Adrià Julià is a visual artist working with film, photography, performance, sculpture and printed matter. His work questions image-making technologies and their relation to normative narratives and violence. His most recent solo exhibition was held at Pinacoteca, São Paulo, Brazil and at La Virreina Centre de la Imatge, Barcelona. Other solo shows have taken place in institutions such as Fundació Joan Miró, Barcelona; Tabakalera, San Sebastian; Project Art Center, Dublin; Museo Tamayo, Ciudad de México; Orange County Museum of Art, Newport Beach; LAXART, Los Angeles, among other places. He has been awarded fellowships by the American Academy Berlin, Botín Foundation, California Community Foundation, Art Matters, American Center Foundation and La Caixa Foundation.

António Candeias holds a Bachelor's degree in Technological Chemistry from the University of Lisbon's School of Sciences and a Postgraduate degree in Chemistry Applied to Cultural Heritage from the University of Évora. From the same university, he also earned a doctoral degree and the title of Agregado in Chemistry. As a Full Professor in the Department of Chemistry and Biochemistry of the School of Sciences and Technology of the University of Évora, he served as Vice-Rector for Research and Development and was the Director of the Institute for Research and Advanced Training. A specialist in Surface Chemistry and Heritage Sciences, he founded the HERCULES Laboratory and was its director. He is a researcher at the HERCULES Laboratory, the coordinator of the Chair in Sustainable Heritage at the City University of Macau, the Scientific Coordinator of the José de Figueiredo Laboratory of the Directorate General of Cultural Heritage, the Director of the Portuguese Platform of the European Infrastructure for Research in Heritage Science of the National Roadmap of Research Infrastructures of Strategic Interest, and the Director of the Associate Laboratory for Research and Innovation in Heritage, the Arts, Sustainability and Territory.

Antonio Fatorelli is a Doctor in Communication and Culture from the School of Communication at the Federal University of Rio de Janeiro (1999). He holds post-doctoral degrees from Princeton University (2006), from the PPGArtes at UFC (2014) and from the National University of La Plata (2020). He is a professor at undergraduate and graduate levels (PPGCOM) at the ECO/UFRJ. He is the leader of the Research Group "Fotografia, imagem e pensamento" [Photography, Image and Thought], registered in the CNPq Directory of Research Groups. He published, among others, the books Fotografia contemporânea: entre o cinema, o vídeo e as novas mídias [Contemporary Photography: between cinema, video and new media], O que se vê, o que é visto: uma experiência transcinema [What we see, what is seen: a transcinema experience] (in collaboration with Katia Maciel Toledo), Fotografia contemporânea: desafios e tendências [Contemporary Photography: challenges and trends] (in collaboration with Victa de Carvalho and Leandro Pimentel) and Escritos sobre fotografia contemporânea brasileira [Writings on Brazilian contemporary photography], volumes 1, 2, 3 and 4 (in collaboration with several researchers). He is the coordinator of the Project "Midiateca da ECO/UFRJ" and of the Laboratory of Photography and Digital Image, of the Multimedia Production Center (ECO/UFRJ).

Antonio Florence, the great-great-grandson of Hercule Florence, is a lawyer who graduated from USP and holds a specialization in International Tax Law from the University of Munich, Germany. He is the founder of the Hercule Florence Institute and has also studied photography and art history. In mid-2015, he began to immerse himself in the world of visual arts and started experimenting with photography, exploring the production of contrasts caused by light in everyday objects. Antonio is also the author of the book "Intervalos Acidentais" (Fotô Editorial, 2017) - www.antonioflorence.com

Ariadna Romer is graduated in the National School for Conservation, Restauration and Museography, in Mexico City. In 2008 she received a two years Post Doctorate fellowship granted BELSOPO2 at the European Centre of Archeometry in Belgium. Currently, she is part of the Academy of Archaic Imaging, a private institution devoted to providing resources for understanding the history of the application of technology to depict "what is seen". At present she is working to build an educational program and assets to teach the evolution of technological imaging up to the emergence of photography through practical experience and a project to recover and demonstrate, through an “experimental archeology” type of approach, the practice and technical aspects of first daguerreotyping. Her current professional work includes being a Faculty Member in the Educational Program for the Conservation of Photographic Heritage4, in Mexico and Uruguay. Additionally she is an Associated Member of the Appraisers Association of America, specialized in Rare and Fine Photographs appraisals.

