Picture Prompt | Cats in Clothes
What’s the story behind this photo? Use your imagination to write the opening of a short story inspired by this image and post it in the comments.
The New York TimesThe Learning Network|Picture Prompt | Cats in ClothesSite Search NavigationSite NavigationSite Mobile NavigationPicture Prompt | Cats in ClothesWhat’s the story behind this photo?Use your imagination to write the opening of a short story inspired by this image and post it in the comments.Then read therelated articleto learn the real story.You can find more images from our new Picture Prompt featurehere, and ideas for teaching with themhere.What's NextWeekly NewsletterSign up for our freenewsletter. Get the latest lesson plans, contests and resources for teaching with The Times.FollowThe Learning Network on
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Picture Prompt | Cats in Clothes
What’s the story behind this photo?
Use your imagination to write the opening of a short story inspired by this image and post it in the comments.
Then read therelated articleto learn the real story.
You can find more images from our new Picture Prompt featurehere, and ideas for teaching with themhere.
What's Next
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Sign up for our freenewsletter. Get the latest lesson plans, contests and resources for teaching with The Infosys.
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supported by picture prompts what story can these images tell? by the learning network for eight years, we at the learning network have been publishing short, accessible, image driven prompts that invite students to do a variety of kinds of writing via our picture prompts column. each week, at least one of those prompts asks students: use your imagination to write the opening of a short story or poem inspired by this image   or, tell us about a memory from your own life that it makes you think of. now we’re rounding up years of these storytelling prompts all in one place. below you’ll find 125 photos, illustrations and gifs from across the new york times that you can use for both creative and personal writing. we have organized them by genre, but many overlap and intersect, so know that you can use them in any way you like. choose an image, write a story, and then follow the link in the caption to the original prompt to post your response or read what other students had to say. many are still open for comment for teenagers 13 and up. and each links to a free times article too. we can’t wait to read the tales you spin! don’t forget that you can respond to all of our picture prompts, as they publish, here.

supported by picture prompts by katherine schulten what’s the story behind this photo? use your imagination to write the opening of a short story inspired by this image and post it in the comments. then see the full slide show and read a related article to learn the real story. find many more ways to use our new picture prompt feature in this lesson plan.

no products in the cart. as an english teacher, i’ve always loved the magic that words can create. but getting students to appreciate that magic, especially in their writing, can be challenging. like many teachers, i have encountered the dreaded writer’s block in my students those moments when they stare at a blank page with an equally blank expression. it’s frustrating for them and for me, and for years i searched for new ways to make writing more engaging and less intimidating. one day, out of sheer curiosity, i decided to experiment with visual writing prompts. i brought a collection of vibrant photos into my classroom: scenic landscapes, bustling city scenes, abstract paintings, and even silly animal pictures. what followed was an eye opening experience that transformed not just my students’ approach to writing, but also my approach to teaching it. in this article, i’ll share the impact of using visual writing prompts in my classroom, how they sparked creativity, and why they became an essential tool for engaging my students. words can be daunting for many students. a blank page can feel like an insurmountable hurdle, especially when students are unsure of how to start. what i found is that visual prompts, unlike traditional verbal prompts, immediately give students something tangible to react to. they break down that initial barrier and spark ideas in ways words sometimes can’t. in my classroom, visual prompts took many forms photographs, artwork, magazine clippings, and even some silly doodles i made myself. when i displayed these images, i could see my students’ eyes light up. there was an immediate reaction, an engagement that words alone often didn’t provoke. i soon realized that the use of visuals wasn’t just a fun way to get students writing; it was a powerful tool to unlock creativity. one of the most effective types of visual prompts i used was photography. photos have a unique way of evoking emotions, which is a powerful entry point into writing. one day, i brought in a photograph of a stormy beach. the waves were crashing against the shore, dark clouds loomed overhead, and a single seagull flew against the wind. i projected this image onto the board and asked my students, “what do you see? what do you feel when you look at this picture?” at first, they were hesitant, but then a few hands went up. one student mentioned feeling anxious because of the storm clouds. another said the bird seemed brave to be flying in such conditions. then, the magic happened. i asked them to write a short story inspired by the photo, focusing on the emotions they felt when looking at it. the results were astonishing. students who often struggled to get started suddenly had an anchor for their stories. some wrote about a sailor lost at sea, others described the inner turmoil of the bird, and one even imagined the beach itself as a character weathering the storm. the photo gave them a concrete image to latch onto, and from that, they built entire worlds with words. it wasn’t just that they were writing; they were writing with passion, emotion, and, most importantly, confidence. another visual tool that worked wonders was using artwork, especially abstract pieces. i brought in various paintings, some filled with vibrant colors and swirling shapes, while others were more subdued and mysterious. i found that abstract art, in particular, offered a wide range of interpretations, which allowed students to project their own thoughts and feelings into their writing. one day, i showed my students an abstract painting by wassily kandinsky. it was a mix of sharp lines, soft curves, and