this is bbc world news, the headlines: russia and the united states say a terrorist plot in st petersburg has been foiled thanks to information provided by the cia. russia says the attack was planned for saturday. president putin called president trump to thank him for the tip—off. turkey's president, recep tayyip erdogan, says he wants to open a turkish embassy for palestinians in eastjerusalem. it follows donald trump's decision to relocate the us embassy in israel tojerusalem. south africa's ruling party gets closer to chosing its next leader. the two main contenders have now been formally nominated, and voting is under way. the winner will replace president jacob zuma as party leader. four—time olympic champion sirmo farah has won the 2017 sports personality of the year award. the track runner saw off jonathan rea and jonnie peacock, who came in second and third place. at ten o'clock, rachel schofield will be back with a full round—up of the day's news. first, in through the lens:

images of the moments that changed history, rebecca jones presents the first in two films revealing the inside stories of world—changing events from magnum photographers in new york, london and paris. sometimes, history's shaped not over the course of years or decades, but in a single day. i'm rebecca jones, and i'm here at the magnum photo print room in london in this special series celebrating the 70th anniversary of the agency magnum photos. i'm going to introduce you to some of the world's greatest living photographers. coming up, the british photographer who was in berlin the night the wall came down, the american who captured the shock and terror of 9/11, and the iranian who wasn't afraid to show the violence on both sides of the revolution.

but first, let's meet ian berry, who was the only photographer to witness the sharpeville massacre in south africa in 1960. a turning point for the anti—apartheid movement. news came through that the police had shot a guy in this township, sharpeville. i got there and chatted to the protesters and what have you and they were all friendly enough. in fact it all seemed a bit dull. and i'd more or less given up, i walked back to the car and the cops opened fire. you can see here that the guy standing on the tank in the background, standing on an armoured vehicle, and they started to fire. and at this point, i saw these kids running towards me and initially i thought they were just shooting blanks or shooting over the head of people.

and this guy was holding his jacket up as though to protect himself from bullets. and only as they started to fall around me did i realise that they were shooting real bullets into the back of people. 70 odd people were dead. and the police charged the wounded with an affray. and when it came to the court case, i was the only witness. the police said they hadn't reloaded, and i had pictures of them reloading their automatic weapons. they said they'd only fired on the crowd. most of the people were shot in the back. anyway, the only good thing was that the wounded, the case was dismissed against them. in the early days in south africa, it was very difficult to photograph the black—white relationships, because,

essentially, there were none. i came across this car and in it was a white child asleep on the back—seat, and an african nanny, a child herself, had been left to look after the baby. i'd gone there to work, and i kind of accepted in a way, i suppose, subconsciously, the way of life there. and that picture started me off thinking about south africa and about the politics and really set me off on a path of looking at the country through different eyes. during the election that brought mandela to power, although i shot a load of stuff on him, somehow this was a bit more symbolic. he was on his way to a university to speak, and on the way down, driving through this town, i saw this enormous poster of him. and people climbing up

on the posterjust to wave to him as he went through. i was on a white beach in cape town. it's almost unbelievable, but there were beaches for whites, beaches for africans, and you weren't supposed to be an the wrong beach, as it were. and i saw this white couple walking along the beach. and a couple of africans sort of fooling around in the background. and i kind of thought, "wait a second, and if they go past and i get the two together, there'll be an incident." "the whites are going to at least swear at this couple of africans." anyway, the africans went by in front, and the whites didn't say a word. and i kind of realised then things were changing fast. and it was more or less the end of apartheid. ian berry, whose outsider status enabled him to document sections

of south african society that others could not. insider knowledge, however, can also give photographs a particular potency. between 1978 and 1980, abbas recorded the revolution in iran. in two pictures, the iranian photographer captured the moment a mob attempted to lynch a woman in the street. you're a photographer — that means, you know, the historian of the present. but you're not shooting for history, you're shooting for today. it's important when the event is developing. that's the difference. you have history and you have the history of the present. well, iran was a genuine revolution, which means a total change of regime. they knew even when it was happening that only once in my lifetime,

