A lot of times while on assignment, a photographer will have a great idea well ahead of time about what the strong photographs from their shoot will be. And more often than not, that great idea isn't so great in reality: the images can be stagnant, stereotypical, or static, or they happen organically but it's the worst time of day for shooting—high noon, for example. So I always try to fit in flexibility on my shoots, to allow for times when I don't have any preconceived ideas of what I'll be photographing at all. I'm just with my subjects as they live their life, two steps in front of them or beside them, watching, listening, pulling details. If Elizabeth's husband said in passing, "I've got to get up at 5 a.m. tomorrow to brand some cows," I'd latch onto that and make sure I was there with him. I try to let people live their lives, and I make sure I'm there to capture it. That's the way I work.