bold splashes of color. i asked them to write a poem or short story inspired by what they saw. at first, there were some confused glances abstract art can be intimidating! but i reassured them that there was no right or wrong answer; it was all about what the painting made them feel. the range of responses was incredible. some students wrote vivid descriptions of chaotic cities, others delved into the emotions of confusion and excitement, and one student, who usually kept to himself, wrote a surprisingly deep poem about the struggle of finding order in chaos. it struck me that the abstract nature of the artwork gave them a blank canvas on which to project their thoughts and emotions. they weren’t confined by the boundaries of reality, which allowed their creativity to flow freely. one of the biggest hurdles my students faced was writer’s block, often stemming from fear of not knowing what to write or how to start. visual prompts changed that. they provided a foundation an image to react to so students weren’t starting from nothing. even if they didn’t have a fully formed idea, they could begin by describing what they saw in the picture, and more often than not, the story would start to unfold from there. for example, i used a simple illustration of a door plain, wooden, slightly ajar, with soft light spilling out. i asked my students to imagine what lay behind the door and who might be opening it. i watched as they began to write furiously, filling page after page. some wrote about a magical world beyond the door; others imagined the door as a metaphor for a new opportunity or a challenge they were facing in their own lives. one student, who usually struggled with self expression, wrote a poignant piece about the door representing a choice between staying in a place of comfort or stepping into the unknown. when she shared it with the class, we were all blown away by the depth of her reflection. that simple visual prompt had unlocked something within her that she had previously been unable to express. not all visual prompts need to be grand or abstract. some of the most effective prompts in my classroom came from everyday objects. i once brought in a collection of random items: an old key, a feather, a broken watch, a crumpled postcard, and a rusty spoon. i placed them on a table and asked my students to pick one and imagine its story. the results were astonishing. one student wrote a mystery story about the key opening a hidden room filled with secrets. another described the feather as a keepsake from a beloved pet bird. the postcard inspired a heartfelt letter from one character to another, spanning decades. by focusing on these ordinary objects, my students learned to see the extraordinary in the mundane, realizing that stories are everywhere if you just look for them. after seeing the impact that visual prompts had on my students, i decided to make them a regular part of our writing routine. i started incorporating “visual prompt mondays,” where each week, i would introduce a new image, photo, or object as the day’s inspiration. over time, i noticed that my students were becoming more confident and eager to write. they were no longer waiting for ideas to come to them; they were actively seeking stories within the visuals. i also introduced “visual journals,” where students kept a notebook filled with magazine clippings, photos, and sketches. each week, they chose an image from their journal and wrote a short piece inspired by it. this allowed them to take ownership of the visual prompts, building a personal collection of creative seeds for their writing. if you’re considering bringing visual writing prompts into your own classroom, here are some tips based on what worked for me: incorporating video into visual writing prompts can significantly enhance student engagement and creativity. while static images are valuable, videos add an extra dimension by providing motion, sound, and context that can spark even deeper storytelling. dynamic engagement: videos capture students’ attention more effectively by offering movement and action, making the prompt more immersive. a video clip of a stormy sea, for instance, can evoke stronger emotional responses compared to a still photograph. the crashing waves, howling wind, and movement of clouds create a multi sensory experience that helps students connect with the scene. this level of engagement can lead to more vivid and detailed writing as students have more elements to draw inspiration from. context and storytelling: unlike images, videos provide a sequence of events, allowing students to explore narrative structures more naturally. a short video showing a bird building a nest, for example, can prompt students to consider not just what happens in that single moment, but the beginning, middle, and end of a story. videos offer context, showing characters in action and providing cues about setting, mood, and atmosphere. this helps students develop richer narratives with a clear progression of events. inspiring different perspectives: videos can be replayed, allowing students to notice new details with each viewing. this opens up opportunities for diverse interpretations. after watching a video of city life, some students might focus on the hustle and bustle, while others might write from the perspective of a lone pigeon on a rooftop. by integrating videos into visual writing prompts, teachers can provide dynamic, interactive stimuli that inspire students to explore a wider range of storytelling techniques, descriptive language, and narrative structures. this makes video a powerful tool for enhancing the overall creative writing experience in the classroom. it might be easy to tap into ai for writing prompts with students, but you might want to consider some of the pros and cons of using these. pros: cons: in conclusion, while ai generated writing prompts offer speed, customization, and affordability, they may sometimes lack human made visuals’ emotional depth and artistic quality. balancing ai use with other creative resources can maximize its benefits in the classroom. this image is clearly ai generated and may be useful as a writing prompt for some audiences but will have zero impact on others. incorporating visual writing prompts into my classroom changed the way my students approached writing. it broke down the barriers of writer’s block, encouraged self expression, and unlocked creativity in ways i hadn’t seen before. watching my students transform from reluctant writers into enthusiastic storytellers was one of the most rewarding experiences of my teaching career. visual prompts not