The jumping off point is the photograph. The treatment of the prints, their presentation, editing process and manipulation will begin to describe a process which contextualises the photograph. This aims to draw the focus of the audience away from the photograph as an object, but rather suggests a terrain of photographic production to be considered by the viewer. With that in mind, these works request that the viewer question their perception of photography as a medium. Representations of narrative are a pivotal preoccupation throughout this practice. This project focuses on parallels between often considered binaries; fiction and non-fiction, documentary and Hollywood cinema, tourism and colonialism. These motifs are used to weave photographic theorem and ideas stemming from critical analysis. Certain elements negate the subject, scale, approach and aesthetic of the work. Intentionally unimposing, the chosen juxtaposing themes in this series are suggested to the audience when questioning of the photographic medium is aroused. The titles of the works touch on textual correlation to these themes. By making reference to a court case which attempted to denounce the authenticity of photographic representation, and a sonnet by William Shakespeare, the abilities of literature and documentation are unified through linguistic expression. The proposition of a blanketing effect of ideological construction aims to stimulate a self-criticism of everyday usage and perception of photography and language; its limitations and possibilities. This final component drives the practice.