Julio Bittencourt

Julio Bittencourt was born in 1980 in Brazil and grew up between Sao Paulo and New York. His projects have been exhibited in galleries and museums in several countries and his work published in magazines such as Foam Magazine, GEO, Stern, TIME, Le Monde, The Wall Street Journal, C Photo, The Guardian, The New Yorker, Esquire, French Photo, Financial Times, Los Angeles Times, and Leica World Magazine, among others. He is the author of three books: “In a window of Prestes Maia 911 Building”, “Ramos” and “Dead Sea”


Claudia Andújar

Claudia Andujar came to Brazil, passed through São Paulo, then Brasília, then Boa Vista, and then to the Yanomami lands. She arrived at the Catrimani mission. She was thinking about her project, what she was going to do, what she was going to plant. The way one would plant a banana tree, the way one would plant a cashew tree. She wore the clothes of the Yanomami, to make friends. She is not Yanomami, but she is a true friend. She took photographs of childbirth, of women, of children. Then she taught me to fight, to defend our people, land, language, customs, festivals, dances, chants, and shamanism. She explained things to me like my own mother would. I did not know how to fight against politicians, against the non indigenous people. It was good that she gave me the bow and arrow as a weapon, not for killing whites but for speaking in defense of the Yanomami people. It is very important for all of you to see the work she did. There are many photos of Yanomami who have already died but these photos are important for you to get to know and respect my people. Those who do not know the Yanomami will know them through these images. My people are in them. You have never visited them, but they are present here. It is important to me and to you, your sons and daughters, young adults, children to learn to see and respect my Yanomami people of Brazil who have lived in this land for many years

Mario Cravo Neto

Hijo del escultor Mário Cravo Júnior. Realizó estudios de fotografía en Berlín y en 1966 regresó a Brasil entrando como ayudante de Fulvio Roiter.​ Vivió en Nueva York entre 1968 y 1970, donde estudió en la Art Student League con el escultor Jack Krueger.​ Participó en la Bienal Internacional de São Paulo en 1971, 1973, 1975, 1977 y 1983 y recibió diversos premios nacionales de fotografía. En 1975 trabajó como director de fotografía en la película titulada A Lenda de Ubirajara del director André Luis Oliveira.4
Su obra hace referencias a su ciudad natal y se encuentra en las colecciones de diversos museos como el Museo de Arte Moderno de Nueva York, el Museo de Arte Moderno de Río de Janeiro, el Museo Centro de Arte Reina Sofía de Madrid y el Museo Stedelijk de Ámsterdam. En ella emplea con frecuencia la técnica de la fotografía en blanco y negro y cuenta con reportajes sobre la religión del candomblé.​ Una exposición retrospectiva de su obra, llamada Mitos y Ritos, se realizó en Madrid en 2015, incluyendo algunos de sus vídeos.
Colaboró con las revistas Popular Photography y Cámara 35 y publicó once libros, entre ellos A cidade de Bahia en 1980. Ese año fue reconocido como “Mejor Fotógrafo del Año” por la Sociedad de Críticos fotográficos de Brasil.​
Murió a causa de un cáncer de piel.

Alexandre Urch

Fotógrafo paulista, nacido en abril de 1977, trabaja como fotógrafo desde el año 2000. Ganador de varios premios de fotografía.
Su trabajo, enfocado en la fotografía de autor y documental, destaca por la apropiación y exploración de imágenes cotidianas que buscan hacer visible lo invisible y ordinario.
Además de su reconocida y premiada obra de autor, también produce trabajos publicitarios y ha trabajado para marcas y empresas como Citröen, LG, Asus, Bem Mais Seguros, Air France, Reserva, BNP Paribas, Under Armour, Brazilian Comité Paralímpico entre otros.

