then gordon bron, and david cameron -- then gordon grown and david cameron. . >> kike arnal, photographer,

responsible for this book, what is this picture on the cover? >> that is the metro station next to the white house. it is a homeless guy. >> why did you put that on the cover? >> i think it is a question of the capital, showing that contrast between the united states, so close to the white house. >> 92 pictures in this book. when did you start photographing? >> i started photographing in 2003, and it took me 250 days of work in this city. i it finished by the end of 2006. >> fy did you do it? >> -- why did you do it? >> i was on assignment

photograph think the city in 2002. i was going to different branches and i found a washington and never expected. to me, my mother brought me that i t-shirt from the capitol when i was a kid. and then i discovered the beautiful washington when i came by myself for the first time. i saw the monuments, but then washing this assignment, i discovered another washington. it was like peeling an onion, what is happening in those neighborhoods on the other side? >> what is the accent? >> the accent is from venezuela. i came to the states about 12 years ago.

>> when did you first come to this country? many years ago, i had traveled to the united states. >> we will go or that later. i wanted to ask you before we move on from this picture, what is the symbolism? >> this is the washington monument. everyone notices it. the magnificence and the beauty of the capital. >> but it has the hot in there. >> it was taken at night. a very dramatic photo. i like to live. i think it was a good image. ñiñi-- i liked it a lot. i think it was a good image. >> and in this picture on the cover and then thisçó one, teenagers in their cell at oak hill, a detention center outside of washington, d.c., a reputation for bad management and drug activity.

this is in 2005. >> by now the center has been closed. i am very glad to know that it is closed. i see that they are opening a new place. they're trying to improve conditions for the future. >> how did you pick to go there? >> it was important for me to show what is happening for the kids in the city. i managed to get access -- first at the photograph the kids without showing their identity, and i put together a photography workshop for the children. i spent two weeks of the teaching of photography. >> homeless peaky -- peoples sleeping in webster square, a few blocks away from dupont circle. these benches have since been removed. >> i was not surprised after a

fewñi weeksñi after i took that photograph, i went back in the benches were not there. >> at their sleeping there. when i went backñiñi there are t there anymore. >> did you have guidance on this book, where to go? >> i did walk and drive that many miles. i could start working as a cab driver in washington, d.c. but i talked to many people, to many nonprofitçó orientations to get assistance from them, just to understand and to get access to people. because it was not necessarily easy to photograph some of the situation. >> this is a schoolgirl at the lincoln memorial. did you know her? >> no, her family was there.

i thought it was a fantastic picture -- -- situation, lincoln and the little girl. i love it. >> is there symbolism there for you? >> yes, we know lake and liberated slavesñi -- lincoln liberatedxd the slaves, and i >> why did you decide to do black-and-white and what kind of camera did you use? >> black-and-white is my favorite choice for photographyó ñrbecause it leaves the message w3without getting distracted by colors. you can do black-and-white or color, is just a personal choice. ñiand this was just a classic camera. >> it's obvious that this is on the mall with the washington monument, and an evening consent

-- and the evening concert, all you see is white people. >> there is a majority african- american population in the city, and that things usually happening around the mall. >> this is a free concert open to everyone. why do you think they are not there? >> that is a good question. i guess they don't feel that they belong to these activities. i do not have the answer for that. most of the people going to the mall are white people, and the people in the african-american community do not participate as much. >> and here's a silhouette of a tourist at the washington monument at night. >> this was at a different time, but i wanted to show the splendor of the monument and the taurus going around did that night, are safe.

