This paper presents the analysis of some processes of construction and publication of the photographic image developed through the record of body paintings worn by the originary peoples from Tierra del Fuego (Selk’nam and Yamana). Different kinds of biases in the shooting and publication of the photographs are characterised, associating them with the interests and contexts in which the photographers were immersed as well as with the native body painting activities and their own attitudes towards photography. In this sense, the paper discusses the importance of revealing not only the biases produced from the perspectives and practices of Western photographers, but also the relevance of considering the influences of Fuegian practices on the shooting and publication of a photograph.This paper presents the analysis of some processes of construction and publication of the photographic image developed through the record of body paintings worn by the originary peoples from Tierra del Fuego (Selk’nam and Yamana). Different kinds of biases in the shooting and publication of the photographs are characterised, associating them with the interests and contexts in which the photographers were immersed as well as with the native body painting activities and their own attitudes towards photography. In this sense, the paper discusses the importance of revealing not only the biases produced from the perspectives and practices of Western photographers, but also the relevance of considering the influences of Fuegian practices on the shooting and publication of a photograph.