This article is based on an interview with the Swiss artist Tamara Janes, whose series Copyright Swap experiments with scans taken from the New York Public Library Picture Collection. Working in collaboration with a lawyer specializing in image rights, Janes manipulated these images to produce new and independent artworks – new images with copyrights of their own. The article examines how digital images exist within a state of constant transformation, as radical simultaneities, and how they are constantly copied and reproduced in spite of the copyright infringements this involves. Drawing upon the video work Everything but the World (DIS 2022), it discusses questions of originality, the glitch, and the logic and production conditions of digital platforms, while also examining image-text relationships and the role of referentiality in digital imagery. The analysis takes an artistic, theoretical, didactic, and ethical perspective throughout, highlighting the in/justice of digital images.