A “Mirror image” refers to an object reflected in a mirror in the optical field, where the object is transformed directly from a three-dimensional object into a two-dimensional image. This can be said to be the most primitive optical instrument. People can squeeze out the vivid color of a realistic figure in the mirror. In order to gaze at this reflection, people continue to develop a variety of auxiliary “visual tools”. This paper will explore the demand encouraged by technical development and the variety of possibilities provided by image recording apparatus. Cameras used for mirror images split the subject into two distinct locations and times which gazes at each other. When the optical instruments and optical fiber network technology are fused completely, the figure reflects countless mirror images by way of a symbolic “uploading”path. How did modern people integrate the same figure into the mirror maze? Does photography capture the most perfect copy? These issues are the main focus of this paper. The Writing method of this paper is zooming, focus adjustment between man and machine, man and photographs, and man and snapshots behavior, so there emerge a variety of “between” in the photography field. The single mirror reflection model has been inadequate to describe the phenomenon of the transmissive screen or the amplification of light in networks. This paper uses Lacan’s “mirror stage” theory as a framework of research, observing the contrast between a photosensitive silver image and a screen image. It analyzes whether configurative power and subject position change due to the imaging system, and tries to outline the new structure of the contemporary mirror image.