street routes as yahoo! classically with it, i think the security situation is now stable. but up to now the route between nigeria and chat cant be opened because we can't guarantee security. we need to continue combing the lake and places that traitors usually move around to guarantee their safety, the, the nigerian authorities, and i are working on it. and we hope to succeed in the coming months. but until the routes are safe again, most as, as his book will remain on shore. he hopes the authorities will be able to end book a heart attack soon, so that he can once again earn a living. he will morgan, alta 0 lake. chad. ah, this is all just in. these are the top stories. ukrainian authorities say 2000 cars of left mateo, paul, and the latest evacuation from the besieged city. that's after the 2 sides agree to 9 humanitarian collar doors across the country. earlier, 4000 civilians managed to leave body of pole in the 1st successful evacuation on

monday, 3 european leaders that on their waves of the ukrainian capital despite ongoing shelly on the outskirts of the city, the prime ministers of poland, sabina check republic, i'm set for talks with president loading his zalinski and becoming ours though the 1st fallen leaders to visit since russia began his assault 20 days ago. caveman of italy, getsco says this is a difficult and dangerous moment. he's calling on ukrainians to help defend the capital. not to go buried. the what? the g as of today, the 15th of march, 20100 hours martial law. it's not allowed to move around the city without special permission until 7 am on the 17th of march. yeah, what about is book? i'm asking everyone your older men who have not turned yet. please come back. we need to defend our city in our future. ukrainian children are becoming refugees at a rate of one per 2nd according to the united nations. that's almost one and

a half 1000000 children in total. since the war began nearly 3 weeks ago, the un refugee agency says more than 3000000 people have left. you trained to escape the fighting. more than half of them have gone to poland. the un says a russian woman who protested against the war by interrupting a news program shouldn't be punished. the women stood behind a present or holding a banner, calling on viewers, not to believe the propaganda and stop the war in ukraine. the channel one broadcast cut away quickly. she worked as an editor at the station. a deal to revive airlines. nuclear agreement is close to being reached according to the kremlin rushes pharmacist, 2nd level is hosting the forum as of iran and moscow. barbara says russia has received written assurances from washington. the sanctions won't interfere with the framework of the deal. diplomat say effort to revive the 2015 deal. i've been threatened by last minute. russian demand. those are the headlines and he's

continues on. i'll just get off of the stream. goodbye. cold response. nato's long plan to military all. take the thighs, the largest, since the cold war has taken on new significance as the war rages in ukraine day without is there for the latest development as 35000 troops from 28 nato countries . demonstrate their abilities in a region already. ok. 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 greater empathy and understanding. my job is to help to facilitate a connection or the beginning of a relationship with our environment. science sometimes is 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, ian. hello, cameron. hello, meredith. so good to have all of you here on the screen with us. and cameron,

please introduce yourself to ice cream audience. my name is carmen davidson. i'm an aerial and location photographer, and i live in alexandria virginia here to hattie. hello, and welcome to the stream. please introduce yourself. i'm in tang, i'm a documentary photographer and i'm based in color limbo. melissa, and nice to see and hello, meredith. welcome to the stream. hi everyone. my name is meredith cohort, and i'm not a journalist from texas, and i've spent the past decade documenting humanitarian crazy in latin america. so it is, you're 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 give this sense of loss or at least make, make it people realize the bigger picture through, through the use of text as well as the images that they're looking at in a really hard subject to capture in a picture or in a series of pictures,

i know you've been on assignment for the new times on several occasions and where the timing is, climate migrants, climate change. go take pages. 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 the southern united states. and when my editors 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 magnet 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 and valleys of crops over all just estimated. one of the most visual things that i saw were in the, in the community and,

and it had printed the hardest of my east. and the crops had grown. but the, the, the corn had grown that with no kernels on it. and that's a stable 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 here, tell us, hey, we're seeing in this picture. all 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 for, you know, anything that we use water for comes from that stream and every year it's getting smaller and smaller. well more this is a picture or mrs as 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, infamously, known as, yeah, it's a train that run through southern mexico and not 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, am i cracked sure? flooded and it was super easy to find people actually who said that they are having a lead 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 wanting 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 community based on what they grow and windows crop. you know, aren't edible any more. they have to move, they have to find work other way. otherwise, in other places, because that isn't too early. he'll get you going 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 waters realized that new stations of the now to 0. thank you. print this off to 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 the 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 could 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 my, 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, 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 grounds 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 meet your 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? sure. some was the pages i've got some here, my laptop we taught me for these plays, ian. 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 haven't focused. right? 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 us as the 1st country, you know, the largest producer in carbon emissions. and i thought of going to, you know, to,

