the precedent thomas, the or wants to give part of proof, lambs to bolivia because we want him to view president castillo is told a member of a press that he should have access to the pacific ocean. but in the same interview, he said that he was not going to do that. however, the political opposition has used and is accusing a precedent, a feel of treason. ah hello, are you watching urgency? or these are the top stories, this our ukrainian authority say dozens of people of left the besiege and heavily bombarded city of merrier poem and civilian convoy of more than 160 vehicles have, has left the city which was surrounded by russian soldiers for 2 weeks. 400000 people as still trapped in the city without food, water,

or electricity. several rations strikes have targeted ukraine's capital keep at least 2 people were killed when a 9 story residential building was struck. the u. s. is wanting china against helping the russian war effort in ukraine. american and chinese officials met for talks in rome. us officials say china has signaled in might a more score, but by ging denies those claims. should they provide military or other assistance that, of course violate sanctions or, or supports the war effort that there will be significant consequences. but in terms of what the specifics look like, we would coordinate with our partners and allies to make that determination. the us has growing concerns. the war in ukraine could lead to a global food catastrophe. you could alone provides more than house of the world's food programs, which supply food full and fertilizer brought fertilizer

prices are skyrocketing, supply chains are being disrupted and the costs and delays of transportation of importance goods, when available, audits, record levels and all of these easy thing the broadest the hardest. a woman has been arrested after interrupting the menus program on russia's channel, one with a banner that called on view as to not believe the propaganda and stopped the wool . the broadcast quickly cut away from the demonstration. she worked as an editor at the station and said she was ashamed for promoting it kremlin propaganda and quickly another news. a corona virus infections in china tripled in more than 5. so $5000.00 on tuesdays the country faces its biggest outbreak. since the pandemic began book dance now and effect in 11 cities and counties. those are the headlines i'm emily angland and he's continues here after the strain on counseling across the us farms washing oil of a you to shrink its reliance on wash and gas will high prices undermine global

energy security. how sanctions against moscow are plastering deviation, industry, and reeling from food shortages, power cups, or shawl anchor to hold on. it's dense. counting the cost on al jazeera, i thought i anthony ok to day on the stream. we're going to be looking at the climate crisis through the lens of photographers who have been documenting the causes and consequences of i changing climate. is it possible that one powerful picture or several powerful pictures could change the way we think about climate action? sam, by for a striking show and tell discussion, we start with the extreme photographer, camille, seaman. my job as an artist is to create greater empathy and understanding. my job is to help to facilitate

a connection or the beginning of a relationship with our environment. science sometimes very challenged to create an emotional connection to the subject to the data. and that's what art is. so really doing is so good at reaching that emotive place that intangible feeling and understanding in a way that data just can't do. all the photographers that you see on today's show, a featured in an exhibition called colon ice. it's a traveling exhibition. it's been around the world now in its 11th year, and he opens in washington dc this week. hello, ian. hello, cameron. hello, meredith. so good to have all of you here on the screen with us at cameron, please introduce yourself to ice cream audience. my name is carmen davidson. i'm an aerial location photographer, and i live in alexandria virginia here to hattie. hello and welcome to the stream.

please introduce yourself. i'm in turn on the documentary photographer, and i'm basten calling for melissa, and nice to see and hello, meredith. welcome to the stream. hi everyone, my name is megan co height and i'm up at a journalist from texas. and i've spent the past decade documenting humanitarian crises in latin america. so it is, you are in for a treat. when you see these photographers, what if you have questions for them, or comments about the power of photography when we're talking about the climate crisis on youtube, the comment section is right here. be part of today's show. all right, i guess my biggest issue with climate crises or climate action and photography is how i'm of the you show it handling. how do you do it? it's subtle it, but it depends on what it is. if it's something like a flood, or hurricane or wild fires, it's easier if it's something like rising sees. it's very, very subtle and it's not as easy to show you can use time lapse. you can use video

and you can use photographs taken over a period of time to show it, but to actually do it in one photograph, it's pretty difficult. and yeah, i mean, i find like when i was working on in china and working on, on the coal industry, it was such a visual subject that you know, everything came out almost naturally. but in my later projects, i'm trying to make the entire intangible, tangible. so i use captions, i try to give this sense of loss, or at least make, make people realize the bigger picture through, through the use of text as well as the images that they're looking at. or is it a really hard subject to capture in a picture or in a series of pictures? i know you've been on the assignment for the new york times on several occasions. and where the assignment is, i'm at migrants, climate change. gotta take pictures. are you thinking what

