When a photograph becomes acclaimed, whether as journalism or art, questions can swirl around it. What’s the story—did the photographer capture the image in a moment of serendipity or as the result of patient labor? Were elements arranged to create more visual drama? If it features human subjects, were they willing participants or unwitting victims?
These kinds of questions have caused controversies to rage over all kinds of photographs. While perhaps the image to come in for the most sustained interrogation is Robert Capa’s The Falling Soldier(originally titled Loyalist Militiaman at the Moment of Death), which has been debated endlessly, heavy scrutiny has also been directed at some famous Depression-era images, at almost every image by Diane Arbus, at Thomas Hoepker’s notorious image shot on 9/11, and, most recently, at images shot through neighbors’ windows and presented as art.
So it’s interesting to see photographers’…