The article deals with the construction of visual languages and aesthetic concepts conditioned by images created through the relationship between technology and art, manifesting itself in the representation of visual reality.\r\nThe history of modern art assigns to photography, along with other factors, an important role in the formation of aesthetics and modern pictorial language. The article confirms the existence of formal photographic values, which in painting become visual and plastic, and which converge in the creation of the language of modern art and in the modern look of society and its participation in the new visuality.\r\nIt is argued that the modern view acquires its own meaning by establishing the relations of visual systems and photographic languages in the construction of the imaginary worlds of art and its codes of beauty, giving a new meaning to the concepts of beauty and art.\r\nThe article states that scientific and experimental photography contributes to painting by recognizing unusual forms or images of reality and, by projection, the collective imagination of modernity, highlighting the concepts of simultaneity, dynamism and experimentation in the eyes of the modern artist. It shows how photography models an aesthetic sense that, being its own, transmits the artist in the creation of icons fundamental for the creation of the work of art, and brings more broadly to our imaginary.\r\nTo return to what has been said, the relations between art, aesthetics and technology, as well as the validity of contacts and influences between them, is not a matter that can be considered exhausted. Photography, with its own codes, systems and languages, has changed the way of seeing of the human being; It has made him look at photography, generating an aesthetic sense modeled, in some way, by this way of seeing.

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