This research employs the notion of entrapment to outline an embodied and non-representational theory of the photographic, proposed as an alternative to established accounts of the medium. Traps and photography rely on similar strategies, such as mimicry, absenting, and automation, and both generate particular tensions in time. Cameras function as traps that lure light onto sensitive surfaces and digital sensors, where it is absorbed and transformed. Algorithms operate trap-like, processing information through predetermined operations that result in digitally born images. Photographic devices—understood as extending beyond cameras and photographs—embody trap-like relations between humans, non-humans, machines, and environments. At a theoretical level, four conceptual shifts are proposed. The metaphor of the trace is replaced by that of the trap; photography is understood as a gestural nexus of relations rather than as a technology of reproduction; the Western notion of representation is substituted with mimicry, as observed in non-European cultures and non-human species; and the concept of capture is advanced as an alternative to discourses that primarily associate photography with surveillance. Methodologically, the project is grounded in practice. Photographic situations of entrapment are staged, assembling people, apparatuses, and custom-designed objects. These objects act as traps for the camera, enabling photographic gestures to emerge through specific material and discursive operations. Processes are developed in which images circulate across different media, connecting old and new technologies. Through this, photography is framed less as a means of reproducing the world than as a practice of transformation, making the world become unlike itself.