The main objective of this article is the study of the visual work of Chilean photographer Zaida Gonzalez Rios from what I have called, here, the “inclined image”. This inclination implies a visual operation that tries to get out of the “straight” pose of the modern subject. In Zaida Gonzalez Rios’ work this visual operation is best described under the order of “paraphilias”. An order that is expressed in deviation and misunderstanding. Paraphilias, in their best known etymology, refer us to a word with two primary senses: distance and affection. That is why the inclined image is never defined in a unique or identity-related sense, but, on the contrary, in alteration and artifice.