Now, once I feel myself observed by the lens, everything changes: I constitute myself in the process of "posing", I instantaneously make another body for myself, I transform myself in advance into an image. This transformation is an active one: I feel that the Photograph creates my body or mortifies it, according to its caprice [...]
No doubt it is metaphorically that I derive my existence from the photographer. But though this dependence is an imaginary one (and from the purest image-repertoire), I experience it with the anguish of an uncertain filiation: an image- my image- will be generated: will I be born from an antipathetic individual or from a "good sort"? If only I could "come out" on paper as on a classical canvas, endowed with a noble expression [...] But since what I want to have captured is a delicate moral texture and not a mimicry, and since Photography is anything but subtle except in the hands of the very greatest portraitists, I don't know how to work upon my skin from within [...] What I want, in short, is that my (mobile) image, buffeted among a thousand shifting photographs, altering with situation and age, should always coincide with my (profound) "self"; but it is the contrary that must be said: "myself" never coincides with my image; for it is the image which is heavy, motionless, stubborn [...] , and "myself" which is light, divided, dispersed [...] if only Photography could give me a neutral, anatomic body, a body which signifies nothing! Alas, I am doomed by (well-meaning) Photography always to have an expression.
Roland Barthes, Camera Lucida pp. 10-12