'The idea for shooting Portraitscapes was something that evolved over a few weeks in Lebanon during the war and then really came together after the ceasefire. The destruction was so widespread that I think there was a risk of it becoming mundane to photographers. But it wasn’t mundane at all – it was shocking. I photographed landscapes of destruction and…also portraits of people after the fact – formal, straight portraits, which I lit almost as if the landscape were a studio. When subjects have had time to compose themselves and are active participants in the photograph (by facing the camera) your ability to identify with them…is greatly, incredibly increased.'