Felipe Dana

Felipe Dana was born in Rio de Janeiro, Brazil, on August 1985. He started his career as an assistant photographer when he was only 15 and later pursued a degree in photography, all the while working on commercial assignments and contributing to various local and international news agencies.
In 2009, he joined the Associated Press and decided to dedicate himself solely to photojournalism, focusing on the social upheaval in his native city as it prepared for the 2014 World Cup and 2016 Olympics. Dana also documented urban violence in Latin America, the Zika epidemic, the migrant crisis in Europe and Africa and conflicts in the Middle East, including the Mosul offensive in Iraq, war against the Islamic State in Syria, and the Israeli–Palestinian conflict in Gaza.
His work has received a number of awards including World Press Photo, POYi – Pictures of the Year International and Latam, OPC – Overseas Press Club, NPPA, CHIPP – China International Photo Competition, the Atlanta Photojournalism, among others.
Felipe was also part of the AP teams finalist for the Pulitzer in 2017, 2018 and 2019.

Germán Lorca

German Lorca es un fotografo brasileño, uno de los principales de la tendencia modernista.  A finales de la década de 1940, German Lorca integra el Foto Cine Club Bandeirantes (FCCB), una asociación importante por reunir fotógrafos pioneros, que introducen nuevas tendencias en la fotografía brasileña, con una producción experimental inspirada en el surrealismo, el abstraccionismo y el concretismo.

Su obra revela, sobre todo, una mirada inusitada sobre el paisaje de la ciudad de San Pablo. La sensibilidad del fotógrafo se vuelve principalmente a las escenas de la vida cotidiana, registrando con mucha libertad imágenes que se revelan poéticas o que causan cierto extrañamiento. Su producción inicial tiene una participación decisiva en la renovación de la fotografía moderna en el país.

Mário Cravo Neto

Mario Cravo Neto was born in Salvador, Bahia in 1947. The son of Mario Cravo Junior, a well-known Brazilian sculptor, Crave Neto (grandson) started creating art at an early age. Initially interested in sculpture, Crave Neto turned his attention to photography in the late sixties. At the age of twenty, Cravo Neto moved to New York for two years to take classes at the Art Students League and set up a photo studio. It was this experience in New York that solidified his love for photography.
Shortly after returning home to Brazil, Crave Neto was in a car accident that left him bedridden for a full year. Having worked as as street photographer in New York, he suddenly found himself unable to walk, and in need of a new way of working. Forced to re-evaluate his photography, he set up lights and began shooting in the studio, which he continues to do today.
Combining spiritual, mystical and religious elements — eggs, birds, animals, fish and bones — with nude torsos, Cravo Neto creates sensual images which unite man and nature, the erotic and the spiritual. His images reveal a psychological portrait of the Indigenous, Portuguese and African communities that co-exist in Bahia today. Often evoking a ritual look, Cravo Neto’s photographs invite the viewer to wander through black spaces, to linger on specific objects that are both elegant and primitive.
One of this most renown images features a man with two fish slung over his shoulder, reminiscent of a market scene, yet layered with sexual and religious overtones; a man facing the camera, his chin thrown back, holding a large white bird over his care chest in an act of sacrifice; the wrinkled forehead of a man whose eyes are covered by the tails of two tiny white birds, obscuring his eyesight but not his vision.


Fabio Costa

Fábio Costa (Fagu) was born in February 1978 in Sao Paulo, Brazil. An art director and amateur photographer, Fábio lives in Paris and has photographed daily since his birthday on February 23, 2005. He has made photography a lifetime project and intends to shoot every day for the rest of his life. His work is focused on street photography and graphics.

Chico Albuquerque


Natural de Fortaleza, Ceará, Francisco Afonso Albuquerque nasceu em 25 de abril de 1917. Faleceu em 26 de dezembro de 2000. Iniciou a carreira de fotógrafo aos 15 anos na Aba Film, empresa fundada por seu pai. Em 1934 profissionalizou-se como retratista. Transferiu-se para São Paulo em 1947, lá permanecendo até 1975, quando retornou a Fortaleza. Participou de mostras nacionais e internacionais, colecionando grande número de premiações

Mucuripe, Chico Albuquerque


Sasha Asensio


The Man and the Land, Lalo de Almeida

Lalo studied photography at the Instituto Europeo di Design in Milan, Italy . He began working as a photojournalist for small agencies in Milan, covering Police work in the  city. Later, he worked for the Grazia Neri agency, covering domestic and international events such the war in the former Yugoslavia

Back in Brazil, he woked for the newspaper O Estado de S. Paulo, the weekly new magazine Veja and has worked for 16 years as a photographer for the newspaper Folha de São Paulo.

