The old remembrance of “Smoke gets in your eyes” played gently, the ban of studying piano, a bizarre “port witchery” mix together in “Blubay you”. According to a common stereotypical approach, street photography is considered as a specific form of photojournalism, characterised by a relatively aseptic report of reality continuum, far removed from the subjective impetus of art therapy to express an inner dimension. However, the research and the project aim at demonstrating how Cartier-Bresson’s decisive moment can be conceived as a form of therapeutic photography. The question of the research is: is it possible to detect in a street photography project in Stockholm, Copenhagen and Helsinki harbours the “mother gaze”, “conflicting relationship mother/father gaze”, and “society gaze” theorised by Martin and Spence as well as in a series of self-portrait inspired by a piano? Based on Barthes’s semiotic denotative and connotative method, the results of the research individuate the three “gazes” theorised by Martin and Spence in the three Scandinavian ports street photography. The results also contribute to expand Martin and Spence’s study, providing a further theoretical element of speculation, the “father gaze”, analysing how it combines with the other “gazes” and how to be emancipated from them. draws on Wheeler (2009)´s theories which add to the classical Barthes´s denotation and connotation, a third level of speculation about photography: the emotional side, aiming at demonstrating that street photography is a form of art theraphy to elaborate past traumas.