The project assumes that the condition of the 21st century photographic image, marked by the advent and wide diffusion of digital, poses problems that illuminate not only current production but also allow us to re-read much of the tradition and history of technical images. The theme of the double is considered strategic here, because we believe that through the mise-en-scène of the doubles (of doubles of the most varied natures) photography (and of course, the photographers) elaborated a thought about their own Means. A thought that does not exclude its unconscious dimension and which is oriented first by the expression of what a photograph promises rather than by what it actually accomplishes. The methodology used will be basically the one of Warburgian iconology, more adequate to the observation of the transit of the images (from one medium to another, from time to time, from one place to another). Through its movement, which the game of doubles allows us to glimpse, it is intended to surprise the latent promises and the powers of photography that conform the fate of images in the contemporary world. The iconological method differs from the most usual iconographic and historiographic procedures by renouncing metonymic models (subordinated to time and space). It is not inductive (inferred from facts), nor based on deduction from universal laws. As Agamben suggests, it is necessarily paradigmatic as paradigmatic photography for the epistemology of Benjamin"s history and print for Didi-Huberman was paradigmatic. For the paradigm is not an attribute or part of a phenomenon, but, since Plato, a relation between sensible and mental: The paradigmatic relation is not only between sensible singular objects, nor between these and a general rule, but rather Of everything, between singularity (which thus becomes paradigm) and its presentation (that is, its intelligibility) (AGAMBEN, 2009). The investigation of photographic doubles does not make the history of a particular iconographic theme, since no image has precedence over the others. As in Warburg"s pithy formulas, it is impossible to distinguish between creation and performance, between original and copy. Because they are hybrids of archetype and phenomenon, of first time and repetition. (AGAMBEN, 2009). In this sense, the iconological method, based on the similarity, is a privileged way to understand what they want, what they do and what they dream the images. The research will be developed in the following steps, not necessarily consecutive. a) Survey and analysis of the literature related to the theme of the double, particularly in the fields of literature, art history and photography, anthropology, philosophy and psychoanalysis. b) Meeting in iconographic database of photographic images that performatizes aspects of double and duplication. c) Assembly of iconological series of constellational character aiming the production of analytical tests. d) Scientific dissemination: dissemination of partial results and analysis sketches for researchers and public interested in photography through the blog www.iconica.com.br. e) Deepening the bibliographical and iconographic research in the collections of the library and museum of Princeton University, in the condition of visiting researcher. f) Conducting seminars and courses on the subject at ECO / UFRJ and on Brazilian photography and photography theory at Princeton University. g) Elaboration of an integral book based on the results of the research.