ABSTRACT
The practice of psychoanalytic psychotherapy has always embraced the seduction and power of the image, usually as the source material for linguistic interpretation. Images become useful for the therapeutic process through translation into language. The author wants to know, as a dumb photographer that if the creation of visual images can be understood as its own form of analytical response. The material of the visual documentary is a collection of photographs that aren't pictured: a portrait of a process that is both image-driven and innately immaterial. Throughout the conversation, the Lacanian analyst's vocabulary was infused with the optical and chemical processes. The analyst gave another example of 'what an image can conceal' but this one seemed to slip away from her. In London, one psychoanalyst gave a picture to the author which he doesn't want to shake. The psychoanalyst said that the patient and he enter together into the scene, as if going with a child by the hand.
