This chapter focuses on processes of unmanning in contemporary documentary culture. Drawing upon the language of drones (unmanned aerial vehicles or UAV) and computational models of tracking (the "capture model"), it examines authoring agencies in contexts where cameras are focused on human worlds, but for which there is no identifiable camera operator or lively subject. In addition to pervasive automatic cameras and lifeless subjects, the example signals yet another register of unmanned encounter. In unmanned capture, not only is the representational power described by Parenti, via Moten and Harney, maintained, but it is expanded and enriched by computational processes that shape everyday protocols and sites, rendering the experience of who is in the world, and who falls away. Unmanned capture demonstrates the intensification of gatekeeping – as a real time calculative background and the emplacement of grammars of actions – in the production of knowledge and affects.