Ambiguity of the image that used to occur as an effect of comprehensible interaction between light and silver-halides-covered material. The image that used to explicitly demand an embodiment in order to become visible. Picture, that now exists as immaterial hybrid, a result of enigmatic interaction between light and electronic sensors. All of these pose a query whether photography eventually became an entelechy of image or rather its travesty, a phantom that comprises of data but not so surely provides us the visual information sincerely. Dwindling away of common trust in truth of visual representation and in its role as a credible carrier of information has been foreseen years ago and now seems to be altered by extension of understanding and interpretation of truth and credibility. Thus, the uncertainty and ambiguity appear while considering our history, time, memories and our own identity. The increasing impression of anxiety and uncertainty next to dissatisfaction and lassitude while experiencing visual representation contemporarily defines the image as omnipresent, short-lasting and feeble stimuli. Also the act of taking a photograph becomes a defined social gesture. With its rules and restrictions where, when, and how to take or not to take a picture, the act itself exceeds the significance of the result - the taken picture. All of the above take part in the complex process of redefinition of cultural and epistemological identity of photographic image that takes place currently and influences our perception, our ideas about past and distant places, identity and social relations. That redefinition and the role of the image beyond the image – these are the problems I am attracted to. I tend to work in course of long-lasting projects, employing camera as an application which serves construction of an image rather than an autonomous artistic medium.