I would argue that most photojournalists are not particularly concerned with lighting situations, but rather only to the extent as to whether there is enough light to capture the image. In the studio lighting can be controlled. In the real world perfect lighting is fleeting. A cloud covers the sun for a moment. Reflections, rain and all sorts of interruptions to a perfect lighting condition are possible. So it is that “St. Louis: Cole & 16th Streets” c.1949 is all the more remarkable for capturing the decisive moment as Henri Cartier-Bresson would say.