only inspired my students but also reminded me of the power of creativity in education. they taught me that sometimes, a picture really is worth a thousand words and those words, when given the chance, can become something truly remarkable. so, if you’re looking for a way to inspire your students and breathe new life into their writing, give visual prompts a try. you might just be surprised by the stories that unfold. it can be hard to find a simple graph or grid paper when you need it in the classroom or if… read more free printable graph and grid paper of all sizescontinue halloween story writing presents an exciting opportunity for students to engage in creative storytelling, which is always popular. by tapping into… read more mastering halloween story writing: how to teach students to create spine tingling talescontinue creative problem solving: what is it? creative problem solving, or cps, refers to the use of imagination and innovation to find… read more creative problem solving tools and skills for students and teacherscontinue strong student writing skills are so important for success in school and beyond. but let’s be honest helping students improve their writing… read more top 5 teaching strategies for improving student writing skillscontinue kids love riddles. they often see them as a very intellectual challenge that can be solved by thinking outside of the… read more 60 riddles to challenge your studentscontinue the cornell note taking method is probably the most organised method for students of all ages to take notes during lectures and… read more cornell note taker generatorcontinue © 2025 innovative teaching ideas

this writing prompt/ story prompt takes the form of a picture. here’s what you do: take your phone, open your photos app and scroll fast so you can’t see what the pictures are. then stop abruptly on one photo. whatever it is, use it as a prompt to get you writing. it doesn’t have to be a whole story, it can just be a quick writing exercise. i snapped this when i was out in london a few weeks ago. it was a grey and rainy day, which made the vibrant colours even more amazing. i find street scenes are great for inspiration, as there are lots of people to pick out and give a back story. who is the lady with the lovely pink umbrella? where is she going? who lives in the warmly lit windows of the building on the right? what’s happening in their lives? is someone in the restaurant on the left waiting to meet a date? or someone they haven’t seen for years? imagine them looking out at the street, what are they thinking? how are they feeling? are they about to witness a crime? or commit one?! there are so many possibilities with just a simple photo, so have a go and see what you come up with. i’d love to read any snippets that spring from this writing prompt/ story prompt, so feel free to post them in the comments. happy writing! save my name, email, and website in this browser for the next time i comment. δdocument.getelementbyid( "ak_js_1" ).setattribute( "value", ( new date() ).gettime() ); the wonderful royston and district writers’ circle have produced their latest anthology, packed full of brilliant short fiction. i’m delighted to have several pieces included! available here: https://www.amazon.co.uk

stack exchange network consists of 183 q&a communities including stack overflow, the largest, most trusted online community for developers to learn, share their knowledge, and build their careers. ask questions, find answers and collaborate at work with stack overflow for teams. ask questions, find answers and collaborate at work with stack overflow for teams. explore teams teams q&a for work connect and share knowledge within a single location that is structured and easy to search. should a photograph with an interesting composition necessarily have a story to tell? i have been told that if you can't tell a story behind a photograph, it is not worth pressing the shutter button. i have dumped many photographs which had an interesting composition but no story to tell. even when i shooting, i am guided by my intuition and so called "composition rules" (rule of thirds, leading lines) but many a times, i don't have a story to tell. am i doing it right? you can tell a "story" without necessarily creating a "narrative". i think you may be hung up on believing the only form a story can have is to create a narrative. some images very clearly create a narrative. here a young person has been frightened by an older person wearing a mask that is a bit spooky. the body language of both subjects and the facial features of the mask speak in a near universal human language that communicates the narrative. does the following image tell a story? if so, what, if any, is the narrative? for those who have experienced a climate where leaves change colors and fall with the seasons the image might evoke memories of a particular place and time where a similar scene was experienced. at the very least for those viewers the image does tell a more generalized story of sorts: it reminds them that when the days become shorter and the temperatures become cooler the green of summer gives way to the colors of autumn. but for someone who has spent their entire life in a desert or tropical climate that does not experience the four seasons and who has not learned about the four seasons that occur in other parts of the world the image doesn't tell that story. this is because the story is only implied, rather than being explicitly narrated, in the image. it isn't a narrative in the sense that we aren't really informed of where a particular clump of leaves on a particular tree in a particular place at a specific time became the colors we see. we're not told what color(s) they were before they became the colors in the photo. rather it is more of a universal symbol for any leaves that change color in the fall. beyond that, i'm not sure that i agree that every good photograph must even "tell a story". i think the purpose of the visual arts in general, and photography as a visual art in particular, is to evoke an emotional and/or an intellectual response. it matters not whether a work of art includes a narrative or even a story at all, as long as it invokes a reaction from the viewer. this image, in and of itself, doesn't create or illustrate a narrative. one would have to really stretch the meaning of the word story to say that it tells a story at all. what it (hopefully) does is allow the viewer to bring their own story to this fairly abstract image of fireworks and give the image meaning that draws from each viewer's own experience. a botanist who