Photographica’s 4th issue strives to define the field of “photographic producers,” mobilizing individuals too often understudied in photographic historiography despite their crucial role in the making and disseminating of photographic images. Embracing a perspective concerned with what can be found “behind the picture” rather than on its surface (Didi-Huberman, 1990), contributions in the issue analyze how collaborations, struggles and negotiations underlay and shape the images that circulate, from Philippe Artières’s reading of Objet de grève by Jean-Luc Moulène to Nicole Hudgins’s deconstruction of gender dynamics in the 19th century hand-tinting industry, and Marlène Van de Casteele’s examination of contests over authorship inVogue’s collaborative productions of the 1940s. Where the history of labor is concerned, light is shed on the space(s) in which power relations between these actors unfold behind-the-scene: the Hachette photolibrary is explored by Sylvie Gabriel, the Roger-Viollet photo-agency in a conversation with Delphine Desveaux. The thematic focus also makes it possible to reconsider the photographer figure, when issues over the management and distribution of large corpuses arise, as in the articles by Marie Durand and Anaïs Mauuarin, or Agnès Devictor and Shahriar Khonsari. In the same breath, the research objects constituting “the photographic sphere” are considered broadly, to encompass industrial and commercial photographs. Generally poorly contextualized, these are resituated within social, economic and cultural histories by Anne-Céline Callens, and in Chloé Goualc’h’s presentation of the archives of social workers. Altogether, these pieces contribute to open new conversations around photographs’ production.