eastern on c-span2. >> monday, senator patrick leahy kicks off the congressional internet caucus technology policy exhibition, which highlights emerging internet technologies for congressional members and staff,ñi at 8:00 eastern on c- span2. . .

>> the book is called "in the shadow of power." >> 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. he was begging for money. >> 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 finished by the end of 2006.

>> why did you do it? >> i was on assignment photographing the city libraries in 2002. i was going to different branches and i found a washington i never expected. to me, my mother brought me a t-shirt from the capitol when i was a kid. it said, "washington, our nation's capital." and then i discovered the beautiful washington when i came by myself for the first time. i saw the monuments, but then while doing this assignment, i discovered another washington. that gave me the desire of

discovery. 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. i moved to new york to work. >> when did you first come to this country? >> many years ago, i had traveled to the united states. >> we will go into 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 fog in there. >> it was taken at night. a very dramatic photo. i liked it a lot. i think it was a good image. it is a powerful image. >> and in this picture on the cover and then this one,

teenagers in their cell at oak hill, a detention center outside of washington, d.c. with a reputation for bad management, poor living manage -- poor living conditions, 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 i had to photograph the kids without showing their identity, and then i had to give something back. çói put together a photography workshop for the children. it was very enjoyable to work with them. i spent two weeks of the

teaching of photography. >> homeless peoples sleeping in webster square, a few blocks away from dupont circle. these benches have since been removed. >> i was not surprised after a few weeks after i took that photograph, i went back and the benches were not there. >> all of these people -- >> they were sleeping there. when i went back, they were not there anymore. >> did you have guidance on this book, where to go? >> i did walk and drive many miles. i could start working as a cab driver in washington, d.c. but i talked to many people, to many nonprofit organizations 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 situations. >> this is a schoolgirl at the lincoln memorial. did you know her? >> no, her family was there. her parents were taking a photo of her. i thought it was a fantastic situation, lincoln and the little girl. i love it. >> is there symbolism there for you? >> yes, we know lincoln liberated the slaves, and i think it is a beautiful image. >> 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 photography because it leaves the message without getting distracted by colors. you can do black-and-white or

color, it is just a personal choice. and this was just a classic camera. >> it's obvious that this is on the mall with the washington monument, 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. it was surprising to seemost 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

tourists at the washington monument at night. was that at the same time? >> this was at a different time, but i wanted to show the splendor of the monument and the tourists going around it at night, they 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. it is named after robert f. kennedy. what do you see in this picture? >> it was an african-american vendor selling beer. it was just a comparison. interesting to see how the social dynamics of this situation are. >> how many pictures did you take? >> thousands of images. it was a very difficult decision to pick out which ones to use in the book.

it was a long process. some photo editors and some colleagues, they looked at the best of the work. >> and this is georgetown university, competing with loyola university. what is it taken through? >> this is a hole in the fence at the field. it is wrapped with fabric. >> what is the meaning to you in this picture? >> 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 else i 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 reflection -- >> if you remember, there is glass all around it. i took it from outside. that is a reflection of the veranda. >> and again, all white people. is there a reason? >> it is a beautiful site in washington, a great place. but it happens to be, as you said, only white people. it 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 located on pennsylvania

avenue. 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 contrast? >> 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. ñi>> you're saying more homeless than in venezuela? >> yes, more than there. they were all over the place. >> and that is two blocks from the white house. >> yes. did you have to ask anyone's permission? >> i tried to stay back, so you could not see the real identity. but i spent a lot of time talking to people. >> what about this person right here?

>> that was a casual shot. i did not ask anyone. >> 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. i do not think there is any problem with that. 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 washingtons? >> the first time i started working on the libraries of washington project. in 2002. >> no, when you first said, oh, my goodness? >> when i crossed over in the southeast. >> why were you doing the library project? >> i was hired by ralph nader's

nonprofit organization. it wanted to push the library system and create 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. but at the end, it became the typical washington, d.c. if you got out of the mall. >> you start with washington, starting in the center, and you have the quadrants. you're saying the northeast, southwest, southeast, are different and the northwest was. what is the difference? >> the social conditions.

>> d.c. police officers arresting a young man after he allegedly had broken into a apartment building at crestwood, nw. >> i managed to get permission from the police department to drive with them through the night shift. 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. >> one of my favorite shots were the people there. i used a panoramic camera and took a picture of the barbershop in this very rundown

place. >> how many times did you have to visit the barber shop to get a photo like this? >> in this case, i only went once. i talked to the people. they opened up to me. >> homeless people on the sidewalk along florida avenue in northwest. >> yes, in northwest. >> did you have their permission? >> i was just riding and i took the photograph. >> did you know that you're going to show this? what was the purpose? >> people leaving. a lot of 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.

