“Without transformation, coherently and honestly, he changed his models, replaced Norka with the new leaders, applied to them all the experience accumulated during years of advertising and marketing, and assumed the “new themes” (the Revolution, the people) with the same language with which he had succeeded in his career as a fashion and commercial photographer; he “built” the compelling image; informative, yes, but basically symbolic. Therein lies largely the “efficiency” and aesthetics of his work.”

(Cristina Vives, from the Korda Known Unknown catalog, La Fábrica, Spain, 2008)