During long-­‐term documentary photography projects, there are certain people or places that become special. Or somehow unique. Where your connectivity to the place/person is elevated, more acute, more resonant. Somehow deeper. For me, while I was working in Karabagh on my eight-­‐year long first book, “Father Land”, Karin Dag was one such place. I first visited in the fall of 2002. It was a place where it seemed I had been before but now, on my first visit, I was seeing it again. It held a certain surreal familiarity and a deep-­‐felt connectivity. I stayed three days instead of just the one I had planned. During my project, I returned often to Karin Dag. And it became one of the key places that told my story in Karabagh. A little over 10 years now, I present some images from my very first trip there in 2002.