The article focuses on time in photography as a form of ontological givenness of time. More specifically, it analyzes the mode of existence of temporality within photography. It is shown that time in photography exists in a dual way. On the one hand, time appears to be suspended, but on the other hand - due to the fact that event sequence is envisioned by the viewer himself - it appears to be created within the act of perception of photographic image. It is shown that such a construction of photographic image temporality is connected with the experience of sensuality. Hence, in the modern world, photography appears as a form of projection of the new modes of sensuality. Such a projection of the space-time has ontological character and can be understood as a result of the work of the being’s shutters.