captioning performed by vitac >> we are at a rally in ghana and i'm on a big huge pedestal in front of them with long lenses and i got other photographers with me. i just happened to turn around and see the crowd still coming. i thought, whoa. all you could see was clouds of dust because people were still coming. but it was a magic moment in my time because never in my day would i ever have thought i would be at something like this.

remember, now, i'm from southeast d.c. you know, highe rk, ohio state beginning of my whole world and it got me ready for this whole stuff because what you do on campus you can do better in real life if you turned the lessons that they were trying to teach you. i can proudly say i learned those lessons. >> the 50th anniversary of the march on selma. i mean, it was great. i mean, it was a great speech, just the energy, the foot -- or foot soldiers to the right and john lewis, you know, just the history of that moment, it was just, you know, speechless. >> they were on stage praying.

>> the president of china came. we had a big ceremonial thing and then they go inside to start the dialogue and always the first ladies end up talking to each other from each country and then the guys are talking to each other. each one has their own interpreter, each one, so they are just listening only to what -- so you are not missing anything about what's being said. so i just said, whoa, look at thi this. >> the delaney sisters. boy, sharp as a tack. i hope i get that old i can still talk to. they did yoga every day. they had a big huge jar of garlic. we are in mt. vernon, new york, and the book "having our say" had come out and we had to go to new york for another event and then mrs. clinton wanted to go meet the delaney sisters, so we did. boy, oh boy. and then i hear one of them say,

look, they've got a colored photographer. child, how are you? yes, ma'am, i'm fine. >> that was the first lady getting prepared for a speech, commencement address to the class of virginia tech. yeah. so she was always prepared. she would go over a speech, you know, a dozen times before giving it and that's just going over the notes before giving the speech. >> how often were you with the first lady? >> so we had a system in our office, so pete was always with the president and amanda was the first lady's photographer, but pete liked us to rotate as well, so every third week i would cover the first lady.

this is one of her trips to london and her big initiative was always girls, and she had just given a speech and she is known as the hugger in chief, so she hugs everybody. so this is the transition meeting which happens after every presidential election. the president elect, obama in this case, meeting with president bush for the first time. this is right after the election in november of 2008. and i had to actually -- i made this picture with a remote camera that i mounted on the mantle of the fireplace and you can see the ivy kind of creeping in, which i was trying to hide the camera. i did it more as a backup because i actually was standing on the other side of that coffee

table and they only allowed me in the room and both of them really wanted to get down to which is. they actually were looking at me like are you done yet? it really didn't make a picture. luckily i had that camera as a backup. as i was walking out i made two frames of them talking as the door closed and luckily one of them worked. >> that's great. >> we are in the mansion in the middle of the day and he has been told by a couple of folk that some stuff is brewing overseas and it's like -- if you can imagine trying to watch ten pots of soup boiling at the same time, this was what was going on. and then we had a new pot to deal with. so he's listening to what it is and trying to decide what's the next step on it. it takes a lot of strength as a person to understand all the

destruction that is happening from place to place and you're trying to fix it from place to place and then all these pieces have to come together with the right people to make it work. and then you've got to pray and hope that the people on the other side from another country get it, can we all pull this together in the same direction. now, we're going to have oars but the boat isn't going to pull together if we are not going the same direction. day by day there are decisions because america is the police person for the world because nobody else will send people to do things to be helpful, even in natural disasters. we are sending out a bunch of folk, canada does it, but a lot of other countries don't. not having the resources, not having the how to do it. so how you do it starts with him. i get it.