i wanted to convert that to some other areas like in southeast, where people do not get out anywhere. >> and the next picture is a soccer team at the rfk stadium. what you see in this picture? >> was an african amanda -- an african-american vendor selling beer. interesting to see how the social dynamics of this situation are. >> how many pictures did you ñ"itake? >> thousands of images. it was a very difficult decision to pick outñrñi whiqñizv ones n the book. someñi photo editors and some colleaguesñi, they lookedñr at e best of the work. >> and this is georgetown university, with loyola

university. what is the second group? >> this is all hole in the fence at the field. -- what is it taken through? >> this is a hole in the fence at the field. ñi>> what is the meaning to youn this picture? çó>> it is sneaking into this situation. i am outside trying to understand what is going on inside. a lot of images in the book have that approach. someone outside trying to understand what is happening inside. >> someone ice skating at the national gallery. something out wanted to ask you about, it is hard for the audience to see this, but you can see right here that it looks like it is either a fall election -- a reflection? >> if you remember, there is class are rounded. i took it from outside.

that is a reflection of the veranda. the bourse and again, all white people. is there reason? >> it is a beautiful site in washington, a great place. but it happens to be, as you said, only white people. e1it was just to show how beautiful and enjoyable it can be, being in the mall on a sunday morning. >> you get some direct symbolism, i suspect, in these two photographs. the one on the screen, a crowded national theatre lobby during the presentation of the musical, "moving on." it is a historic landmark, again, right next to it another picture from the national theater, homeless people sleeping under the marquee of the national theater. when did you discover that there was this contract? >> it was very early in my

project. the first time i walked around the city, i realized that it was a city with many more homeless than where i was living at the time. >> you're saying more homeless than in venezuela? >> yes, more than there. >> did you have to ask anyone's permission? >> iñi tried to stay back, so yu could not see the real identity. but i spent a lot of time talking to people. >> what about this person right here? >> this was like any other journalist taking any photograph. >> what are the rules on that? >> are there rules on copyright?

>> this is an open public space. but the images that i'd definitely needed to have permission from, i did obtain those. >> talk about this at the beginning -- when did you first discovered there were two washington'ñis? >> the first time i started working on the library of washington project. in 2002. >> know, when you first said, oh, my goodness? >> when i crossed over in the southeast. >> why are you doing the library project? >> i was hired by ralphçóçózv's nonprofit organization. it wanted to porscheñi the libry system and create -- they wanted to push the library system and

creates some support for it so they wanted to document the conditions. i went to all the branches to take their photographs. i was in northwest first, and as soon as i went southeast, i realized, this is not your typical washington, d.c. lsrbut at the end, it became the typical washington, d.c. if you got out of the mall. ñr>> you start with washington, starting inxd the center, and yu have that quadrants. what is the difference? >> the social conditions. >> d.c. police officers arresting a young man after allegedly had broken into eight apartment building at crestwood, nw. >> i manage to get permission from the police department to drive with them through the

night shift spirit the condition was, again, you cannot show identities of the people. that was kind of a challenge, but for four or five nights i drove with them to get some participation to illustrate the crimes and some of the problems that the city has. >> a woman handcuffed for driving without a license on georgia avenue. this was in 2004. and then we go to a barber shop, central avenue and southeast washington. >> what my favorite shots were people are there. i used a panoramic camera and took a picture of the barbershop in this very rundown place. >> how many times did you have did visit the barber shop to get a photo like this? >> in this case, i only went once. >> homeless people on the

sidewalk along florida avenue in northwest. >> yes, in northwest. >> did you have as their permission? >> i was just riding and i spoke -- and i took the photograph. >> did you know that you're going to show this? what was the purpose? >> people leaving. a lot people were going away from washington at the time. i thought it would be good to have that in the mirror. >> next page -- you do a similar photograph over here showing, again, what in the mirror? >> a panhandler, someone begging for money. ek"tam accustomed to seeing pov.

i was never explanting to find it in the capital of the united states. -- expecting to find it in the capital of united states. >> workers assisting in the streets of downtown washington while the capital went to a beautification campaign decided to change the face of the city. many poor residents were forced to move to maryland and virginia during those years. is that a human being, right here? >> no. >> who wrote your cutlines? >> someone editing helping meet wrote that for me. >> i took this picture of the hydrant and the kids having fun when there were talking about tearing down some places in the city. >> did they tear them down? >> i cannot recall.

but those were the plans. mostfá of them were in northwes. >> and excavator working during i demolition of east capitol dwellings. >> when i went to the first1/lçñ time, there were two people leaving, and then they tore down this wonderfulñi new house for middle-class people. ñi>> how often do you work in black and white? xdçérñiçó>4 lot.s%/o!most of d why. ok>> what kind of film to use? >> kodak. >> node/? >> a fewt( times -- no flash? >> outyear *, but not a lot.

