On the basis of the historical-ideological fact that determines the photographic apparatus -- its nature and functions -- as a device invented to show what is (“the actual”), and therefore subordinated to the logic of representation (“the documentary”), this paper asserts the possibility, following Vilém Flusser's example, of making a use that runs counter to the apparatus's programme, i.e. a critical use that invites us to see what could be (“the virtual”). Therefore, to think. Thus, by hypothetically asserting the existence of a particular type of image qualified as “pensive”, this paper will synthetically retrace, by underlining the similarities and differences, some theoretical efforts (Jacques Rancière, Gilles Deleuze, Roland Barthes, Régis Durand, Georges Didi-Huberman) made to identify this very singular power of images. The paper will finally ask whether compositing techniques (in the broad sense of the term: collage, patchwork, mosaic, etc.) constitute an effective means to produce these rebellious images that can incite us to think and, consequently, of splitting our image of the world (critique of iconology) to split the world (critique of ideology).