For the first year that I lived on Lanier Place in Washington, DC, I passed the big brick house on the next block twice a day on my way to and from work. I wondered who the men were who always sat chain smoking and gossiping on the front. I remained curious for a year. It was in September 2000 when I finally walked up the steps, knocked on the door and was introduced to Joseph's House—a supportive and nurturing home for formerly homeless men living with HIV/AIDS.

I became particularly close with Anthony Reynolds, a 31-year-old member of the house. Together we shared meals, advice, secrets, and hours of conversation. It was Anthony that kept me coming back to Joseph's House. Five months passed with no camera. Then the director of Joseph's House approached me with the idea of a book project that would feature a series of her essays illustrated with photographs of the Joseph's House community and its environment. She was looking for a photographer. Knowing that I had already gained the respect and trust of many of the men at Joseph's House, it was a perfect match.

"Coming Home" explores the theme of being at home at Joseph's House and within oneself. It examines those basic elements that together make a house a home—the décor, the breakfast table, pillows, the staircase, and the grounds. The images attempt to present the individuals that form the Joseph's House family in the most honest way possible. As a community, Joseph's House is an unusual blend of dramatically different cultures that suddenly find themselves together under one roof-from the cultures of the streets, prisons and homeless shelters to those of the gay, straight, working poor, middle class, African American, Caucasian and Hispanic communities. Through tremendous courage, patience and love, each resident, staff member and volunteer finds his or her way to belong here.

At Joseph's House my camera met an unquestionable flourishing of spirit. You will not find the sterile, symmetrical, antiseptic atmosphere of some nursing homes that seem to meld residents' personalities into one collective identity. The freedom of Joseph's House and the honesty with which care is administered by its staff creates an environment in which each resident's personality thrives. Heated arguments and hugs share the same space in the Joseph's House common rooms. Despite the fact that many of the men will face death in the coming months, I can only describe the atmosphere of Joseph's House as ALIVE.

"Coming Home" has been a wholly collaborative project. The men dictate when I can photograph them. I've had one resident, Ted, scream at me to put my camera down. He'd had enough. And so I put the camera down. An hour later he approached me as if I had forgotten him. "Come on now, take my picture." Being completely respectful of their wishes, their moods, their state of health and allowing them to set parameters has given them an active role in the project. They are in control despite the fact that I hold the camera. Only they can decide to unleash themselves fully and stand undefended before my camera and me. It is this loosening of defenses that is necessary to truly display the subject's spirit in a photograph.

While they control what is shown to the camera I have the responsibility of shooting with as objective a view as possible. I must lack judgment when I shoot. I have to forget about labels such as homeless, junky, poor, sick. I can't work thinking to myself, "Here I am in front of someone dying of AIDS." I think, "Here I am in front of Ted." I've spent days at Joseph's house and only on my walk home been hit with the reality of the men's mortality.

The goal of Coming Home is to raise both funds for Joseph's House and awareness of the importance and success of such communities. But I asked myself why the residents should take pride in being part of this project. It has been through the sharing of the photos with the residents that I found my answer. The photos were tacked on walls, sent to family members, and given to their favorite personal care attendants. They were proud of themselves; of the courage it took to transition from life on the streets to the communal dynamic of Joseph's house; of accepting help; of being in a position to offer support to fellow residents; of surviving for the time being; of finding themselves. They are proud because I think they recognize themselves in these images.