-- a few times, but not a lot. they are tiny and do not call attention. >> the photograph showed up the demolition, and a new show here the same place. >> 1 or two years later. these are the new houses there. >> and the home started at $299,000? >> started out there. >> and that these were built with government grants. do people get help buying them besides building them? >> i do not know the answer to that question. i guess that they do. >> how much of this is photography for you and how much of this is social engineering that you were involved in? >> i definitely have a lot of sense ability to my work --

sensitivity to my work. i would like to work on social issues. a lot of my work is related to social issues. >> i want a break away from this and go to your web site. how did people get to it? >> kikearnal.com e1>> what is the purpose of the web site? >> photojournalist need to have a web site so that people can decide this is the kind of person i want to hire for a project for assignment. >> we've gotten off of this, the munitions site. explain what this is. >> in 2007, after one year of

the conflicts between hizbollah and israel, i went to a photograph people who have lost limbs into cluster bombs. oka/li>> were they all shot in e gaza area? >> know, this is south lebanon. >> 0, hezbollah. and were you going to sell them? >> no, i work to get grants and then went to the united nations. >> this first photograph of a young man. >> he was riding a motor bike with is that on the final days of the conflict. ñiand they drove over cluster bomb and he was burned and lost ñrfs

body wasñr burned. >> the next photo? >> a mother who lost a son. he was hanging from a tree. the kid died four months after the conflict ended. even years after the conflict, there are still victims happening every month. ñrpeople get killed or lose ther leg. that is about the size of the battery, about the size of a cell phone. >> what did you say to people when you wanted to take their picture? >> i have worked with a lot of ngos with the united nations, and i talked with them before i could photograph them. and a lot before i get a photograph i think it's good enough to show the public.

n>> how did you do this photograph? ì(lc@&c+ together and i was using the black background just to show in detail the injuries. ñi>> what did you say to those three people that you're going to do those photographs? >> i said i was not committing your life, butu consequences of document in your life can be that peopleñi might bring more funds to clear the area oçó. >> what about this photograph? the same condition. the one on the left is açó kid o ñilost his foot from a cluster bomb.

what under many operations. the woman on the right, she did not allow me to photograph her face. she lost her old wood. and the guy on the right, 55-60 years old, a poor person who worked in the field and now it is hard for him to work it anymore. >> word you live? -- where you live now? >> i wanted to live in a quiet place close to nature. it has beautiful back country agree you can escape once in awhile. >> how long have you live there? >> for a couple of years. >> this photo is of the lebanese? >> yes. this young man was working and he grabbed a piece of an engine outside, and there was a cluster

bomb there any lost his hand. >> you did interviews of him? >> i did interviews of all of these people. i am doing a documentary about accidents. >>ñiokñii what!sátájjuz do with your documentary? >> hopefully i am going to broadcast it to show it to as many people as possible. >> i'll work as a field producer for national geographic, bbc, and also unicef and south america and venezuela. >> where did you grow up and venezuela? >> outside caracas. >> what you think of the leader? >> i will say that he has a lot of room to improve. >> a lot run for him or for the

country to improve? >> both. >> is the popular leader? >> i do not think he is as popular as it was in the past but he is popular. >> could you do the same thing in venezuela as you do here? >> know. i cannot show this kind of thing. >> how would they deal with you? >> i don't want to try it. >> where is your citizenship right now? >>ñr iñi am a venezuelan. >> you have a permanent green card here? what are your politics? >> i tried to be as socially aware as possible, let's put it that way. >> and heavy been involved directly and politics? this book was supported by ralph nader. >> yes. >> do you think he would do