my project that's in the colon, i think so. the documents, climate migrants all over central america, through mexico and this other united states. and when matters 1st, gave me this assignment, i was like, oh my gosh, how am i going to photograph this? i photograph migrants years since the child, my surgeon, 2014. but when i actually started going down into central america and out to these remote indigenous villages, there were, i mean, acres and acres in the valley of crops over all just estimated. one of the most visual things that i saw were in the, in the community and, and had printed, the hardest of my and the crops had grown. but the, the,

the corn had grown that with no kernels on it. and that's a staple crop there. and they started to have to leave their community because it had been, you know, the hardest dr. failed harvest and they can't eat corn. it doesn't have kernels on them. just going to go for him, tell us he was seeing in this picture, right. if that was actually in the same village, they can see the stream behind it before that was the river and you know, this isn't it, it is community they, they get all of their water for all their cooking for drinking or, you know, anything we use water for comes from that stream and every year it's getting smaller and smaller. well more this is a picture of this is a scene that we've seen on the news before. and can you connect it to climate migrate for us? yeah, absolutely. so that is a train, infamously, known as, yeah, it's

a train that run through southern mexico and not going through like chapters i think and and basically, when i rode the train through southern mexico, you know, you talked to the migrants and you asked them, why are you traveling to really carlos dangerous journey and they said, you know, i have crop, i lost my crops or, you know, and my classes were flooded and it was super easy to find people actually who said that they are having to leave because they can no longer feed their families because of climate related issues. you feel pain when you were taking those pictures. did you, did you get the pain of the people in those pages? was this a disaster for them? or was it just another thing that was happening? that meant that they had to keep moving narrative no one wanted to leave every single person that i talked to that they're migrating

because of climate really the issues. the said, you know, this is, it's literally like because to keep my family alive, you know, a lot of people in rural areas in central america, they're farmers, date, their families in their communities based on what they grow. and when those crops, you know, aren't edible anymore, they have to move in, they have to find work other way. otherwise, in other places, because that's too early. you come to a tammy come and i'm going to bring you into this one. on my laptop, tommy says pictures all the undeniable truth to what is happening across the world . the world is realized that new stations are for the now to 0. thank you, prince. this often create a narrative set by governments with agendas, the thing for i felt what is happening to our plan. it is imperative for i need to act. now. what do you think about the way tammy seeds phone calls has been truth. i think there's so much that goes into

a story that you know, captions can be changed. captions i that i think of like one story i did on a mountaintop. removal and southern west virginia and the writer asked me, how can you take such beautiful pictures of such desolation? and i think it's really hard because it really depends on the slant of the magazine you're working for in the editors in the caption writers. cuz sometimes it can be interpreted a lot of different ways. so i can't answer that about the government. i can really say how i ship my stuff in my captions are truthful and how it's interpreted or a nice so i can be quoting out of your photographs. absolutely. and go ahead. yeah, i mean i find that so many layers to it in what you're covering that and even as a photographer, i was finding about myself my,

my views of what was looking at was growing and changing as i was working on it. so i think when you actually looking at a specific story, you could actually look at what's going on there. but when you pull back, as all the political and larger global issues that connect to it. so as a photographer, i guess what i'm looking for is to try and guide the viewer through what's going on on the ground and to try and put it in perspective in the larger context. and in my case, with these pictures in china, you know, china was developing at such a meteoric pace that i was always wondering what was the actual cost. where, you know, at the very source of how they were there with the following in, at that pace. so you know that we're using things like coal and cheap labor. the country wasn't in the real hurry to try and develop. but that was, that was

a price to pay for that. and my question, when i was doing working the story was, you know, what was that cost me some more pages. i've got some here on my laptop. we taught me for these plays in what are we saying? it almost looks like the 19th century here. things co pictures, but it wasn't, it was much more recent than that have to go through. yeah. so i, i was working on this back in 2007 just before the paging olympics. and i was in china, i had just been, you know, surpassed the u. s. as the 1st come to, you know, the lodge is producing carbon emissions. and i thought going to, you know, to, to work on the coal industry. so i was going to co lines that the cooking plant that you're looking at, that work is basically far enough coal to actually produce coat which is used in

the process making steel. so you'll have these huge industrial complexes where you'd have providing electrical power through coal power stations so that these were workers who are coming back from anything. you've got a cooling tower in the background. in the north china, they, you know, that's an electrical plan. and right next to it, the coal power, a steel power plant or the industrial context was part of the whole system. that was, you know, helping the country grow and let people out of poverty about time. when you took pictures of coal mining and west virginia and you're from a coal mining family. so then that becomes personal. yes, very much so. yeah. it was my great grandfather was the chief, a beer of mine's and then all my great uncles or coal miners. and you know, i've never been in a mine, i just,

