cars under china, 0 tolerance policy authorities have banned the 24000000 people living in jolene province from leaving the region or traveling to other cities. a ship from the same evergreen company that block the west canal has now run aground in the united states. ever forward stop moving on sunday. at chesapeake bay, that's in the state of maryland. efforts are underway to reflow the $1000.00 foot vessel. ah, hello again. the headlines on al jazeera, the sour, as russian bombs fall on ukrainian cities, the leaders of poland, slovenia, and the czech republic have announced their intention to visit the capital later on tuesday. this comes as negotiators from keven moscow prepared to hold more talks on the conflict. in the last few hours there have been explosions in central keys. iran con. how's the latest on the attacks from the capitol?

these happens, let me closer to the center of keep them before now. it's worth pointing out here that at 5 am, yesterday there was another attack hitting a residential neighborhood in the north thought was an apartment block of 9 stories high. and again, this morning at 5 am, 3 more attack. so it looks like the russians are trying to keep the pressure on the key. but whilst victoria continue, ukraine and russia have agreed to open 9 humanitarian court or is that includes the besieged city of your poll. after several evacuation attempts around $4000.00 civilians did manage to flee there. on monday, the city has been surrounded by boarded by russian forces for 2 weeks. power has been restored to ukraine's chernobyl nuclear plant. 2 days after external electricity lines were damaged. it had been relying on diesel generators to keep nuclear fuel cool. the plant was seized by russian forces almost 3 weeks ago. a

woman has been arrested after interrupting the main news program on russia's channel, one for the banner that called on viewers. not to believe the propaganda. and to stop the war. ukraine shot to broadcast, quickly cut away, she worked as an editor at the station and said she was ashamed for promoting kremlin propaganda. arms and other new ready steps. an indian court has upheld a ban, preventing women wearing head scarves in classrooms in the state of current taca. the band came into effect last month and it led to protests around the country. the ruling on tuesday may reflect on how other states planned to handle the issue. we'll have more news on al jazeera at the top of the hour, but up next it's the stream. thanks for watching. bye bye. when i think of my niger, i think of potential when i think of potential, i think what, what would be, what is not i think of young people literally take their finch one to the own and

i'm good something that they can be proud of. told me it's impossible. i think the only challenge was my child to record. you know, my name has been. gotcha. so, and this is my larger my, my dear, on al jazeera i anthony ok to day on the street. we are going to be looking at the climate crisis through the lens of photographers who have been documenting the causes and consequences of our 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, seamen. my job as an artist is to create greeter 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 it 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 em, hello cameron. hello meredith. so good to have all of you here on the street with us at cameron, please introduce yourself to our scheme. audience, my name is carmen davidson. i'm anerio and location photographer,

and i live in alexandria virginia. here to have yellow and welcome to the stream. please introduce yourself. i'm in time on the documentary photographer and i'm based in color limbo melissa, and nice to see and hello narrative. welcome to the stream. hi everyone. my name is meredith cohort, and i'm not that a journalist from texas, and i've spent the past decade documenting humanitarian crazy 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 sections 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 on earth do you show it hammering? 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 the coal industry, it was such a visual subject that 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 get this sense of loss where at least may make it 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 pages? i know you've been on the find that for the new times on several occasions and where the timing is, climate migrants,

climate change. go take pages. are you thinking not my project that's in the colon, i think, but 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 this, in this and it is community and, and had printed, the hardest of my and the crops had grown. but the, the, like,

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, failed hardest after failed harvest. and they can't eat corn, it doesn't have kernels on them. just going to go for here, tell us who was singing this picture, meredith 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 migrants for us? yeah, absolutely. so that is a train known as,

yeah. it's the train that runs through southern mexico and that is going through like chapters i think. yeah. 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 credit for 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

you know, no one wanted to leave every single person that i talk here that they're migrating because of climate. really the issue. the said, you know, this is, it's literally like because keep my family alive. you know, a lot of people in rural areas in central america, there's farmers, date, either families in their communities based on what they grow and windows crop. you know, aren't edible any more. they have to move and they have to find work other way. otherwise, in other places, because that isn't too early. how did you come to tammy, carmen? i'm going to bring you into this one on my laptop. tommy says he chose all the undeniable truth to what is happening across the world. the what is realize that new stations of the now to 0. thank you, clint. this often create a narrative set by governments with agendas, so seeing for ourselves 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, i think of like one story i did on 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 and the caption writers. cuz sometimes that can be interpreted a lot of different ways. so i can't answer that about the government. i can really say how i shoot my stuff and my captions are truthful and how it's interpreted or a new story can be created 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 why my views of what i 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, that's 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 meteorite pace. that i was always wondering what was the actual cost. where, you know, at the very source of how they were, they were developing 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? miss harrison was her pages. i've got some here on my laptop when you taught me for these plays, ian, what are we saying? it almost looks like the 19th century have these co pictures, but it wasn't, it was much more recent than that. it took us 3. yeah. so i was working on this back in 2007 just before the paging olympics. and i was, you know, china had just been, you know, surpassed the u. s. as the 1st come to, you know, the largest producer in carbon emissions. and i thought of 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 firing of coal to actually produce coke,

which is used in the person's 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 were coming back from anything you've got a cooling tower in the background, in the north china bay. you know, that's, that's an electrical plan. and right next to the coal power, steel power plant. so all of these industrial complexes, what part of the whole system that was, you know, helping the country grow and you know, people out of poverty about time. and 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 bear of minds and then all my great uncles or coal miners and you know, i've never been in

