The mainstream of photographic activity has shown that a Surrealist manipulation or theatricalization of the real is unnecessary, if not actually redundant. Surrealism lies at the heart of the photographic enterprise: in the very creation of a duplicate world, of a reality in the second degree, narrower but more dramatic than the one perceived by natural vision. The less doctored, the less patently crafted, the more naive —the more authoritative the photograph was likely to be.