I say "semi-famous" rather than famous because images of those who fell or jumped from the towers before the towers themselves fell quickly became something of a taboo in public memories of that awful day. The speedy imposition of that taboo is another of Junod's subjects. In fact, the online version of Junod's essay reproduces the cover of Don DeLillo's new novel, "Falling Man," rather than the photo itself. Drew's photo is reproduced in the post at "::: wood s lot :::" that pointed me to he Esquire item: http://web.ncf.ca/ek867/2007_09_01-15_archives.html#09.11.2007 .

Richard Drew's photo, because he was where he was at the instant his shutter opened, is so perfectly composed that it has the appearance of art, even though it is actually a photograph of an actual man seconds away from his actual, horrible death. In the other shots Drew captured of the same man, he is tumbling just as Fischl's sculpted woman appears to be. Drew is at one remove from the awful reality of the moment he caught, and Fischl in his studio with a model on the floor is at one further remove from that reality, but both the photo and the sculpture ought to be seen and absorbed with eyes fully open.