THE release of Kate Middleton, the Princess of Wales’ photo with her children, and the subsequent revelation that it was altered, make for an intriguing case study of how photography is perceived, practiced, processed, and performed during our time.

Supposedly taken by Prince William, the photo of the princess with their three children must have been intended to be, in the words of a Times of London report, “a heartwarming posting to the public on Mother’s Day, providing an ideal opportunity for the princess to thank the public for their support and good wishes and provide some public reassurance about her health as she continued her recovery from abdominal surgery.”

The photo release – which coincided with Mother’s Day in the United Kingdom on March 10, came on the heels of a paparazzi picture of the princess in a car alongside her mother – and amid growing speculation about her condition and whereabouts, having been last seen in public on Christmas Day.

Within minutes of the photo’s release, however, social media was already abuzz with signs of alteration, further fuelling conspiracy theories and raising further questions about the princess. Hours later, as if to confirm and dramatise such suspicions, news agencies issued “kill notices” to retract the photo, noting – as the Associated Press did – that “at closer inspection, it appears that the source has manipulated the image.”