something positive -- were you worried about him? >> there is no possibility that this book can create any negativity. this is work that needs to be done. >> more photographs from your book. the yard of a housing project in leaking heights on the fourth of july piquancy little kids here and a backyard swimming pool. and right next to it, if you have this photograph, july 4, 2004, private party with live jazz on their roof of the building in northwest washington. you can see down here in the foreground, people standing on the roof looking outñrñi with fe ground -- fireworks and the background. people have fun on the fourthlpr to july may be the most important national date. i went to both extremes of society and spent some time in

southeast and also spent time in northwest. i just wanted to show the differences. >> here is northeast at clay terraces, part of lincoln heights. and next to that is a man sleeping on the sidewalk of massachusetts avenue on the fourth of july in northwest, and i can, northwest is where things are a bit different than they are in the other three quadrants? >> yes, definitely. >> in the introduction of this book, somebody by the name of fred ritchin -- can you tell us to be as? >> a professor at nyu, someone is involved in photojournalism for a long time. he agreed to review my work and wrote the foreword.

>> and he writes, "kike arnal decided it entered the shadows of sought after suarez, amazed at some many lives were festering away within a few minutes' walk of transcendent power. they're reminded them of some of the barrios in his native country." it is a similarity between them? >> yes, absolutely. not only venezuela and colombia, absolutely. >> bad year photographs. of barbecue in marshall heights, i economically depressed neighborhood. how would you describe this?

>> it is a place where you do not want to make a mistake night, for example. you can get in troubles. there is a lot of dignity but also a lot of problems. >> classical concert on a hot summer night at the u.s. capitol, again, all white people? did these white people feel guilty about having this on the capitol building? >> i do not think so. i don't think that they should feel guilty. it is just why is it only the white people going to these events? >> homeless man crossing retract as they leave the provisional homes under highway 395 on the district of columbia line.

>> i took out one from the bridge. i knew that people were living down there because i saw boxes on the bridge. i when a couple of times to see activity to photograph them. >> miraculously survived being shot 27 times, at age 32 in this photograph. he was worried that his aggressor had been recently released from prison and right -- and might repeat the attack. why did he let you take his photograph? >> i asked him and he agreed. >> how did you find him? >> i was actually working on the street and i spent many days working with these people. >> did you go by yourself? >> a lot * by myself but sometimes people came with me. you'd be surprised how open people can be when you are real and you talk to them. >> planning trying to decide what to bring with them.

>> they had half an hour just to get these things and then they were going to boarded up. they said that this building was closed. >> a man evicted from his building taking what he could carry. the building was boarded up 15 minutes later. a team from the department of human affairs boards of the building. >> that is the same building. they were the ones that removed the billboards and allow people to get in and and now they're putting the boards back. >> and the man walking out of the apartment. >> that is the same man taking those things out the back. >> what did they tell you when you talk to them? >> they were frustrated and there were very anxious. it was not easy for them to talk to me. >> in this photograph, your the picture of a photograph on the

wall. you can see the cracks in the wall and there is another right next to it. >> this is an abandoned home in northwest, actually. i thought it was incredible to see these memories of lives on the wall. they were falling apart but there were still families of photographs. >> this along this line of all of them. a boy uses a computer in a community library which closed in 2009. in 2004, all of the public computers in the library's went down for almost a month. the system has since improved. six years after ralph nader founded the libra renaissance project to get them more resources -- did he? >> i think so, guess. >> do you know anything about this little fellow here? >> it was a while ago. what did his headphones.

