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falling man, 2001:

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  The Falling Man is a photograph taken by Associated Press photographer Richard Drew of a man falling from the World Trade Center during the September 11 attacks in New York City. The unidentified man in the image was trapped on the upper floors of the North Tower, and it is unclear whether he fell while searching for safety or he jumped to escape the fire and smoke. The photograph was taken at 9:41:15 A.M. The photograph was widely criticized after publication in international media on September 12, 2001, with readers labeling the image as disturbing, cold-blooded, ghoulish, and sadistic. However, in the years following, the photo has gained acclamation. A Time magazine retrospective published in 2016 stated "Falling Man's identity is still unknown, but he is believed to have been an employee at the Windows on the World restaurant, which sat atop the North Tower. The true power of Falling Man, however, is less about who its subject was and more about what he became: a makesh...

Falling Man, 2001: The most widely seen images from 9/11 are of planes and towers, not people. Falling Man is different

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 Falling Man, 2001: The most widely seen images from 9/11 are of planes and towers, not people.  Falling Man is different. The photo, taken by Richard Drew in the moments after the September 11, 2001, attacks, is one man’s distinct escape from the collapsing buildings, a symbol of individuality against the backdrop of faceless skyscrapers.  On a day of mass tragedy, Falling Man is one of the only widely seen pictures that shows someone dying. The photo was published in newspapers around the U.S. in the days after the attacks, but backlash from readers forced it into temporary obscurity. It can be a difficult image to process, the man perfectly bisecting the iconic towers as he darts toward the earth like an arrow. Falling Man’s identity is still unknown, but he is believed to have been an employee at the Windows on the World restaurant, which sat atop the north tower. The true power of Falling Man, however, is less about who its subject was and more about what he became: ...

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