to work on the coal industries. i was going to co lines that the cooking plant that you're looking at, their work is basically firing up 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 who are coming back from anything. you've got a cooling towel in the background. in the north china, they, you know, that's, that's an electrical plan. and right next to it, the coal power, i still power plant. so all these industrial complexes was part of the whole system. that was, you know, helping the country grow and you know, people out of poverty at that 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, 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 know 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's

a slice fallow and there's always see pigeon problems with that particular water pollution. i want to add another voice to ac 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 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, isn't somali is when the country is on this planet. hardest hit by, the climate crisis also contributed less than point one percent to global carbon emissions. what 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 hopes of raising an 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 crises, photographs to take a 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. the 2 years with the new york comes magazine public. and the culture center, and this whole project came from their ability to track and, and start to model and predict the amount of people that are going to be migrating

over the next few decades. and what they found was astonishing. millions of people are going to be displaced between now and the next few days. you basically putting a picture to the data of 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 dr. yes, that's different. yeah, well, it's safer. which is, you know, i've spent too many years in helicopters and i share my drones as you can keep going back to the same place over and over and you're shooting lower or 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 a 1000 feet. that and plus just being able to distribute pictures makes it so much easier. you know, there's things like youtube and instagram and twitter and all that, so it makes it

a lot easier to show the work. i'm really glad you said instagram, because i will on e. and you'll, you'll instagram account here when you're talking about colon, eyes and, and how involved over the last 11 years. and this idea of dropping the public with the images. that's one area of tech i hadn't even thought about the social media platforms on social media, on instagram. you will have websites. i mean, that must be dreaming for you if you're trying to get your pictures out there, particularly when you're talking about like climate action or climate change. yeah . yeah. i think when i started working in this project, i was actually shooting the film and you know, my work has to be published in magazines to be seen a lot after. and it hasn't been exhibition. but social media is actually allowed to actually keep this, these issues and this work alive into the issues that we're covering about time. so

it's, it's been incredible. so it's made me kind of risk, allows me to reflect more and more about, you know, what, what all of this means, especially when this, what was shot some 10 years ago. it also must mean that the public coming to you and talking to you about those images. one of those conversations like in it's, it's evolved over time, i mean, one of her shows, etc. in the past, it was more about highlighting an issue at that time because it was probably less well known as it is now. i think now it's more a confirmation of what's, what's going on and, you know, more questions arise about, you know, how we're going to handle this as a planet. i'm going to bring a one more additional photographer. his name is give you an mendo. he's a photographer, an all test, and he talks about the power of his work. have a listen, have a look. 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, 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 l. a. x. yeah. 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 shore line 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, because you can 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 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 you worked very much work as a team. yeah. yeah. i am. why was that? was because your vacation was interrupted, that you remembered it all because the images were so startling, anoka,

suppressors. 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, you know, 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 homes. 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? are 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 few photos and then jumping like a truck and speeding out because, you know, there's so much smoke and so much ash and trees are falling forwarded here. i just saw there is nothing in the headlight what take you got shaking your heads. well, i mean it's a thing 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 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 look 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 and we had check and 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 further from that particular shot, cosette, abrupt it again, in the heat, actually drew us there because it's sucking so much oxygen helicopter pilot had to give a lot of power him of pedal for us to get out of there is, are other moments where you say i'm, i'm going to make this her spend time show not many. i tend to fly with really

good people has always had animals and that's why electrons are those photographs worth the risk worth the danger you look at the pitching 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 in the in get fancy is like 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 in 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 that meredith, ian cameron, i salute you. thank you very much. ah, ah, there's more than 12000 migrants, mostly haitians in the camp that sprung up in the real texas over the last 2 weeks . they won't assign us, authorities are overwhelmed. this is just the latest flash point in a month long serge of people are legally crossing the border. and there's little in the camp for them. you can see that a getting back into the coming up that they went across to make sure to get through the site because there isn't enough for them to be there. in the time we met

nicholas on the mexican bank to the river, searching for food medicine for his family. he hadn't realized until we asked him about it. the u. s. authorities rules are now flying haitians back home. there is no president crime as high students can't go to school. there is no work. the economy is down. people can't put up with deportation. is not good for us. i think my niger, i think a potential, i think a potential i think of what b, what is not i think of young people literally take them to do something that they come to tell me. it's impossible. i think the only challenge was when a child in the country. hello. my name is ben. gotcha. so this is my job. my, my gear on out there and young women with a passion for space. i used to dream about working at

a small step. the science giant lead for women, kind in car gustavo, the but don't place it and hide it at the schedule time. the satellite with the center to space women make science august on space school episode 5 on al jazeera. ah, this is al jazeera ah, this is a news hour on al jazeera, fully back, people live in doha, coming up in the next 60 minutes escaping the bombardment. more evacuations are underway from the besieged, ukrainian city of mary paul, residential blogs are hate again in key 3 european leaders visit the capital in

a show of support for ukraine's leaders. also the sour raising hopes.