In this text, the photographer Thomas Farkas (1924−2011) appears to reinforce photography’s axiology: its artistic value. Hungarian by birth, Farkas, jointly with Geraldo de Barros (1923−1998), were responsible for establishing an experimental laboratory of photography and its corresponding courses at the MASP (Museu de Arte de São Paulo), inaugurated in 1947. In 1949, Farkas held his first solo exhibition. Linked to the Foto-Cine Clube Bandeirante, he was, without a doubt, a pioneer in modern photography in Brazil, which radically disassociated itself from the picturesque “Pictorialism” characteristic of the early 20th century. Farkas was involved in cinematography and specifically produced documentaries. He was the proprietor of a photographic shop called Fotóptica that also distributed the eponymous specialized magazine on photography, Fotóptica, and included an exhibitions gallery on photography.
At the same time, Íris magazine, which appeared in 1947, had João Koranyi as its Editor-in-Chief. It was published for a long time serving as a great outlet for the dissemination of Brazilian photography. It went through various phases until it ceased to circulate with the launch of its last issue in 1999.