up next on american history tv, we hear from diana walker, a former white house photographer. in this interview she talks about her career and her behind the scenes outlets. she is the author of "the bigger picture: thirty years of portraits" and "hillary: the photographs of diana walker." the university of texas at austin recorded this interview and archived her photos along with those of other internationally recognized photographers. >> today is march 8, 2013. we are here to talk about diana walker and her archives and the news history we have in the library. this is a targeted interview. we are going to jump right in.

tell me how you got started as one of the white house photographers for time. diana walker: i started freelancing in the 70s and went to work for a small washington magazine. it was called the washington monthly. the editor told me, we do not have much money to spend on photography. i thought, oh dear. he said we can only pay you $25 for every picture we use but the good news is, i can get you your credentials to shoot on the hill and at the white house. i began to freelance around washington and the business of washington is politics. i started photographing for "the

monthly" and i would photograph a lot of things on set for them. that build up my portfolio. i went to see "time" and a lot of places. they would give me work or they would not. i went to see "time" and they gave me work and one of the assets i had in my hand was my credential to go to the white house. "time" had this problem where they did not have someone over

there. annie callahan could call me up and send me over there because i had the credential to do that. it was invaluable for me while i was working and i started working for "time" and my editor realized i was working more than his contracted photographers were. he asked if i wanted to be in contract with "time" and i said absolutely. that was in 1979. the first thing they did was to send me over to the white house

to photograph carter because the president was dealing with the american hostage situation. hostages were taken in our embassy in iran and he was determined to get them out. he said i will stay here in the rose garden and he will do any traveling for me. and that is what happened. the "time" photographer who was photographing president carter stayed in washington and i was hitched to mrs. carter and we went all over the world. so that's how i started photographing at the white house. >> you stayed on and got better access. tell me about when you started

getting behind-the-scenes access. diana walker: when ronald reagan was elected president i continued to go over to the white house for "time" when they needed extra coverage. i would go to photograph mrs. reagan particularly. "time" was interested in her "just say no" program. i was sent there quite a lot in the first four years. david connerly was photographing reagan.

i did the mondale campaign for 17 months straight and at the end of that, my chief said, how would you like to cover the white house. that is when i started with the beginning of reagan's second term. i covered the white house through clinton. "time" became interested in the idea of shooting behind-the-scenes. they were always interested in it. if something came up -- he did a marvelous photograph of mrs. reagan and her dog. giving the dog a bath. that was very behind-the-scenes. "time" became interested in behind the scenes during the administration of george herbert

walker bush. they asked me if i would be their stealth weapon, if i would begin to ask for behind-the-scenes access. george bush, his press secretary gave me the opportunity to go behind the scenes with bush early in his administration. as time went on, i did more and more of it. indeed, i was with george bush behind-the-scenes at his convention in 1992. i was told that i could be with him on election day too. and it was funny because marlon sits forward or -- marlon took me aside and said, diana, i promised you you could be behind

the scenes. and marlon fitzwater took me aside close to the election, and he said, i am going to have to say no this time. it is such a tight election and if anything went wrong, i cannot take a risk of having a first time press person. and i had so much respect for why, i thought the reasoning was absolutely right and correct. i was sorry about it. i was not with him behind the

scenes. then, with walter isaacson becoming the managing editor of "time" during the clinton years --he was very interested in behind-the-scenes. when he took over, he said, if you ask for it and they give it to you, i will run it. that is great, because i have back guarantee. there is nothing worse than asking for behind-the-scenes and then not running it. it seemed unfair to me. they ran it each time i did it. he said i am not having a

reporter there and i am going to just produce the pictures. when i asked to be behind the scenes, the president himself had to sign off on it. it was quite good for them too. it is great for the publication to have behind-the-scenes access but you are also being used by the white house too. they are deciding when you will be behind-the-scenes and what you are going to see. i felt i should accept their offers to be behind-the-scenes every time they offered because any time you see the president of the united states behind the scenes, you learn something

about the president and you see something. i can be there for you. you cannot be there. everything you see is important. it is important, what does the president look like when he is writing his speech? i saw a diet coke on the desk or i saw he worked with a yellow pad. i knew it would be important to someone some time. i did it with vice president gore, when he ran for president.