there's no letting the families out shooting it from the air long wall mining, or basically mountaintop removal, where they remove the complete top of the mountain. and then that overburden is tumbled into a stream or the watershed. so from me i wanted to show that i wanted to show these beautiful mountains and southern west virginia with the tops cleaved off. and just to show what that look like and how it impacted communities and, and how just impacted the earth and is pretty nasty stuff. it's brutal like hacking the landscape, happy. our environment. some of it's been reuse. i mean, sometimes they'll build housing or re redo the fields, but most of it just slaves follow and there's always see pigeon problems with that particular water pollution. i want to add another voice to

a conversation. this is nikosa breaking. what occurred to me, meredith and n, and cameron, from what you're saying is that often you're bringing stories to the public that they wouldn't necessarily know or see it. he hadn't been that to take photographs. and this is the case with nicole. does a lot of her work on the african continent she spoke to us a couple of days ago, isn't somali as one of the countries on this planet? hardest hit by the climate crisis also contributed less than point one percent to global carbon emissions. we're seeing play out. there is a new breed of international crises where the hazards of war are meeting the hazards of climate change, leading to a negative feedback loop that's punishing some of the world's most vulnerable people. really breaking down their countries ability to be resilient. i'm driven to tell you stories of people striving and sometimes struggling to adapt to rapidly changing environment and the hope the raising in alarm. the extent of climate harm depends collectively on all of us. and in my opinion,

it's the greatest threat that we face. yes, i have a question in from i was saying, who is watching right now and you cheap. and he asked, how do you think changes in technology have influenced the awareness of climate photographs or climate crisis photographs getting back to the same place over and over. and you're sure to lower your, you know, shooting no higher than 400 feet. and so you get a little more intimate view than you would if you were showing from a helicopter, said $500.00 or 1000 feet. that and pos just been able to distribute pictures, makes it so much easier in others, things like youtube and instagram and twitter and all that. so it makes it a lot easier to show the work i'm it's, i'm really glad you said instagram, cuz i'm on an e. and you'll, you'll instagram account here when you're talking about colon ice and, and how involved over the last 11 years. and this idea of robbing the public a with the images. that's one area of tech. i haven't even thought about that. this

is the social media platforms, your oral social media, or on instagram. it will have websites. i mean that must be a dream for you. if you're trying to get your pictures out that particularly when you're talking about something like climate action or climate change in. yeah, i think when i started working on this project, i was actually shooting on the film and you know, my work has to be published in magazines to be seen what after. and it has been an exhibition. but social media is actually allowed to actually keep us these issues and these, this work alive into the issues that i was covering about time. so it's, it's been incredible and it's made me kind of roof, allowed me to reflect more and more about, you know, what, what all of this means, especially when this, what was shot in some 10 years ago. it also must mean that the public a coming to you and talking to you about those images. what are those conversations

like in it's it's evolved over time, i mean, one of her shows, et cetera, in the past. ah, it was more about highlighting an issue or at that time because it was probably less well known at as it is now. and i think now it's more a confirmation of, of what's, what's going on, and, you know, more questions arise about, you know, how are we gonna handle this as, as a planner. i'm going to bring him one more additional photographer, his name is given mendel, he's a photographer, an artist, and he talks about the power of his work. having never luck since 2007, i've been documenting both flood and fire and, and working in, in, not a conventional documentary manner. and i think him my work functions as both evidence and metaphor significantly. for me, it's been part of activism, usa,

many protests and many actions by organizations like extinction. rebellion and greenpeace. am at this moment in our history, when it's so clear that our climate is turning and creating dangerous circumstances, destroying houses, destroying landscape, destroying communities around the world. and it's important to make work that shows are shared vulnerability to this hello. when you ask a lot of photographers, what is the most memorable photograph or sheet or series of photographs you've ever taken? most of them will just sit and be stamped. and you said without a pause, the great mississippi river flag. yes. why? well, i'd gone on vacation to california calling a magazine or shooting for. and then they said, oh no, can you come back? how long did that vacation it off off for hours i went from relaxed st. louis and

had some of my equipment shipped to me and i started shooting the 1st day was hard because we got the helicopter and it was probably well over 10 miles that mississippi river was from shoreline to shoreline. so that was in shock. and i went from saint louis to des moines, the 1st day i spent like 9 hours the helicopter. easy over? yes. what you need to shoot in that situation. i mean this is, this is like a 1000 g flat. yes. ah. well, there's many things i mean, targets of opportunity, things that you just see unfortunate things like a deer swimming in the middle of the river to a tree and the trees under water. you know, i'm to flooded houses to farms a wash. awesome picture, helen, instagram kissing, and you post a little archive knowing that you're going to talk about this. is that a look here? took us we what we're seeing here. ah, that was the 3rd week of the flood that i was shooting, and i shot that with the special panoramic camera that shoot for frames than yet

