The paper aims to examine some issues concerning the “beholder’s
share” in visual image’s documentary regimes in contemporary culture: examining the case of photojournalism and recent documentary films, we intend to highlight in this analysis the modes of constructing the “immersion’s vectors” of the images, together with the “visual witness principle”, which permeates some of contemporary documentary practices, in order to identify in those the constituion of “experiential places” of the images which defines its visual meanings in contemporary culture.