When one thinks of their own physical identity, they consider four thoughts: The “one” they think they are, the “one” they want others to think they are, the “one” someone perceives them to be, and finally, the displayed “self.” All are critical for capturing the most natural and relaxed pose. It is only possible to photograph such an ideal because it is impossible to capture a subject’s authentic self. To say one is authentically themselves, is inauthentic: A person will go through their entire lives imitating themselves from ever changing identities. Photographing someone’s complete authenticity is also unattainable, because photography can only capture the present. What is vital is seeing the beauty yourself before the camera in that very moment, then taking the photograph. 

A person is a collective array of different identities. To photograph the subjects enigma requires blinding the eyes of your ego. Time and patience must be practiced in order to selflessly satisfy the three categories of the subject’s identities in order to dignify the final “displayed self” – the immortalized portrait. 

The photographer ultimately can determine the “self” simply because they possess the camera. The subject derives their existence from the photographer. They will constantly transform in front of the lens, switching between different imitations of themselves, all while asking, “Does this pose look good?” which translates to, “Does this version of ‘me’ best show ‘me’?” Each pose is a form of inauthenticity, and as it continues, you will begin to see them stiffen from subject to object. This form of imposture leads to pictures not portraits. 

However, the subject is not at fault. To become a subject requires trust and vulnerability. For a photographer to quietly watch the subject turn to object, is lazy. The goal of the photographer is to reduce the posing to a minimum. What turns a picture into a portrait is that the portrait speaks to you. It could be a glance, half a smile, a laugh, a hidden smirk, or dreadful eyes, awkwardness– It’s what the subject is feeling, being, at that given moment. Being is not posing, it is an act of living. Posing is objectification and form of mummification. 

Because of this power imbalance between photographer and subject, it is the photographer’s responsibility to take into consideration what the subject wants to be displayed as. Think of the four identities: 

Here is a thought experiment: Imagine sitting at a cafe with your friend, enjoying the sun on a balcony. The light is illuminating them while they are sharing an experience that they’ve been waiting to tell you about all weekend. Whatever it is, they’re glowing about it. They’re happy you’re listening and they are radiating. You say, “By the way, you look really great!”. They smile, and for a moment, they hold their posture, basking in their present beauty. They feel seen. Take the picture.

You can tell their energy and mood increases: they feel good. While they’re losing themselves in their story and your undivided attention, you quickly say, “Oh! Piece of hair on your shoulder, can I get that for you?” They playfully say, “Oh, sure!”, and continue on. Their flow of energetic beauty still flourishes, untamed and natural. Take the picture. That is as close and as little to posing as you’d like to get.

It is a memento of the subject with a clear message to be perceived by spectors as exactly that, with some subjective freedom. The portrait must visually define the subject in that present moment. Your viewers should be able to look at the portrait and feel like they know the subject. They should be able to feel the subjects enigma and be memorized by it. The subject must also feel the viewers feelings are justified via portrait. You will know you satisfied the criteria when the viewers and even the subject can refer to the portrait with their eyes closed.