This study examines Jean Baudrillard's understanding of photography within the framework of the concepts of simulation and hyperreality. According to Baudrillard, in modern society, images not only represent reality but also produce a simulation order that replaces reality. In this context, photography, beyond being a tool for documenting reality, becomes a visual medium that circulates within media systems and produces hyperreality. Baudrillard's photographic practice also reflects this idea; images consisting of empty spaces and everyday objects show that meaning has retreated in contemporary culture and that images produce a superficial reality. With the widespread use of digital image technologies, Baudrillard's theory of simulation offers an important theoretical framework for understanding today's visual culture. The study also addresses Baudrillard's photographic practice. Baudrillard can be considered not only a thinker who wrote theoretical texts but also an artist interested in photographic production. His photographs generally consist of empty spaces, anonymous cityscapes, and everyday objects. These images focus more on visual superficiality and a silent atmosphere than on dramatic narratives. Baudrillard's photographic aesthetic is related to his theoretical approach that meaning has receded in contemporary culture and that images produce a superficial reality. Baudrillard's theory of photography provides an important theoretical perspective for rethinking the ontology and cultural role of photography, especially in today's world where digital image culture is widespread.