Little daredevilish in you. This is the cbs evening news with jeff glor. Glor good evening. The flu is epidemic in this country, and one reason is the vaccine is not working very well. A canadian study out today found its effective only 17 of the time. Last year here in the u. S. , the flu vaccine of the 34 effective. Hospitals right now are struggling to keep up. Here is mark strassmann. Reporter this emergency room at atlantas Grady Memorial Hospital has been overwhelmed by the h3n2 virus. Starting this week, staff have quarantined new flu patients in this separate mobile hospital, typically reserved for disasters like hurricanes. So weve had, you know, id say about a 25 increase on certain days. Reporter dr. Hany atallah is gradys chief of emergency medicine. We physically just need the space to put a patient in. Thigoing to help solve that. Reporter who has not been as helpful as hoped is this years flu vaccine. Canadian researchers reported today that its less than 20 effective ag
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
Diana i started freelancing in the 1970s and i went to work for a small washington magazine. Charlie peters, the editor, said to me, we dont have much money 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 if you work for us on a freelance basis i can get you your credentials to shoot on the hill and at the white house. I said youve got a deal. This will be great. 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. At the same time, that built up my portfolio. I went to see time and a lot of places. They would either give me work or they wouldnt. I went to see time and they started giving me work. One of the assets i had in my hand was my credential to go to the white house. Time often, photographers who worked for them, might not be there when all of a sudden they relate get a call from a w
My choice was to get as close to the action in vietnam as i possibly could. I was writing features about kids from fort worth. It is the single most rewarding thing i ever did in all my years in journalism because this would brighten up their day that someone from their hometown would look them up. My best pictures were not on the periphery of the fighting but were woven through it. The kind of pictures i took showed people waiting for something to happen. I basically tried to block out the emotional side of it in the early years, because i really believe that the journalism of detachment was what war coverage was all about. I was very jingoistic when i got there in the beginning. When i got back, i was convinced the war, whatever our good intentions, simply could not be won. Part of the reason i have always done it is a sense of wanting to be where the action is. In the bigger theater, we cast a light in dark corners around the world that you would not see without photographers. So, t
My choice was to get as close to the action in vietnam as i possibly could. I was writing features about kids from fort worth. It is the single most rewarding thing i ever did in all my years in journalism because this would brighten up their day that someone from their hometown would look them up. My best pictures were not on the periphery of the fighting but were woven through it. The kind of pictures i took showed people waiting for something to happen. I basically tried to block out the emotional side of it in the early years, because i really believe that the journalism of detachment was what war coverage was all about. I was very jingoistic when i got there in the beginning. When i got back, i was convinced the war, whatever our good intentions, simply could not be won. Part of the reason i have always done it is a sense of wanting to be where the action is. In the bigger theater, we cast a light in dark corners around the world that you would not see without photographers. So, t