Reinvigorated, he continued his work with this new camera in Ukraine. In a sense, capable of drawing a Ukrainian lineage through his paternal grandfather, he was going home. He documented Holocaust survivors and the tragic history he saw intertwined everywhere, including in the landscape and home interiors. Shooting digitally, he nonetheless maintained his filmic process — always with a tripod and, since the camera brackets automatically, only ever shooting a single image of each individual composition. Making fifteen photographs a day in total, he said, was customary. "There is no editing."