i got access to be behind-the-scenes most of the time i was with him. i did the same thing with john kerry and with hillary in 2008. the most productive behind-the-scenes work i did was with clinton. we made sure he was given a nice book of all the photographs afterwards. he told me later, he said it was fun. it was good. we enjoyed the results but i had no illusions they -- they knew what they were doing when they let me in.

they knew if the president was preparing for whatever he was doing, they knew that next week it would run and it would run with just captions for the pictures. it was a photo essay. a long answer to a simple question. >> i am going to follow up, you mentioned that "time" hired you as a stealth weapon. diana walker: they came to me, my editor did, and said we want

you to be behind-the-scenes. behind-the-scenes, what it meant for me was, i could creep around and make pictures quietly. they knew i would never intrude where i was. it would be easier for me to describe to you how i worked rather than what they meant when they asked me to do it. what i did was, it was important to me to have them realize that

i was trustworthy. that i was not going to go back and tell the writers at "time" what i heard. i had been there a long time by the time clinton was president. i knew a lot of people who worked in the white house because they had worked for carter. whatever party wins, the players in the white house disappear and then they come back the next time. i knew most of the players in the clinton white house and they

knew they could trust me. it is funny because it was not totally my character. i do not hear when i am taking pictures. the picture of walter cronkite and ronald reagan, i do not know what they are saying. i do not know what the joke was because i am working. when i work, i cannot hear.

i am looking through a range finder and i am trying to frame the picture and think about the picture. consider where my light is. what the lens opening should be, and doing that, i cannot multitask. when anybody asked me what i heard, i said, i am sorry, i do not hear when i am taking pictures. i could not hear and it was not why i was there. i did not go behind the scenes with a pad and a pencil. i went with a camera. it was important for me not to share when i left the room. every time i was allowed behind-the-scenes with any of the president or candidates --presidents or candidates i photographed, i had to take

advantage of every moment i had in the room. that meant not talking to them. sometimes i would slip into the room and i would not even speak to the president because i did not want him to look up and if he was with someone else in conversation, of course i did not say anything to him. i found that i worked that way and every so often the president would say, good morning. i would say i'm fine and i would disappear so he would go back. if he spoke to me, it ruins the picture because then i have pictures of someone sitting and talking to me. i am not part of this. other people in the room, how he relates to the other people in the room, how he deals with them is what i am there to see.

and also if he is alone. how is he alone? what is he like? there a wonderful picture of george, george was in the room that day, behind-the-scenes with the president. he was quietly sitting in a chair. the president turned around and started to read the newspaper. he was oblivious. he paid no attention to george and that is what you want. that is a beautiful picture of the president unaware of george entirely, in his own world, looking down at the newspaper. it became a symbolic picture to

the loneliness of the job. the picture is so much bigger than the caption. the picture is a beautiful image of the president of the united states alone in the oval office. every time my camera was out of film, with a leica camera, you do not use a motor. it is very quiet. you run out of film, if you want to change it, it makes a certain type of noise. you do it as quietly as you can. there is no whirring of the motor. it makes a bit of noise. i would look down to make the noise and never look up. if i looked up, i would catch the eye of the president. i did not want him to notice me. so the way i did it was never to look at him. i hoped he would not notice me

or the noise if i did not look at him. try it sometime if you are doing something noisy and you do not want someone to know about it, act as if you are alone. i would not look up. i was thinking they are going to ask me to leave, this is a good break or they would say thank you diana. the press person was always trying to take me out. i would do it as quietly as i could and lift my camera to continue. a lot of times i could continue and sometimes they thought i had enough.

sometimes, i would leave before they asked me to. i did that for two reasons. if i knew i had the picture, i could leave. you know you have the picture when something wonderful happens and i hope you will understand the subtlety of what i am saying. sometimes what i'm looking for is so small but it is big. it is like photographing president carter and president clinton --president bush and president clinton together when they became such friends later when they were both out of office. i was looking for the moment when the two would show how much they liked eachother.

you see one president putting his hand on the other president's knee or something personal like that, you know you've got the picture. it is not a bad thing to say thank you and leave. you never want to overstate your welcome when you are behind -- over stay your welcome when you are behind-the-scenes. that's the way i would work. many people look at the body of work i did behind-the-scenes and they think i spent the day with the president. i would not really be a fly on the wall for very long but it was enough to have a good body of work from behind the scenes. >> i know you mentioned you were looking for a moment that revealed something of the

person's character. how did that way of listening with your eyes develop for you? diana walker: when you watch someone through a lens, you are waiting for something to reveal itself with a facial expression. with a gesture, with a move. you know when you watch people when they are very engaged.