>> that made a big difference when you got there. >>i come from latin america and i am accustomed to seeing poverty. there are a lot of slums and a lot of problems. i was never expecting to find it in the capital of the united states. that was a big surprise. >> workers assisting in the streets of downtown washington while the capital went through a beautification campaign, deciding 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 and helping me wrote that for me. them that cooling off around a fire hydrant on a summer day --

>> cooling off around a fire hydrant on a summer day. >> i took this picture of the hydrant and the kids having fun when they were talking about tearing down some places in the city. >> did they tear them down? >> i cannot recall. but those were the plans. most of them were in northwest. >> an excavator working during a demolition of east capitol dwellings. >> when i went to the first time, there were two people leaving, and then they tore it down to build these wonderful new house for middle-class people. a lot of the people that were living there were gone. >> how often do you work in black and white? >> a lot. most of my work is in black and white. >> what kind of film to use? >> kodak. >> no flash?

>> a few times, but not a lot. >> what kind of camera do use? >> m6. that is the one that i have. they are pretty pricey. i liked the quality. there are great cameras. they are tiny and do not call attention. they are great tools for these kinds of work. >> the photograph showed us the demolition, and a new shot here, the same place. >> one or two years later. these are the new houses there. >> and the homes started at $299,000? >> at the moment. >> they received at least $30 million in 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 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 website. how did people get to it? >> www.kikearnal.com. >> what is the purpose of the web site? >> photojournalists need to have a web site so that people can decide if this is the kind of person i want to hire for a project or assignment. >> we've gotten off of this,

the munitions site. before we show the photographs,explain what this is. >> in 2007, after one year of the conflicts between hizbollah -- hezbollah and israel, i went to a photograph people who have lost limbs into cluster bombs. i spent one month looking at the life of people after having accidents or losing arms or legs to cluster bombs. >> were they all shot in the gaza area? >> no, this is south lebanon. >> 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 his dad on the final days of the conflict. and they drove over a cluster bomb and he was burned and lost both of his legs and 60% of his body was burned. >> the next photo? >> a mother who lost a son. he was hanging from a tree. -- the cluster bomb 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. people get killed or lose their leg. that is a cluster bomb. 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 ngo's 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. >> how often to people say no. >> a few times. there are some conservative people. >> how did you do this photograph? >> this is a composite. three pictures together, and i was using the black background just to show in detail the injuries. >> what did you say to those three people that you're going to do those photographs? >> i said i was documenting your life, and the consequences of documenting your life can be that people might bring more funds to clear the area.

they opened up to the idea and wanted to talk about their problems. >> what about this photograph? >> the same condition. the one on the left is a kid who lost his foot from a cluster bomb. he loved soccer, he was taken to italy. he underwent many operations. the woman on the right, she did not allow me to photograph her face. she lost her whole foot. 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 anymore. >> where do you live now? >> i live in oakland, california. >> why? >> i wanted to live in a quiet place close to nature. it has beautiful back country where 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 and he lost his hand. >> you did interviews of him? >> i did interviews of all of these people. i am doing a documentary about life after cluster bomb accidents. >> what are you going to do with your documentary? >> hopefully i am going to broadcast it to show it to as many people as possible. i have worked as a field producer for national geographic, bbc, and also unicef in south america and venezuela. >> where did you grow up in venezuela?

>> outside caracas. >> what do you think of the leader? >> i will say that there is a lot of room to improve. >> a lot of room for him or for the country to improve? >> both. >> is he a popular leader? >> i do not think he is as popular as he was in the past, but he is popular. >> could you do the same thing in venezuela as you do here? >> no. >> why not? >>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? >> i am a venezuelan. >> you have a permanent green card here? >> yes. >> what are your politics? >> i tried to be as socially aware as possible, let's put it that way.

>> and have you been involved directly in 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 lincoln heights on the fourth of july, you can see little kids here and a backyard swimming pool. and right next to it, you have this photograph, july 4, 2004, private party with live jazz on the roof of a building in northwest washington. you can see down here in the foreground, people standing on the roof looking out at fireworks in the background.

what is the symbolism of those photographs? >> i tried hard to show how people have fun on the fourth to july, maybe 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. northwest is where things are a bit different than they are in the other three quadrants? >> yes, definitely. >> that is where the affluent people live. >> the ones that live in the district. >> in the introduction of this book, somebody by the name of fred ritchin -- can you tell us who he is?

