 I started out with a soldier work where I photographed the Fort Drum and photographed almost 90 soldiers between tours of duty in Iraq and Afghanistan. And my motivation was to see who volunteers for the Army. I had a son who would be a draft age if there were a draft. And I thought, I don't know these people who would volunteer to be in the service. And so I really, as a portraitist, just wanted to see who those people were. And then when I was accepted to come there, which really surprised me, I thought, well, I have to know exactly what I'm doing. And so I figured out what I wanted to do was make a vulnerable picture of a soldier, which is quite the opposite of what they're supposed to look like. I think that the photographs are definitely from a woman's point of view and from a mother's point of view. Well, I think that instead of heroic, they actually, they look vulnerable. I think they also look very, they seem very tender. They're so large, so they look like the head of a fallen statue. But at the same time, you sort of want to hold them. You know, I think that they're very tender. And I've always sort of avoided what I think of as sappy pictures or too overly emotional or sentimental. But I think that they are very tender. And that you're looking at them as you would look at somebody with their head on a pillow opposite you. And who do we see that with? We only see our lovers and our children that close up. So I think that they're very human. And that's kind of what I meant was to consider who these people are, whose lives are real. Avedon once talked about people confessing to the camera, which I think is true. People show something of themselves. And so if you work with a large family camera, they have time to do that. Rather than being caught, they reveal, people reveal themselves to the camera.