so at some point you get tired of just having clean frames. i was shooting through stuff, other stuff, i would be around the corner somewhere, leaning -- that's a picture, get that one, too. because you want it to be exciting photography not boring photography. so i like to shoot between stuff. >> so it took me years to set this up because getting the two of them together in a situation where they had the time to do it, i was able to have them sit for me for a portrait at camp david. and i really wanted to get just -- get their faces together because, you know, they took so alike. and, again, for me for eight years to have that be part of the story, you know, the history of his father being president. they have a very traditional relationship and his father would stop by and just talk

about baseball mostly. i mean, they really -- he never really seemed like he gave him any advice or anything, but luckily i was able to capture this unique portrait and this is around, i think, 2007. >> is that a light? set it up with a light or is that? >> yeah, i had a huge soft box and they were joking around before this, too, making funny faces, but you don't want to see those. and this is president bush the texan at the western white house in crawford, texas. the only place where he can drive his own truck. he has 1,600 acres to roam. what i like about this photo here is this really kind of captures his personality. he has a little twinkle in his

eye and he's got the iconic cowboy hat because he's really a texan at heart. texas is where he would recharge before going back to washington to do the hard work, but as we know, the presidency follows the president everywhere, you know, the apparatus, you know, all the people and the assets. there is like a mini white house basically everywhere the president goes, including the ranch when the president would go there. the timing of this photo is interesting, too. this is a month before 9/11 and so every time i see this photo i see a sense of innocence before the world changed. >> i think that is the last photo in the slide show. [ applause ] >> we're going to have q & a. there will be people with

microphones on the side or over here. >> hi, everybody. so this brings us to the q & a portion of the evening. there are going to be two people with microphones, myself and jasmine to my right. if you have a question, please raise your hand. remember, we are recording this, so if you can please speak clearly into the microphone. i think we have our first question right up front right here. >> hi. did you all have much of a life while you were working? and second question, are these photos yours? >> we had no life, none of us, and the photos belong to the american people. this is on the taxpayers dollar. this is your history. this is our history. i couldn't keep a dinner date for anything. if people invited me to do something, i could say maybe and then -- and not show up ever. but the good thing was when i could show up at something, i could go home again. i always showed up at something that somebody had even if it was

months later. i hadn't forgotten. i would also say to them i'm sorry i couldn't come to this other thing but i'm here today. so i could go home again. some of the staff at the white house could never go home again because they didn't stay in touch with their friends because they were from someplace else and they had made a new life for themselves in d.c. i'm lucky, my life is in d.c., my work is in d.c., my family is in d.c. i have the best of all worlds. and then the best part was making new friends at the white house. the next best part was traveling around the country and calling up my college buddies going, we're coming to town. be in the rope line. >> my life was the president's schedule basically, and what you learn is like you kind of end up, you know, following his patterns, like you eat when he eats, you know, you sleep when he sleeps, you know. but, yeah, it's really tough. it's a grind. it's more like dog years, to be honest, because a lot happens

within one day. lucky for me, though, i'm married and still married at the time, but my wife worked in the white house for three of the eight years, so that helped me a lot. >> i had a life, yeah. pete did a lot of the heavy lifting with potus and on weekends i would work sometimes, but we had a system where every third week you knew that you weren't going to be working nights or weekends. so every third week i would have time with my family. my kids recognize me. >> we have a question to the fron front. >> good evening, lady and gentlemen. two questions. is this the first time that the three of you have given this presentation? and the second question: are you going to take your presentation to other cities?

please come to d.c. >> this is the first time the three of us have sat on a panel together and i'm happy to do it again. >> yeah. >> i'm sure you can find another moderator. >> no. no. it's a whole package. whole package. >> our next question is to the far left. >> i can't see. >> just a two-part question related to technology and taking photographs. first part to sharon, second part to lawrence. sharon, can you talk a little bit more what it was like to transition from film to digital and what that did to your timeline and your flow and your process, and, lawrence, do you -- maybe to the three of you, are we ever -- are you ever concerned about wearable cameras and, you know, perpetual

presence of cameras taking future photographers jobs away from them in your role? >> you're only as good as the last shot you did and it's competitive, and part of the deal about being a photographer who is documenting stuff is to do the best job. you can't worry about other photographers. you need to worry about doing your job. if you do your job good, you're going to be there. now, if you start messing up, or maybe not, but it's okay. the more cameras, honestly, i think it's better. of course, at some point you can't have a camera for something or if i forget my camera i'm dying, i don't have a camera on my body, i will not use my phone camera. it's not a camera. so i won't use it. so i broke my little camera before i came out here, my little fujica x-30. i'm still sad about it and i've seen some pictures since i've been here and i have not even brought my cellphone up going,

