Kirsten Johnson didn’t set out to make Cameraperson, her powerful visual memoir that premiered to much acclaim at Sundance this year. Her original intent was a film exclusively shot in Afghanistan called A Blind Eye. But after safety concerns for her subject halted her work on the film, the project morphed over time into something very different: a collage-like meditation on the nature of camerawork and its personal effects on Johnson, pulling from footage she shot over the last 25 years. In this conversation, Johnson reflects on her career and how A Blind Eye evolved into the films Cameraperson and The Above, a short Johnson produced for The Intercept’s Field of Vision series. She’ll share clips from various iterations of these three works and discuss the ethics and realities of shooting documentary footage, a process that involves seeing, being seen, and ultimately letting go.  EM