The author wishes to demonstrate that, after considering production and reception, the nature of the image appears as naturally relational, and that it is so in techno-logical terms (technical and logical, as per Bernard Stiegler), in phenomenological terms (relative to the perception it accounts for, and its uncovering of contents, following Bergson and Heidegger), and in terms of intermediality, which may spur forms of writing that are covered with other forms-of-writing, a writing of the forms-of-writing. The image was deemed relational when Alberti invented the intersector for drawing, Niépce, the camera obscura for photography, as well as when Muybridge dedicated himself to a scientific and aesthetic writing of the moving image. The image may proceed from marking, from inscribing, be produced by composing or through intermediality. It is always subjected to forms of processing and uncovering, both of which relate to the visually generated contents and to the relations these contents have to the world and the forms-of-writing contained within. Therefore, the image’s user interacts, day by day, with visual forms-of-writing that are diverse and that are subjected to intermedial variations.