In a sense, Chapter Four, “Stolen Images,” is a reflection on the “specularity” of speculative wonder, a central concept of this book. It concentrates on the complex history and continued power of Charles Furlong’s famous photography of Fuegian Indigenous peoples. In this chapter, I experiment with dualphotography, a photographic technique that records what is in front of and behind the camera simultaneously, to reveal how Furlong’s images are entangled with the very imperialist, colonizing, and destructive developments that they seek to document and critique. The chapter ends with a coda on the life images can take, beyond the control of the photographer and photographed.

Points to Consider

• Can we take photographs without “othering” the cultures and environments we are capturing?

• Is it possible to subvert the representational politics of a colonial archive, such as the Furlong archive?

• If you have a smartphone, experiment with dualphotography. What did you learn?

Postcards made from Furlong’s Stolen Photographs