Any product of human industry is infinite, but photography comes close. In 1976, John Szarkowski, longtime curator of photography at the Museum of Modern Art, announced, somewhat gnomically, that "the world now contains more images than bricks." A metaphor for abundance, Szarkowski is a wonderful article. , which indicates that images are not just another object in the world, a time, and a prerequisite for exchange. Even estimating the low amount, however, now seems impossible. If you count digital images (as they do now), then these are true figures several orders of magnitude larger, closer to the number of stars in the galaxy or nerve cells in the brain. If I had to guess, I would expect the vast majority of these images to be of faces. For a long time, photo images have been confined to a limited number of places: in the governor's office, in identification cards and passports, in police files and high school yearbooks, and on walls and desks, on gravestones and on wanted posters. They are everywhere now: on Facebook and Twitter, and also on Tumblr, they follow us in a constantly updated cloud. Photography has become a way of conveying biography and art. It's a way to follow up on what we wore last year and tell the world what we did last night. But, as portraiture has become everywhere, it has not gained power. However, due to their ability to penetrate the viewer or possess only a small number of images among billions. Before Facebook, there was a photography studio, a camera and a photographer. Once upon a time, studio portraiture was an essential part of the visual vernacular. Like most slang, and it was a photography studio in... middle of paper... civilian experienced professional, modest but hard work, prominent in Sidon but unknown outside. Keita and Sidibe, however, had similar backgrounds to some extent. Photography of all other professions, Keita and Sidibe from carpentry to jewelery design, and both found success in the financial capital of the world, and record images of confidence, rising middle class and adventures of his youth. Their work has a grandeur that a civilian lacks. Above all, Keita knew how to make his subjects magnificent with almost regal authority (this contributed to his appointment, in 1962, to the position of official photographer for the Malian government). Sidibe, who began photographing the goers of Bamako's nightclubs, new ones and parties in the streets, even more committed to sartorial taste and the privacy of personal style .