The pictorial movement was strong until the end of the decade of 1940 in Brazil, when it appears in São Paulo at the Bandeirante Photo Club in 1948. As the other Brazilian photo clubs it also shows up according to the principles and the traditional aesthetic of this movement. A new way of interpreting the art photography will take place inside the Bandeirante Photo Club. Professionals, who were tired with the academic photographic look, start to carry out isolated experiments, which together though, as affirms the researcher Helouise Costa: "they indicate the beginning of a modern experience while a group experience".
Subjects are substituted, following those most expensive ones to a modern idea: geometric shapes, break of composition, systematic use of the clear-dark, abstract subjects, but first of all the experimentation, the possibility of new ways of the look.
This new movement that initiates, also with the pictorial aesthetic bases, the time magazines will name it "photography school of São Paulo". The main representatives are: Gaspar Gasparian, Marcel Giro, Eduardo Salvatore, Thomaz Farkas, Geraldo de Barros, Robert Yoshida, Ademar Manarini, among others.
Almost all of them of eclectic formation feel very comfortable with "the classic" pictorial aesthetic and the modern style.
Even though, still according to Helouise Costa's words, "despite being shown intensely into the bulletin of the photo club and into international catalogues of photographic art, the Bandeirante influence did not transform the national production. The modern photography was faced as a trend and identified the club of São Paulo in such way that any speculation of modernist character was considered imitation".
The Brazilian photo clubbers movements practically lost its strength in the end of the 50's when the power of photojournalism initiated in Brazil.
The photo clubs have never disappeared, although in a smaller number and expression inside the scenery of the Brazilian photography, however, in recent years they have resurged worldwide and here it could not be different. In Brazil an example of this was the exhibition on the Brazilian photo club, which took place in 2006 at the MIS (Museum of Image and Sound) of São Paulo and more recently, in 2007: "Fragments: modernism in the Brazilian photography", at the Bergamin Gallery.