>> a professor at nyu, someone is involved in photojournalism for a long time. he is a world personality in photojournalism. he agreed to review my work and wrote the foreword. >> and he writes, "kike arnal decided to enter the shadows of sought-after soirees, amazed at so many lives that were festering away within a few minutes' walk of transcendent power. they're reminded them of some of the barrios in his native country." venezuela is 18 places ahead of washington, d.c., on the life expectancy list. >> it is a similarity between them? >> yes, absolutely. not only venezuela and colombia, absolutely. >> are there rich areas in

caracas? >> yes. >> back to your photographs. a barbecue in marshall heights, a economically depressed neighborhood. how would you describe this area? >> it is a place where you do not want to make a mistake at night, for example. we do not want to walk in anacostia. 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? >> yes. >> 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? tracks as they leave the provisional homes under highway 395 on the district ofçó columba line. >> i took that one from the bridge. i knew that people were living down there because i saw boxes on the bridge. i went a couple of times to see activity to photograph them. [w shot 27 times, at age 32 in this photograph. he was worried that his aggressor had been recently r(photograph? ñiñiñiçóçgrj)tá)q" him and he a. >> i was actually working on the street and i spent many days working with these people. >> did you go by yourself? >> a lot of times by myself but

sometimes people came with me. [oçóñxsóñáu)prised how opençói people can be when you are real and you talk to them. >> 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 up the building. >> that is the same building. they were the ones that removed the boards and allowed people to get in 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 talked to them? >> they were frustrated and they were very anxious. it was not easy for them to talk to me. >> in this photograph, you have 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 has the longest cutline 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 libraries went down for almost a month. the system has since improved. six years after ralph nader founded the library renaissance project to get them more

resources -- did he? >> i think so, i guess. >> do you know anything about this little fellow here? >> it was a while ago. look at his headphones. they do not look very well. >> take up. -- taped up. feeding the hungry in washington in van kitchens supported by volunteers. this relieves pressure on centralized relief operations. what does that mean? >> 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 young lady passing the food out? >> i asked them if it was ok for me to photograph them. >> 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 -- i'm sorry. >> it says it is an emergency shelter in mt. pleasant. >> 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 war ii. >> it provides 90 beds per night, you say. who gets in? >> first-come, first-served.

they are screening them to see if they are bringing weapons inside the shelter. >> the heating system keeps the surface of the sidewalk warm u >> around 11:00, midnight. >> how late were 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. >> a 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. i was going to meet someone in

the coffee shop. >> 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 in the world. >> just a few blocks from here. >> close to the capitol. the social worker that took me down to the shelter -- to this area of the shelter, he called the ambulance and they took him to the hospital. he was in pretty bad shape with a diabetic coma 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 day. >> i just wanted to show and

talk about african-americans and white people who are there. >> this is probably the picture that i would least expect in this book and i want you to explain it. the audience will know these people from appearing on this network. john fund, grover 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 thought it was great to photograph the powerful. i don't have many other photographs of the powerful, but i want to include them. >> why did he give you access? >> he said that it was good to do it. >> he knew that you were doing it? >> yes.

he knew that i was photographed in life in washington. >> 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. we did not know how many pictures we were going to use. >> 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 arriving at a formal. that is the national cathedral back there. that is obviously a limousine, and here are mostly white young people moving here. >> just the comparison. >> did you ask permission and did they know what you were doing? >> they knew that i was documenting life in the city. >> and these kids are arriving at the formal.

d.c. police guarded the event. 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." the place to see and be seen for the club set. 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. ñrit was an important subject. >> a teen mother with her baby at clay terraces, the teen pregnancy rate one of the highest in the united states. >> yes. >> where is this? >> clay terraces, that was a

place i went many times to photograph. i got some confidence from the people there. >> what are you getting at here? a playground at an affluent neighborhood. child care is a privilege in washington where 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 grew 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 in 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 mourning during the funeral of her three-week-old baby. did you notice any difference between latino neighborhoods and white neighborhoods and black neighborhoods? >> absolutely. well, latino and black neighborhoods are more similar. the more affluent people are, the better looking they are and more say. -- more safe. >> a relative takes a last minute to say goodbye. in the next one, 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. >> what is the organization? >> sorry about that. >> an immigrant selling flowers. >> the intersection is called mary's center. >> and what is the photograph here? >> this was taken when i had just met this guy and talked to him. he did not speak any english. 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. prostituteslooking for clients on k street. you hear about k street all the time. is this downtown where the lobbyists live? >> that is very close to capitol hill. >> right next to that is a photograph of the washington monument. back to the prostitutes, did you have their permission?