they -- you are watching for a moment when the person you see is either responding to something. i was photographing president reagan. it was a big picture. it was to be the lead or the cover. it was not technically a assigned the scene photograph --behind-the-scenes photograph but there were not other press

there. it eliminates wh -- it illuminates what you are asking. i learn from his wife's staff what stories he liked to tell. the title of the article was, "why is this man so popular." i am looking for a sign of his character. i said something at the end about mrs. reagan. i said she told me the story of such and such. he said, oh yes, i had not thought about that for a while. there is your picture. you are always looking for the moment when people reveal something to you.

that is what we do. whether it is out in public where there are millions, you're waiting for an expression on someone's face. you are waiting for a gesture or some event to happen in front of you. >> with a lot of your photos behind the scenes, you paid attention to moments of humor or when they are enjoying themselves. tell me about that. diana walker: humor in my photographs,the picture of walter cronkite, ronald reagan and all the presidents men, i was doing an exclusive thing for cbs.

it unfolded for me when there were no other talk is in the room. photographers in the room. that picture, the picture of yeltsin and president clinton laughing, that simply unfolded in front of the world because they were on the stage. that picture is so funny. there is a series of five and they are so funny. i remember being

behind-the-scenes with hillary clinton. we were doing a cover story around her 50th birthday and mrs. clinton's demeanor early on in the white house. she was not known for her sense of humor. there were people who did not know if she had one. i asked the chief of staff if i could ride in mrs. clinton's limousine back from an event. the secret service left me in the limousine and i was squished into a corner looking at the first lady and her chief of staff. it was a wide picture to get both of them in. they immediately started to

share something funny. they both were laughing and i thought, how great is this? i know what kind of sense of humor mrs. clinton has. i sent this packet of film to new york and i said watch the back of the limousine. my editor said we cannot wait to run the picture of her laughing. she does not look that way in public. i was so happy that happened because it was so important to her character. she has a wonderful sense of humor and that was so nice to see when she was secretary of state.

it was out there, how funny she could be. i love the fact that that was another laughing picture. i think laughing pictures are important. >> there is a contrast betwen the public clintons and the private clintons. tell me about the photo in the book where he has his arms around her neck? diana walker: one of the moments when i was behind-the-scenes with the clintons was the night --i cannot remember why i was with them. it was for the day and this particular night, the special olympics had an event at the white house and the president and mrs. clinton were hosting it. it was in a big tent behind the white house. the clintons were walking out and the shriver family was waiting to greet them.

the shriver's are synonymous with the special olympics. the clintons stopped to speak to mrs. shriver and the white house photographer and i were together. just behind, we walked up quietly behind mrs. shriver. there was no light in the room. i had high speed light in my camera. ralph said to me, we should have heard you when you made the picture. you said wow. wow.

i had my camera up and i was focusing. it is hard to focus a rangefinder camera in the dark. the president took his arms and wrapped them around his wife. and he laughed. it was so beautfiul and i went wow and shot it and that was a wonderful moment. a small moment. you never know when they are going to happen. it was on the eve of the vote of the president's impeachment. it became a big moment. i was thrilled to be there. >> you took a photograph of hillary as secretary of state

which later became the text for hillary meme. diana walker: it was a year ago last october, i got a call from "time" and they said, would you like to go out with the secretary of state because she is going on a special trip. it is so important they are not telling us what country she is going to.

we would love it if you would do it. i am semi retired so they dusted me off and sent me out the door. there were two photographers on that trip because there were so many writers that wanted to go. we're going to tripoli, libya. that was a big story in itself. the secretary of state was going to go to libya, which was in turmoil. we got on a c-17 transport plane to take us to tripoli. i was getting my gear together and the press secretary said, would you two like to take a picture of the secretary before we take off? i said of course. the secretary was sitting at this desk in the airplane.

it is an odd sight. it is a cavernous airplane and it is weird looking. there she is. she has a blackberry in her right hand and she is reaching in her bag. she finds her glasses and these glasses happened to be dark glasses. she put them on and sat there and looked at her blackberry. the picture is unusual mostly because of the c-17. there she is in this cavernous place with the dark glasses on

and is texting. you look and think this is weird. she looked a bit like doctor no. i said, i don't think she will like that picture very much. they asked us to take it. end of story. however, when it got to "time" they loved it. they said this is a secretary in charge. for a minute they thought about putting it on the cover. i said oh my god. luckily for the secretary, i photographed her in her office and they worked out very well.

