It is true that we don't always know what the intention was, but the presence or absence of that information is interesting. The inclusion of frame edges makes a strong affirmative statement. The exclusion of the edges may express ambivalence or a desire to erase the technical process. The use of a clearly non-standard aspect ratio says something too.
Indeed, we change and the scene changes when we rephotograph, but that's true for the painter as well. I think the idea that photography captures an instant in time is one of the great half-truths of photography. In some sense, of course, the illusion of photography is that we stop time and the thing in the picture was physically present before the lens. We all know a photograph can lie or mislead as well and is subject to manipulations of all sorts, and even if each photograph is new, it would be wrong to discount all the "drafts" and "sketches" in the form of scouting shots, and failed attempts that go into the final version.
As much as "the view from the artist's window" is an old chestnut, I'm always photographing it. Sometimes I feel that with each photograph I'm documenting a moment in time, but I also know that each photograph builds on all the previous ones, and I hope one day to produce the "ultimate" view, knowing of course that it won't stop me from shooting it again the next day.