The war affected Dupain and his photography, by creating in him a greater awareness of truth in documentary. In 1947, these feelings were reinforced when he read a book "Grierson on Documentary" which defined the need for photography without pretence. The catchcry was "the creative treatment of actuality". Dupain was keen to restart the studio with this new perspective and abandon what he called the "cosmetic lie of fashion photography or advertising illustration". Refusing to return to the "cosmetic lie" of advertising, Dupain said: