The photograph, then, is the communication channel between the gift and the past (SAINTS, 2004), and is in such a way that Alvaro Villela intends, from the look of the artist, to portray the life of the Quilombolas, playing thus, important acess environment and a contact to this reality. ‘ ‘ Photographer curioso’ ‘ , as he calls yourself, ‘ ‘ man of mundo’ ‘ , moved for the curiosity and fidget, the necessity to tame life ways. When photographing, he goes in the direction of he instigates what it, goes of heart if to search in what he makes. This is Alvaro Villela, documentarista of images, that comes developing next to this people a work of rescue of history and the soul human being. According to Ribeiro, ‘ ‘ photos rescue memories, recoup chronological and existenciais passages.

we can also go reflecting on the line of the life and restoring some connections (2007. P. 38). Ahead of the chance that me was offered, steal it could not me to the right and hinder my therapeutic look while that I am. Inside of the context presented me, everything intently was observed, however the photographer, however the photographed one, if showing ‘ to me; ‘ as an inclusion possibility perceptiva’ ‘ (RIBEIRO, 2006, P. 123). In such a way, I can bring the totality of the things, choosing to each moment that it would be of importance as figure and as deep, alternating them in a significant process, where ‘ ‘ the eyes see the parts and the conscience apprehends the totality. (RIBEIRO, J., 2006, P.

176). The photograph comes being object of work of the psychologists and arteteraputas, being used as access instrument the unconscious emotions and memories. Then why not to join psychology and photograph in one same scene, extending, in this way, the perception of that the one that if it intended.