In addition to his work for the newspaper, he has also been working on documentary projects such “O Homem e a Terra” (“The Man and the Land”)  concerning traditional populations in Brazil, which was awarded the first prize in the International Biennial of Photography in Curitiba in 1996. He was nominated for the German Internationaler Preis fur Jungen Bildjournalismus in 2003 and won the  Fundação Conrado Wessel Award in 2007

He is the photographer of the book “Nas Asas do Correio Aéreo” (“Flying with the airmail service”) published in 2002.

In 2013, Lalo won the XII Marc Ferrez Award from the National Arts Foundation (FUNARTE) to prepare a project concerning the social impacts caused by the construction of the hydro-electric power plant of Belo Monte in the Xingu river.

Currently, in addition to contributing on a regular basis to the Folha de S. Paulo in the fields of photography and video, Lalo has been reporting, as of 2005, for The New York Times, in Brazil and in South America.

Lalo is based in São Paulo, Brazil, and is available for assignments.

Alexandre Severo


Mona Khun

Mona Kuhn is best known for her large-scale, dream-like photographs of the human form. Her work often reference classical themes with a light and insightful touch. Kuhn’s approach to her photography is unusual in that she usually develops close relationships with her subjects, resulting in images of remarkable naturalness and intimacy, and creating the effect of people naked but comfortable in their own skin. Kuhn was born in São Paulo, Brazil, in 1969, of German descent. She received her BA from The Ohio State University, before furthering her studies at the San Francisco Art Institute in 1996. She is currently an independent scholar at The Getty Research Institute in Los Angeles. Mona Kuhn’s work has been exhibited and/or included in the collections of The J.Paul Getty Museum, The George Eastman House, and others.

Rogério Reis

rogerio reis

Boris Kossoy



Caesar Lima

Born in São Paulo, Brazil with a Bachelor’s of Art in Advertising, Caesar Lima always had a passion and drive to go against the creative grain.  A self proclaimed non-conformist, he is a master at depicting original, never before seen, emotion invoking and captivating subject matters.
He thrives to do the “wrong thing”, yet possesses the extraordinary talent to transform them into the surreal, thought provoking, even beautiful.

Caesar welcomes and embraces technology as an endless tool to express himself creatively.
Gifted with a visionary eye to carry out ideas never before seen, Caesar boldly pushes limits and stays one step ahead with his innovative photography and design.

Migrations: Humanity in Transition, Sebastião Salgado

Personally, I believe that people in the future will look back at this turning point and see it as a revolution experienced by mankind at this end-of-the-century, end-of-the-millennium historical period, this marking point of 2000 years of Christendom. This is a revolution that can be compared to the passage from the Middle Age to the modern age at the end of the fifteenth century. The scale of change is vast: For the first time in history, the majority of the planet’s population is dwelling in cities, and at the same time the concepts of borders and cultural distinctions have started to disappear.

