But after seeing and composing enough single-subject photos, some people become interested in the contrasts, juxtaposition, or interplay of surrounding ideas, symbols, or other subjects nearby or ones suggested by their absence. These photos are analogous to paragraphs or even short stories, compared to the single declarative sentence or question that is expressed by a snapshot that attracts the viewer’s eye only momentarily. Instead, these wider or more complicated scenes invite lingering looks all around the frame, traveling from background to middle and foreground and then in return. Perhaps the eye follows the lines of composition, figures placed in each field of the frame, or the play of texture and light/shadow. Whatever it may be, these photographic tableaux seem to be full of meanings, interpretations, or settings for what is about to take place (or the scene of something that is now underway; or what has happened at the scene).
Once one’s taste for photographic scenes goes beyond a single statement, exclamation point, or question mark, then it becomes easier to spot compositions of this kind. Likewise, it becomes easier to notice, compose, capture, and convey scenes like this to others. But how far along this path could a photo go: beyond the single phrase and then an extended paragraph, could a photo all by itself, without the support of caption or indeed with no accompanying written context, be able to convey several paragraphs of meaning, or even present an entire (dramatic) story from the setting and cast of characters, to the complicating factors or antagonists in view (or suggested), to the resolution? That is an open question; one worth consideration and worth trying to photograph, too. Norman Rockwell‘s visual representations succeeded this way, again and again.