time. she also mentions christmas at the white house and having the tree put out for the grandchildren. they have the first decorated christmas tree in the white house and she mentions the gifts given at that time, including opera glasses. we have her opera glasses given to her that she mentions in the even thoughl. >> she was in poor health and suffered from epilepsy, she still contributed by crocheting slippers and donating them to charity and presenting them as gifts. >> what is wonderful about this is that inside, it has a picture of william mckinley. this is something we see in a lot of her personal belongings. this was her sewing bag. she would keep the crochet items in here. this is one of her crochet

needles and it is her favorite color, blue. inside, we have a picture of william mckinley. even when he was away from her, she would have something to remind her of him. she was known for her crocheted slippers and would spend hours crocheting these slippers. approximatelyade 4000 pairs in her lifetime. .hese are unique for the souls she would make them in various sizes. we have pairs from a child size and they were usually made in a variation of blue or gray. colorsepresent the basic she would use. since she was not able to do other types of work as the first lady, this was one of the things she could contribute. she would donate these to a charity or war veterans or to

the options -- to auctions to raise money for a charity. to see some of the more fragile and important pieces, we have to go into our main storage area. this is where we keep the white house stresses and other artifacts. this dress is my favorite. we are in the middle of a conservation process so we can have these dresses repaired so they will be able to be on a mannequin. this one is my favorite because it's so heavily ornamented. it has silver beads and metallic threads. this would have reflected light you deflate. this is typical of her style

and the fashion would have been high collar. the leg of mutton sleeve, toward the end of the decade, they toned down a little bit. her favorite was this ivory color. but she also loved blue. most of the trusses were typical of that color palette. she did not have a lot in her life to be excited about. she's what we would call a semi-invalid. fashion was extremely important to her. conversation about first ladies continues every monday night at 9:00 eastern on c-span. you can watch all of the programs in our series at www.c- first ladies. coming in august, weeknights at 9:00, it all starts monday, august this. our program on martha washington.

starting in september, season two of first ladies, influence and image as we move into the modern era of our series. that's life, monday night charting on september 9 on c- span. earlier today in cairo, the chief justice of egypt's supreme constitutional court was sworn in as his nation's interim president trade he took the oath of office at the constitutional court in a ceremony broadcast live on state television only hours after the military ousted president mohamed morsi. >> we came out of those buildings and we could see a sea of humanity coming from union station and we knew it was

going to be big. who was supposed to be leading the march? it's like saying let me catch up with them. pusheda of humanity just us and we just walked on and target moving toward the washington monument, on toward the lincoln memorial. time in wonderful american history. >> today, civil rights pioneer john lewis shares his experience of the march on washington. we some of the places visited and historians we've spoken with during the first season of our series on first ladies. pulitzer prize winning photographer's talk about their coverage of world events. former president bill clinton and new jersey governor chris christie discussed proactive

steps against natural disaster. at 8:45, panel talks about what it means to be a modern-day american citizen. to be an american citizen is to be one of the paragons of freedom and democratic principles and a beacon for the rest of the world. i think we've done that very well in the last 200 years it will do it even better in the next 200 years. >> do you think american citizens have any responsibilities or right they should exercise? >> absolutely. we are the number one consumers in the world. that gives us the responsibility to make sure we consume responsibly. we have not done that so well but we are learning and we will improve. >> it feels great. on the top of my class. .y teacher help me out that's how i feel about america.

and we have a good president. that's it. >> to be an american citizen is something everyone names that, to become someone who is respected, who doesn't stop at airports and being asked for things like we have no idea what they are asking about. we are not being american citizens. that isin a country free and respect everyone's beliefs, this is how i look at it. , ande from the middle east i come every year, twice every year and i'm here now on a conference as a teacher. >> i am from france originally and before i came to the u.s., i learned a lot about americans.

the idea was more like economical, successful american business owners and all of that. when i came to the u.s., that's when i started to do. i created my own business and i would say the main difference between the french and americans is food. a political point of view and lifestyle are pretty similar. you have a lot of people in d.c. fighting for their political point of view, like in france. eating differently, that would be the main points i would say to become an american. >> one of the points we make in this book is didn't make any difference to have direct ocular elections. we come down on the side of yes, it did make a difference.

