Photo © Marcia Foletto. Army journal entry children in the favela Santa Marta. Rio de Janeiro, 1994.

Today, at 19h, Project-Free Friday, the Image Studio , brings the photojournalist Marcia Foletto to talk to the public and displaying about 150 photographs of personal essays, published or unpublished, which show the man in their daily fight for survival . Rio Grande do Sul and Santa Maria rooted in Rio de Janeiro, Marcia works for the newspaper O Globo since 1991. In 1995, he received the FINEP Award for Photojournalism for a picture of children being searched by soldiers from the Army in a Rio slum. The photographer also won the CNT Photojournalism Award twice and participated in several group and solo exhibitions. Read the following interview with a photojournalist Marcia Foletto:

FR: In this projection to show you a picture of his 20 year career, what was the criterion for choosing the images?
It is 20-year career are some thousands of frames ... I chose pictures of important events during this period and good photographs that marked events. I will show a retrospective of what I find most interesting and also some personal essays I've been developing.

FR: How do you see this paradigm shift from analogue photography to digital?
I remember when the first digital cameras arrived in the newsroom I tried to evade them. I feared the idea of ​​photography does not have a specific vehicle, paupável as negative. Also afraid of not being able to produce and store files with losing important photos. Thing of the past. The quality of digital photography today shows that the negatives were limited in some respects. Today we have more speed, capacity and ease of handling digital files. The agonizing wait for film development, the metering wrong, the economy of material, the end of it all was positive for the photographer. Moreover, the camera has not changed, the relationship with what will photograph has not changed and ethics has not changed.

FR: A retrospective is a time to review their own trajectory, which you most marked in photojournalism?
One thing I learned all these years was the importance of staying invisible on the scene. Interfere as little as possible to the picture, make your presence is not perceived. The less noticed is the photographer, will be more interesting and authentic photography. This is not always possible in busy and stressful newspaper, but it's a search. But it is clear that some times leave marks. It is impossible not to cry with a mother who lost her son or react to seeing a child in degrading situation.

FR: How do you see the situation for photojournalists today in Brazil, the labor market, salary, etc.?
The big discussion today is the role of "photographers readers." The advance of digital technology has democratized access to the cameras. It is difficult to find someone who does not have a camera, even if it is mobile. It turns out, is anyone making a click. This is good on the one hand, as can any event images. The world received a flood of images of the attacks on the WTC, including the first plane hitting the tower. On the other hand, newspapers and agencies already have these "photographers of the time" and fail to hire or to send their professionals. Sometimes fail to publish a good picture of someone on the team for only the prestige of the reader. As a result, the photographer is devalued, wages are low and there is little investment in equipment. It is difficult to find a way in this picture, but I think that photographers should seek a different work and as well as more elaborate guidelines.

FR: Do you have a project underway?
I have played alongside the newspaper a longstanding project on "rows" and a new one, I'm developing in poor communities on the use of diverse, incomplete or non-traditional materials in building houses.