Digital photography has recently displaced chemical photography as the dominant system, which results in a great appreciation for the former and new challenges and concepts in the production and conservation of digital photography if we want to pass on a heritage as valuable and fragile as the photographic one to future generations. Above all, we must resort to its identification to concretely understand which of the multiple procedures that we group under the name of photography we are dealing with, as a daguerreotype is not the same as a platinum print, a slide, or a digital file. Each procedure will require its own conservation conditions. To identify and conserve our photographic heritage, we must keep in mind both its history and its materials and supports, so that we can provide the appropriate conditions for each case and know what problems we may face when giving them an adequate response. Digital photography, while opening new perspectives, presents a challenge that must be managed with knowledge, both when used as support for the conservation of chemical photographs and for digital archives.