they loved one of those. they had two faces of hillary. they had her looking ladylike and lovely in her nice office and there she was, the secretary of state in charge, on a mission. on a mission to tripoli, afghanistan, pakistan. this was an important trip and there she was. she looked totally in charge. about four months later,

tumbler, the website tumbler took that picture. the "time" website had that picture story. they took it. they paid no attention to who took it or who deserved credit. they put it up as a meme and i got a call from "time" and they said, you will not like this.

for three days, your picture has been up without credit. that started this whole controversy with tumbler and the picture went viral. "time" told tumblr that you cannot use this photo but you have to put credit on the photo. they did right away. it went all over the world. hillary and her staff invited the two men from tumblr down to meet the secretary of state. she said, apparently, boys, it is so funny. i get such a kick. i love the one wher my husband

calls me and says what are you doing tonight and i say ruling the world. she said get me my dark glasses and blackberry, we are going to do this right. she did that with the two guys from tumblr. they were charmed. i said to myself, diana, take a page from hillary's book. enjoy the ride. it is going all over the world.

but the principles involved in not crediting and not getting permission. all of it is copyright infringement and i am afraid this happens every day on the internet. every day people are learning more and more about copyright laws and realizing they have to obey them and i am sure tumblr will not do that again. >> you said you had both clintons photographed in the 70's. diana walker: in 2002 i was

doing research for a book. my first book, one of the reasons i asked to be relieved from my job. i did not want to have a daily beat. i was --a very good friend of mine who was the picture editor of "people" magazine was semi-retired and i asked if i could hire her to go through my work and pull anything she thought i should see from my b -- see for my book. the film goes to new york from

the photographer and you get the outtakes ages later. my out takes are here at briscoe center. mary said, diana, did you know you photographed bill clinton in 1979? i said, i think the first time i ever saw was the election of 1992. although i saw him at the convention in 1988 when he made this long speech. i said i cannot believe i photographed him. you were on a trip to arkansas and you photographed mrs. carter

with the then governor of arkansas bill clinton and rosa parks. diana, you'll probably want this picture in your carter section of your book. the picture came and there was bill clinton and i also photographed hillary that day and also, in 1979, -- no, 1976, i had photographed hillary when i photographed hamilton jordan at the 1976 convention. i think it was 1976.

she is in the picture. i photographed both of them before they came to washington. >> this is more unexpected. you have a long friendship with steve jobs. there is a photo where he is sitting in a house with no furniture. tell me about that photo. diana walker: i covered the white house every other month. i would work for another publication that was not a direct competitor of "time." it was just before, it was early

reagan days where i was just substituting at the white house. i got a call from "time" and they said we want you to photographed steve jobs. i said, oh yeah, the apple guy. they said he had a difficult time with the photographer we sent last time. we hope you can establish a better relationship. that was them saying, be nice. we are sending you because we think you have diplomacy. we're going into a situation where he is angry at us. off i went. he said, at one point, well, --

i said, yes, i want to see you everywhere. i want to see you at work at apple. i said where else can i photographed you. he said i have a new house. i said i can do it all. he said i have to go to my house later this afternoon, let's go. he had bought a house in woodside, not too far from palo alto. it was a lovely, big house. in the kitchen we had a cup of coffee and he said this is the living room.

i thought, there is nothing in this room. how am i going to take a portrait of him in here? i photographed him in the kitchen and i said how about and he said how about i sit here. i have my hi-fi and my cup of tea and my house. i went to the back of the room to photographed this. it just appealed to me. this computer genius making piles of money from running apple had a house with no furniture. i just thought it was funny.

he was wonderful. he sat there. he turned on some music and had just what he needed. "time" sent me to photograph steve every two years throughout his life. i became a good friend of his and he became a friend of my whole family. i cared for him a great deal. as i look back on it, i am so grateful to him for giving me the opportunity to follow him.

