During the reign of Nasser al-Din Shah, due to the extensive ties between Iran and Europe, changes in Iranian culture took place. These changes also led to revisions and lifting of bans for the Iranian women's community enumerating them according to processes of implicit implications is a topic that will be addressed in this article. Implicit connotation is the attachment of a message to the original message of the photo which is produced in different stages of production such as choosing the subject, technical polishing and so on. Among the Nasseri’s photographers, Antoin Sevruguin photographed women in Iran’s society by mixing the view of western documentation with eastern approach to photography in order to show women Iranian culture with a photographic view. The aim of the following research is to produce and study the implicit connotations by separating the connotative components from the signified meaning in the works of Antoin Sevruguin play the role of women in social, cultural and historical context which lead to meaning production at the end. The proposed question in this research was how to study of cultural status women in these photographic works based on the suggested implicit connotations and meaning-production process and this question was answered after Reading the implication of Sevruguin 's works in the social and cultural context of the Nasseri era, It was found that women in this period have overcome a significant number of previous limitations and have found the possibility of presence in places, coverages and conditions which is due to the penetration of Western culture in Iranian culture.