dammit, you should have got a camera before you left. monday morning i will be down at the camera shop. the computer thing with the cameras, we have a lab that i used to work out of andrews air force base and the lab would do our processing, make our proof sheets, they come three and four times a day in a truck with a metal case, very official military people coming in, getting our stuff. we marked our bags, what the event is, the date and who the principals are in the pictures and four or five hours later proof sheets would come up. when we started going to computers the communications people decided if we get you other cameras we can get the pictures sooner. we've already got our hands full, but okay. and it's not a full frame camera so you can't see every nuance about what you're shooting. that was frustrating. what was more frustrating for me was having time to think. the fun thing about looking at

proof sheets, you can think while you're looking and you look good. the computer screen you're like, what? it's not -- it's not even -- it's not in focus. no, that's the screen. oh, i don't need these kind of heart attacks. no. no. so i had a hard time. by the time i left we had started switching over. we were the first presidential library that literally put everything on disc. now, the first load of discs that got done a year before we left, the coding wasn't good. you know how you have to figure out the silver or gold coating. well, it didn't hang, it didn't stay. so i had to go out and find another company to do it again. so you don't know -- i don't like doing stuff twice. we are running out of time because we're getting ready to get out of office, too. i told the lab don't make anything that's not dealing with turning our stuff from negatives into discs to go to the presidential library into the archives. but now the computer, i'm a computer geek, i guess, kind of,

but i'm reluctant. i'm so reluctant. >> well, after sharon left office we -- i used the film process, you know, the lab and it was during my time that the transition happened, and i directed the white house from film to digital. and that was a huge job because of the volume that happens in the white house, which you all know, i mean, you know, thousands and thousands of photos a day with the whole staff to design a work flow and a system to handle the digital files. unfortunately we had to decommission the lab and bring a lot of those positions internal inside the white house. and then also using digital cameras was another change for me which was a tradeoff because, i mean, i loved using the lyka

camera, that was the best tool for my in the white house, all the stuff on 9/11 was a lyka. switching to the digital camera that was bulky, heavy and noisy. i literally had to change my style of shooting because of the noise. unfortunately the digital cameras were not quiet when they first came out in terms of that first full frame camera, i think cannon came out with, and that was when i decided to make the switch. it was a struggle, but it's something that had to be done in terms of keeping up with the technology and also it was where everything was headed. luckily, i had the experience coming from the associated press using digital photography and applying my skills to turn the white house into digital. >> i will just say that you are talking about wearable technology and how things are changing. you know, technology has been changing forever and you can put a camera in someone's hands who

is not a photographer and you are going to get crap, right? but if you put a camera in someone's hands who is talented, whatever the technology s you're going to get something that's pretty compelling. today's sony cameras are mirrorless so they're completely silent. i would love to be back in the oval office because they would not hear a thing. they wouldn't know. >> we have a question in the front row on the far right. >> thanks for your wonderful presentation. are any of you in contact with current white house photographers and what do they say what the heck is going on? >> what do you mean what do they say? shala is a good friend of ours, she is the chief photographer and doing a great job. in terms of what's going on, she is just doing her job. i mean, honestly. >> yeah, i couldn't -- i

couldn't tell you. >> just -- because we talked a little bit about this before the event and i just -- i had asked you about this, lawrence, how the style of photography is so different and that's -- she's just doing her job. >> she's just doing her job. >> that's obviously what the president wants. i would be very curious to hear what you all think about your photography feels like very traditionally journalistic and the photos coming from the white house they are not as candid, they are not -- they don't seem to be as -- >> they are posed. >> they're posed, they seem to usually show the president with a figure of authority and they seem to not be, you know, communicating the same -- the presidency at work, at life as your work does. >> this is why pictures are still worth a thousand words. and she's going to be all right. she's just got to work it out. it takes time. everybody is not the same kind of subject when they become

