Walter Benjamin´s "Work of art in the age of its mechanical reproduction" and Vilem Flusser´s Filosofia da caixa preta have defined photography as a key problem towards developing a philosophy of technology. I´ll discuss their concepts in relation to experimental practices in post-documentary photography which I consider a fertile ground to discuss the similarities and differences underlying different approaches to technology in Flusser and Benjamin. To contrast Benjamin´s mechanical reproducibility and Vilem Flusser´s technical images, I would like to analyse the processes of regaining an aura by means of a subversion of the photographic technology in contemporary photography. The creative intervention on the photographic camera, process and results involved in Argentinean photographer Seba Kurtis´ images of contemporary migrants offers an interesting case to discuss these problems.