This article focuses on the various means by which comic book artists can re-use or borrow pre-existing images. In each case various forms of stylistic mirroring can manifest themselves. Yet this practice always involves a temporal form of dialogue or conversation between past and present works and artists, one that presupposes a certain reflexivity. Thus, when a cartoonist draws starting from already existing exogenous material to produce second-hand imagery, they are engaging with someone else from a different time. In examining how David Vandermeulen uses pre-existing photographs for his Fritz Haber we seek to highlight the ways in which the artist's hand itself draws a movement that translates an encounter with another artist.