As if an all-seeing manifestation of their existence were finally possible, photographing with smartphones is spreading among millions of people in the flourishing economies of digital capitalism. Myriads of images, predominantly blurring the lines between the public and private, the desired and the contingent, the conscious and the unconscious, rush daily through global data channels, being shared, liked, tweeted, posted, copied, and deleted. Nothing here is old, and nothing remains hidden, which is why for some suppressed artists, such chain-photographic assertions of existence have become life-saving. Whether a weapon or not, new-existence photography creates a pure and endless presence, as each new image overwrites a previous one and takes its place. It is not a photography of memory, but one of the social impact of staged existences.