a mine. i just know there's no letting the privilege of shooting it from the air. yeah. as 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 reused. i mean sometimes of build housing or re redo the fields, but most of it just slaves follow and there's always seepage and 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 in and cameron from what you're saying is that often you'll bring in stories to the public that they wouldn't necessarily know or see if 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. she somali is 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 country's ability to be resilient. i'm driven to tell these 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 our saying who is watching right now on youtube and he off, how do you think changes in technology have influenced the awareness of climate photographs? so climate crisis, photographs to take also take help to merit. if, if at all i, i think mostly, i mean the, the main project that i worked on with. and so that was part of the modeling that took years with your it comes magazine public. i'm and the polls are center and the whole project came from their ability to track and start to model and predict the amount of people that are going to be migrating over the next few decades. and what they thought was astonishing. millions of people are going to be displaced

between now and the next you that can you basically putting a picture to the data so the data makes sense, it's accessible. cameron, i'm just thinking about technology. how that tape helps. you take pictures better? i know now you've gone from flying to to drones. yes, that's different. yeah, yeah. well, it's safer. which is, you know, i've spent too many years in helicopters and then i saw my drones as you can keep going back to the same place over and over. and your should have lower your, you know, shooting no higher than 400 feet. and so you get a little bit more intimate view than you would if you were sharing from a helicopter, said $500.00 or 1000 feet. that and plus 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 deriving the public a with the images, that's one area of take. i haven't even thought about that this, 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, ah, when i started working on this project, i was actually shooting on the film. and you know, i, my work has to be published in magazines to be seen what after, and it has been an exhibition. but her social media is actually allowed me to actually keep both 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 does what were shot. you know, some, 10 years ago. it also must mean that the public are 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, when i've had shows, et cetera. in the past, it was more about highlighting an issue or at that time because it was probably less well known at as it is now. 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 the planner. i'm going to bring in one more additional photographer, his name has given mondell. he's a photographer, an artist. and he talks about the power of his work. have a nice, 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 my work functions as both evidence and metaphor significantly for me. it's been part of activism, used in many protests and many actions by organizations like extinction, rebellion and greenpeace. m. at this moment in 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 tamara, 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, recalling the 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 l. a. x. yeah. st. louis and had some of my equipment shipped to bay, and i started shooting the 1st day was hard because we've 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, on to flooded houses to farms, a wash. awesome picture,

helen instagram kicking and you post a little archive knowing that you're going to talk about this is have a look here. took us 3. 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. 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? the best way to get 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 sometimes 234 in the morning and usually shooting with a tripod and you get as close to the fire line as possible. and especially like that. but a graph for this project, we really wanted 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 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 to kind of get closer to the community. but there's other times when you're like racing into the firelight and just jumping out and trying to get a photos and then jumping the 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 there, noting his head like what, take you guys shaking your heads. well, it just 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 wonder how you'd actually operate inside. i mean,

just the logistics wise. i'm sitting in the camera and i've got this picture here of which looks like a wildfire. so then i would just say pro, tape, getting a plane or he's a drug now this is a helicopter. this was snake river fire in northern. yeah. idaho. and we had stopped and got connections with the fire marshal from the forest service. and they gave us all sorts of information. we had check in every 5 minutes and we had fire suits with this because if we had to auto rotate, you know, they had to know where we were or post where we were. or it was interesting for from that particular shot cosette, abrupt it again, in 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. other is our other moments where you say i'm, i'm going to make this her 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 you look at the picture that it's worth it because i told her story that day. yes. yeah. my wife and her instantly were in striking estate. i'm wondering how much is going to in get fancy is like, yeah, dean, i'm but it takes all time, 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, etc. 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 in the dc area, you can see it that meredith e in cameron. i salute you. thank you very much. ah. from the front lines out, his name is correspondence continued to report every angle, if the war in ukraine, we've just heard shilling in the distance and machine gunfire. in the forest, there is a humanitarian crisis erupting on. multiple front rad rockets landed just a few meters from our convoy. coming up with this is, i've been all over the need for a region. anytime st totally destroyed along the road, we came in on there was still clearly an active battlefield day without it thereafter. the latest development no place. and so i gone with say, the press retreated of the car about a media hub and vital vantage point. during the 1st truly televised war from the

roof, we could see the vacuum at the american embassy, where the most iconic images of the conflict in vietnam were transmitted to the world. this was the front row sheet to the final stages of the war, saigon caravel war hotels. on l. g 0. 1 day i might be covering politics or in the next. i might be a rabbi po, tossing from serbia to hungry to what's most important to me is talking to people understanding what they're going through so that i can convey the headlines in the most human way possible. here douglas 0. we believe everyone has a story worth hearing from international politics to the global pandemic. and everything in between. it did not respect poor people and your our planet promised to ensure the safety of women. what happened the, just the 15th, i pulled back that people actually have more feel. why is the u. k. feel hostile to try and see if the mysteries or all of us join me. if i take on the live dismantled

misconceptions and meet the contradiction. carmen get up front on al jazeera ah, residential blocks are hit again and key vest 3 european leaders had towards the capital and a show of support for ukraine's leaders. ah, you're watching al jazeera light from a headquarters in delphi. i'm darian obligated also, coming up with ukraine on russia, announced 9 new humanitarian corridors, including a roots from the besieged city of mar, your poll warning of a hurricane of hunger. the un secretary general says the war in ukraine threatens the world's food supply and australia.