it seems to me you wanted to find raw subject matter. i mean, for example, you went off to north africa, to tunisia during the terrible french war to try and prevent algerian independence. the french were bombing villages, you went off to tunisia where refugees were pouring over the border, having been forced from their homes, and some of your pictures, again, curved a stir. i think one was on the front page of the observer newspaper at the time. it was my first front page. yeah. so, you were close to that world of war photography for a time, even if you didn t go right into it. but i wasn t interested in the war. i was interested in the refugees. you know, post world war ii, there were a lot of what they called at the time misplaced people, but before
being done to help them. in other words, it s a negative situation that is showing what could be done or what is being done if only people would get in there and do it. it sounds to me like you believe in the power of the picture, the power of photography, as much today as you did when you started out right after world war ii. i think so, yes. very much. in one image that can be a very big emotional thrust that makes people think, feel, and, i hope, do something about that feeling. marilyn stafford, it has been a pleasure talking to you. thank you for being on hardtalk. thank you very much.
it seems to me you wanted to find raw subject matter. i mean, for example, you went off to north africa, to tunisia during the terrible french war to try and prevent algerian independence. the french were bombing villages, you went off to tunisia where refugees were pouring over the border, having been forced from their homes, and some of your pictures, again, curved a stir. i think one was on the front page of the observer newspaper at the time. it was my first front page. yeah. so, you were close to that world of war photography for a time, even if you didn t go right into it. but i wasn t interested in the war. i was interested in the refugees. you know, post world war ii, there were a lot of what they called at the time misplaced people, but before that, there were also people who were misplaced, who are migrants.
standstill this morning? that s what s going to be discovered in the upcoming hearings that are going to take place on this issue. the question is, did the faa apply the necessary funds to keep this critical system as current as they could? i mean, this is a system that is fundamental to safety, and, you know, it started out post-world war ii and has, you know, at one point, you ve got your people via phone. now it s online. have they invested the proper amount of money to keep this system up to date, and apparently they haven t. all right. peter goelz, zach griff, thank you both. so today, new york republican lawmakers called on congressman george santos to resign over the lies he s told about his professional and his personal life, but santos says that he will not do that. will you resign? i will not.
situation that is showing what could be done or what is being done if only people would get in there and do it. it sounds to me like you believe in the power of the picture, the power of photography, as much today as you did when you started out right after world war ii. i think so, yes. very much. in one image that can be a very big emotional thrust that makes people think, feel, and, i hope, do something about that feeling. marilyn stafford, it has been a pleasure talking to you. thank you for being on hardtalk. thank you very much.