This article aims to look at photographic practices in light of recent political events in Chile, focusing on the following questions: How to overcome the colonial impositions created by the photographic regime in light of new political struggle in Chile, what role have algorithms used by corporations played, and how can they be subverted? I discuss how the government’s use of new technology, such as algorithms, data analysis, facial recognition, and GPS data location, has reframed the practice of documentary photography. I draw on the work of Ariella Azoulay (2008) and Angeles Donoso (2020) to understand the political dimension of the photographic apparatus, to analyse how photographers and those they have photographed have created a new set of strategies to resist political persecution.