At this time, I want to speak out for immigrants, for those who live in such circumstances, and to speak out to those who can receive them. I want to show the immigrants’ dignity in their willingness to integrate into another country, to show their courage and their entrepreneurial spirit and, not least, to demonstrate how they enrich us all with their individual differences. Above all, by using migration as an example, I want to show that a true human family can only be built on foundations of solidarity and sharing.
I know this story very well because it is my story. I made the same migrations that a great mass of the world’s population is doing now. I was born on a farm in Brazil. And when I was five, I moved with my family to a small town, about 10,000 people. Then when I was 15, I went to a medium-sized town, about 120,000 people. And when I finished college, it was necessary for me to go to a big big town, to São Paolo, and in São Paolo I had some political problems and the time came to leave Brazil and I came to France. That means this story that I’m photographing is my story also. I am a migrant, too.
I started to develop this project in 1992, I began photographing in 1993, and I finish now in 1999. So I have been photographing this project for six-and-a-half years. And I have traveled to about 47 different countries around the world where people are moving from place to place, and shot in more than 40
I have found this to be a story about the complete reorganization of humanity, the human family around the world. I have organized this large-scale documentation into six chapters.
First is International Migration….There were about 20 million international migrants in the mid-1980s; 50 million by the end of that decade; and more than 120 million today. News travels fast in our global village. The radio and television around the world portray the Western way of life; beautiful, rich and easy to achieve. In the most backward regions of the world, the poorest of the poor are convinced that somewhere over there, everybody leads that “ideal” life.
My exploration of international migration took me to photograph in several regions of the world, including the ex-USSR, where I followed the departure of Jewish peoples for the U.S.; the U.S.-Mexican border, where I photographed Latin Americans crossing over; Italy, where people from the Balkans and Asia attempt to enter Europe via the Adriatic Sea; Spain, a destination for Africans via the Straits of Gibraltar. Next is Refugees….The flow of refugees has also grown under the pressure of natural disasters and wars, which have been unprecedented in number since World War II. According to official estimates, there are currently 26 million refugees around the world, compared to 2.5 million 20 years ago. This figure includes neither unrecorded refugees — estimated to number six million — nor persons displaced inside their own countries, estimated at 32 million people.
Among the refugees I have photographed are: Bosnians, Vietnamese “boat people”, Afghanis, Kurds, Palestinians and Iranians. Third is The African Drama….For several decades now, Black Africa has fallen victim to a series of natural disasters and wars which have resulted in complete destabilization of economic and social life in most countries on the African continent. Furthermore, Black Africa has the highest birthrate in the world, the largest rate of demographic growth on the planet. In 1970, the population was 362 million people; in 1990 it was 642; and it is estimated that it will be 1.15 billion by the year 2010, indicating that demographic growth doubles every 20 years. By 2025, then, it is expected that Nigeria alone will have a population as large as the entire European community.
As a result of this combination of natural disasters, wars and demographic growth, Africa today is the unfortunate record holder in terms of numbers of refugees and displaced people. It is also unique in terms of violence.
Because of the scale of disaster that this enclave of humankind is experiencing, we decided to devote a specific chapter to them, with reportages including: voluntary repatriation to Mozambique of millions of refugees, after 15 years of war; Southern Sudan, with its displaced peoples worn down by war, drought and famine; the huge flow of Rwandan refugees to Tanzania and Burundi, and the conflicts within Rwanda; the appalling refugee camps in Goma, Zaire.
Next is Leaving the land for the cities….Between 40 and 50 million rural dwellers leave the land to go to the cities every year. The growth of migration within and between nations is inexhaustible. Because of  pressure on the land, over-exploitation of the soil and demographic growth, the Third World is at the core of the planet’s environmental crisis. In this part of the world, the environmental problem is weakening and erosion of the soil, which often provokes famine. Some 450 million Third World peasants cultivate land that is both low-yielding and declining in terms of quality. Millions are left without work or land.
This work is composed of the following stories: the struggle of the Brazilian landless peasants, who refuse to be corralled into urban centers; the hundreds of thousands of peasants who have been swallowed up by the diamond industry in India; the exodus of men from rural areas of Oaxaca and Guerrero, Mexico, leaving villages only inhabited by women and children; the leaving of the land by the Indians in the Chimborazo region of Ecuador; the tribes of southern Bihar in India, who want to protect their land against large mines and dams; the abandoning of their villages by million of peasants in China, due to the construction of the Three Gorge Dam; the last bushmen of Namibia and South Africa.
This trend is creating The planet’s new metropolises….Bombay, India; Djarkata, Indonesia; São Paolo, Brazil; Cairo, Egypt; Mexico City, Mexico; Bangkok, Thailand; and Shanghai, China.
Growth comes mainly due to exodus from rural areas. By the end of this century, eight of the planet’s ten largest metropolises will lie in the Third World, each of them with a population of more than 15 million. Thirty years ago, these cities had an average population of less than 5 million people.
These huge cities, with their belts of shantytowns, are more than ever an El Dorado in the eyes of jobless and landless rural workers. In the city, income is twice as high as in rural areas and drinkable water, schooling and doctors are more accessible.
The final piece of the project is Children Today: men and women of the new century.
When I was working in the displaced persons camps in Mozambique in 1994, I constantly found myself surrounded by groups of children who kept me from my work, always trying to be in the picture. So I made a deal with them: I would make a portrait of each of them, and in exchange they would let me be. I continued to do this every time I encountered the same problem.
Back in Paris while I was editing the work, I realized that I here I had a group of powerful portraits; that in front of my camera, I had had very young people who had lived experiences of great intensity already.
These seemingly simple and straightforward portraits depict with force their pain and their dignity. Here, I have a true sample of the men and women of tomorrow, on whom humankind must depend in order to build the future.
Through all these themes and chapters together, we tell the story.
This is the story I imagined in 1992, which is now completed…..We are living a globalization of humans. I believe this concept of border as we have had in the past, is now a relic of the eighteenth century. Now we are living in the moment close to the twenty-first century, where we are completely changing the concept of borders. In the European community, we have eliminated the border for goods. We eliminate the borders for information. We eliminate the borders for money. The border concept must change completely, and quickly to accommodate the reality of human movement.
The re-distribution of population is going on now, and happening very, very fast. And, when we speak about globalization, we must speak today about globalization of population now. This is happening now. From these photographs, we are preparing an international book, exhibition and a series of films.
What we are trying to do with all this is to provoke a debate, to provoke a discussion about the human condition today.
I want the person to come out of this show to see immigrants in a new way, with a new respect. I want the person in the United States who is sitting at a restaurant with a young man from El Salvador, from Mexico, serving him, I want that person to see through the pictures that it is a long, long trip to come there and sometimes very dangerous. This young man working in the restaurant had the courage to move himself, to fight for his dignity, to fight for a job. I want the American to see that all these people moving around are moving somewhere to work, to produce, to give something to the country in which they want to live. This is the spirit in which I have created these pictures, this book and this exhibition.