Art Kaplan is an associate scientist at the Getty Conservation Institute and has spent 20 years working on the application of analytical instrumentation to the identification and study of photographic processes and materials. His research focuses on the use of noninvasive and nondestructive techniques in the identification of photographic processes. In addition, his research has focused on detailed analytical study of black-and-white photographic papers as a tool for provenance and authentication studies. He has lectured and taught numerous international workshops on the techniques and methodologies developed at the GCI for the identification and characterization of photographic processes and materials. Some of his past work has included scientific analysis of the works of William Henry Fox Talbot, John Herschel, Hippolyte Bayard, William Willis, Anna Atkins, Edward Weston, and Henri Cartier-Bresson. In 2011 he was co-recipient of the Colin Ford Award from the Royal Photographic Society for his work on the scientific analysis of the “First Photograph”, View from the Window at Le Gras, and other images by Joseph Nicéphore Niépce.

Borris Kossoy is a photographer, a scholar, and a historian of photography. He holds a PhD from the School of Sociology and Politics of São Paulo and is a full professor at the School of Communication and Art of the University of São Paulo (ECA-USP). He was the director of the Museum of Image and Sound in São Paulo and the director of the research division of the São Paulo Cultural Center. He is the author of the classic The Pioneering Photographic Work of Hercule Florence, published in Mexico, Spain, Germany, France, England, and the United States. He also wrote, among others, Dicionário Histórico-Fotográfico Brasileiro [Brazilian Historical-Photographic Dictionary]; Fotografia e História [Photography and History]; Realidades e Ficções na Trama Fotográfica [Realities and Fictions in the Photographic Plot]; Os Tempos da Fotografia [The Times of Photography]; O Encanto de Narciso: Reflexões sobre a fotografia (Narcissus' Enchantment: Reflections on photography ); O Olhar Europeu: o Negro na Iconografia Brasileira do Século XIX [The European Gaze: the Black in 19th Century Brazilian Iconography], the latter coauthored with Maria Luiza Tucci Carneiro. His photographic work is part of the permanent collection of the Museum of Modern Art (USA), National Library (France), Center of Image (Mexico), São Paulo Museum of Art , Museum of Contemporary Art of the University of São Paulo, among other institutions. In 1984, he was decorated Chevalier de l'Ordre des Arts et des Lettres by the French Ministry of Culture and Communication, for his body of work.

Fernanda Pitta holds a doctorate in art history from the University of São Paulo, with a thesis entitled "Um povo pacato e bucólico? Costume e história na pintura de Almeida Júnior" [A quiet and bucolic people? Customs and history in Almeida Júnior's painting] She was senior curator at the Pinacoteca do Estado de São Paulo and an Art History professor at Escola da Cidade, in São Paulo. She is currently a Professor at the Division of Research in Art, Theory and Criticism of the Museum of Contemporary Art of the University of São Paulo.

Francis Melvin Lee earned a bachelor's degree in architecture and urbanism from the University of São Paulo's School of Architecture and Urbanism in 1991. For nearly thirty years, she has been in charge of the management of cultural assets kept in visitable collections. In 2010 she became the superintendent of the Hercule Florence Institute (São Paulo), having curated and producing the exhibition "The Look of Hercule Florence on Brazilian Indians", exhibited in different museums and cultural institutions in São Paulo State during 2015 and 2016. She holds a Master's degree in Social History from the School of Philosophy, Letters and Human Sciences at USP (2014), and her dissertation was condensed in the exhibition "Images for a Nation: The Beginning of Engraving in Brazil," presented at the Pinacoteca do Estado de São Paulo in 2017. As of 2021, she is a master's student at the Interuniversity Postgraduate Program in Museology at USP (PPGMus/USP).

Grant Romer holds a BFA from Pratt Institute and an MFA from Rochester Institute of Technology. In 1976, he joined the staff of the George Eastman House, becoming its Conservator of Photography in 1989. He was Director of the Andrew W, Mellon Foundation Advanced Residency Program in Photograph Conservation from 1999 to 2010. Having retired in 2010, Romer holds the title Scholar In Residence at George Eastman House and continues to be active as a researcher, consultant and lecturer. He e has served many of the world’s most important institutional photographic collections and the national archives and libraries. Romer is recognized as a world authority on early photography, particularly the history, practice and conservation of the Daguerreotype. In 2014 Romer and Ariadna Romer founded the Academy of Archaic Imaging, dedicated to exploring the history of the application of technology to depicting visual experience. Since 2018 he has been Faculty Member of the Educational Program for the Conservation of Photographic Heritage, “Programa de Formación Regional Centro de Fotografía” in Uruguay and Mexico.

