The word “narrative” means a spoken or written account of connected events with a beginning, middle, and end that communicates an idea. In photography, narrative techniques can be used to build and develop a story, attract the audience's attention and allow them to relate to the narrative, similar to that of a painting. A story told through photographs can exist as a single or a series of images and can be described as a 'fragment(s)' of time. Types of photographic narrative come in many forms, such as snapshots, mise-en-scene, tableau, and temporal exposures. Focusing specifically on individual photographs, this discussion will discuss how photographers such as Gregory Crewdson and Cindy Sherman construct and enact narratives in their images in the cinematic theme, and how they originated. Photographic storytelling does not necessarily follow the traditions of beginning, middle, and end, but can simply imply what has happened, what is happening, and what might happen next. They give the audience a thread to follow; giving them an imaginary interpretation of a person, event, place, or moment in time. Telling a story through a photograph can take on many forms of presentation, commonly being singular series of images, which inform how the image is read. They give the audience a thread to follow or a concept to understand. However these types of photographs do not necessarily follow the starting, middle and ending structure, they may simply imply what is happening, what has happened or suggest what might happen. Photography is commonly associated with fact, but it has been a medium for fiction since its invention. Henry Peach Robinson was a pictorialist photographer of the 1800s known for his combination prints in which h...... in the center of the paper...... what happened. Still photos are not isolated stills from a film, but rather re-enactments that advertise the film, which must stimulate sufficient interest to be sold to the public; it must 'tease' the viewer. The voyeuristic ideas represented here may suggest the work of director Alfred Hitchcock, widely known for his thrillers from the 1920s to the early 1970s, with the recurring subject of "the girl". Densely suspenseful, “the girl” is always alone, with her facial expression and body posture implying “the other,” be it a stalker or a savior fighting for her possession; a common plot in Hitchcock films. These ideas appear often in Sherman's photographs, and performance is the focus of his photographs. Continuing from black and white photos, Sherman began working more in color, becoming more contemporary in his approach..