begin to act like house members. that's not something any senator wants to hear. it means that they were out scavenging for votes. they actually had to go out and deal with people as opposed to if you have a state legislature and our 26 members, all you need is 14 votes and they did pay ,ff, and they did in some cases buying on senators, paying off their mortgages and a couple of cases to buy the election. >> more with the historian emeritus of the u.s. senate, sunday night at 8:00 on c- span's "q and a." the winning photos included images of the syrian civil war and we will now hear more about stories behind those pictures. this is 50 minutes.

>> hello and welcome to the studio. i'm your host for this weeks edition of inside media. will bek's discussion with two pulitzer prize winning photographer's rum 2013. to my immediate left is roderigo three he began his career in his native argentina. since 2003, he's been a staff photographer for the associated press and covered a wide range , fromernational tories the fighting in kabul, afghanistan, to political turmoil in bolivia in 2003 and haiti in 2004. he covered venezuela's presidential elections and found himself back in haiti in the aftermath of the earthquake in 2010. in 2010, he was documenting the strife there.

and he was awarded the pulitzer for breaking news photography. also with us is javier manzano who put the -- he was the first freelance photographer to be awarded the award in 20 years. he was born in mexico and as an 18-year-old, much of his work has been based on cross-border issues that define our relationships for better or worse over the years. while he started his career shooting photos for newspapers, he has since expanded his portfolio to include television and the internet. he has covered the drug wars of mexico and fighting in afghanistan in syria. that is where his village surprises winning image was captured. give a warm welcome to both of our photographers. [applause]

it is always our custom to ask the audience to throw in their questions. i will give you that opportunity in just a while. we have two volunteers with microphones and i will give you the sign and you get one of them and get a microphone and jump in. we're going to start with the fun part because we want to get to the heavy issues soon enough. we always ask: surprise wedding where were you, tell us the story. >> first, i didn't have any idea on the day the pulitzer prize was announced. i was in peru and they told me, my boss in mexico says you need to go to the office. we have some bureaucratic papers. yount to the office and are going to receive a call at 1:30 in the afternoon.

i received the call and it was the director of photography. i said i'm in trouble, this guy is calling me because my paper was a mess. can you keep a secret for half an hour? [laughter] he said we won the pulitzer prize, you and another for i starteders. laughing. ap photographer jumped in, and i'm looking at my colleagues. it was a great surprise and great news. andr working in syria

working in such difficult circumstances, it is a good thing. it's not because now we are better than before, but it's a good thing that someone tells you you are in the right way, continue working hard. it's good. >> you have a very different story. it's probably equally bizarre. i found out through facebook. [laughter] someone sent me a facebook message and said congratulations. i ignored the message and then people started tagging me and that's how i found out. i was in my apartment in turkey and my roommate, he was in his room reading and i turned around and i knocked on his door and

told them you are sharing quarters with a pulitzer prize winner. [laughter] that's it great we went to bed before midnight. [laughter] there really was not much to do. >> and your fillets are was for feature photography. tell us how you happen to enter that image in the competition. >> i entered myself, so i'm not sure which category. i figure the most appropriate place would be the features. sort of a slice of life frontline photograph. what i did and -- this

was all new to you? >> you had no other reason to make the decision? this was your first time. >> i think your instincts were right on the money. >> you are here representing the entire staff. i want to read their names -- they were all together with you in syria. give us a sense of how the day today staffing went. you don'traphers say wake up and say i'm going to shoot a fillets are today. how did you organize yourselves into what you're going to do today? we covered the,

year in different moments. that's an interesting thing because we have different moments of the story. , at the end of the -- it wasried powerful to have five different , we neverhat it was worked together. we tried to cover in the best way possible. it's ethical to cover in syria. we arrived to syria and a in the, trying to arrive

