One of the best-known phrases of that French poet, Paul Eluard, who made surrealism a beacon from which to illuminate new ways of seeing and understanding life, defines it perfectly.

Under the perspective of an ambivalence, where the implicit force is added to the poetic expressiveness in the image and by default, in the photography, it is not difficult to intuit or understand the essence of the issue, when he affirmed - undoubtedly also influenced by 'the magic vision of Art', from his contemporary, André Breton- that there are other worlds, but they are in this one.

Breton, whose masterpiece 'El Arte Mágico' has recently been recovered in Spain by Editorial Atalanta, was already carried away by the influence of Novalis and the power of attraction of the image, a century before, at least, that it it became the globalizing soul of media as powerful as politics and those big multinationals of subliminal manipulation, which in reality manage the communication empires, which are the advertising and marketing agencies.

Image and fascination, within a poetic and harmonic balance capable of raising sighs in the soul, were widely used, although it sounds surprising to them, in the Middle Ages, especially by those authentic Masters of the Symbol, raised to the power of Courteous Love, that were the minstrels and troubadours, whose symbolic language and in the absence of the invention of supports such as photography, was highlighted in the hard work of craftsmanship and interpretation of copyists and engravers.

Hence, precisely, that the world recovered - like the famous anecdote of the apple that fell to Newton's head - one of the most universal laws discovered by man and conveniently used by its intrinsic power: an image is worth more than a thousand words.

NOTICE: Both the text and the accompanying photographs are my exclusive intellectual property.