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.