president of the united states and it takes time to flush it out. as people get more comfortable about who they are working with -- i mean, i was scared of death of the clintons for more than a year. i wouldn't say anything. one day mrs. clinton said, oh, she speaks. because i still pinched myself every day i came in that place. what? where am i going? am i hanging out with the girls and the guys? i'm going to work? oh, boy. when you realize the magnitude of what you overcome as a kid and your parents have been wonderfully helpful and pushed you to do the things that are all correct and here you are here with these folks who are trying to run the world in a good way and you are like, that ain't the way to run the world, but i'm from the southeast so they have new ideas so i'm trying to be flexible and understand. you are looking at somebody who reads "mad magazine." i read comic books. i need another way of looking at

things beside the way the newspapers tell me i need to look at it. so the more information is better. give the other photographer a chance. we don't get to go out like we did before. she's busy. when she gets a break we will get to talk. we will go, girl. but it hasn't happened yet. >> but you also -- i'm sorry. >> go ahead. >> you have to understand that the pictures that they're showing or releasing, you are not seeing all the pictures that are taken. so as a communication office this is the message that they're pushing forward visually. >> and that's the point i was going to make is we don't know what's happening inside. i mean, she may have some amazing images that are just sitting in the archive waiting to be shown at some point. we may see those when everything is over, we may see them during the administration, with he just don't know. so, you know, time will tell. >> our next question is at the center right. >> thank you all for being here. i loved what you said about

studying these men as presidents and i wonder we're sort of implicitly talking about this, but if you could synthesize what you learned about each of these presidents and who they are as people as you were photographing them. >> a great question. you know, you learn a lot. you learn about leadership, especially in a time of crisis, you learn that -- that -- about discipline. president bush was very disciplined. like i said, his schedule was very, very tight. like he made sure that he put exercise in his schedule every day. it was very important to him. if anything creeped into that time he was very, very upset. i learned that everyone looks up to the president for leadership, you know, and he did a great job

of leading our country through some really tough times. >> sharon. >> what can i say? my guy. my guy. >> for me watching president obama was -- it was always a lesson because he was so compassionate with people and he gave just himself to a lot of people. when people met him, i saw it a thousand times, they were kind of skeptical sometimes of them, but both she and he, once they met them and talked to them they felt like they were being listened to and heard and always came away with a positive impression of them. just how to treat people with respect and kindness. >> president clinton was late all the time because he talked to everybody. >> yeah. >> even if they put up barriers to direct him how to get through the line quickly, he would move the barrier and step over it. so next thing i know we're 15

minutes behind, 30 minutes behind, 45 minutes behind and advance guy is doing his best to say, sir, we need to keep moving. yeah. what did you say? you disagree with me because of what? if you disagree with him he wants to really understand why. so i know where the time went. he talks a lot. mrs. clinton turned into a talker when she started running for office, too, before i realized it he's finished his line and then there is hers. when you meet people you have to take the time with them. there is a whole son of us that blow people off because we think they are not important. each and every one of us are important. for the president of the united states to talk to you, he's telling you, too, you are important and i want to know what you're thinking. you disagree with me? i really want to know why. what would you do if i did it like that? what do you think of that? i'm hearing him give scenarios

and given to people give him scenarios back. unbelievable. >> we have a question to the center right. >> thanks so much for being here today. i think lawrence is shaking his head because i am his niece. >> yes. >> so just hearing each of you talk about your experience working in the white house it seems like to say that it was a highlight of your career is almost an understatement. so i'm kind of curious about how you went about thinking about what your next step was and what you wanted to see out of your next role and if you could really match how meaningful and significant your job in the white house was. >> after leaving the white house? >> yes, after leaving the white house. >> it's a tough act to follow. we talked about this. so for me personally i still want to take pictures. it's what i've always done, it's what i love to do.

