It’s February 2020 and I’m looking at two prints laid side-by-side on a work table in the Museum of Modern Art’s Department of Photography. Each shows a wooded pond in Westchester County in the dark of night, the moon rising, shining dimly between the trees that line the far edge of the water. In each case it is the same scene—the same brute visual information—and both images are rendered in soft focus, with a similarly Romantic atmosphere. But they are different.