I don’t know. I know the ones that are the greatest triumphs, like the Dumbarton Oaks Museum in Washington D.C. that I worked on with the owners. It was a real collaboration and there was no budget, no money involved. It was just, “If we like that better, we’ll do it that way.” So I had total freedom and it was a simple project to build a little museum, and the owner and I worked together and it was pure delight from beginning to end and it came out very well.

I take great pride in the fact that we have a whole movement of people that are working on these cases, obviously, to get innocent people out of prison, and identify those who really committed the crime. But most importantly, it is a movement of criminal justice reform. And that we have made a big difference, I hope, in the system. We have prosecutors forming what we call “conviction integrity” units to try to look at miscarriages of justice and work cooperatively with defense lawyers to change the results. We are really trying to make some fundamental changes in the way the criminal justice system operates.

Well, I’m proud of all of them. I think the one that’s most personal to me is the lil’ Coat of Many Colors, because it talks about my mom, my parents, and kind of gives you an insight. It also covers bullying, acceptance and all that.

One does have to point to the fact that we did achieve an agreement, that we had that agreement endorsed by a majority of the people of Northern Ireland; that despite very considerable political difficulties since then, we have actually managed to implement the greater part of the political agenda of that agreement, and we have restored local parliamentary institutions in Northern Ireland, that we have a local administration in place which is working, maybe not working ideally, but is still actually there. Those are the significant political developments that one’s had a hand in and obviously, one would point to that as being the things that one looks back at with most satisfaction, but I realize that it’s still work in progress.

I think I naturally felt like I needed to pull back, and maybe that’s one of the reasons why I decided to get pregnant then because I was 37, and I had Lukas at 38. So I have not been covering combat recently. I haven’t covered combat in a few years. I’ve been in South Sudan. I’ve been under fire. But I’m not like — it’s a very different time, also, in history. … Now I feel like I was very torn about not being in Mosul, but I didn’t go because I felt like it was extremely dangerous, and I just couldn’t do that to my family.

For a photographer — it’s like actually taking a picture is like five percent of what I do. And the rest is research, reading, contact, setting things up, making contact, getting access, making people feel comfortable, doing the reporting, doing the interviews, getting the captions. It’s not getting there physically, the logistics on the ground. I mean, literally, taking a picture is the easiest part of my job.

My parents also said, “Don’t follow money. Follow your heart and you’ll be successful.” That’s all they told me and my sisters.

So it affects my work in the sense that now I’ve been kidnapped twice. So now when I’m working in a place like Iraq — even if it’s northern Iraq and someone who hasn’t survived those two things would just drive on these roads and say, like, “Oh, this is great” — but of course, for me, all I see is ISIS around every corner. Or I envision the road filling up with insurgents because I’ve seen that, and I’ve been in that situation. So it affects my work in that sense, that I’m more paranoid than I ever was, certainly than I was in my 20s.