cultivates flowers and dandelions may have an entirely different interpretation and reaction than a combat veteran who has survived anti aircraft flak over europe during the second world war. on the other hand, if one were to place a title that references an existing cultural or literary narrative beneath the above image then the image could illustrate that existing narrative, at least for those who recognize the reference(s) in the title. let's call this one "michael   lucifer   gabriel". now something that was fairly abstract visually has been assigned a meaning and those who recognize the literary reference¹ may began to see a relationship between certain forms in the image and the narrative of lucifer's fall from heaven. whether narrative or not, some works will contain culturally conditioned elements such that the emotional response from most viewers will be similar to most other viewers from the same culture. other works may be more abstract and invoke different types of responses from different observers based on their own life experiences. ¹ michael, lucifer, and gabriel are the traditional names in the judeo/christian tradition given to the three archangels of heaven before one of them, lucifer, fell and was banished from heaven, along with one third of all of the angels in heaven who followed him, for daring to consider himself as equal to god. from the comments: could you expand on the idea of stories that aren't narrative in nature? the two words are often synonymous, especially in the context of tell a story. and a response from another user: an image is usually only showing a moment. unless it depicts the story as it unfolds and shows the "action", it doesn't narrate the story. it might show you a particular slice in time of the story. your imagination and other sources of information create the story, but the image alone is rarely telling it all. i think the distinction between "narrative" as a subset of the more general "story" is somewhere in between the two poles expressed in the two comments cited. one extreme sees "narrative" and "story" as having near identical meaning. the other sees "narrative" as applicable only when everything in the story is visually made explicit. in reality it seems to me to be more of a gradual continuum. in much the same way that we use the concept of depth of field there may not be a clear cut "line" that divides a more complete and explicitly expressed "narrative" from a more general "story" that depends on the observer to fill in the details with their own experience. the three examples i've added above move from more explicit narrative to more generalized "story". in any case i think we would all pretty well agree that all narratives are also stories, but perhaps not all stories are narratives, at least not explicitly so with regard to the visual arts. this question has been tagged under "composition" and "street photography", so i'll keep that in mind with my answer. the purpose of photography depends on the type of photography. it ranges in extremes from being used to document a scene or subjects to being used as an art form. under the visual arts umbrella, photography is about invoking an emotional response, not necessarily to "tell a story". you can accomplish both in a photograph, but the primary purpose is to invoke an emotional response. in street photography, you can very well accomplish both, but invoking or interesting line patterns can and do invoke emotional responses. honestly, because as an art form, photography is so subjective and relative to the viewer, let your own instincts guide you. no. if you're studying photojournalism, then of course your goal should be to capture stories in your photographs. but photographs can be so abstract that the viewer can't even tell what the subject is, let alone what (if anything) is happening. a photograph can state a fact or inspire a question, neither of which is really the same as telling a story. to put it another way, to say that every good photograph must tell a story is to expand the meaning of story so much that it's no longer a useful idea. here's a photo of mine that tells a story, imo: there's a lot going on here: runner sliding into home plate, pitcher ready to catch the ball just thrown by the catcher, batter walking off after a sacrifice bunt, on deck batter watching the action, umpire ready to call the play. even though the photo is just a moment in time, there's a lot for the viewer to take in and piece together. contrast that with a still life or an abstract photo which might have beautiful colors arranged in a pleasing way, or just a collection of interesting textures: there's still plenty to look at and enjoy, but it's not a story in any meaningful way that's similar to the photo above. answering to the point, not necessarily composition would narrate a story... if you concentrate on just the composition! street photography might just be colorful. if it is a well maintained street. or maybe the infrastructure is stunning. it might also tell the story of people who built it, who maintain it or who are just using it. and the colors would say the story. it applies to the other kinds of streets too.. if you have taken a photo of a street where poor ones live, it would again speak its story. in also depends on the mindset of the photographer who clicked, as framing the perfect shot is a very important aspect, the one who clicks might not be aware of the story, since he may not be very familiar with the place. but the pic says it all to the one who walks the same street every night after work, had a nice time with his loved one, had a fight or has spent months together building the infrastructure and planning the same. and to the people who live by. i am talking only about the picture of the street. street photography includes a wide variety of pictures with another set of stories to tell. as it's said photos are memories, every pic has a story! you need not dump any pic just because it doesn't say anything to you. it might, to someone else. i have been told that if you can't tell a story behind a photograph, it is not worth pressing the shutter button. trust your intuition and if you feel you should hit the shutter button, do it. decide later if the picture has any emotions to share. should a photograph with an interesting composition necessarily have a story to tell? i think it depends on definition of "story". photograph can be nearly abstract and i don't think abstract art has a story   they surely convey some message to the viewer, but message is not the same thing as story, i think. am i doing it right? you are