The emergence of digital photography and digital technology, in general, illustrate the principle of "creative destruction", coined by the economist. Joseph Schumpeter (1883-1950) (Schumpeter 1942). During the 20th century, the photography industry regularly introduced innovations that have contributed to its growth. Improvements in appearance combined with lower costs for consumers increased the availability of photographs to the general public. Photographs are now a popular commodity. However, at the end of the twentieth century, the introduction of digital photography provoked a discontinuity and historic structural transformations. The market moved from the chemical to the electronic sector. This major shift initiated the progressive destruction of the traditional photographic market. The leaders in this former field, including Kodak, Agfa, and Fuji are weakening. As well as economic challenges, this has impacted the photographic artwork and photograph's materiality. We press a button, an image is captured and subsequently presented to us. In contrast to the processes of the past which include a chemical process, the development of the image is replaced by an electronic process that we do not need to be involved in. However, is a photo still a photo? More so than any other visual art, digital technology has induced a paradigmatic historical shift. While the public appreciates the ease and quickly adapts to this new digital media, the field of photography has been subjected to a profound disruption and our photographic heritage is facing an important change. This paper will review some of these changes in order to demonstrate how we moved from a culture of photographic prints to an imaging culture; we have shifted from memorial photography to fast consumption photography. The transformation has impacted cultural institutions in what they must conserve and how they conserve it.