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This communication examines photographs at the beginning of the book Roland Barthes by Roland Barthes, which work as a family album of sorts, and the photo of the Mother absent from Camera Lucida, and which is declaredly the book’s source. It scrutinises the conections between image and text in the Roland Barthes by Roland Barthes photo album: the subtitles that reveal, conceal, flatten, nudge the photographs into narrative; adherence, refusal and subversion of autobiographical topoi by the album; proposition of different imagetic modes that operate in that book as well as in Camera Lucida.