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The aim of this study is to analyze the transcendental image of Ulus Baker conceptualized through cinema based on the transcendental Philosophy and the equivalent in photography art through Dario Mitidieri's Lost Family Portraits series. In this context, the physical totality of the aesthetic object and photographic image is examined. Aesthetic object, by nature, is an artistic work that is perceived by the senses and has a material integrity. With the sense of vision, the physical image and the physical objects shown in the image are perceived and aesthetic information emerges. In spite of this phenomenon, it can also provide aesthetic information for the images not shown. This phenomenon, which means transcendental image, is based on the concept of transcendental, which is used to define a kind of knowledge base that makes experience possible but cannot be obtained by experiment. The transcendental image that Baker conceptualizes through cinema is the images that are not shown in the aesthetic object of the physical totality but can only be grasped with thought. Although this concept is conceptualized through cinema, it is possible to come across examples in the art of photography. In this context, in the study; Among the 12 photographs in Mitidieri's series of Lost Family Portraits (2015) taken in the refugee camp in Lebanon, 3 photographs determined to benefit from the concept of transcendental image have been determined by taking a purposeful sampling. These photographs are analyzed with the descriptive analysis method from the perspective of transcendental image concept. [ABSTRACT FROM AUTHOR]