Reflecting on the relationship between the obvious symbolic meaning of a photograph (which he called the studium) and that which is purely personal and dependent on the individual, that which ‘pierces the viewer’ (which he called the punctum), Barthes was troubled by the fact that such distinctions collapse when personal significance is communicated to others and can have its symbolic logic rationalized. Barthes found the solution to this fine line of personal meaning in the form of his mother’s picture. Barthes explained that a picture creates a falseness in the illusion of ‘what is’, where ‘what was’ would be a more accurate description. As had been made physical through Henriette Barthes’s death, her childhood photograph is evidence of ‘what has ceased to be’. Instead of making reality solid, it reminds us of the world’s ever changing nature. Because of this there is something uniquely personal contained in the photograph of Barthes’ mother that cannot be removed from his subjective state: the recurrent feeling of loss experienced whenever he looks at it. As one of his final works before his death, Camera Lucida was both an ongoing reflection on the complicated relations between subjectivity, meaning and cultural society as well as a touching dedication to his mother and description of the depth of his grief.