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Our paper stems from a double attempt: to read photography through Freud’s Unheimlich and to read the Unheimlich through photography. Exactly as the notion of the hidden secret and of the uncanny, the themes of the splitting, of the convergence of mechanics and optics, of the double and death, unintentional repetition, secret signification, excessive symbolism and return of the same can all be read from these different points of view. This comparative approach should lead us to formulate a different notion of the unconscious of optics and a different version of surrealist photography.