This article seeks to reflect aesthetically and philosophically on the emergence of a "luminous consciousness" as a production strategy in contemporary documentary photography in Chile. This documentality is reactive to its political context, due to the fact that it is lost as an ideological reference. This orphan condition turns the photographer towards his own intimacy, transforming it into his ideological and documentary reference. This turn towards the performative has an esthetic-phenomenal appearance on the treatment of light, and a chromatic conscience to a certain degree “anomalous”. This anomaly is visible in that the colors are not what the present technologies deliver, in this case photographers choose precarious techniques, mechanic, as well as chemical, to show this self-reference as a central motive of their epoch representation.