Nothing is over until there's something more decisive than your own thoughts.

Nothing is over until there's something more decisive than your own thoughts.

[The Middle East conflict ] just kind of ran its course for me. For a long time I could justify doing it to myself, no matter how irrational it was. It was important to me and my work. And I just don't feel it in the same way any more. When it comes up and it's important to me, I'll do it, but more out of sense of duty than desire - which used to be a big part of it.

I kept shooting but started making drafts of the work, essentially spending a few days a month sequencing and editing, hanging things up on the board, showing them to trusted confidantes from in and outside the photo world. It started to take its shape naturally over time until I kind of ran out of ideas.

I realized how little I knew about my own country. I had grown up in the suburbs and, after college, I moved out of the country, so I didn't really know the place well. When I started following soldiers and their families back home, it provoked a lot of the questions about who we are as a nation, questions I realized couldn't be explored through the more limited framework of looking at the military at war and at home.

You find [reverberations from 9/11 ] in them most unexpected places, like graffiti on a wall. Sometimes it's a faded picture; sometimes it's a newspaper tacked to a wall. Sometimes it's weird paraphernalia related to it, home constructed paraphernalia. It resonates through society and continues to resonate today.

At first Disco Night wasn't meant to be a book, although I'm always thinking about that in the back of my mind. It started off as a series of exploratory road trips that I was doing with Christian Hansen, who I dedicated the book to.