All arts have a relationship with time, as they have a relationship with death. However, photography has a structural relationship - from its inception - with time and even more so with memory. The photographs that accompany our lives and enter a family album often replace our memory, and after many years, we do not know if what we remember exists in our minds, or is carried by the photograph from our childhood. There is no rational person who can support why they photograph their child's birthday. This mystery of memory, the mystery associated with photography much more than video which might be more realistic, but does not incorporate the moment of time, accompanies the photograph in all its expressions, even in artistic photography. What the artist-photographer does is to preserve the element of memory, which, however, he does not combine with his familiar faces and things, but finds it in anything he photographs. Therefore, every photograph, whether taken by a photographer or viewed by an observer, has within it, by its nature, from its structure, from its origin, from its use in the society we live in, the element of memory that makes it stronger, more moving, more mysterious. Seeing something that does not remind us of anything, in reality, reminds us, since it invokes our memory from all the photographs of our lives. This invaluable element, the photographer must never forget and never disdain within his photograph. A photograph will always be the photograph of someone's memory, of something, of some time. The type of photography that is closest to art-photography is the one from which we all started and at some point forgot. The commemorative photograph. The photograph with which invariably everyone became photographers. The capturing of moments of their lives. It is the family album. For some reason, when the photographer thinks he can deal more seriously with photography, he abandons the commemorative, considering that it degrades him as a creator, instead of incorporating it, as he should, in some way of his own, into the photography of all the things he photographs. He begins, then, after the commemorative to seek unusual or beautiful moments. And he forgets that the beautiful and unusual moments on the one hand in life are stronger and more interesting, on the other hand, they are few and thirdly, they are not necessarily his own. Therefore, he must manage to make every photograph of whatever subject he photographs his own photograph, as if what he photographs is part of his own memory. And so it must be perceived by the viewer. As part of their own memory. At the point where the commemorative dimension of photography enters all the photographic work of the photographer, then the photographer begins to be much closer to personal creation and much closer to the substantial utilization of the uniqueness of the photographic medium.