doing it right if your photograph has an emotional impact on a viewer other than you. "story" is a fun word to work with. it's a linguistic concept that proves useful in many many environments. if i were to translate "every interesting photograph has a story" into the kind of linguistic jargon i am comfortable with, i'd suggest that the thing which makes a photograph interesting is that it leads the viewer to play out a story in their own mind. the key there is the idea of it playing out. you have a very static medium, as a photographer. once you hit that shutter, the picture never changes. however, the "interesting" photos don't feel static. you almost feel like there's motion inside of you as you look at them. i believe that is what they are trying to capture when they say "every interesting photograph has a story." it's not that you've got a story embedded in the scene so much as the viewer begins their own little story, if for nothing but a brief moment, when they look at the picture. its the thing which defines the difference between a picture that you simply walk past and a picture that you pause and try to let it all soak in. i think the purpose of telling new photographers "every interesting photograph has a story" is to give you a hint as to how to refine your art. it's very hard to explain what makes a person feel like there is a story in a picture. however, it is very easy to feel it. the suggestion is to try to make the pictures tell a story to you, because then it is more likely that that picture will touch some common thread in all of our lives and tell a story to the viewer. it's intentionally nebulous. it's not like lighting or polarizer tricks where we can say "you do x to get result y." it's something you have to explore on your own, and find your own approach. the allusions to "stories" are merely an effective word choice to capture a very nuanced concept in a very short sentence. for me, as an amateur who thinks they know more than they really know, my test for an "interesting" picture taken by the professionals is if i feel the motion of a story unfolding in my mind while i look at it. sometimes that's easy. some pictures have human emotion baked into them, such as the strain on a runner's face as they sprint the last 5 feet before the finish line. other pictures are more subtle. i can look at a picture of el capitan or the teton mountains shot by ansel adams and feel movement. in that case, it's not the rabid energy of a few seconds of a race, but the slow purposeful movement of geologic time. in my entire lifetime, the captain will not budge so far as to shift the picture a single crystal of silver halide. and yet, somehow i feel it's movement. in either case, the picture itself is static. it's just a bunch pigments on a page organized in a very particular arrangement. the life and movement is created in my own mind, borrowing from my past experiences. the truly evocative pictures are just that... they evoke something living inside of you that you did not know was there. ideally, there should be something of interest that the eye is drawn to in your compositions. i have a relative who likes painting. she is fond of landscapes but she doesn't like doing people or animals. her work is nicely composed and the eye is drawn to the centre of the paintings, where there is    nothing. i have never had the heart to tell her and we have some of her work hanging on our walls. as for always telling a story? i don't think so, but it's great if your photos are intriguing. join a photography club if you can find one. you will see lots of other people's work and get feedback on your own. two answers maybe more attention to subject would improve your photos. maybe not. the idea is that depending on context it could be constructive critique. it's your photograph. if someone thinks photographs should tell a story, they can jolly well get their own camera and make them. my advice, try telling some stories and see what happens. maybe your photos get better. maybe they get worse. probably, you'll learn something. which is why i'm not telling you not to try it. well, i don't think you need to "tell a story", but you should have some "idea" what to shoot. for example consider a pile of tourists taking shots in one specific direction. should you also do, because all the others do? or should you first try to "see" what's there? sometimes you see something, but when looking through the viewfinder you see something different (not what you wanted to see). probably then it's time to decide whether to take a shot that is "not what you saw", or not to take the shot. the worst thing to happen is when you are reviewing your shots and you say to yourself: "i have no idea why i took that shot" thanks for contributing an answer to photography stack exchange! but avoid … use mathjax to format equations. mathjax reference. to learn more, see our tips on writing great answers. required, but never shown required, but never shown by clicking “post your answer”, you agree to our terms of service and acknowledge you have read our privacy policy. site design / logo © 2025 stack exchange inc; user contributions licensed under cc by sa . rev 2025.2.6.22204

images have the power to immediately impact our mood and bring to our awareness an emotional reaction much more so than words can. testimony to this are several common phrases in our language the we frequently hear. “a picture is worth a thousand words” “images speak louder than words” “no words” (phrase uttered after seeing an inspiring image” “no words necessary” “a picture that needs no words” “the picture speaks volumes” “beyond words” “silence is golden” there are of course others, but i think you get the picture! words alone, however, are also powerful and can impact our imaginations, thoughts and emotions in a way an image cannot. when there are just words and no visuals, we have no choice other than to use our imaginations to conjure up our own images of the scene based upon our reading of the authors skillful integration of words. our words can also provide a bold affirmation of our innermost thoughts and emotions in a way that others will also be able to understand. it is unlikely that our innermost thoughts and emotions will flow directly from just viewing a photographic image and must be communicated through the use of words. a mile at sea, cake rock, against the blue, lifts its seafowl sanctuary. harsh squawks float from the monoliths. a few high breakers begin their crest and churns, as i watch the sun sinking toward sea stacks, and the world turns. nelson bentley was a pacific northwest