Iara Schiavinatto is a professor at the Art Institute of the State University of Campinas (UNICAMP). She led the project for the creation and implementation of the Undergraduate Program in Media Studies at UNICAMP where she was also Associate Director of the Museum of Visual Arts. She was a Senior Researcher at the Museu Paulista of USP. She is a member of the Editorial Board of Editora UNICAMP, the university's publishing house and has published, among others, Visualidade e Poder: ensaios sobre o mundo lusófono [Visuality and Power: essays on the Lusophone world], published by Editora UNICAMP, which contains a study on Hercule Florence, and Independências, fabricação de imagens e memórias [Independences, image-making and memories], by Editora Alameda.

Ingrid Hoelzl is an independent scholar in digital and environmental image theory and the artistic director of General Humanity uniting theory, poetry, video, sound, and performance. She holds a PhD from Humboldt University with a thesis on the theory of photographic self-portraiture published as Der Autoporträtistische Pakt (Wilhelm Fink, 2008, introduction by Elisabeth von Samsonow) and a Diploma in Fine Arts/Visual Culture Studies from the Berlin University of the Arts. Ingrid has worked as a researcher and educator at universities and art academies worldwide; she has held an Erwin-Schrödinger Fellowship at McGill University, an Assistant Professorship at the School of Creative Media Hong Kong, and an EURIAS/Marie-Curie Fellowship at the Collegium Helveticum, ETH Zurich. Her research on the image in the digital environment has been published widely in journals and anthologies including Leonardo, Multitudes, The Posthuman Glossary (2018, ed. Rosi Braidotti), and The Palgrave Handbook of Visual Studies (2020). Together with Remi Marie she published two books on the future of the image: SOFTIMAGE (Intellect, 2015) and COMMON IMAGE (transcript, 2021).

João Fernandes is the Artistic Director of the Moreira Salles Institute. From 1996 to 2002 he was the sub-director of the Reina Sofa Museum in Madrid, where he rose to prominence on the international arts scene as curator . From 2003 to 2012 he was the director of the Serralves Museum in Porto, transforming the cultural space in northern Portugal into an outstanding home for contemporary art in Europe.

Leticia Ramos is a scientist artist whose research focuses on inventions in the photographic medium for ways of representing the world and the impact that geological and climatic phenomena can have on the imagination. She departs from historical events and natural phenomena to address the symbolic connections between politics, science, and imagination where the future and the past overlap. In her rigorous examination of the analog photographic medium she uses sculpture, modeling and special effects techniques to create imaginary landscapes, narratives and fabrications that are formalized in photographs, installation and film. Her work has been exhibited in venues such as the Jeu de Paume, Tate Modern, Institute Moreira Salles, Institute Itaú Cultural, Iberê Camargo Foundation, Museum Coleção Berardo, CAPC Musée d'art Contemporain (Bordeaux), Pivô - SP. Her work is in collections such as the Botín Foundation, Nouveau Musée National de Monaco, Kadist Collection, Institute Itaú Cultural, São Paulo Museum of Modern Art, Institute Moreira Salles and Pinacoteca do Estado de São Paulo.

Lívia Melzi lives and works between Paris, São Paulo and Arles. An oceanographer by training, she is an artist in residence at the ENSP Arles with a Master's degree in photography and contemporary arts from the Université Paris VIII. In 2022, the artist joined the doctoral program in Arts and Literature at the University of Zurich. Her work develops in the fields of archives, memoir, and the construction of the imaginary of the so-called Brazilian territory, based on ethnographic images and objects. She uses imagery to explore how power operates in the creation, preservation, and dissemination of images. Through various projects, ranging from exploring the enigmatic figure of Hercule Florence to analyzing the "Tupi or not Tupi" movement, she investigates the historical and cultural significance of images and their role in perpetuating power dynamics that originated in Brazil's colonial era. In 2021, the artist received the Grand Prix du Salon de Montrouge, in Paris, with the installation "Qu'il était bon mon petit français" [How good was my little Frenchman]. In 2022 Lívia Melzi exhibited at the Circulation(s) Festival, Photo Athens, Gallery Ricardo Fernandes, and opens her first solo show at the Palais de Tokyo, in Paris. She is currently a resident artist at the Fiminco Foundation and has been nominated as one of the four artists for the 2023 European Month of Photography award. Her research will continue in Lisbon, Luxembourg, and Berlin.

