This article explores the collaborative photographs of Andreas Embiricos and Matsi Hatzilazarou, created during their marriage in the late 1930s and early 1940s. These images are unique in the history of Greek photography, characterized by their experimental and playful nature, setting them apart from the ideologically charged photography of professional Greek photographers at the time. Despite this, they represent a pivotal moment in the history of Greek surrealism, as they exhibit the movement's international traits while being one of the few instances where two surrealist Greek artists collaborated on a common project. The article begins by discussing the two poets' photographic archive, highlighting the unique and experimental nature of their work. It then delves into an unpublished manuscript by Hatzilazarou, dated to 1943, which contains notes on the photographic illustrations for a book with texts by Odysseus Elytis. Some of these texts were later included in Elytis' essay collection *Open Papers* (Ανοιχτά Χαρτιά, 1974). This reveals that Elytis had envisioned a photographically invested publication similar to André Breton's books *Nadja*, *Les Vases communicants*, and *L'Amour fou*. Although the project never materialized, the manuscript showcases Hatzilazarou's intense interest in photography and can be classified as an important surrealist artifact. The notes contain exciting poetic ideas that she thought could be developed into images.This article explores the collaborative photographs of Andreas Embiricos and Matsi Hatzilazarou, created during their marriage in the late 1930s and early 1940s. These images are unique in the history of Greek photography, characterized by their experimental and playful nature, setting them apart from the ideologically charged photography of professional Greek photographers at the time. Despite this, they represent a pivotal moment in the history of Greek surrealism, as they exhibit the movement's international traits while being one of the few instances where two surrealist Greek artists collaborated on a common project. The article begins by discussing the two poets' photographic archive, highlighting the unique and experimental nature of their work. It then delves into an unpublished manuscript by Hatzilazarou, dated to 1943, which contains notes on the photographic illustrations for a book with texts by Odysseus Elytis. Some of these texts were later included in Elytis' essay collection *Open Papers* (Ανοιχτά Χαρτιά, 1974). This reveals that Elytis had envisioned a photographically invested publication similar to André Breton's books *Nadja*, *Les Vases communicants*, and *L'Amour fou*. Although the project never materialized, the manuscript showcases Hatzilazarou's intense interest in photography and can be classified as an important surrealist artifact. The notes contain exciting poetic ideas that she thought could be developed into images.