Many of the catadores belonged to the lower middle class and, due to an unfortunate turn of events, had to work in the dump. The Muniz's female subjects worked in the dump 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 life in the dumps. Catadores are not blamed for their poverty, nor are they defined by it. Circumstances shaped them, of course, 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 by telling the story of his humble beginnings. Although this sometimes seems like a vindication of his wealth and an affirmation of his humility, it succeeds in portraying both the artist and his subjects as equal human beings. It is interesting to note that despite the goal of humanization, Muniz's photos are positioned and constructed. He took photos again in his studio, even dressing one of his subjects and his children as saints. The catadores photographed 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 insight into the world of waste and those who live in it.