they do not look very well. >> take up. beating the hungry and washington is done through kitchen supported by volunteers. -- feeding the hungry in washington is banter kitchens supported by volunteers. >> the homeless people don't have to go to one specific place. you go to the vans and get your food there. >> did you talk to this junk rating -- to this young lady passing the code out? did you ever ask them why they do it and get involved? >> these are people but i did spend a lot of time with these organizations and a lot of them have strong social beliefs that they have to help people and do something. if they do not do it, no one is going to do it. >> where is this? >> this is on 51st three -- i'm

sorry. >> it says it is an emergency shelter and mt. pleasant 3 >> i think it has been moved since this photograph. people waiting to access the shelter. >> and here is the shelter. >> when i took that photograph, it reminded me of the concentration camps in world war ii. >> it provides 90 beds per night, you say. who gets in? >> first-come, first-served. [unintelligible] bair screening them to see if they are bringing weapons inside the shelter >> to people share a sidewalk, the heating system keeps the surface of the sidewalk more throughout the night. what time of night was this? >> around 11:00, midnight $3 how

late we you out taking some of these? >> many times it was very late. >> how often would you find someone near the major monuments? >> this was very common. you could find them any time. >> of homeless man looks into a coffee shop at 17th and l street nw. nearly 15,000 homeless people in the capital. this man is outside looking in. >> isn't that incredible? >> you just walk or run until you see the shot and pull your camera out? >> yes. the boys did you talk to this man, walter lee cline? >> i talked to him and his son. >> what do you remember from that conversation? >> he was not very talkative. he was feeling very bad.

he went to one of the largest shelters and the world. >> just a few blocks from here. >> close to the capital. the social worker that took me down to the shelter -- to this area of the shelter, he called the ambulance and eight took into the hospital. he was in pretty bad shape did what diabetic, or something like that. if we were not there, he might have died. no one knows. >> this is back in 2004? >> this was 2005. >> d.c. riot police ready to move on inauguration. >> i just wanted to show and talk about african-american and white people are there. >> this is probably the picture that i would least expect in this book and i want you to explain it. they will know these people from

appearing on this network. john fund, for norquist, who runs his own association, americans for tax reform, and senator lamar alexander, and they are in a meeting. what is the meeting? >> it is the meeting that grover norquist puts together and i was granted access. i don't have many other photographs of the powerful, but i want to include 13 >> why did he give you access? >> he said that it was good to do it. >> he knew that you are doing it? >> yes. >> did he know that this picture would be sandwiched in between a lot of these people? >> we were not sure about the final content of the book, either. >> d.c. police detained an

underage driver. >> this was one of the night i was riding with the police. >> and then students at the exclusive school are writing a at a formal. that is obviously a limousine, and here are mostly white young people moving here. >> just the comparison. the dollar did you ask permission and did they know what you're doing? >> they knew that i was a document in light in the city. >> and these kids are arriving at the formal. that is december 2004. >> same social dynamics. >> a night club in northeast with a 1000-person capacity, regarded as the best nightclub in the city by the "washington

post." right next to that, what is the symbolism of all of this? >> a young couple having fun. i just wanted to show the diversity of the city and how different social classes have fun and enjoy and also talk about teenage pregnancy. >> a teen mother with her baby at clay terraces, that teen pregnancy rate one of the highest in the united states. >> yes. >> where is this? >> click terraces -- clay terraces, that was a place i went many times to photograph. >> what are you getting at here? a playground at an affluent neighborhood. child care is a privilege in

washington were problems with youth are rampant. >> going back to that, showing the dynamics of washington. >> where did you get your interest in all of this? >> i was always interested in this. it is something that grow on me when i've learned to take photographs. i was climbing and i went to different places around the world to climb and i had a passion for social issues and to understand people, interested and a lot of the problems. so i started to develop my career as a photojournalist. >> how old were you when you started being interested in photography? >> i was always interested in photography. my first time i was 14 years old. >> this is a girl morning during

the funeral of for three-week old baby. did you notice any difference between latino neighborhoods and white neighborhoods and light leverage? >> absolutely. well, latino and black neighborhoods are more similar. the more affluent people are, the better looking they are and more say. >> are relative takes a last minute to say goodbye. in the next one is, the actual burial of the infant. where is that? >> that is the cemetery right north of the city. >> how did you find this area? >> there was an organization in washington. >> sorry about that. >> a child selling florida's --