so if i'm taking pictures of a college basketball game on a corporate event, i'm happy taking pictures. now, it's not at the level of covering the president obama, but there's still real emotions. so doing some freelance work for news organizations, but there's still real emotions and moments in that and i enjoy that. >> everything is a let down. no. it's just like lawrence said, it really is tough to experience the same level of intensity and importance, you know, travel. it's one of those things, too -- once it's over it's over. you know, it's like cinderella and the clock strikes midnight and your pass doesn't work and you're behind the gate and you can't get in anymore. you know, your life starts over. it's almost like, you know, leaving high school. like lawrence said, you know, i've always been a photographer

and i will continue to work on stories and i love politics. i continue to do what i've always loved to do, no matter what the story is. so, yeah. >> i'm lucky, i've got great, great, great wonderful clients around d.c. a lot of them are think tanks, nonprofits. whatever the mission is that they're doing, if i agree with the mission that's who i want to do my work with. i still exhibit. i'm a part of a group of 40 plus photographers that i helped found almost 40 years ago called the exposure group and we meet once a month doing the art and business of photography. so we can keep getting the next generation coming because pictures is a wonderful way to make a living, be you an editor, be you a processor, a computer whiz, because all this stuff leads to some other stuff. and it's creative. photography stays creative. that's my joy. the other thing is i keep

meeting new people. i don't stay home. i do not watch tv. people are my juice because every person brings something with their personality or their job to the plate. by doing that you let me shoot it, i'm telling your story because you let me and i get to meet new people. it's just a wonderful way for me to live my life. i still play music, i still mess around, goof around. i'm still with my neighbors and my friends and my -- i'm lucky. i've got everything one could want after doing the white house. steady money coming in, happy life, pets that love me, a partner that we -- it's about love in the house. and then the neighbors. oh, my god, what can i say? good neighbors make good friends. and it takes time for that. you get new people coming in. hi, neighbor, welcome. welcome people to the hood.

i live in columbia heights in washington. when we first moved over there nobody wanted to live over there. now everybody want to live over there. you know i think something is wrong. >> our next question is in the far back center. >> hi. so l.j. and eric, both being photojournalists with the associated press and then moving into a white house position, there's a little -- i mean, this is a little inside baseball, sorry, i'm an l.a. times photographer so i have to ask -- >> i wondered where you ended up at. >> i worked in d.c. with all these guys. there is a little bit of controversy within the journalism world with the idea of access to media photographers covering the white house. i mean, having done it, it's a tight space, we can't get everybody in all the time. eric being chief photographer,

did you have a role in any of those -- i don't know if you had as many controversies as during obamas where there were more photos handed out, and i don't know, lawrence, i'm actually curious what pete's role was in having control over let's let people in, let's not let people in, but talk about that a little bit -- sorry, this is a multi-pronged question -- about the humanizing that you had first asked about when you're shooting your subject, the president, in that humanizing them it may not be your objective while you're shooting, but clearly when the photo is released, it's publicity. so we know there's some role the communications office plays. as the photographer where are you in that -- where you were a photojournalist, you worked for ap, you're doing news, this is what happened, these are the photos, but when you are at the white house and you're doing these photos, do you have input?

you say, oh, actually, i have some great shots of them smiling, these will look great? how does that go into your daily job or is it all done by communications and you're out of the role? >> if communications people did not touch our stuff bob mcnealy, bless his heart -- we are skilled people. we know what we're doing. and the communications people are going to muck it up. okay? that's what happens. and they don't pick the best pictures. we've been through that with them in our group, maybe everybody has a turn, too. but you trust the eye of the person you hire to do the job. bob trusted us, he had seen all of our work and knew what we could do. and we knew what we could do. you are talking about confident foursome here about what we could get done. cali shell and the way she did her stuff with gore was a prime example of just a bad photographer -- i mean, bad is good now, y'all. she could shoot like crazy, get stuff done, tell a story. i mean, she was a hero win to me

