Cristovão Tezza is an author who often integrates, discusses and dramatizes the arts within his literature, providing diverse readings that broaden the understanding and questions about artistic phenomena. In O fotógrafo, the autor names the chapters from the summary as “photograms”, using the technical concept of photography and cinema to construct meanings within the novel. Thus, it’s proposed in this paper, by reading the chapters, according to the notion of photograms, proposed in the book version published by Record editor (2011), extracting multiple meanings and possibilities for analysis. The joining of the concept of photogram and chapter is connected to the idea of a narrative process. Together with the photograms analysis in the novel, dialogic relations were established with the films Blow up (1966) and Rear Window (1954) which dramatize the figure of the photographer within the cinematographic discourse. In this context, we aim to expand the understand about the nature of photography and cinema, emphasizing how the concept of photogram enhances the understanding about the chapters of Tezza's narrative in an integrated logic, and, consequently, how this expands the relations between the arts, inside the literature itself.