Examines the widespread use of photographic manipulation carried out by a state government during a decades-long regime. Using a compare-and-contrast format, this work presents a chronological sequence of original, unmodified frames together with their doctored counterparts, manipulated in party-run labs across three decades for the domestic propaganda market. Scanning the spreads one can see the modifications made by the censors: in some frames key people have been erased, while in others people have been added; backgrounds have been altered and written slogans on flags changed. In other pairings the edits appear almost unnoticeable, as in a spread of women harvesting hay in a field, where the undoctored negative shows a young child peeking out from behind a cluster of busy workers, a detail felt to be at odds with the official line and struck from the record. Unlike those who used the medium as a tool for indoctrination, this use of it is more subjective: the core of the presentation is the manipulation itself, with all its associated political, social and artistic implications.