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Abstract
From its first practices, family photography has raised a discussion about its value as a document, as memory and also as an artifact, resulting from different social practices that define what it is and what it exhibits. Using some cases, such as the concept of simulacrum in Hipolyte Bayard's self-portrait, Julia Margaret Cameron's portraits of her family members, or the photographs of Pierre Bonnard's family album, in this article we will seek to reflect on self-referentiality in family photography, the idealization of the concept of family, as well as the difficulties in establishing the limits of private and public spheres in the construction of the family album established since the origins of photography.
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