In the world of art, the photograph has conventionally been used to establish original subjects that document and reflect cultures as accurately as possible. However, in Philip Gefter’s essay, “Photographic Icons: Fact, Fiction, or Metaphor”, Gefter points out that, “just because a photograph reflects the world with perceptual accuracy doesn’t mean it is proof of what actually transpired. (208)” What Gefter is telling us is that it is that the ordinary reality of the image is not what is important; the metaphoric truth is the significant factor. What makes photojournalism essential is that it helps show us how to view the world in an individualized way. It is, essentially, a public art, and its power and importance is a function of that artistry. From the war photography of Mathew Brady (who was known for moving dead bodies to create a scene) to Ruth Orkin (who directed a second shot to capture “American Girl in Italy”, when the first “real” shot was not to her liking), Gefter underscores that, although these shots are not the unedited version of life,…