Susan Meiselas
[Photographer, b. 1948, Baltimore, Maryland, lives in New York.]

 The camera is an excuse to be someplace you otherwise don’t belong. It gives me both a point of connection and a point of separation. 
 Finding a photograph is often like picking up a piece from a jigsaw-puzzle box with the cover missing. There’s no sense of the whole. Each image is a mysterious part of something not yet revealed. 
 We know photographers make frames, but we deeply believe they can also create frameworks. 
 What worries me is that we want to close down our relationship to the world at large. In other words, people’s instincts are overwhelmed by the amount of images, or they can't distinguish anymore between Rwanda or Bosnia or Somalia. 
 For a long time I’ve lived with the inadequacy of that frame to tell everything I knew, and I think a lot about what is outside of the frame… 
 You look at photographs that freeze time, but then time moves. 
 I see myself in [the] tradition of encounter and witness—a “witness” that sees the photograph as evidence. 
 If Instagram had been available when I was working in Nicaragua in 1978, I’m sure I would have wanted to use it as a way of reporting directly from the streets during the insurrection. 
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