I'm not a wildlife photographer, I think that's clear. But for most wildlife photographers, with one or two exceptions—Peter Beard is a prime example of that exception—their work is slightly clinical and slightly obvious, though unquestionably beautiful. I didn't feel that I was ever seeing the way that we conflict with the wildlife as the environment changes, and that's what I wanted to look at. I fight to get across to people that the work is human-wildlife conflict, it's not about trophy hunting. Trophy hunting is an example of human-wildlife conflict. Because hunting was obvious, it was a good starting point, it makes you pay attention, and it makes you question what's going on—"I don't like hunting, but I'm engaged with this image, and I want to know more about it." When I started this project I thought I knew what to expect, and I thought it would be a very clean, concise body of work, and it would confirm my feelings about hunting, and the people who hunted. The more time you spend within the game industry—and you actually do call it "the game industry"—the more you realize that we have to treat each situation in its own context. You can't just say "this is what happens," over the whole continent. You've got to use the tools available to you within each situation to avoid the conflict with the wildlife.