Conscious picture production always involves some inspirational objects – direct real-life observations, memorized images, invented images, etc., or the depicted objects standing before the production process and the depiction. Although this precondition seems unshakable, the only possibility for a spectator to learn about the depicted is to believe that the depiction honestly represents it. A conceptual bridge connects these two instances, but can we reconcile this with the idea that the latter truly displays the former? The image production is not an instant occurrence, and the dichotomy of depicted and depiction does not inform us what happens during the transformation from one instance to another. The fact is that there are a series of (1) transitional images and (2) multiple acts of visual thinking between the inspirational object and the perceivable image object.The image-production is not a simple mechanical activity because it cannot be performed without the assistance of visual thinking; these two processes are authentically interlocked and mutually dependent. It seems necessary to stress that image production relies on (1) the reaction of media application to visual thinking and vice-versa and (2) the dependence of the forthcoming depiction on the previous, already produced one. Apart from the connotations that could be created and references to an actual visual situation, an idea, or an act of one’s imagination, the depiction extensively refers to and is relevant to itself.