When I started working in Israel and the West Bank, I had never photographed in a place that was that overtly politically charged, and knew I had to deal with it. At the same time, I saw that the vast amount of peoples' lives were not involved in the conflict.
And I thought about an experience I had had years before, when I was spending a lot of time in England in the late sixties and early seventies—at the time of a lot of political turmoil in America—and being in England at the time of the Kent State shootings, and feeling like America was falling apart, because what I was reading about was only what the Herald Tribune was telling me. It was not reporting about the minute details of daily life, which went on as usual. And so, in Israel and the West Bank, I wanted to both convey the presence of the conflict, but also convey a sense of the land and of daily life.
At the same time, I realized that a lot of the pictures are, in a way, coded, and need a little unpacking. And so this picture is of headwear that is very typical of particular orthodox sects. And that may not be readily apparent to someone who is unfamiliar with the culture there.