Tom Almeida

treino tratamento

Adriana Zehbrauskas












Adriana was born in Sao Paulo, Brazil. She received a degree in Journalism and moved to Paris where she studied Linguistics and Phonetics at the Sorbonne Nouvelle. She worked as a staff photographer for Folha de S. Paulo, in Brazil, for 11 years, traveling extensively throughout the country and abroad..

As a free-lancer photojurnalist based in Mexico City, she contributes regularly with the New York Times. Other clients include the Wall Street Journal, The Sunday Times, Sunday Telegraph, Glamour Magazine, The Guardian, Paris Match, Le Figaro, Save the Children and the World Health Organization among others.

Adriana is  one of the three photographers  profiled in the documentary “Beyond Assignment” (USA, 2011), alongside Mariella Furrer and Gali Tibbon. The film was produced by The Knight Center for International Media and the University of Miami.and features the Tepito project.

Her project on Faith in Brazil and Mexico was awarded a Art & Worship World Prize by the Niavaran Artistic Creation Foundation and a book is currently under production to be published by Bei Editores in São Paulo, Brasil. She was a finalist for the New York Photo Awards 2009 and 2010 and is an instructor with the Foundry Photojournalism Workshops.

Her photos are  also featured in the books ’24 Stunden im Leben der katholischen Kirche’, Random House , Munich, 2005 , ‘In Search of Hope – The Global Diaries of Mariane Pearl’, powerHouse Books, New York, 2007 and the ‘Nike Human Race’ , New York, 2008.

Adriana is the recipient of the Troféu Mulher Imprensa (photojournalist newspaper/magazine), São Paulo, Brazil, Feb 2012