in the photography world. it is how the other people act around you that you have to make sure you don't act like them. you have to keep yourself grounded. look in the mirror and go, am i doing the right thing? and then let people make fun of you because you know you're grounded. you know when they're messing with you you're human. okay? >> that's a great question. you know, during my time with the digital photography becoming so prevalent and the internet exploding, 24 hour cable and the demand for images became great, where my office was always being pounded for images. i was always a part of the process in terms of just generating lots of selections for photos to be released, but that decision was made by -- the final decisions were made by the communications office. and they would decide on photos

that would be released and i would -- sometimes i would argue with them in terms of like that i felt, you know, some photos were better than others, but they would look at it with different eyes. you know, sometimes with overly political eyes, but that's just the nature of the business. and i see where you're getting at in terms of photo releases and what it meant for access with the other photographers, with media photographers, and we received the same criticism because we released more photos than the clinton administration and i'm sure the obama administration released more photos than us. >> yes. >> but that doesn't necessarily equal less -- less openness in terms of allowing photographers to come in. but we received the same criticism. but it's just the nature of the

time and just like, you know, the evolution of the white house now, it's just -- everyone expects, you know, the next administration to do just the same thing where -- but they're not. so that's why everyone is kind of surprised, but they're different. you know, everyone has a different mindset and everyone uses the technology differently. so i don't know if that answers your question, but -- >> pretty much what eric said, but i will just add a little bit. the explosion of social media during the obama administration was such a -- the pictures fed so much of that -- the social media. you had facebook, you had flicker, you had -- i forget -- instagram, he had an instagram account. all that stuff that it needed content and that content was produced by the photographers in the photo office. in terms of the access to the media, you know, i really think

that the white house communications office realized that they could reach their target audience by going around newspapers or magazines and going directly to. and that was a choice, you know. you know, you had the first president do an interview between two ferns, you know? and that was hugely, hugely popular and successful. so, you know, i used to be ap, eric used to be ap, we know the power of the ap and you know the power of newspapers, but at that time they were just going in another direction. and as far as pete, i don't think he had that much -- i mean, i don't think he was opposed to it, but i don't think he had that much say in terms of, you know, who was going to cover the president, what media outlets were going to cover the president. >> we were a little bit more flexible. we would bring in a news week photographer or "time magazine" or a day or so or somebody from

"the new york times" would shadow one of the photographers. you could come to everything we went to and take your pictures. diana from "time magazine" -- >> walker. >> diana walker, she'd come. when you do stuff like that they know the rules and when we tell you you've got to go because stuff is getting sensitive, you've got to go. so part of the deal about being with the white house photographer is you get to cover what we cover. you get to see what we see. when we say it's time to go, you've got to go. so we did a lot of that and we had a huge wonderful large pool of photographers. now, because of what i call money issues for all these companies that do the publishing and all that stuff, they all have shareholders and they seem to be more aware of their shareholders, they are now, than they were about content. they don't care about content, they care about shareholders. i watched the film crews go from five or six for each outlet, now they pool their cameras, this he

share whoever shoots the tape, everybody shares the same thing. the still photographers who used to freelance began to lose their work working for "washington post" or "newsweek" or the wire services if they were doing the stringing stuff because they were not given the access. so the companies decided to make things smaller. when i was working at associated press i'm assignment photo editor and we get to see everything and we decide where people need to go to get stuff covered. then you find out some people are not allowed to shoot some stuff. so i'm getting a phone call saying, sharon, now they're telling us when we can put our cameras up to our eyes. excuse me? wait a minute. they're telling you what? they're telling us to leave our cameras on the ground until they tell us to put them up. i said, what are y'all doing? we're mad. >> don't be mad. what else are you going to do? we're talking to them. keep talking, negotiate. what do i do? i said if you take a picture i

