This associative structure defines a point of view, a listening point, a meeting point dedicated to the so-called «family» photography. To this image that belongs to each of us. The one that, like an old sweater loved and distorted by the years, grew up with us. This image that loosens the language of emotions. The one that, because popular, carries within it the complex attributes of our collective history. These photographs that go a little beyond us in what they mean, show, underline, draw. Those that, as Michel Frizot points out, overflow with themselves. They echo our collective imagination. With them, the access to the memory of feelings remains open. Here, we invite ourselves to this birthday table, to this sledge ride, to this wedding. There, in the middle of the Sunday table, to smell the smells. The family photo album does not teach a lesson, does not look too far, does not judge. The protagonists have both feet in their present, without worrying about the next page and their

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