an immigrant selling flowers. >> and what is the photograph here? >> this was taken when i had just met this guy and talk to him. he had only been here a couple of months. >> there's a series of photographs that i am sure that washington folks would love to see. a wedding for clients on k street. you hear about pastry all-time -- k street all the time. right next to that is a photograph of the washington monument. back to the prostitutes, did you have as their position -- there permission? >> they ignored me. i wanted to talk to them but they just ignored me. >> this next photograph is probably most people will remember. >> i will tell you the story

about this photoperiod i was driving around late at night and i saw some kids having fun, and i wanted to photograph how young people had fought in the city. i got close to them and ask them where they were going. they said, lead them alone, there were working. and then i realized there were prostitute. >> and guatemalans voice sounds flowers -- a guatemalan boy selling flowers. next to that, a father and son playing golf at lincoln golf course. >> all of these are based in washington, but the minute you walk outside of the offices, you find these concentrations. >> a boy living in d.c. village. next to it, a memorial for an

18-year-old. >> he was shot in southeast. >> how often would you get a call to hurry over, there's a photograph to be taken? something has just happened. >> i met with a number of people trying to help me. i would get a phone call every once in awhile. this kid was shot or there is a funeral, please come. >> this is a piece of a mirror right here and the man it, it is a heroin addict, is shooting up his juggler avenue on division avenue in 2003. and then a heroin acteddict geeking. did he agree? >> absolutely. it did not agree, i would not

have taken it. >> but you do not show his face and full. >> it was just a better photograph. i don't think he would of mine did it by showing his face. it would help people understand what they were going through, so go ahead and take a photograph. >> paramedics suggest that this possible overdose used heroin. how much hair when did you see in washington? >> a lot. >> were you surprised? >> i never expected it. i discovered it is i was moving around $3 is spent 250 days? over how many years. >> over three years. at the beginning, i was living in new york and moved here for about three months. and then i did not have the

amount of photographs that i needed to tell what was happening in the city so i started to come once a month for a week. >> of minister addresses the service for lavalle kendal jones. what is the background? >> this is a church where the funeral was happening, they are praying for him. this was an important case because he was important here. he was shot by gangsters. they never figured out who killed him. >> he was at ballou high school and shot to death on sunday. while returning from a nightclub with his cousin. what was he doing at a nightclub it was 16? >> a good question. it was too late for him. >> what do you want to do about this? >> all i can do is to show it. >> do have a sense that

something should be done? >> absolutely. what we're doing now is showing it to people, because activists can use this as a beginning to see what they have to do. but definitely there things that need to be addressed. >> this is an interesting one, brothers and wheelchairs'. a group of african americans who become paraplegics after spinal cord injuries caused by gunshots. they performed together in a rap band at the sec and wide shelter in washington -- at the ccnv shelter in washington to record each shot in different situation? >> yes. >> did you ask them about that? how did they get shot? >> some of them had the same man

that -- the same explanation. they were involved in things that they shouldn't have been involved, and some of them were just victims of robbery. >> did you hear their music? >> when i work with them, they did not have their cd ready yet. >> had all kill you center, the infamous youth correctional center in laurel, md. -- the oak hill youth center, the infamous youth correctional center in laurel, maryland. >> of oakland was a long time ago. >> why is it infamous? >> for many years, it had a lot of human rights abuses and issues inside. it was finally closed after social activist tried to close it down.

>> a 14-year-old boy in his cell at oak hill. no disclose them. do you like the light like that? >> yes, i like it. >> of boy and his fellow players at the detention center. and then you have an oak hill in may it had sold or -- inmates at a cell door. did you ask him to do that? o>> no, he was just looking through the door. >> and you had to get his permission? >> yes. >> so he signed something. >> this is martin, a gang

member. >> this is a gang organization from salvador. >> he is required to live outside the city. a 17-year-old girlfriend and a 1-year-old son at the time of the photograph. and that says "get richard died trying peaky -- get rich or die trying." >> there's a guy now. >> in this coming you have some vih(@%n your web site. and i want to run a clip of the documentary. ♪

>> what are we watching? >> this is a video are produced about disease in the amazon a group in canada. there was an epidemic ofñi malaria in the amazon and i did this for the discovery channel and canada. >> how much work to be done for the discovery channel? >> not much. this may be the only piece that i did for them. i worked with other production companies but this is the only one for the discovery channel canada. >> d like motion are still? >> i like both. they are similar and different. still is even harder to photograph. >> what are you working on right now?