you know, i will be not only concerned, but i was also involved, at least in the early stages. the shah left the country. bakhtiar was the prime minister. khomeini had not arrived yet, so there was a demonstration in favour of bakhtiar and, of course, of the shah. militants gathered around the stadium and started beating up the people coming out. beating them hard. suddenly, i see this woman running towards me and being lynched, you know, by the mob. and of course, again, in a time like this, you don't think — you just shoot. so i was running back, shooting. and somebody would say, "don't take pictures, don't take pictures," you know, i would always answer in farsi, you know, "this is for history." as a photographer, you shoot. but the problem was, should i show this picture then? because in the evening, i'd get together with my friends and they said, "abbas,

you can't show this picture because it shows the dark side of the revolution." i said " ' this might be my country, my people in my revolution, but i'm also a journalist, which is a historian of the present, so we have to show this picture now." and in retrospect i think i was right. because if you look at the faces, you know, lots of the violence and the hate that would surface later on during the revolution is already rich there on the faces of the militants. and then the next picture is when, you know, the army intervenes. so the woman faints. she was carried away, she was saved. then of course i hide my camera, i tried to take a picture on the sly, but then this soldier saw me, and he came, there was a grenade on his gun, he was pushing it to my face. as i was afraid, he let it go, if he let it go, i wouldn't be here. to him i didn't say, "this is for history," ijust left. the day the revolution

became victorious, khomeini had headquarters in a school. around the school, lots of things were happening. so i'm just around there, and suddenly i see a mullah in a car with a gun in his hand. and i thought it really said it all. people say, "ok, you were a prophet." no, but i wasn't... maybe i was a prophet, but i didn't have any merit, you know. having covered the iranians revolution for two years, i could see that the wave of religious passion raised by khomeini within iran was not going to stop at the border of iran. it spread in the muslim world. and it did spread in the muslim world, and now it spread all over the world. abbas, a photographer who sees himself as a journalist, a historian of the present. mark power stumbled upon one of the defining moments of the 20th century

when he was an accidental witness to the fall of the berlin wall. the british photographer captured the joy and confusion of people caught up in that extraordinary event of november 1989. photographs are so powerful that they become the memories in themselves. so, you know, my memory of berlin that night is these black and white pictures. so i flew to berlin on 9th november 1989 with my friend george, and we were both really tired, but i'd never been to berlin before, george had. i said, "look, let's go out, let's go out for a walk." so we ambled down to checkpoint charlie. there seemed to be a few people milling about. so i asked a fellow what was going on and he said that he'd seen something on the news that there's strong possibility that the wall would actually be open for passage this evening. so i looked at george, and he looked at me, and we realised we didn't

have much camera equipment with us, so we got in a taxi and we went back to the youth hostel, grabbed all our stuff and went straight back to checkpoint charlie. bang on midnight, the door right in front of us opened, and the first east berliner came through and gave george a big bear hug. and a succession of very emotional east berliners passed us and, you know, joined the waiting throng in the west. the pictures do show a range of emotions. there's a fantastic mixture ofjubilation and complete bewilderment. the border guards were so bewildered but at the same time quite excited by what was going on, they also recognised that this was a momentous point in history. that particular picture really does, i think, show quite clearly the sense of wonder they were feeling.

we have to remember that when the berlin wall fell, it was completely unexpected. when you're jettisoned to a major news event like that, it's hard to know how to react, because let's face it, i was there completely by mistake. the next day i remember not having much sleep the night before, being pretty tired, but walking back to the wall again, and, amazingly, people were standing and sitting on the wall. it seemed very much a matter of defiance, what i was looking at. it was quite interesting. i think in a way more interesting than the people on the wall are the guards at the bottom, you know, contrary to everything they've ever been told or believed in, then suddenly this is

all happening in front of them, and what are they supposed to do about it? it's very rare, isn't it, to be in a major news event like that, which is actually a happy thing, you know? it's not a tragedy. mark power, the right person in the right place at the right time. remember, you can watch the whole series at bbc.com/throughthelens. now to china, and the massacre in tiananmen square in 1989 when the chinese authorities crushed the popular movement for democracy in beijing. the former magnum photos president stuart franklin was there. coming to the sort of last moments of the event in tiananmen square injune1989, i was sort of lying down, squatting down and photographing between the kind of balustrades of the balcony. and as the tanks rolled through

