Many of the catadores were lower-middle class who, due to an unfortunate turn of events, had to work in the landfill. Muniz's female subjects worked at the landfill because it was the only viable employment opportunity outside of prostitution. Cases of domestic violence have also pushed women out of their homes and into dump life. The catadores are not blamed for their poverty, nor are they defined by it. Circumstances shaped them, sure, but Walker effortlessly captures the depth of their character, rather than wallowing in their poverty. Furthermore, Muniz highlights how these people are not their poverty, offering the story of his humble beginnings. While this sometimes seems more like a justification of his wealth and an affirmation of his humility, he manages to portray both the artist and his subjects as equal human beings. Interestingly, despite the goal of humanization, Muniz's photos are positioned and constructed. He takes the photos in his studio, even dressing one of his subjects and his children as saints. The photographed catadores are attractive and youthful or offer an older aesthetic of resilience and strength. Despite the selective nature of Muniz's portraits, Walker's depiction of the process offers a captivating look at the world of waste and those who live in