She is indicated bare, with her outward appearance unbiased, as she models for the camera, mindful that the picture is being taken. The foundation is encased in the shadows, giving minimal logical data with respect to another young lady remaining behind Virginia to one side. While the other young lady stays out of center and wearing a white dress, the lighting upon the two young ladies is calculated down towards them, featuring the state of Virginia’s body. Sokolov’s introduction of Virginia through methods of oversight becomes dehumanizing by redacting her eyes. The proliferation seems like the picture is disgraceful, leaving a more obscene implication than the first Mann created.

Susan Sontag writes in her article, On Photography (1977) in which goes before Barthes’ Camera Lucida, of the manner by which the focal point goes about as a type of observation making an ancient rarity of the real world. Sontag guesses that the photo is an allotment of the article before the focal point.

Through such affirmation, the camera and came about light-touchy material has little ability to catch the full degree of what lays before the focal point. Or maybe, the picture created turns into a substantial object of the single second in time, just only indexical of the person inside the parameters and hindrances of its space. The photo may not speak to the individual, yet rather the picture turns into a different element completely. Sontag depicts photography for the manner in which it can deal with the present and safeguard the past as a file in the fundamental adjustment of order and capacity through family photos.

Sontag contends that the camera turns into a type of supervision, as exceptionally acclaimed observation by creating a relic of the real world; as “small scale real factors” the picture turns into a bit of the world is it contained inside. (Sontag 4) By changing over subject into a picture, photography offers shape to the transient experience. The picture is utilized to speak to an ownership of room in a physical world. (Sontag 9) As a record of time, the camera catches the development of a subject in a snapshot of time. As Sontag guesses: “photos give individuals a fanciful ownership of a past that is unbelievable.” (Sontag 9) She proceeds by saying, “To snap a picture is to take part in someone else’s mortality, helplessness, variability.” (Sontag 15) Once the photo is finished up, the second is deified and subsequently, the picture is as of now transformed into the past. It is this alterable nature of time that photography at last difficulties.