place where we can cover the story without being killed. you decide things very quickly every day. you have to think about taking the best pitchers and telling the stories are also coming back. then how to fight it. you have satellite phones, they were like blocks, basically. sometimes we could spend like six hours in winter. it was not easy. welcome, this is the hotel, it is a totally different environment. ,> eating a photographer access is everything. being a journalist, access is everything. tell us how you develop the

relationship so that the people whose lives and effort you are trying to cover will you be the access you need. ,> on this side of the world there is a lot of mysticism around covering the war. once you are there, you will find out it is fairly open and relatively easy to photograph. why? because people actually want the coverage. it is surprisingly easy to photograph once you are in sight. the larger issue is just logistics. if you go to the west come he have to walk. you cano to aleppo, catch a taxi from the border. across the border, it is rebel controlled. somebody with a kalashnikov on the other side next to the desk.

you would be surprised how easy it is to photograph and move around when people actually understand what you are doing and want coverage. differentd to make decisions. we were in turkey waiting to enter syria. two days before the new york times, the reporter died trying to come back. one day after that, two journalists were killed. you come to make these decisions to what you want and what the agency thinks. you can think about the story for the next week.

you have every day to make a the whole agency and whole story. of theseshare some images with our studio audience is and put them in the monitor. the first one is a photo you took of a child crying at the end of a funeral ceremony. let's find a monitor where we can see it. you know the picture. crying at thed notof a funeral that was what you expected. tell us what the circumstances were in terms of where the victims of these shootings were buried and how you came to see this child. we realized the situation was really changing with syria was in ahat funeral

park that used to be where people went to drink tea and children to play and was converted to a graveyard. the cemetery was meters from the check point, so they couldn't do it. we realized there was a shooting and four people were killed and we tried to cover the funeral. we walked with people and the population for 20 blocks and we arrived to the park and i tried to make pictures because people were crying and shouting against the government.

i respect the funeral like not to be so close, and suddenly i see this boy crying. next to where the father was. i tried to ask more questions for the captain of the picture. , i spent like six hours in the room with a cell phone. and didnding a picture it again and again and again. 20 times every picture to cairo. , i tried to check

my e-mail and i received incredible news. the new york times, washington post. was of this date audience important to me that finally, we can show what is going on. that was my approach of the conflict, more than taking pictures of combat and how brave trying to find out who is winning the military. i'm more concerned about these children and how people try to , how people move to the front line with nothing.

.hat was my concern that's what i was trying to achieve, like we have two file all different kind of pictures, but that picture reflects a lot of what i was trying to achieve. picture, give us a contrast where you have these young people burning photos of assad. this takes you right back to the nature of the people involved and how different the situation is from one location to another and how difficult it has been from one year to the next. >> it is true. when i was there in march last year, it was totally different. that a cure reflects fathers,

civilianparticipate in protests. like few people with short , but it was civilian unrest. now it's like a military with a different weapons, a military model. i like to cover that story at the time because you can show both sides. the civilians and military together. you see those pictures and its you see inmal people the streets. one hand, the civilian population welcomes you because they respect your

craft and want your story to be sense of you have a media fatigue. tell us about that. >> there are two and a half ofrs of conflict and dozens journalists have come in and little has changed on the ground. they sort of question why you are going there. this is unfortunately typical of conflict after a certain amount of time. afghanistan is a good example. people don't really understand why the media is there and they don't see any immediate impact on their lives. you can't say that media will change things. the minimum you can provide to be able to inform in a way that agreements are made and there

hasn't been any change on the ground. it is getting worse and it is spreading. >> when i start taking pictures of that protest, people start embracing, you are a hero. what do you need, do you need food, stay with us. the situation changed a lot. that started to change at the end of last fall. a august, when i went there, city north of aleppo, it was a protest right after friday

prayers and it was in freedom square. they renamed the square freedom people i would say 2000 or 3000 people in this square, namely children and women and civilians. i didn't see any kalashnikovs. people were very welcoming. the second day in syria, we are covering this contest, a lot of energy and people waving the and all of a sudden, everybody started to run and scatter. then you start seeing a plane going around in circles. intoi heard they shot

unarmed civilians, but i'd never expect that a plane to drop for bombs on a square filled with civilians. i started running andso we gotn was surprised to see the plane diving and then to bombs came out. -- it threw me on the ground a little bit. all of the glass shattered. and then we kept running. that was my first syrian experience. to did a few circles and then it emptied a 50 caliber machine gun on the square. that was my second day in syria. that was pretty much very clear to me this was a different conflict than we have covered so far.

