Roland Barthes was interested in photography for all his creative life, but the most important result of his interest was his last book Camera Lucida (1980). The author suggests that the most valuable tropes-contexts for its interpretation are works of M. Proust, W. Benjamin, J-P. Sartre, and the earlier texts by Barthes. The criticism of realistic paradigm of description is now observed in anthropology. It has been argued that the description itself should evoke the described reality. This opens up the possibility of literary experiments, and in this way the Barthes' book should be regarded. The enigmatic description of the photograph of Barthes' mother, the experience of her presence in that unpublished snapshot is supposed to create a framework that helps readers find their own emotions (as only these are real - the feelings of others, when too candid, tend to lapse into sentimentality and kitsch), enter the imaginable… But the crucial is that this going 'beyond reality' (along with J.-P. Sartre) should take into account emotions and actions. This quasi-ritual and emotional (synesthesia) character of the Barthes' 'way' is what the author attempts to demonstrate.