the now cleared crowd, a guy, a single guy, white shirt, black trousers, two shopping bags, one in each hand, stood in the middle of the road. as the row of tanks, the column of tanks, approached. i felt very distant. in fact, so distant that i thought the picture was really of no interest at all, particularly. 0n the other hand, i was persuaded by a journalist that this was a significant moment. it was unusual, you know, in those days in china for there to be a mass demonstration, in what is still, i think, the largest public square in the world. the sort of centre of the chinese state. while i was on the balcony trying to photograph the tanks coming down the street, actually where i was keen to be was in the hospitals, trying to understand how many people

had been either killed or wounded the night before. at about two in the afternoon, some of us managed to leave the hotel and go to a couple of hospitals. you know, the situation was pretty chaotic, really. so what was most noticeable were the rows of young people on little mattresses being treated for bullet wounds. by being able to get in there and photograph that, you know, there was real evidence, material evidence, which is one of the challenges of journalism, is actually trying to tell the story of what happened. i was going to the square pretty well every day to try and photograph the various demonstrations, and one day there was an intense summer storm, sort of prophetic dark clouds appeared.

and then this guy got up on top of one of the balustrades and, you know, bore his chest and put his arms up in the air and, for me, it was very emotional and a defining moment. i felt good about it. i felt it expressed, you know, the emotion behind the protest movement in china at that time. i think one of the things that we try to do in news photography is to find an image that crystallises the event or the spirit of a series of events in one image. as stuart franklin said, it was by visiting hospitals in beijing that he discovered the true extent of the tiananmen square massacre. but for the new yorker susan meiselas, there was no need to seek out the story — it came to her on the morning of 11th september 2001 when one of the planes that hit the world trade center flew low over her home. so much of history

has been shaped by that day. nothing of this scale had happened in new york. i actually remember hearing the plane coming very, very low over the part of manhattan where i live, little italy. riding my bicycle down, i've seen a television programme, it's very unclear what's happened. i ride my bike down to that area of new york. i live not that far away, and it's one of the first photographs i made, just of people looking. that photograph is reallyjust a passer—by making a souvenir photograph of something that at that moment in time we had no idea what had happened. the first plane had gone into one of the twin towers. it's this strange photograph for me that marks that everyone becomes a photographer. this, i think, is very much of its time. it stands for a moment in time, perhaps.

i was probably two blocks from the tower when it actually, the last real drop of the tower, and that led to this massive escape. so i was standing still and trying to move closer, as close as i felt i could, as people were just racing past me. and actually i've tried to reconstruct that photograph. i tried to find people who were in that moment of time. the photograph of the statue, which many people didn't realise when they first saw the photograph was a statue, and i'm not even sure i did when i made the photograph, i was focused on the fact that there was all this what looked like confetti, but were torn up papers and dust filling the air as the towers came down. and when i looked at liberty plaza there was this statue which, at the moment, looked so lifelike — it is life—size. it is of a man burying himself in a briefcase that could have been any man at that moment. we were all kind of not knowing where our things were, what was happening.

so he kind of personified everyone and the anxiety everyone had at that moment. there is a photograph of the firefighters. so as i start to pull away and just get some distance on what happened, along with the westside highway, which was completely evacuated, no cars, no people, this group of firefighters were retreating and probably just regaining confidence to go back, no doubt, and they were washing their faces on this fire hydrant. they had opened it up, and they were just flushing their faces and their lungs probably with the water. i was just struck, they were the real heroes of that day. this photograph haunts me in a different way, the skeleton that remained. that's kind of the last memory of that day, these two towers that every time you flew into new york you would look out, you know, the plane, and see them standing there

at the tip of the island — they were reference points from so many points in the city. we didn't yet... i mean when i'm making my photograph, no idea how that even was possible. it was just inconceivable. so, you know, everyone took away from that day their own experiences, a combination of what they heard, what they saw on television, what they saw in books, and what continues to happen as a result of that action. susan meiselas remembering 9/11. the german photographer thomas dworzak was in iraq during the american—led invasion of the country in 2003. he is the president of magnum photos, and he captured the emotions of iraqis in the days both before and after the fall of baghdad. something makes you a good war photographer when you're young and eager and crazy. and when you get older and you've

seen a lot, you get more scared and you get more... it's not so easy. i was in iraq before the war. it was very controlled. it really didn't feel like a very... it felt like a scary country. people were afraid of making a mistake. it was like a couple of months before the war when saddam suddenly decided for i don't remember what reason that this was a day of clemency and all the prisoners were allowed out of prison and allowed out of adult prisons. with criminals in it, all the political prisoners, everything, just open up the entire prison, which was this huge, i think at the time the biggest prison in the middle east. they just ran out. they didn't escape. the gates were open and everybody left. i think it was surreal because i'd heard about it so much and because it had this... i never thought i would ever get into it. i don't think anybody