a message in this next image. one of the most chilling photos, a man with a little boy, and a toy grenade launcher because the little boy is too small to handle the weight of an actual one. it seems he believed this little boy is going to need that skill when he is old enough. >> i took that picture at 10:00 in the morning. that was time for school, not for playing war. and the smile of the civilian, it makes you think it is the whole atmosphere of the place is a conflict. people werelosed,

taking positions, children were playing with toys or walking with their mothers trying to find a place to shelter. the daily life of this people is totally transformed. aleppo used to be a really powerful city in terms of commercials and now it is a city that is gone basically. again, this is more comfortable. more comfortable shooting those pictures that show, i also think on what i'm going to show in the newspaper in the next day. some withering in the u.s. or europe or africa. you know, i do think they want to see all the time finding and fighters. they want to see how life is

there. they want to think about how these people think about. .hat is why i try sometimes i fail. most of the time i fail. sometimes you can take a picture that reflects the big picture. the big picture of what is going on. >> you took your camera inside a closed area. we can see some of these civilians and of joining a militia, joining the resistance. they take up arms and do what they can. talk to us about how you get from where you woke up that morning into a place like this. who is with you? what is the strategy? what is going on from the inside of this sheltered place where the sunlight pierces through holes that have been made from previous battles. >> there are various ways on the front line.

sort of a behind the lyons headquarters for that, for the put tunes sized unit. , you could have various units covering a neighborhood. they always hold back to this main office. usually you get in there and you check in with them. there is somebody delivering ammunition or food for the fighters on the front line. and you typically run with them. you walk in with them. they walk in through the tunnels made from holes on the walls in from thethe snipers they do the same exact a

strategy. sometimes you go in vehicles with the free syrian army as well. once you are there, this neighborhood where the photo was taken, there is only two sniper alleys. you do not run very much. it is from here to be first row. a few meters. you sprint across and then you go into another tunnel and you go to a warehouse where this unit was standing. you finally cross one last alley and you go to a small warehouse. i believe it used to be a shop. like many of the shops, it is very typical in those neighborhoods. and so the tynwald was peppered with shrapnel and bulletholes. the sunlight was coming through,

photographic, photogenic pictures. i positioned myself in the middle so the perspective would draw the reader back into the subject. in the meantime, so we understand, there is a cat and mouse between these two sides in what used to be a residential area. people shooting from shelter from both sides. >> yes. some apartments are still inhabited, some are not. that neighborhood was largely abandoned and almost completely destroyed. so you can have a neighborhood and sustainable bard meant for two months and you would still

see some structures. talking about six-story buildings. this neighborhood was smaller, two or three story buildings. after four months it was completely decimated. largely the civilians have fled. you are walking through these w peopleand you see ho left and you realize they left in a hurry. everything is -- you can see homework on a desk. you can see photographs because you can tell they went through some personal photographs and picked the ones that mattered to them most and then they fled very fast. >> how do you feel being and then enclosed area, and not with a weapon but a camera, as the fighting goes on?

