Barthes plots in Camera Lucida that a private life is as yet conceivable inside the parameters of obtrusiveness made when a camera is available. He contends that the move of making a photo shapes an item out of the subject, through deification as an observer for death. He composes that the way toward shooting is to encounter a flashing demise of the subject where they remain briefly deified, accordingly the subsequent subject made past the picture exists in a modified structure, exclusively developed by the demonstration of capturing. The picture delivered no longer stays indexical of the subject, rather the photo turns into a bogus reality. The picture is contained inside the stillness and quietness of the edge, as contextualized in Sally Mann’s work Immediate Family. This article will investigate through basic examination: the photos, pundits reaction and the equals each make to Roland Barthes hypothesis of level demise nitty gritty in Camera Lucida, with further examination into Susan Sontag’s On Photography and Ariella Azoulay’s Photography: The Ontological Question. Barthes conjectures that a detachment is made when the body is set before the focal point through an intrusive force dynamic in which figures an alteration to the current body. He states, “I loan myself to the social game, I present, I realize I am presenting, I need you to realize that I am presenting” (Barthes 11) as a change of the subject into an article. Barthes further clarifies that he is “neither subject nor object however a subject who feels he is turning into an article.” (Barthes 14) Through the way toward being shot as a “miniaturized scale form of death,” the focal point goes about as an arrangement in a record. (Barthes 14) The picture turns into the demise of the subject before the focal point, as they are since modified by the introduction being delivered. The individual who once stayed before the focal point is not, at this point a similar individual after the picture is taken. As a characteristic observer of what has been, the picture starts to go about as a landmark, containing a destruction of time: a record of what is dead and what is going to bite the dust. (Barthes 96) Shot on a 8″ x 10″ see camera at their homestead in Virginia, Mann’s photos are suggestive of the relationship worked among mother and kid. Mann writes in the foreword to her distribution of Immediate Family: “We are turning an account of what it is to grow up. It is a convoluted story. [… ] But we tell it without dread and without disgrace.” (Mann 7) Through her work, Mann talks about the objectivity made through the viewpoint – an idea suggestive of Roland Barthes “level passing”. While making an obstruction of trust, Mann kept up the pride of those she photos, protecting an open exchange and shared collaboration with the pictures, one that gets conspicuous through the sheer closeness, affectability, and insightfulness of her pictures. A Wall Street Journal article distributed in 1991 entitled “Editing Virginia”, was composed by Raymond Sokolov in focal point of Mann’s work and the administration financing for workmanship.>