The course of years or decades, but in a single day. Im rebecca jones, and im here at the magnum photo print room in london in this special series celebrating the 70th anniversary of the agency Magnum Photos. Im going to introduce you to some of the worlds 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 wasnt afraid to show the violence on both sides of the revolution. But first, lets 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 id 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 hadnt reloaded, and i had pictures of them reloading their automatic weapons. They said theyd only fired on the crowd. Most of the people were shot in the back. As they were running away. 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. Id 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. Its almost unbelievable, but there were beaches for whites, beaches for africans, and you werent 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, therell 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 didnt 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. Youre a photographer that means, you know, the historian of the present. But youre not shooting for history, youre shooting for today. Its important when the event is developing. Thats 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 dont think you just shoot. So i was running back, shooting. And somebody would say, dont take pictures, dont 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, id get together with my friends and they said, abbas, you cant show this picture because it shows the dark side of the revolution. I said, im sorry, this might be my country, my people in my revolution, but im 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 wouldnt be here. To him i didnt 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 im 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 wasnt. Maybe i was a prophet, but i didnt 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 id never been to berlin before, george had. I said, look, lets go out, lets 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 fella what was going on and he said that hed seen something on the news that theres 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 didnt 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. Theres 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 youre jettisoned to a major news event like that, its hard to know how to react, because lets 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 theyve 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 . Its very rare, isnt it, to be in a major news event like that, which is actually a happy thing, you know . Its 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 events 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 september 11th 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, ive seen a television programme, its very unclear whats happened. I ride my bike down to that area of new york. I live not that far away, and its 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. Its 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 ive 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 didnt realise when they first saw the photograph was a statue, and im 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. Thats 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. I mean, when im 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 youre young and eager and crazy. And when you get older and youve seen a lot, you get more scared and you get more. Its not so easy. I was in iraq before the war. It was very controlled. It really didnt 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 dont 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 didnt escape. The gates were open, and everybody left. I think it was surreal because id heard about it so much and because it had this. I never thought i would ever get into it. I dont 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. Ripped them off their foundations and then they chained 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 its over, thank god. 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. Honeymoon is too much, but there was this really post war relief. It didnt last. Thomas dworzak looking back on his time in iraq. To see the rest of the series, do go to bbc. Com throughthelens. Hello. 0ur quiet spell of weather continues apace across many parts of the British Isles at the moment. Thats not to say that its completely dull by any means at all. A glorious end to the day captured by a number of our weather watchers. But elsewhere, well, it was one of those. The cloud sat there, so did the fog in some locations. But there is a sign of a change on the way. Already were seeing the cloud and rain associated with this weather front moving into the northern and western parts of scotland. It will continue its journey a bit further south during the course of the night. First thing on wednesday, quite a variety to the temperatures. Where the cloud pops away, two degrees or so in the east. 0ut towards the west, fully exposed to the moist south westerlies coming in from the atlantic, well, its nine, ten or 11 degrees. Here we are first thing on wednesday. Hill fog to be had if the cloud is broken overnight. There is the chance of the odd patch of fog. So bear that in mind. And enough about some of the cloud across the western facing hills and coasts for there to be the odd bit and pieces of rain or drizzle, especially near that weather front. To the north of that, a scattering of showers, not many of them, by any means at all. Much of scotland getting away to a dry start. I think its here, north of the weather front, that you get the best chance of seeing meaningful sunshine, and eventually that prospect extends into northern ireland, too. All the while, anywhere near that frontal system, youve got the prospect of some hill fog and a wee bit of rain and drizzle. And that goes into the north and west of wales. To the south of it, pretty leaden skies, im afraid. The odd bit of brightness, perhaps. And here we are on thursday. The orientation of the front has just changed here somewhat. The westerly portion, having come south, is starting to move back north. The best of the brightness, therefore, away from that, where you get the lowest of the temperatures, but the best chance of sunshine. In the south, again, a lot of cloud, some hill fog around. And, do you know what, not a great deal changes as i take you out of thursday, pushing on into friday. Weve still got the remnants of a weather front, still clouding things up and producing the odd bit and piece of rain, especially across western and south western parts. So, again, get away from the remnants of those fronts out towards the east and up into the north of scotland, the lowest of the temperatures again, but at least you get to see a wee bit of sunshine. Here we are into the weekend before christmas and many will still be stuck with that relatively mild flow coming in from the atlantic. But youll notice, come christmas eve, were not a million miles away from seeing quite a dramatic change, with some cold and brighter weather coming in. But in the run up to christmasm generally mild, often really rather cloudy and the chance of some rain, particularly in the north. Welcome to bbc news, broadcasting to viewers in north america and around the globe. My name is mike embley. Our top stories the motion to reconsider is laid upon the table the most radical tax overhaul in decades is on course to pass the us Congress Despite a last minute hitch. In her first tv interview, Harvey Weinsteins former assistant tells the bbc why shes breaking a non disclosure agreement to speak out about him. At least 12 tourists are killed as a bus travelling to mayan ruins crashes and overturns in eastern mexico. 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