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This article focuses on contemporary photography from a genealogical point of view. It considers the history of photography not only as a way of thinking about its present, but also as a problem. For this, we relate the current phenomena of photography with the processes that shaped it during the nineteenth century. We suggest that the symmetries that exist can be viewed as conditions to consider the construction of some of the principle characteristics of contemporary photography, such as the performing of a “re-reading” of our ways of living in society and the critical discussion of the experience of the visible in our recent history.