Photography was taken up by the publishing
industry. Books in photogravure promoted the nat-
ural and monumental richness of Portugal, including,
in 1902,O Minho e suas Culturasby Vizconde de
Villarinho de S. Romao and the eight volumes ofA
Arte e a Naturaleza em Portugalof Emilio Biel, with
oversize images by Fernando Bru ̈tt y Cunha Moraes.
AndtheillustratedmagazineIlustrac ̧ao Portuguesa
(1903–1918) covered political and social news in
which photography dominated over text with an
emphasis on a candid photography far from rigid
studio poses. Among its photographers were Joshua
Benoliel (1878–1932), Anselmo Franco (1879–1965),
Aurelio da Paz dos Reis (1862–1931), and Arnaldo
Garcez (1886–1964).
In the twenties and thirties, pictorial photogra-
phy declined in magazines as a straighter approach
gained hold, especially inIlustrac ̧ao Moderna, and
New Visionas well as Mario Novaes’s (1899–1986)
architecture photographs, the work of Horacio
Novais, and San Payo, who wrote a text on Pho-
tography and Futurism.In Presenc ̧apublished Ed-
mundo de Bettencourt y Branquinho da Fonseca.
As in Spain, some photographers worked halfway
between pictorialism and experimentation, such as
Comandante Antonio Jose ́ Martins (1882–1948),
who worked with bromoil but also experimented
with infrared film for iceberg photos, and promoted
use of the Leica. Early in the 1930s, President Sal-
azar’s regime established a Propaganda Secretariat
that publishedPortugal 1934 andPortugal 1940
with images of Novaes, Novais, Silva, San Payo,
and others. Between those editions, it released five
volumes recording the Presidential visit to the colo-
nies (1938–1939), with images of a clear and
dynamic composition, mostly by Marques da
Costa using 912-cm glass plates.
Aside from these exceptions, the 1940s and 1950s
were marked by the documentary images of photo-
clubs and contests, with the influence of magazines
Objectiva(1937–1945) and the SpanishArte Foto-
grafico. The groups Caˆmara (Coimbra, 1949), Aso-
ciacio ́n Fotogra ́fica de Oporto (1951), and
Fotoclub 6,6 (Lisbon, 1956) promoted a whirl of
contests and salons, with frequent plagiarism or
reframing of the same photos, repetition of sub-
jects, and the like. Efforts to connect with the
international scene did not have much continuity;
for example, the magazinePlano Focalpublished
only four issues.
In 1959, the bookLisboa, Cidade Triste e Alegre
by Costa Martins and Vitor Palla (both 1922) was
published, a three-year project exhibited as a
‘‘film’’ with a sequence of strong contrast photo-
graphs where atmosphere reigned over description.
Several later generations consider it a starting
point, among them: Jorge Guerra (1936) and
Pedro Ferreira (1957). During the 1960s, Portugal
was visited by foreign fashion and travel magazine
photographers, and since the April 25, 1974 ‘‘revo-
lution of the carnations,’’ many great photojour-
nalists covered the internal changes, including
Sebastia ̃o Salgado, Guy le Querrec, Gilles Peress,
and Josef Koudelka.
Integration of photography into the art world
happened in the 1970s, first with the exhibitSix
Photographers(Patric Buyhot, Jose ́Reis, Pedro Bap-
tista, Joa ̃o Bafo, Alberto Picco, and Luis Carvalho)
and mainly with the mutual interactions that were
shown inPhotography in Portuguese Modern Art
(Oporto, 1977) with works by Noronha da Costa
(1949), Helena Almeida (1934), Fernando Azevedo
(1923), Fernando Lemos (1926), Alberto Carneiro
(1937), Manuel Casimiro, and Cruz Felipe. One of
the key artists of this period was Jorge Molder, who
concentrated in his images all the emotion of objects
and minimal scenes. Another influential approach,
was started by Maria Madalena Soares de Azevedo
in 1979, through research on antique processes,
using platinum, gum, and gelatin POP papers.
In 1980, the work of recovering the photographic
heritage began with the symposium organized by
the Association for the Defense of Cultural Heri-
tage of the Alcobac ̧a Region, followed in 1982 by
the first National Symposium on Antique Pho-
tography in the National Archives. The first Coim-
bra Photography Festival also opened in 1980,
highlighted by the discovery of Paulo Nozzolino
in an exhibit. Nozzolino is considered one of the
most influential contemporary Portuguese photo-
graphers. He published the book Para Sempre
(1982) and works for the French newspaperLibera-
tionand occasionally for poetry magazines. His
condensed, intimate atmospheres invite the viewer
to delve into the chiaroscuro and dense shadows of
his images. Gradually, other festivals have ap-
peared (Encontros da Imagen de Braga and Foto-
porto), and commercial galleries have begun to
include photography, the most active being Mo ́d-
ulo and Ether; the later has promoted several
recovery projects such as those focusing on Mar-
tins-Palla and Sena da Silva.
At the end of the century, the number of artists
working with photographic media in Portugal
defies categorization. However, some curators and
critics have pointed out two poles of attraction,
marked by the ‘‘northern’’ coolness and rationality
of Jorge Molder and the ‘‘southern’’ warmness and
sensuality of Paulo Nozzolino. The first group
includes the anthropological approach of LuisSPAIN AND PORTUGAL, PHOTOGRAPHY IN