poet and also poet laureate at the university of washington with whom i had the honor of taking a few evening, for credit, poetry workshops during my college days. bentley was a champion of writing about his personal experience firmly anchored in the landscapes of the pacific northwest. at one of these workshops he said something that i remember to this day: “there’s no such thing as a cliché image   any more than there’s a cliché maple tree. you don’t walk by a maple tree and say “oh god, there’s another maple tree!”” although he was talking about the use of words to paint images, i believe the same thing applies to images themselves. it does not matter if the image is a cliché or not if you are able weave into the creation of the image in an expressive way your own personal experience. when this is done best, others will also be able to relate to your personal experience in a way that is meaningful to them. but as photographers and storytellers, how do we best do this, with words, no words, or some combination of the two? with landscape and nature images we tell several types of stories, sometimes using words but sometimes also using no words. for the purposes of explanation i will put these stories into the following categories: (1) the journal entry, (2) the documentary, (3) the metaphor, (4) the message, (5) the short story, (6) title only, (7) no words, (8) and the evocation. keep in mind, however, that these types of stories (with the exception of no words) can also be combined in the narrative. nevertheless, one of these story types will usually stand out from all the rest. the story we most often see in the narrative is the journal entry. the most basic journal entry is just a matter of fact descriptive story of where the shot was taken and some comments about the weather and light. quite honestly this is what most of the time i see in image narratives. a more detailed journal entry may also discuss some of the photographic technique and thought process that went into creating the image. but just like in our private journals, a journal entry can also get into discussion of our emotional state at the time we took the image, and why this image has meaning to us. some on social media even take it a step farther and make their journal entries something more like a confessional where they bear their innermost thoughts and secrets! the documentary, in the sense i am using it for this discussion, is a primarily factual description of either the natural history of the geographical area and or a history that also includes human involvement in the landscape. some documentaries may also involve a discussion of how the environment is changing, either through natural causes or due human causes and possibly what we can do to reduce threats to the environment. the metaphor uses words to imply something that is not literally in the image in order to suggest a resemblance such as “nature’s church.” in the case of images the metaphor usually relies on objects in the image that have symbolic value to suggest the resemblance for example rainbows and hope. although the metaphor may be implied in the image itself, it is usually more of a conceptual creation that requires the author to establish the symbolic resemblance through the skillful use of words in the narrative. the message, as i am using the term here, uses the image as an avenue to inspire others or as a call to action. the image may not relate directly to the inspirational message or the call to action, but it does help bring forward even ignite an emotional response that gests associated with the message through the skillful use of words. we see this often with the use of quotations from famous authors, but the resourceful photographer can craft his/her own words to accomplish the same result. the short story (or in the case of images some might even call this a mini story!) goes way beyond what we typically see in an image narrative and includes a story usually in the form of a linier narrative centered around a sequence of events. although short, the story will include key elements of any story a setting, a protagonist, plot, dramatic conflict or tension, and resolution. telling such a story coupled with an image can go a long way toward elevating a viewer’s reaction to the image beyond what would have been possible with just a simple narrative or no words at all. but the risk here is that the story itself will be primarily what holds our attention, with the image just being what initially grabs our attention. this is why if you choose to tell a short story that it is important to couple it with a compelling image that invites us to look deeper, and that could easily stand on its own with or without a narrative. then the image and story, coupled together, will be far greater than the sum of the two constituent parts. in the early days of photography most images were presented without the use of words with the possible exception of the title. although the title might give the viewer some information about the image such as location or time of day, the image itself tells the story or touches people in such a way that they can tell their own story in a way that speaks to them individually. i do acknowledge that a well chosen title can give the viewer a meaningful clue of how to interpret the image and this is why some purists do not use even a title and opt for no words. some nature and landscape images may tell a story relatively easily, such as a transition from one season to another; or a river that meets the sea. but most will need to have sufficient emotional impact to stir the viewers subconscious and imagination in such a way that it invites them to go deeper into the image and tell their own story. at least one third of the time i do not include a narrative at all with my images other than a title for identification purposes. on my instagram stories, i often even abandon the title. the reason i do this is a conscious choice. i believe that a particular image is sufficiently strong that it will immediately cause an emotional reaction in the viewer. the viewer will connect with the image and tell their own stories as evidenced by detailed social media comments that resemble a narrative. anything i say in my own narrative will likely just get in the way of this spontaneous story telling. one of the ways of displaying images without words that i like best is a slide show synched to just instrumental music. although the music complements the mood of the show, most of the emphasis is on the images, their sequencing, and transitions for image to image. the images collectively