will be happy -- don't take a picture no matter what. well, okay. people took pictures anyway. so that started a fight between the press handlers and the press trying to cover the president. they made their own problem, not the press, the handlers. the people from the press office trying to tell people when to be creative. you know that ain't right. >> one last question to the far right in the front. >> thank you very much. i was very interested in the photo that, eric, you took with president bush and president elect obama with the remote control. i was curious what the rules of the game are with that, if any. you know, can you shoot remotely from anywhere when you are not in the room? it's one thing when you are in the room and they know you are in the room and i imagine as technology changes maybe more so with you, lawrence, that you had similar advances in technology that let you shoot more remotely and more hidden in a sense that

they didn't know you were there. so curious about the rules of the game there and the advanced preparation that goes into thinking about, i'm going to put it here above the fireplace and, et cetera, and what security issues may be involved in that as well. >> in that situation i asked president bush if i can put a camera above the mantle and -- actually, i didn't ask. the true story was -- i asked the staff and they were like, yeah, go ahead, you know. so i show up at 5:00 in the morning and i put it there, but i had to get the blessing of the president. so the president walks in at 7:00 in the morning and the first thing he does, he sits at the did he say k and looks up and goes, what the hell is that? and they all look at me, right, and i say, mr. president, that's for your meeting with the president elect. and he thinks about it for a second, he goes, okay, well, let's make sure we clear it with

the president elect because we want to make sure that we don't think -- that we're trying to spy on them. but, yeah, it was all, you know, his blessing for me to do that or else it wouldn't be there. >> yeah, so you said what the rules are and the rules are if the president approves it that's the rule. >> yeah. >> nobody can bother you when it's okay with him. >> all right. that is all the time we have for today. so please give our speakers and moderator a round of applause. [ applause ] and this is not a canned question at all, but, lawrence, where can people find you? >> on instagram? >> yes. >> jackimages. >> perfect. and, eric? >> prezfotog.

get it? >> sharon? >> sf photo work@att.net. >> and jamelle. >> i do have an instagram, actually. i'm @jbouie. >> thank you so much everyone for coming out. [ applause ] >> please make sure to get your parking validated if you haven't already done so at the front desk. have a great evening. president trump holds a campaign rally for the upcoming midterm elections today in great falls, montana. you can watch that live at 6:00 p.m. eastern on our companion

network, c-span. sunday night on q & a, freelance journalist tom dunkel op his "washington post" magazine article, locked and loaded for the lord. on the sons of the late reverend sun mung moon and their church in newfoundland, pennsylvania. >> what is going on at sanctuary church and up in pennsylvania is a commingling of a lot of undercurrents in the country. of religion, politics and guns. to a degree we haven't seen before. it's still a small church, there is no question about that. sean has a worldwide following. my guess would be maybe 200 people in the congregation total up in pennsylvania and 500, 1,000, 2,000 world wide. of course, in these days you can follow a church on youtube, all the sermons with webcast every week. but it's that commingling of

passion in america and what -- what does this say about us as a culture and what -- is this any -- is there any precursor of what we might see down the road. when you get the genie out of the bottle of mixing guns and religion in almost any society it's usually been problematic. >> sunday night at 8:00 eastern on c-span's q & a. c-span, where history unfolds daily. in 1979 c-span was created as a public service by america's cable television companies. and today we continue to bring you unfiltered coverage of congress, the white house, the supreme court and public policy events in washington, d.c. and around the country. c-span is brought to you by your cable or satellite provider. >> next on american history tv,

white house historian william seale discusses the scottish stonemasons who helped build the white house and the exterior carvings that are still visible to this day. mr. seale is the author of "a white house of stone: building america's first ideal in architecture." from a symposium on british and irish connections with the white house and hosted by the white house historical association, this is 45 minutes. >> so the next session is one that is very special for me personally. as a tenth generation scottish american, the story of the scottish stonemasons and the white house is very meaningful and important. our presenter for this session, dr. william seale, literally wrote the book on these masterful craftsmen, a book that's available to you today in our shop if you would like to use your 10% discount and go purchase it. and he will also be at the