Photographs taken by short-term volunteers and aid workers after the 2010 earthquake belong to a much older visual tradition, Garland argues, one running through colonial travel imagery and the tourist gaze that Felix Morisseau-Leroy answered in his poem addressed to a camera-wielding visitor. Part of the evidence is first-hand: at a pop-up clinic in Cite Soleil in 2012 the author watched American nurses photograph patients waiting for care, without asking, in a setting where refusing carried a cost. Alongside this he reads NGO fundraising imagery, the celebrity humanitarianism built around Sean Penn and the film Haiti Untold, and a White House photograph of officials posed before the collapsed National Palace. Across these examples the ruined palace and the suffering Haitian body become instruments for soliciting foreign money and attention, while the resulting pictures circulate online as evidence of the photographer's own goodness.