The camera on the revolutionary street offers a perception that far exceeds the local public sphere of the society in question. The circulation of images is always part of the propagandistic control of events, which is why it always awakes the mistrust of officials. In spite of official permission to film, we were continually stopped and questioned by undercover police in Egypt. Not everyone welcomes a broad global and medial public sphere, perhaps sensing that the camera can never capture an independent and neutral picture of the truth, but will always reflect the experiences and interests of the individual guiding it. At first, the man who positions himself in front of my camera at the Salafi demonstration in Tunis seems to be looking for public exposure. When he glances over his shoulder, his true intention is revealed; he apparently wants to prevent the camera from filming several of the female demonstration participants in the background. (#131) The demonstrators who fill the streets on the first day of the proceedings against the removed president and Muslim Brother Mursi also know that they have a visual impact on world‘s perception. The peace sign made by a passerby is the symbol of the protest movement against the Muslim Brotherhood. (#132)