spend more time reloading. that was a farm house in the north of missouri near the i will border. this is along the missouri river as a small airport in st. charles county. and that was underwater. i don't recall the name of it, but you know, the key is you find pilot said, know how to fly for the camera. and he worked very much work as a team. yeah. i am. why was that? was because your vacation was interrupted, that you remembered it all because the images were so startling, anoka services, it was so overwhelming the 1st day was i was in shock. and then you just your knuckle down and start working. i'm wondering about how close you get to a risky situation and danger. for instance, marriage, if i know you shut wildfires before and you actually have technical advice, you get people who come on an advise you about what you do, where you go,

you're wearing p p e. how do you shoot in those kind of circumstances on the best way to setting up a wildfire is usually at night. so you're sleeping during the day. you go out soon as it gets dark and keep shooting until, you know, sometimes 234 in the morning and usually shooting with a tripod and you get as close to the fire liners possible. and especially like that, photograph for this project, we really want to show the urgency a climate change and how we're getting so close to people in their home. and that's a fire in california. and yeah, it really what you hot is ashwin down, you and, and what are you thinking of that happening? a huge so in the moment i sat on the side of

a colbert for about 6 hours. just put it up in the same, the same photograph over and over again waiting for that fire to kind of get closer to the community. but there's other times when you're like racing into the fire line and just jumping out and trying to get a few photos and then jumping like a truck and speeding out because, you know, there's so much smoke and so much ash and cheater falling forward to hear i just got out of their hands, noting his head like what take you got, shaking your heads. well, it's a seems like a crazy situation to be in and i imagine like without, without kind of any proper safety advice. i wouldn't know how you'd actually a one to how would you actually operate inside? i mean, just the logistics wise. i'm sitting at the camera, i've got this picture here of which looks like a wild fly. so then i would just say pro, tape, getting a plane or he's a drug. yeah, this is a helicopter. right?

yes. was snake river fire in northern. yeah. idaho. and we had stopped and got connections with the fire marshal from the for service. and they gave us all sorts of information. we had check in every 5 minutes and we had fire suits with us because if we had to auto rotate, you know, they had to know where we were supposed to, where we were. i was interesting further from that particular shot cassette, abrupt it again. and the heat actually drew us out because it's sucking so much oxygen helicopter pilot had to give a lot of power and left pedal for us to get out of. there is are other moments when you say i'm, i'm going to make this or spend time show not merely, i tend to fly with really good people who are always animals and that's why like drones are those photographs worth the risk worth the danger? do you look at the picture that it's worth it because i told a story that day. yes,

yeah. my wife and her instantly were in striking estate. i'm wondering how much she enter in get fancy. i mean, i'm but it takes all types of all types of photographers. thank you so much for sharing your work with us and just the image is alone. so, so much of a story that we can't nestle get over when we talk about climate crisis and carbon emissions, et cetera. let me show you how you can see more of the work of meredith and ian and cameron and many other photographers colon ice is an exhibition at the j f k center for performing arts with the asia society. it's on from march the 15th for april, 22nd. if you're in the dc area, you can see it back. meredith, e and cameron, i salute you. thank you very much. ah

ah, ah, ah. ah. a story of life deception life and death and israeli spy, operating on the deep cover in syria. knowing that discovery would meet certain death. algae 0 well tell to gripping story, most at spy. eli komen operated on the cover in syria in the 1960 notation career that ended in public execution. eli cohen must have agents,

88 on al jazeera, ah, receiving eco friendly solutions to combat threats to our planet. on al jazeera dictatorships, to democracies, activists to corporations, control of the message is crucial. oil companies have become very good at recognizing ways to phrase what they want you to hear. we care about the environment you do to, you should buy our oil cleared for public opinion or profit. once you make people afraid, you can use that to justify stripping away basic civil liberties. the listening post examined the vested interest behind the content you consume on al jazeera, cold response. nato's long plan to military all pick act the 5, the largest since the cold war has taken on you significant as the war rate is in ukraine. day without is there for the latest development. as 35000 troops from 28

nato countries demonstrate their abilities in a region already. okay. ah, some ukrainians managed to get out to marry a pole, but hundreds of thousands remain in the besieged city without heat food or water. ah. hello i am emily. ang, when you're watching al jazeera, as coverage as the war in ukraine. russia is again accused of war crimes, as an apartment building is targeted in ukraine's capital should they provide military or other assistance.