Augusto Malta (1864-1957), despite having occupied the position of the municipal official photographer of Rio de Janeiro between 1903 and 1936 and has numerous particular images of the city, had his name linked to Francisco Pereira Passos, from his time until this days. The proposal of this dissertation is to analyze Malta as a subject behind the objective, that is, someone who has an entire field of technical and visual possibilities, choose to each click a way to represent the world. At the same time that the experiences of the city lived by Malta incite and constitute his looking, I believe he reconstructs the city from the rectangle of his machine. In addition to question the training of historical epitome Malta, photographer-of-Pereira-Passos, the analysis is based around two sets of photographs: the images produced on the kiosks of the city between 1903 and 1911, and the photographs that had caught the Avenida Central/Rio Branco between 1904 and around 1930. From these pictures, I observe that Malta search recreate both the civilization of the boulevard as the delay of the kiosks, and on the other hand, the multiplicity of apprehensions made possible by their images presents a game between fixity and movement in the records of these urban spaces.