it was like photographing behind the scenes. i liked him a lot and he liked my pictures. he would let me come and do it. towards the end of his life, happily, i was not asked to photograph him anymore. we sent people when he came to the mac world but i did not photographed him then. the last time i photographed him behind the scenes was in 2004 right after his operation for his patriotic cancer. it was a wonderful time to photograph him because he was

convinced he was going to be just fine. i am glad that is the last time i photographed him. >> did you turn down subsequent chances? diana walker: we didn't do it anymore. she, the editor did not want to ask for time out of his life. i would see him and visit but not to take pictures. i had a hard time -- this is a strange thing to discuss on camera. when i was asked to go with hillary on the trip, steve died

a week before i was leaving. we were asked to his private memorial service and i could not go because i was leaving with the secretary at 7 a.m. so i had to miss it. my family went. "time" was responsible for my being involved with both those people. it intersected my private life too and it was because of "time."

someone told me steve would be so happy with the idea of you going off with the secretary of state. that was that. >> your photographic archive, what series of photos or what photo would you like to be remembered for? that you feel is representative of your career. a big question, i know. diana walker: it really is a huge question. i think i would want to be remembered for particular pictures of each president. i could not say to you i think one picture is better than another.

each administration i have photographed i have pictures that i care about. it was my career. i took pictures i am proud of and i had the opportunity to photograph outside the white house. i would say, the first pitcher with -- first picture of steve to the last, those pictures i am proud of. if i were to speak about --

well, there were some pictures of mrs. carter i liked. i cannot resist mentioning the picture of ronald reagan with queen elizabeth. that to me is a wonderful picture. has anyone else taken it, i would have had the same thing. i care for that picture. i think it tells you quite a lot about their humor. i think the picture of reagan and walter cronkite laughing at the joke is exceptional because

i was there. that situation would never have happened in front of the press. never, never, never. george herbert walker bush, i love the picture of him throwing souvenirs in the desert. he was not rallying his troops. he was tossing souvenirs but that was rallying the troops before desert storm. president clinton, there's a

picture of hillary clinton with chelsea the morning of the inaugural and i have never gotten as many responses to a picture as that picture. chelsea came downstairs and her mother was in the front hall of the white house. chelsea opened her coat to show her mother what she was wearing and she was wearing an extremely short skirt and you see mrs. clinton going, you do not see her face. the way she is standing, she pulls back in some surprise that her daughter is wearing such a short dress to a public event. no mother needed to be told what was going on in that pic her. -- in that picture.

i love that picture. i love the picture of bill clinton behind-the-scenes before he is backstage at his convention in 1996 and he is about to be introduced. his name has been put in nomination for the second time in his life. the crowd is going wild. he is just about to go out and he stops and takes his belt, pulls of his trousers and takes a deep breath. one split moment right before he goes out. the air is in his cheeks. there is a man who can make speeches without looking at a note. i love that picture.

and there is a moment i will never get over that i just love, it is a picture of the president with madeleine albright and the secretary of defense and with his national security adviser. three of them were on the couch and the national security advisor was leaning over towards the couch. i asked the president to tell me what did he say.

i was in the room, behind the scenes, i was doing a cover story on madeleine albright. all of a sudden, the president said, look at us here in a row. we look like the monkeys. here are no evil, see no evil, speak no evil. the three of them did this in front of me. it was as if they were oblivious to the fact that they had a photographer in the rim. they did not care, they were having fun. and they did it. and that is one of the times where i knew i had the picture and i should leave. so i shot the picture, and stood up and quietly left the room. and assured the press secretary of the white house that the picture was not going to be used as the story. it had nothing to do with the story. it has never been published except as a winning photograph. it won the contest that year because it was so unusual.

it is a terrific picture because it says, we do not take ourselves that seriously. we are human beings. i loved it for that reason. so did each of them. they all have the picture, and i have to tell you madeleine albright says on the picture they all signed. she is see no evil. she says, diana, this is the bit -- this is the best picture of me you have ever taken. it is absolutely charming. wonderful. >> it sounds like she was good at self-deprecation. what made you desire to bring your archives here? diana walker: my partner in

crime at the white house was senior to me, he had been there already for the forced -- for the first four years of the reagan administration. we cover the white house together. when clinton became president, we decided we needed a third because clinton was on the move all the time. so cynthia johnson joined us. dirk and i shared an office at times. one day, he said, i know you have heard me talk about don carlton and the briscoe center. but you ought to consider leaving your archives to us. i said, leaving my archives?

