While both engaging with and problematizing the photography business this way, Martens demands that we, as spectators, move beyond passive contemplation of photographic images. Like Ariella Azoulay in her famous book The Civil Contract of Photography (2008), he urges us to understand photography’s various uses and to clearly differentiate between all of them. Azoulay defines this move beyond passive contemplation in terms of civil spectatorship. This implies that we come to see our perceptual relationship towards the subject depicted in a photograph and to the artist that produces the work in legal terms: it is a triangular, contractual relation between the depicted subject, the photographer, and the spectator. A contract implies that all parties involved in signing it are entering its terms on an equal basis, having an equivalent status as subjects or individuals of free will. If a photograph creates benefits for only one or two of the parties involved, leaving behind the depicted subject matter in an unprotected or deprived state, the contractual relationship is unbalanced and null. The rationale behind Azoulay’s claim is based on the photographic depiction of human beings. But this claim can – and I want to argue, needs – to be expanded towards the protection of animals, inanimate nature, or legitimately constructed architectural settlements.