The photography always was not considered an art. Its integration to the art was a process very discussed that it began with the photo retratistas graphs. The photographic picture had great welcome like replacement of picture p intado since this one was much more cheap. As the photographic picture replaced to the painted picture, great amount of painters decided to become retratistas photographers even to survive. This it was the case of Felix Tournachon, Gustave Him Gray and the second of the Bisson brothers. This one was the first entrance of the photography to artistic means. In addition these painters were some of which they fought so that the photography is considered an art. To you mediate you of century XIX it appeared a new artistic tendency, the naturalismo. The appearance of this new tendency, centered in the objectivity, looked for to imitate the reality and natur aleza with a high degree of perfection and despised the subjectivity. Thus, the naturalismo was the door that was abrió to give to the photography a true importance in the art since when imitating of an almost perfect form the reality, surpassed widely to the painting in this aspect. On the other hand, e constant l development of the photography at that time, basically with the new techniques on the use of the light of the sun, gave rise to photos with a meant major aesthetic, which took to a new approach of the photography towards the art. When the knowledge in optics were sufficiently advanced, the painters discovered the way to project an image on a film of paper with oil. What he allowed them to quickly take notes with the disadvantage from an investment of the image and so large reducing. This agrees with the height of the realism in the painting. Later egg techniques were discovered using clear, that they did possible to obtain that the image by itself it would be recorded in the paper. This technique went perfecting thanks to the understanding of the implied chemical phenomenon and to a continuous experimentation with alternative materials. Soon fotose was possible to have a box with a paper nsible hidden of the light, a tube with which to focus it, and a stopper to make spend the light the time sufficient so that it made an impression to the film. The photography like art, science and human experience were evolved in parallel during this time. As soon as it was possible to make of the camera a movable device easy to handle appeared the possibility of influencing in the spectator by means of the position of the camera and its approach, which allowed to transfer the subjectivity of the photographer to the photography, besides being constructing lengu aje artistic. At present, the artistic photography in himself, has a very subjective character. The impressionism in the painting and its consequent march towards the abstract thing had a great effect in the photography. Already at present, pure the artistic photography is almost completely subjective and the manipulation of the images has become a fundamental tool in its artistic expression. The photographic artistic language left from the inheritance of the painting. Nevertheless, quickly it extended his lexicon thanks to the facility to make approaches extreme (mincemeats, contrapicados, etc.), the capture of the movement with long times of stopper and the decision of the moment. The pressure on the photographer to mark its subjectivity in the photography forged a full of subtilities but comprehensible, perfectly very direct language for any observer. Today the photography is practiced by million people anywhere in the world armed with good cameras. Preferring at the moment the cameras with good ópticay many options that add flexibility, in front of the cameras oriented to the consumer, where the optics and the stopper great part is directed by the electronics remaining to the fact to make a photo of its imprevisibilidad. The mixed appearance of the digital cameras, cameras with video and the photography in surroundings of virtual reality complican, enriching, the future of this art.