"Evans's strength lay in accepting and mastering the duality of the photographic document, which constantly swivels between two points, serving both as an imprint of reality that is an inevitable project of the technological process, and as an object of aesthetic contemplation, born of the photographer's artistic impulse. Evans acknowledges this ambiguity in what he himself calls his 'documentary style', which he elaborates as follows: 'The real thing that I'm talking about has purity and a certain severity, rigor, or simplicity, directness, clarity, and it is without artistic pretension in a self-conscious sense of the word.'"