This text traces how my initial idea for researching the practice of Indigenous trophy hunting picture-making transformed into an opportunity for methodological self-reflection regarding the knowledge and representation of indigenous peoples. After an introduction, I will recount how I, as a white non-Indigenous artist and researcher from Belgium, ended up on the island of Taiwan and in Indigenous territories. In section two, I will discuss precedents of other white non-indigenous researchers and artists working in similar Indigenous contexts, and that could be understood through a relational model. Thirdly, I will expand on the methodological boundaries that Indigenous scholars themselves demand of non-indigenous involvement with Indigenous research, a grounded model. In the fourth section, I will elaborate on a proposal for grounded visitation introduced by Indigenous scholars for outsider engagement with Indigenous lifeworlds. And fifth, finally, I will revisit my experience of filming an Indigenous hunter’s killing of a mountain goat through a semi-autobiographical short story.