors to get connected with the actual world and henceforth this is the uniqueness which differentiates art from contemporary photography.
Many researchers however have in a contemplated manner criticized the photography theory of indexical system and this theory has been criticized by artists of contemporary photography such as Joel Snyder and Neil Walsh saying that this theory has to be characterized as the model of mechanical nature to understand photographic nature (Benjamin 1992). However, no matter how many criticisms contemporary photography related theories and practices face but still the field of research related to this domain will continue to widen especially due to the mere aesthetic experience that it provides to the viewers.