If truth and fidelity to reality in a scene represented on a photograph depends on the vision and mastery of the photographer, the concern is about the relationship between objective and subjective reality, how much specific weight does the idea and the “participation” of the photographer with his thoughts (mindset) and his culture (background) in a photo. As Walker Evans stated: “The kind of large, open truth I am trying to attach to photography reaches back toward this initial, primordial sense of wonder, of awe.” 

A photograph depends – always – upon this kind of relationship between objective and subjective reality: to the point we can talk about inner and outward factors.  It is interesting to remark as the potential subject takes the power to the image, and that, unknowingly, in a candid photo is asking for the photo to the keen photographer.

We can talk about a “particular truth,” embedded within the four sides of the frame, where suddenly there is a call (for the photogapher) to make a photo passing through a genuine encounter. This genuine encounter is the photographic moment recognized by the photographer, called also decisive moment or Kodak moment.

A gesture, a particular pose can make a photograph. Fo the humanist photographer this is gold fo the eye. The eye of the beholder.