>> i want to do a documentary about the cluster bombs and their lives after a cluster bomb accident. i'm working also about a community in western colombia. >> that your 92 photographs on the district of columbia, the reverse slam dunk at marshall heights in 2002. that was before -- one of the earlier shots that you got. right next to that as a homeless person sleeping at a pawnshop -- at a bus stop. what time of night? >> that was probably midnight. it was very cold. this person was not wearing any thick coat. if people want to see more of this work on one, taking the to the web page that we've set up

for the book, inthesh adowofpower.com.; they can also see the website of the photographs. >> attics waiting to exchange their used needles for new ones. this is also about hiv testing and counseling and prevention. >> at time 9 -- at that time, the city was not working with that initiative but i think things have changed. needle exchange is definitely help to lower the cost of health care long term. >> getting into a lot of your drug photographs and an age at the photograph, this is patricia. you do not give her last name

but you can tell who's shias. she is about to shoot heroin. langston, northeast, this is where this was. this was taken at the arboretum. >> that is where she wanted to go to do it. i talk to people and they say, go ahead, do it. i need help. this is a problem overtaking the poor neighborhoods. >> a mentally disturbed woman expresses her gratitude to a person who brought her food and the dupont circle area. >> i was working with this doctor and he brought some food to this woman, and she kissed him. >> the last group of photographs here, did you put it at the end on purpose? >> yes, this is a sequence, and

i thought it was the series for the end. >> this is at joseph's house. where's that? >> the most incredible place that i made in -- found in my. -- in my period. these are people with no possibility but to live. other than dying on the streets. >> this woman is 42 years old, named rainey. and this lady, pat wuddel? she hydrates this woman dying of aids. it is estimated at 10 times the national average according to the centers for disease control. did you s -- ask anyone what we have so much of it here and what

we can stop it? and why we cannot stop it? >> i did not give any precise answer. [unintelligible] >> this photograph shows rainey a few hours after she died. more to worry workers shroud her -- mortuary workers shroud her. this seems to be a one of the more sensitive ones. >> it is to show people what is going on. >> does rainey -- did she know that you're going to do this? did she give you permission? >> this is a place that i went to -- for weeks before a before i even pull the camera out of my bags. i wanted to understand more and get to know the people and the affected -- and be effected.

i literally spent weeks going there before i pulled the camera out of the bag. >> and did you spot rainey as the one? >> i photographed a few people. i took a lot of photographs. but this was some of the most compelling images. >> last photograph in the book is the washington monument behind a temporary fence. why is this the last one? >> a powerful image, showing me but the city is like, a fence, birds flying away, a metaphorical imagine all like it. >> this is a book that we started shelling an hour ago, the cover of, the photograph taken about three blocks from the white house. it's where the subway is, i'm "in the shadow of power." ralph nader wrote the

introduction and it is published by charta. >> like carta. >> did they expect to make money out of this book? >> i did not expect to make any money out of this book. i hope the contributions of having such a work -- this kind of workout, it will be a contribution not only for the publisher but for everyone. >> kike arnal in this country for 12 years from venezuela, lived in oakland, calif., took all the photographs in this book with a black-and-white, thank you very much. >> thank you very much.

>> for a dvd copy of this program, call 1-877-662-7726. for free transcripts or to give us your comments about this program, visit us at q-and- a.org. "q&a" programs are also available as c-span podcasts. [captioning performed by national captioning institute] [captions copyright national cable satellite corp. 2010] >> coming up when prime minister's questions, british prime minister gordon brown on transparency and better monitoring of hospital. following that, more british politics from conservative leader david cameron. and another event with prime minister gordon brown.