if asked because it was so off—limits. right after the fall of baghdad, there was this... there were tonnes of saddam statues, so people went out and they took off their shoes and they stood there like it was this never—ending beating of metal and concrete statues with a shower of sandals. and somebody brought in sledgehammers, they brought in the bigger machinery and blew them into pieces. them to their cars. there was a whole ballet of all kinds of things you can do with dismantled saddam statues. the fall of saddam was a relief for people. of course there was no plan, of course it all went crazy afterwards. but initially there was this, 0k, now it's over, thank good. so there was definitely a mood of celebration and of course there was a lot of looting after and mayhem and chaos, but this was right after when the americans took over one of the old palaces. when the swimming pool

was still there and they had recruited some kids on the street who were translators, spoke some english. so this is one of them jumping into the pool. but this was still a time when americans would drive around walk around baghdad, i think they had body armour but they had open humvees. nobody was expecting ieds. there was still a kind of... there was this really post—war relief. it didn't last. thomas dworzak looking back on his time in iraq. to see the rest of the series, do go to bbc.com/throughthelens. later in the show we will have a

look at some of the trends that we could expect to see right through the christmas period, that is some way off, let's start with the detail. a ridge of high pressure is dominating the scene across the british isles in the first part of the week, and it doesn't come without problems. a decent and other day once we get rid of the early frost across central and eastern parts, a little bit of fog in the mix as well, some quite dense, but the region not doing enough to keep the region not doing enough to keep the fronts at bay. wet and windy here, further south and east some dry weather but on the cool side. we maintain that cool theme through the night into tuesday, but my real concern is not the temperatures, it

is the extent of the fog, and that is the extent of the fog, and that is why, even at this distance, we are highlighting a number of areas that could be badly affected, not just for morning rush hour, just that time of year, though, once it forms on certain days, it doesn't clear. mild enough across western exposures, not much fog here, low cloud suddenly and drizzle, temperatures of 11—12. in the east, if you hold onto the fog, which you could all day, five to 7 degrees, may be lower. come wednesday, pushing that weather front through the area of high pressure, this will be the first, for some the only meaningful rain of the week. behind it, skies clearing, generally speaking, because of this flow from the west and south—west, relatively mild. we have highlighted a number of the themes we will see repeated through the week, mainly dry but cloudy, mildest in the west, but remember some of these mornings and

in the afternoon on some occasions the fog will be dense and it will linger. same weather front dragging slowly into the southern portions of the british isles as we start the second half of the week, so pretty dank, miserable affair here, i'm afraid. further north, a chance of brightness, chilly for some, mist and fog returning. significant temperatures quite widely across the south, relatively mild, but little in the way of sunshine until we push that weather front away, building the high pressure, a settled look to friday, but fronts trying to get into the west on a noticeable south—westerly breeze. now, here we go towards the weekend and into the christmas period itself, and we suspect that the most likely setup is this one, high pressure trying to hang on down towards the south, but low pressure further north could generate a milder south—westerly flow. that is if we keep the low pressures for the most part away

towards the north—western corner of the british isles, but should it slip away towards the north—east, we will end up on the western flank, particularly in the northern half of the british isles, of that low pressure, allowing a feed of relatively cold air to get into the northern parts of the british isles. so we have two likely scenarios through the weekend of christmas, christmas day and into the rest of the week. most likely mild, but it could turn briefly colder in the north. some of those lows could be quite vigorous, so turning for some really wet and windy. this is bbc news. the headlines: a british woman, rebecca dykes, who worked at the uk embassy in beirut has been killed. reports suggest she was strangled. the first victim of a car crash in birmingham — in which six people were killed — has been named locally as imtiaz mohammed. ryanair pilots suspend a planned 2a hour strike as the airlines agrees to recognise the pilots trade unions

for the first time. athlete mo farah wins this year's sports personality of the year — and says he was surprised at the result. the sports awards ceremony also paid tribute to six—year—old football fan bradley lowery, who died from cancer earlier this year — he was given the helen rollason award. also in the next hour, harry meets barack. in his new role as a journalist, the prince interviews the former us president