Foucault’s book The Order of Things brings the hypothesis of three different epistemes. The first one is defined by Renaissance resemblance, the second one by Classical identity and the third one by Modern causality. This paper aims to examine the photographic discourse through a new reading of Foucault’s monograph The Order of Things. There are two selected parallels: the principles of resemblance (convenientia, aemulatio, analogy, sympathy) and the field of wealth (the relationship between money and “the world of things”). Other included subtopics include picture verbalization and word visualization, photographic representation, photographic picture recognition, authenticity and value of truth.