This study aims to discuss the relations raised between the photographic production and construction of the warburgian theory post-life images (Nachleben der Antike) through his atlas Mnemosyne.For that, uses the bibliographical research of authors who contribute to the elucidation of that fact, as Michaud ( 2013), Didi-Huberman (2013) and Kossoy (1989).Given the fact that the creation of photographic panels for the approximation of the temporal relationships, Warburg reaffirms the importance of photography as a cultural and historical object.For him, the atlas focuses on the comparability of images in art history precisely because it uses a mobile and practical panel to establish an anthropological base.We conclude, therefore, that Warburg used and upheld in the potential of the photographic image to bring a new look that would break with the static perspective through the moving image and art.