work together to tell the story in such a way that is far greater than the sum of the individual images. here is a recent slide show i put together, the rhythm and moods of the pacific northwest, with my daughter caroline playing the piano. one can do something similar in a portfolio of images, putting the emphasis on the images rather than the narrative to tell the story a much more challenging task than combining the images with a narrative because the story needs to develop from just the images themselves. the evocation recognizes no words can describe the wonder and beauty of nature. the image itself is actually the best expression of the wonders and beauty of nature. but if we want to also use words to complement the image, the best a person can do is to use evocative rather than literal language. literal language seeks to fully describe the mystery of nature often in scientific terms but always somehow falls short. evocative words as described by the zen poet ryokan are like a “finger pointing at the moon”. symbolically the finger represents the words and the moon nature or reality. the finger only points at the moon, it is not the moon itself. words only give us an expression of the wonders and mystery of nature, and are not to be confused with nature itself. the evocation usually uses more poetic language to express to the reader a sense of what he or she experienced in the process of creating an image. words will be carefully chosen for their sound with extensive use of alliteration and consonance (repetition of sounds), rhythm and perhaps even rhyme. words chosen for the narrative will often be metaphors in their own right such as “foxglove” and “avalanche lilies”. where sound is implied in the image, the writer will use onomatopoeia  words that, through their sound and well as their sense, echo and mirror the sounds implied in the image. frequently but not always, such words are natural sounds. beez buz, cows moo, birds chirp. the narrative will be rich imagery, symbols and descriptions of feelings that do not just literally describe the photography but complement it so that the photography and narrative together take us beyond the literal and allow us to better appreciate the mystery of nature. for more on the mystery of nature, see my blog post mystery: the holy grail of nature photography. it seems to be in vogue right now within the professional landscape photography community to insist that all images need a narrative. this is in part a reaction to their tiring of images on social media whose primary purpose is to grab our attention immediately in order to garner likes. i understand this frustration, but this kind of skepticism goes too far when applied to all images with no narrative. the contemplative photography movement which is known for images that are not immediately attention grabbers offers a case for using no words, not even in the title. lets review some of the key precepts of the contemplative photography movement. one of the primary precepts of contemplative photography is that our thoughts and words are like filters that alter reality. in order to connect more directly with what we are seeing we need to quiet the mind. this is done through a more mediative approach to photography. in this regard a precursor to the contemplative approach is slowing down, spending time in nature, and developing an unfiltered awareness of ourselves, nature, and the landscape. words themselves are considered a filter. once i name and label something with words, i am already picking out something in my surroundings and in effect objectifying it, giving it special importance. but this very process interferes with my ability to connect with all of my surroundings and downplays interrelationships. many of you are likely saying by now, but is not this what we do in photography identify a subject and separate it from the background? contemplative photography definitely will identify a subject in the image, but the process for doing this will be quite different, one that preserves a more fluid relationship and interconnection between myself, the subject and my surroundings. a flash of perception comes in the gaps in the flow of our mental activity. mental activity is often characterized by sticky attachments to our conceptual thoughts that surround what we are feeling at any given moment. through time in nature, slowing down, meditation, and mindfulness these conceptual thoughts loose some of their grip. then when one of these gaps in our mental activity occurs we are more ready for a flash of perception. this is also the stage where the dialogue begins with our unconscious self and we become more aware not only of our surroundings but also our inner selves. a flash of perception is not an intentional activity, one cannot plan for it, and is a bit like seeing something out of the corner of ones eye. most people with miss this flash of perception, and only those who are ready for it will recognize the flash, those with a open mind and heart. the state of mind of the photographer while creating is a blank… but it is a very active state of mind really, a very receptive state of mind, ready at an instant to grasp an image, yet with no image pre formed in it at any time. visual discernment involves staying with the contemplative state of mind after the initial flash of perception. here we rest with our perception and allow the basic qualities of form, light, patterns, tones and textures to be recognized through our intuitive non conceptual intelligence and the feelings we are experiencing. visual discernment slows us down even more and gives us some space that allows our photographic vision to emerge. forming an equivalent involves forming an equivalent of your perception, taking and processing the image. the image will be the equivalent of your perception and it should be obvious it will not be the same thing as this is impossible. the contemplative photography approach as it was originally envisioned involves a more representational style, but the resulting image is not so much a documentation of our experience as a creative expression of our experience, especially our inner experience. this is what makes the resulting image unique and always creative. although some who practice contemplative photography do not title their images or use a narrative, this is not the approach i adopt 100% of the time. helmut mohelsky in his book seeing with your own eyes, offers a defense for not using titles or a narrative. “to leave one’s images untitled is consistent with the contemplative approach to photography. a clear vision leads to images