This thesis demonstrates the parallel histories of photography and anthropology. It explores the different usages of photography on/by/for Aboriginal people. The thesis presents the genesis of what youth from Uashat mak Mani-Utenam called "the photo project", thus illustrating the concepts introduced in this work. More than 30 young people from that Innu community located on the North Shore of Quebec participated in 'commented photography' workshops that I initiated between July 2002 and June 2004. The workshops gradually became intergenerational and intercultural sites of social mobilization and production thanks to the publishing of articles and the creation of an itinerary exhibition.  Two major findings emerged from this photo project and its productions. First, the participants, without denying their daily struggles, put into light that several positive aspects are part of their lives as well. This finding contradicts the fatalist images and discourses frequently circulated by Euro-Canadian and First Nations adults on behalf of Aboriginal youth. Second, in spite of its detractors, photography is capable of social engagement. This is possible, I argue, because of the intrinsic relational dimension of any technical tool. My research suggests that photography can enact expression, social mobilization and production. This tool can potentially act as an agent of empowerment.