This paper focuses on the story of Shantelle Jennings, an american orphan woman who discovers the history of her own family through Larry Clark’s Tulsa. Her tale discloses a particular kind of personal fruition of the artwork, enough to became exceptional, both in literal and metaphorical meaning. This kind of exceptionality is strictly bound with the new way of use of photographic images in the new media convergence era. In the paper, I interpret this narrative effect as a conceptual offshoot of Fred Richtin’s hyperphotography; the american professor reconsiders not only the virtuous uses of newmedial approach regarding the circulation of informations, but he also states a new fruitive paradigm. In the article there will be hints also on other cases where this kind of exhorbitant narration happens, as the example of Kid’s cast, whose personal stories are extremely useful to understand the artistic text in its narrative and temporal complexity.