Abstract
In 2006 the Hong Kong philosopher and photographer Cheung Chan-fai shot the photo The Photographer. In Kyoto.
This amazing photo has the effect of a visual labyrinth. The article analyzes the different strata of this picture in a phenomenological way and reveals the intertwining of the motive, the motivation of the photographer to grasp his motive, and his motivation to fix also his motivation as a photographer that he is in his living but invisible flesh.