How juxtaposition turns the ordinary into the extraordinary.

The camera's frame becomes a magical window when it combines and compares subjects differing in appearance or behavior. Such juxtapositions can make what otherwise might be ordinary subjects into extraordinary relationships expressing memorable ideas.

I call this "subject incongruity." In my September-October 2004 column, I demonstrated the power of incongruity to express size and scale. In this column, I continue the lesson by examining how to tell a story by contrasting differing behaviors and appearances of your subjects.

The first example was submitted by David Cuoio, manager of print and electronic communication for the J.R. Simplot Co. in Boise, Idaho.

Cuoio made this shot for a story on a new system allowing cowboys to use a laptop to check cattle location directly from Simplot's feedlot horse barn. Cuoio didn't tell this horse, who answers to the name of Charlene, to look at the laptop with cowboy Shane McCarthy, but when she decided to sneak a peek on her own, he instinctively captured the moment.

Cuoio's image works as subject incongruity because we don't expect horses to behave like data-seeking cowboys, yet this one does. Cuoio's readers are more likely to recall this story about a new data system because of this strikingly unusual subject incongruity.

I photographed the second example while visiting a park in Beijing, China, last summer. I compare the order of the triangular flowerbeds, perfect in every respect, to the disorder of the varying arm positions of these exercisers.

These fellows were unaware that their imperfections were being compared to the perfection of their surroundings, which makes this photograph even more incongruous.

I made the third example in Dublin, Ireland, last summer. These Dubliners apparently do not read signs. Even if they did, they show little interest in complying. Three of the four are eating lunch. The other looks at his photos. These 21st-century Dubliners not only break the rules by sitting here, but they seem indifferent to the fact that they are also dining on 18th-century steps. I layer one subject incongruity upon another here to capture this slice of contemporary Dublin.

Buenos Aires, Argentina, is the setting for my fourth example. While walking around its San Telmo district, I noticed a brick wall featuring large-scale abstractions of tango dancers painted in vivid primary colors. Buenos Aires is immersed in the tango, and this artwork offered a symbol of the city's passion. I did not want to shoot the artwork itself. I wanted to bring this mural to life by creating a subject incongruity involving both dancing legs and color.

I spent 15 minutes photographing people walking past this wall, hoping that someone with strong leg movement might echo the thrust of those dancing legs. For stronger incongruity, I wanted my subject to wear monochromatic clothing contrasting the rich colors on the wall.

My wishes were granted when this fellow with a white shirt, black pants and very long legs entered my frame. I captured him just as his trailing knee bent forward to echo the thrust of the dancer's leg behind him. He merges into the dance, heel to toe, an effect created by careful timing of the shutter release.

I contrast those long human legs to the stylized legs on the wall. Meanwhile, the man's monochromatic clothing contrasts with the vivid colors behind him. I combine these subject incongruities to express the flavor of a dance that gives Buenos Aires its identity.

Philip N. Douglis, ABC, directs The Douglis Visual Workshops, entering its 34th year of training communicators in visual literacy. Douglis, an IABC Fellow, is the most widely known consultant on editorial photography for organizations. He offers his comprehensive six-person "Communicating with Pictures" workshops every May and October in Oak Creek Canyon, near Sedona, Ariz.

For registration information, call +1.602.493.6709 or send e-mail to [e-mail]. Send photos for possible use in this column to The Douglis Visual Workshops, 2505 E. Carol Ave., Phoenix, AZ USA 85028. You can view Douglis's multi-gallery cyberbook on expressive digital travel photography at www.pbase.com/pnd1.