The risk experience associated with a climber’s activity is mind-blowing. A challenge comprising so many variables that it becomes difficult to understand. As if all the adversities of the rise were not enough to face, Italian climber Vittorio Sella (1859-1943) decided to include a large format camera in his expeditions, enabling him to share a part of the landscapes his sight had reached. The photographs of these expeditions were not the first images we associated with hostile places but certainly inaugurated a photographic practice around the mountainous landscape which influenced several modern photographers, Ansel Adams included. Roland Barthes (1915-1980) in his last essay, stated that photography is a proof of having been there, more recently Maria Filomena Molder (1950) recalled that the work of a good photographer is also regulated by the questioning of an idea of authorship, singularizing Barthes’ reflection in the expression only one could have been there. Suddenly, Sella’s photographs seem to evidence this thought. And here we are, in the fourth chapter of Clube da Esquina which draws inspiration from the images of this climber and photographer to create a soundtrack for the month of May.