Márcia Rizzutto holds a Bachelor's degree in Physics, a Master's and Doctorate in Physics, with a focus on Nuclear Physics, and a post doctoral degree in Applied Physics. Since 2001, she has been a professor at the Physics Institute at the University of São Paulo (IF-USP), where she also directs doctoral programs in Physics and Museology. She primarily works in the field of Applied Physics, using radiation and accelerators to investigate and characterize materials, particularly historic and cultural heritage objects (Archaeometry). n collaboration with the Museums of the University of Sao Paulo and the Museums in São Paulo State, she employs physical and chemical approaches for systematic investigations of cultural assets. She coordinates the Research Center of Physics Applied to the Study of Artistic and Historical Heritage (NAP-FAEPAH) of the Pró-Reitoria de Pesquisa of the University of São Paulo. She works actively in the field of Archaeometry and coordinates the Archaeometry and Sciences Applied to Cultural Heritage at USP's Physics Institute.

Maria Inez Turazzi is a historian graduated in 1979 from the Federal University of Rio de Janeiro (UFF) and holds a doctorate in architecture and urbanism from the University of São Paulo (1998). She is a faculty in the UFF's Graduate Program in History and an associate researcher of the Laboratory of Oral History and Image of the Institute of History at the same university. Between 1984 and 2014, she worked for the Brazilian Ministry of Culture, both at the Institute of National Historical and Artistic Heritage and at the Brazilian Institute of Museums, where besides coordinating several projects, she was also responsible for curating the Geyer Brasiliana collection that was donated to the Imperial Museum in 1999. She also worked as a visiting researcher at the Department of Photography of the Carnavalet Museum (Paris, 2001) and earned a post-doctoral fellowship from the School of Sciences and Center for the Philosophy of Sciences at the University of Lisbon (2012). She is also a productivity scholarship recipient and ad-hoc consultant at CNPQ, as well as a member of the Brazilian Committee of Art History and the Icom-Brazil.

Millard Schisler is a photographer and educator with a Masters of Fine Arts from the Visual Studies Workshop in Rochester, New York. From 1995 through 2006, he taught in the School of Photographic Arts and Sciences and the School of Print Media at Rochester Institute of Technology. Also in Rochester, from 1996 to 1998, he took and later taught a course in photographic preservation at the George Eastman House . He works with analog and digital collection preservation, digitization, image processing and printing, book production, and photographic historical procedures. He advocates for photographers to understand all of the stages and instruments of book production in order to be able to produce their own books as well as to have a greater interlocution with other team members in larger projects.

Patricia de Filippi earned a Bachelor's degree in Architecture and Urbanism from the University of São Paulo (1984). She has a specialization in Film Preservation from the George Eastman House (2001) and a specialization in Photographic Conservation from the New York City Municipal Archives and Information Services (1991). At present she holds a position as Professor II at the National Service for Commercial Learning. She has experience in the field of Arts, with emphasis in Cinema.

Sergio Burgi graduated in Social Sciences at USP in 1981. That same year, he entered the Masters program in Photographic Conservation at the School of Photographic Arts and Sciences, at the Rochester Institute of Technology (USA) where, in 1984, he obtained the degrees of Master of Fine Arts in Photography and Associate in Photographic Science. He was the coordinator of the Center for Photographic Conservation and Preservation at FUNARTE from 1984 to 1991. He is a member of the Photographic Preservation Group of the International Council of Museums's Conservation Committee and since 1999 he has coordinated the photography department of Institute Moreira Salles, the primary organization dedicated to the conservation and preservation of photographic collections in Brazil.

Silvana Bahia is co-executive director of Olabi. She holds a Master's degree in Culture and Territoriality from the Federal University of Rio de Janeiro (UFF), and is an associate researcher of the Arts and Artificial Intelligence group at the University of São Paulo. She was considered one of the 100 most important innovators in the world by The Future Laboratory in England. In 2021, she was granted the Protagonist Brazil award, which recognizes leaders who stand out for their work in projects and actions of social impact in the IT field on issues related to the country's digital and inclusive transformation.