>> as long as i have cover, i feel safe. i may be simplifying this. i have answered that many times. you are very close to the opposition, in this case the army. the closer you are and in some cases you can hear their steps under broken glass. sometimes it is only a wall. that separates you from the government facilities. [no audio]

[inaudible] >> i used a very wide [inaudible] >> rodrigo, as you go throughout the city, what array of equipment do you carry? what is the strategy before what kind of cameras you have

and what kind? >> when you are going to enter and when you walk a lot in the mountains, sometimes to reach the places we thought that the best idea was to go with a very light gear, light equipment. so i carried a couple of cameras, small lenses, something really liked. and last night for example we walked six hours in a field. we put all -- put on all of our gear with a sleeping bag. we could not have big equipment. the first reason is you have to walk with all of it. the second is because all of the near s. were really ,e did not need big lenses

heavy gear. but the idea was to be really light just in case we have to run, just in case we have to move from one place. for example we changed locations four times in one week. we started sleeping in one house day and now, trying to avoid the attack of the army. you need to be like really quick. and fit. we have at know if microphone in the audience bid i am going to move, we have a request for one. i am going to move to your next image. it is another intimate look, it is a woman with her hands over her face. you talked about how you were trying to tell the story of the people within this conflict. tell us about this woman. we were covering the army and

we took some pictures and then we realized the more important place was the red cross. so we'd stayed outside of the clinic where the wounded coming.s were after taking some pictures outside, it was really chaotic. no medicine. setting chaotic to see that clinic. we went into a room and we saw that woman crying, full of blood. next to her three daughters. they were in two separate beds,

all of them crying. so we took some pictures. the relatives were there. some doctors were there. whowith the camera guy, covered three weeks of the searing conflict with me, we checked what happened. what happened that day. one of the relatives said don't ask her anything because she did not know at the time her husband and two of her sons were killed in the attack. so she was in complete shock. .t was a really sad moment , the mostilians vulnerable people in this conflict and all of the wars in

history. id this woman was crying, received so many e-mails of people like, but looking at this picture, i think it is a very direct image. it's only her eyes and face. i tried to reflect that panic in her face. and i wonder what is the life of this woman now? i wonder, i tried to find out what was going on with the family. where they are now. because i do not think they stayed in that city anymore. >> let's go to our audience.

>> hello. thank you first of all for your candor and for your tragic but interesting stories. you are obviously very fine photographers and you probably take more than a few pictures of an event. when you get back to your studio or wherever, how do you decide, what do you look for in a photo to make a prize worthy? what do you see and what kind of shots -- i know people but will kind of shots was make you say, this one is the best? >> there is a lot of discussion, most of you like photography.

e have discussions about photoshop and technique issues. ust i think is important for thatwe choose a picture, we use a technique in a way that we can transmit the idea of what we think about the conflict in the most powerful way. whether in black-and-white or in color or with more or less contrast and with photoshop, i don't care. we need to select the picture that can show and attract people to look at the picture and to ask questions and to think about the issue. , when theyeflection

look at the picture. to have any fueling after that image. so i tried to think about that. i tried to think about pictures that tell the story in the most honest and powerful way. i think the answer for me would be you have the subject matter and you have the technical aspect. the tech glass back, our job is to stare at people for hours. for many days, four years. we stare at people. after a while you get good at predict in reactions to certain situations. in try to position yourself something that is going to yield the best framing and tell the whole story. it is all about information in one frame.

what frame should tell the story? that is what we strike for. number one is going to be a photograph. you work on the aesthetics of the photograph. the information needs to be there. as far as the subject matter, of try to cover as broad photographs you can. unfortunately in syria you can't cover both sides. andcan't go into damascus the bed yourself with governments troops because they will not give you a visa. unfortunately it is one side of the conflict. other people are trying to cover it as best as they can, the site of the government. a newspaperon,

should give you a fair and balanced story. for the most part, in my mind, syria is civilian casualties, civilian casualties, and then there is a revolution going on. the people that lose the most at the end of the day are civilians. they did not choose any sides. they are just getting bob. by both sides now. both sides are killing each other. in the opposition are the ones being punished the most. >> this last image we are going to look at shows you the moment where those civilians where the fighting has come to their neighborhood. we have families and you can see them about to flee. tell us about this picture.

thistried to explain conflict, there is little organization. people react very quickly. there are really calm days where nothing is going on. nothing is going to happen. there are some negotiations in the europe and the u.s. and russia. people continue to live in the same apartment and suddenly, very quickly, things change. very quickly. in one morning. it is really chaotic. were takinges whatever they can take to run. they were bombing thei