 Institutions of control, such as the police, are able to survey and control "increasingly mobile populations" through photographic documents, such as passports or identity cards.Sontag also argues that through repeatedly capturing and viewing reality through photographs, their subjects can become less real.She claims that "aesthetic distance seems built into the very experience of looking at photographs," and also that the sheer volume of horrific images throughout the world has produced a "familiarity with atrocity, making the horrible seem more ordinary – making it appear familiar, remote … inevitable".