But let us be in the analysis of Eyewitness, history and image. We can perceive despite the increasing photograph use as historical sources can enrich the knowledge of the past since that let us develop techniques of ' ' critical of fonte' ' fellow creatures to the used ones to evaluate written depositions. Costumava to say that ' ' the cameras never mente' '. In fact, one of the reasons of the enthusiasm for the photograph at the time of its invention was accurately its objetividade. For return of century XIX the photograph was considered the product of ' ' pencil of natureza' ' , therefore the proper objects leave traces in the photographic plate when it is displayed to the light, without other interventions of the part of the photographer. By the same author: Peter Thiel. Since then, the objetividade of the photograph has been very criticized. Lewis Hine, a famous North American for its ' ' photograph social' ' of workers, immigrants and tenement houses, said that, ' ' the photographs do not lie, but lying they can fotografar' ' (BURKE, 2004, P.
25). But the illusion to see the world directly when ' is looked at for photographs; ' effect realidade' ' , as it called it Roland Barthes (1915-1980), it continues difficult to prevent. This effect, part what Barthes called ' ' rhetoric of imagem' ' , she is explored in the images of recent facts that appear in periodicals and the television and is particularly vivid in the case of old photos of streets of the cities. When these photos are extended, as in the case of some photographs of So Paulo shown in a sample in the So Paulo avenue some years behind or as the photos of the city made by Claude Lvi-Strauss in years 30 and displayed it has some months, it is difficult to resist the sensation of that really we are stopped in the place where the photographer was and that we can enter in the photograph and walk for the street in the past.