This companion essay contributes to video-based organizational research by critically assessing conventional representational modes of videographic practice and conceptualizing an expressive' ontology for videographic research. We offer an image of thought that foregrounds the creative and powerfully affective potential of both videographic work and spectatorship. To advance this perspective and to inspire future research, we present our videography (length 30 minutes) that integrates various 'expressive' elements in montage form. We use the film to scrutinize the potential of video-based research and several methodological considerations tied to it. In doing so, we argue that video-based organizing of research activities can be seen as monstrous', an entire emergent mode of aesthetic storytelling that comes into being not in capturing' or recording', but rather as an affective production of potentialities.