IN DIRECT contrast to its exhibition of low tech special effects by Arthur Tress in 1994, the Gallery of Photography's latest show, Truths and Fictions, features a photographer who finds himself deeply impressed with the possibilities of digital technology in his art. Where Tress was deeply sceptical about the advent of Photoshop and the digital studio Madrid born Pedro Meyer sees these tools as embodying a fresh openness about the photographic medium.

Meyer's argument appears to run that Cartier Bresson's notion of the decisive moment as a split second, in which the truth of a situation reveals itself, and which may be captured by an alert photographer, is no less artificial than a notion of digitally bringing together several decisive moments within the one frame. The reality, in either case, is one of the photographer's projection, so why should documentary photography put a premium on one type of image?

Meyer brings this idea into a group of photographs that range from suitably dense post modern essays on the nature of photographic representation (one features a seamless montage of a sandwich board man and a Richard Avedon photograph, mulled over by a pair of New Yorkers) to more visceral images.

His hallucinatory, digitally massaged images of the aptly named Mixtec peoples of southern Mexico, are particularly intriguing.