The paper scrutinizes documentary immersive images, portraying environments depicting historical events and presented as authentic representations. It explores the discursive placement of trust in such images, specifically examining whether a 360–degree view in videos or images contributes to perceived content trustworthiness. Environmental images, while promising medial transparency by minimizing framing impact, present a “substantial inconsistency” as their mechanical objectivity tends to prioritize technical device neutrality over human subjectivity. The study focuses on visual traces from the trial of the November 13, 2015 attacks (also known with the acronym V13), housed in the French Archives nationales. The panoramic dimension of these images, meant as an investigative tool, facilitates spatial exploration of the crime scenes, whilst offering critical insights on the role of immersive imagery as evidentiary technologies. Analysis of intentional and unintentional semiotic processes, like ‘censoring’ bodies and corps, allows an understanding of the immersive dimension’s role within a legal and ‘monumental’ framework. The paper advocates for integrating the study of immersive images into a historically and socially situated framework in the context of the naturalization of immersive devices in contemporary society.