Street photography has always operated in a zone of contested consent. The photographer moves through public space, makes images of people who did not agree to be photographed, and either publishes them or retains them as part of a body of work. The legal framework in most jurisdictions permits this — public space is public — but the legal permission resolves none of the ethical questions, which are more complicated now than they were when Cartier-Bresson was working in Paris in the 1930s.