wow. i had not thought about my archives. it was not something i had given much thought about. he said, can i tell don carlton you might be interested? i said, absolutely. i had never thought what to do with them. so i met with allison. the reason i did it was i

started thinking about what am i going to do with all of those pictures in the basement? with all that stuff? several museums have asked me for photographs of mine. they are part of the collections of three or four museums. i thought, they are not going to want my archives. it is presumptuous to think any museum will want your archives. i thought, where would you send your archives? what would your children do with them? i have known people who have donated them to universities. that sounds like a good idea. let me find out more about this. when don explained to me what he was after, i thought it was the best idea i ever heard. he was onto something. how fabulous is it to have a collection, particularly pertaining to me, white house pictures. how great is it to have white house pictures for history? and of course the libraries have their own pictures, taken by

their in-house photographers. there is a certain bias when you are on staff as to what your pictures might look like, what you have in them or do not have in them. but press pictures, which presumably are impartial, to have the ability as a student to go someplace where you have an extensive collection, was a great idea. to know the pictures that i have taken for "time" could be important to someone else is a rewarding feeling.

a wonderful feeling to have. the idea that you can log on and see images of from certain days, certain events, from a historical perspective, made me jump at the chance after i met don and alice. i thought, wow. this would be great. to have them be useful to other people. i still have the ability, we all do, in the event that a museum is interested, like the smithsonian museum of american history and the natural portrait gallery both have extensive work of wine, which they have come and asked to see.

i can do that. it enhances the interest in the work here when i send it here. just great. i can do with my pictures really what i want to do with them. i can keep a certain number of them that are shown in galleries, private galleries. it works out well. the briscoe center will also -- will always have scans and all of the images that i took. they might not have the original slide. that will stay in washington with me. but the copies come here and will come here. im delighted about it.

-- i am delighted about it. this is a fabulous institution. to have someone catalogued my work and be able to say to a student coming in who is interested in health care who wants to see the events that hillary clinton did at the white house? and who was there, who was in the room? it is terrific to be able to contribute my archives here. it is a wonderful thing for me, for my family, and i hope it is interesting and informative to students forever. >> one more question. what you see as the value and importance of photojournalism archives and history? diana walker: the archives here

at the briscoe center is really important. i believe in images and the strength and importance of images. i love film, but to me, the still picture matters. the stories are wonderful and the written word, i know briscoe collects that to. in collecting photojournalism, it is giving visual history. it is giving a visual history to students, the public, whoever wants to see it. i walked to the exhibit downstairs and what don has done besides all of the archives, he has also collected the biggest

hits of photojournalism of the 20th century. i can go down the list downstairs. the kent state picture. the eddie adams execution in vietnam. the ruby picture. jack ruby shooting oswald. look at that picture and you get a sense of the whole thing. look at the picture of the students cheering and reacting to blacks going into a high school in alabama. you could read a thousand words and it would not be as effective as the picture.

it is a wonderfully important thing that don carlton has done, collecting the archives. photographers bring you what they see. it is wonderful that people will be able to -- that these pictures will be preserved and shown, exhibited and used for research or however they are used. it is gratifying to those of us who have given our archives here that they are of interest. i think it is wonderful that there is an institution that has the interest.

>> are watching american history tv. all weekend, every weekend, c-span3. like us on facebook at c-span history. >> american history tv is on c-span3 every weekend, featuring these them tours, archival films, and the presidency. here is a clip from a recent program. >> all of us should be reasonable -- you be willing to pay whatever taxes are necessary to improve or expand any essential service. with our present tax owed, we should avoid pressuring government for any new services that are not absolutely necessary. because we all know the more our government provides, the more taxes it is forced to collect.

none of us can escape. big business, small business, , workers. housewives and all of us have to pay our share. demanding more and more from government could create a tax burden heavy enough to crack essential blocks in the foundation of our businesses. therefore, we should let our taxes reach a point where they destroy our ability to save and invest. risingas we've seen, our standard depends on a constant flow of our business dollars

every year. the future of our country, waves of destructive forces will continue to batter against our foundation. when any force we can see in the freedoms, weof our must be quick to use the tools our constitution gives us an repair any crack's that may appear. watch this and other american history programs on her website, where all our video is archived. /history.w.c-span.org >> of next, eric byrnes talks about his portrait of eleanor roosevelt and the tortured shaped her life."