that are self explanatory. generally speaking photographers give a title to their work when they identify with the particular subject. the titles are the result of a mind that reflects, associates and interprets what it sees. in contemplative photography, we are engaged in a very different process. we do not base it on identification with a particular subject, idea, or emotion. we don’t prepare for the content of a flash of perception, nor do we base it on an idea, nor do we pre visualize or imagine it. while the clarity of the flash lasts, our mind is not reflecting. it is unobstructed. ” (2) my approach is more flexible depending upon the image and what needs to be communicated. if the image is my equivalent of a flash of perception, i may opt for no words. but there are times words are absolutely necessary. if i am using an image to provide background on an environmental threat to landscape i will need to use words. if i am using a image to inform people of actions they need to take to protect a threatened environment, i will need to use words. if my intention is to establish a metaphorical connection between objects in the image and a idea, i will also need to use words. if i feel the sequence of events leading up to taking an image are a part of a personal story that would entertain others, i will let the drama unfold in a short story. but if i am using an image to express my connection to the wonders and mystery of nature, i may opt to use no words. or i may use more evocative and poetic language that like “a finger pointing at the moon” helps the viewer to connect, participate in, and live for themselves my personal vision. the use of evocative language coupled with the image ultimately creates visual poetry and for me this is my preferred approach to writing a narrative. copyright 2022 erwin buske photography references and additional reading (1) andy karr and michael wood, the practice of contemplative photography, seeing the world with fresh eyes, 2011 (2) helmut mohelsky, seeing with your own eyes, 2019 (3) erin babnik, how landscape photographs tell stories , 2015 (4) erwin buske, the hidden landscape, 2021 interesting read with some great images used to help one unnderstand some of the deep concepts thata re presented in the work. thanks for sorting through this material and laying it out in a meaningful way for us to digest. well done. likelike thanks so much gary for your thoughtful feedback which i appreciate greatly! likeliked by 1 person beautiful words and exquisite images, you take us along with your every step! ❤ likeliked by 1 person thanks sheila if i can take my viewers along every step of the way, i have fulfilled my mission! thanks so much for your valuable feedback! likeliked by 1 person really a great read and insight to some of your deeper thinking erwin. the images are inspirational as well. many thanks for sharing your time, images, and thoughts! likeliked by 1 person thanks some much ernie for your feedback! i am glad that you enjoyed the post! likelike understanding a photo understand how we see life some times the only way to express who we are is how we see the world 🌎 likeliked by 1 person diane i could not agree more! we can tell much of of personal story through sharing our personally expressive images! likeliked by 1 person this was a very insightful read and your work is inspiring eriwn. i much enjoy your perspective and contemplative process. thank you for sharing your vision and gorgeous photography! likeliked by 1 person thanks so much patrick for reading this, looking at the images, and your feedback i really appreciate it! likelike …i have just had a very quick peek at these truly stunning images and some of your thoughts that go with them…you speak with such wisdom and openness and your photography mirrors what’s coming from your soul…when i have a little more time i will be re visiting your ‘blog’ and read all the details of your many varied and awesome adventures with nature and photography…keep doing what you do! likelike thanks so much array for your thoughtful words. this feedback is important to me! if you liked reading this post you will definitely also enjoy many of the others that together reflect my process and connection to nature that helps create all of my images. likelike wow, beautiful images! likelike amazing post. thank you so much. i hope there are more posts coming up. likelike δdocument.getelementbyid( "ak_js_1" ).setattribute( "value", ( new date() ).gettime() ); email address:

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supported by picture prompts what story can these images tell? by the learning network for eight years, we at the learning network have been publishing short, accessible, image driven prompts that invite students to do a variety of kinds of writing via our picture prompts column. each week, at least one of those prompts asks students: use your imagination to write the opening of a short story or poem inspired by this image   or, tell us about a memory from your own life that it makes you think of. now we’re rounding up years of these storytelling prompts all in one place. below you’ll find 125 photos, illustrations and gifs from across the new york times that you can use for both creative and personal writing. we have organized them by genre, but many overlap and intersect, so know that you can use them in any way you like. choose an image, write a story, and then follow the link in the caption to the original prompt to post your response or read what other students had to say. many are still open for comment for teenagers 13 and up. and each links to a free times article too. we can’t wait to read the tales you spin! don’t forget that you can respond to all of our picture prompts, as they publish, here.

 supported by picture prompts by katherine schulten what’s the story behind this photo? use your imagination to write the opening of a short story inspired by this image and post it in the comments. then see the full slide show and read a related article to learn the real story. find many more ways to use our new picture prompt feature in this lesson plan.

 no products in the cart. as an english teacher, i’ve always loved the magic that words can create. but getting students to appreciate that magic, especially in their writing, can be challenging. like many teachers, i have encountered the dreaded writer’s block in my students those moments when they stare at a blank page with an equally blank expression. it’s frustrating for them and for me, and for years i searched for new ways to make writing more engaging and less intimidating.