>> they ignored me. i wanted to talk to them but they just ignored me. they did not want to talk. >> this next photograph is probably most people will remember. >> i will tell you the story about this photo. i was driving around late at night and i saw some kids having fun, and i wanted to photograph how young people had fun in the city. i got close to them and ask them where they were going. they said, leave them alone, they were working. and then i realized they were prostitutes. i did not know until then. >> a guatemalan boy selling flowers. you say he spoke no english. 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, he is a heroin addict and he is shooting up his jugular vein on division avenue in 2003. and then a heroin addict geeking.

what does that mean? >> it was a new term for me. >> shooting up his jugular vein. did he agree? >> absolutely. if he did not agree, i would not have taken it. >> but you do not show his face in full. >> it was just a better photograph. i don't think he would have minded if i had shown his face. i told him what i was doing. i told themit would help people understand what they were going through, so go ahead and take a photograph. it was the best photo. >> paramedics suggest that this possible overdose used heroin. how much heroin did you see in washington? >> a lot. >> were you surprised? >> i never expected it. i discovered it as i was moving around. as i talk to more people, i

discovered more. >> and you 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. >> a 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 a very good football player. he was shot by gangsters. they never figured out who killed him. >> he was at ballou high school and shot to death on a sunday while returning from a nightclub with his cousin. what was he doing at a nightclub if he was 16?

>> a good question. i guess he was having fun may be. it was too late for him. >> what do you want to do about this? >> all i can do is to show it. that is what i have to do. >> do you 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 are things that need to be addressed. >> this is an interesting one, brothers in 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 ccnv shelter in washington to record. they have been working together

for a while. each shot in different situations? >> yes. >> did you ask them about that? how did they get shot? >> some of them had 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 worked with them, they did not have their cd ready yet. >> the oak hill youth center, the infamous youth correctional center in laurel, maryland. why is it located so far away from the city? >> i am not sure. i guess for convenience. >> oak hill 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 activists tried to close it down. they put a lot of pressure on the city and administration to close it down. >> a 14-year-old boy in his cell at oak hill. you say that it is closed down. do you like the light like that? >> yes, i like it. >> a boy and his fellow players at the detention center. and then you have an oak hill inmate at a cell door. did you ask him to do that? >> no, he was just looking through the door. >> and you had to get his permission? >> yes. >> so he signed something. how did you determine that he

had designed and some of the others did not? >> most of the pictures do not recognize identity. they are shown in a way that you do not recognize them. >> 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 rich or die trying." why do young folks do tattoos like that? did you ask them? the mother is mean for them. -- >> there is mean for them. -- meaning for them.

>> there's a guy now. >> you have some video on your website. and i want to run a clip of a documentary. ♪ >> what are we watching? did you shoot this? >> this is a video i produced about disease in the amazon for a group in canada. there was an epidemic of malaria in the amazon and i did this for the discovery channel in canada. >> how much work have you 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. >> do you like motion or 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 bomb victims and their lives after a cluster bomb accident. i'm working also about a community in western colombia. >> back to 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. >> that is at the end of 2002. >> right next to that is a homeless person sleeping 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, they can go to the web page that we've set up for the book, intheshadowofpower.com. the confined what we are doing to promote the book and work -- they can find what we're doing to promote the book and work. they can also see the website of the photographs. >> addicts waiting to exchange their used needles for new ones. this is also about hiv testing and counseling and prevention. >> at that time, the city was not working with that initiative but i think things have changed. needle exchanges definitely help to lower the cost of health care long term.

>> getting into a lot of your drug photographs and the hiv photograph, this is patricia. you do not give her last name but you can tell who she is. 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. show them my problem. i know that what i am doing is bad. 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 in 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 found in my period. these are people with no possibility but to die. this was not for this house, they would just die on the street. >> this woman is 42 years old, named rainey. and this lady, pat wuddel? >> she is the director at the house. >>she hydrates this woman dying of aids.

washington has the highest number of people living with aids in the united states. hiv rates in washington are estimated at 10 times the national average according to the centers for disease control. did you ask anyone what we have so much of it here and why we cannot stop it? >> i did not get any precise answer. it repeats and many cities, but washington has the worst of it. it was very interesting. >> this photograph shows rainey a few hours after she died. 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 were going to do this? did she give you permission? >> she gave me permission to photograph the whole process she

was going through. >> this is a place that i went to for weeks before i even pulled the camera out of my bag. memo why is that? >> -- >> why is that? >> i wanted to understand more and get to know the people and be effective. 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 what the city is like, a fence, birds flying away, a metaphorical imagine and i like it. >> this is a book that we

started showing an hour ago, the cover of it the photograph taken about three blocks from the white house. it's where the subway is, "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? do you expect to make money? >> i did not expect to make any money out of this book. i guess carta will. i hope the contributions of having such a work -- this kind of work, 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, california, took all the photographs in this book in 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 on