This article aims to analyse Claudia Andujar’s photographies from her books Yanomami and The vulnerability of being not only to reflect about their conceptual characteristics that mix social engagement and personal expression, but also to identify the photographer’s technical and aesthetic choices to document the invisible phenomenons of the Yanomami’s culture. Using innovatives strategies of representation, Andujar reached inedited results from the political and aesthetic points of view, which marked a break with the Brazilian documentary photography history.