One class that has been successful revolves around the photograph by Joel Sternfeld entitled "Warren Avenue at 23rd Street, Detroit, Michigan, October 1993," which appears in the Introduction to Seeing & Writing (p. 24). Since this is the very first image that we look at together as a class, our discussion of the photograph sets the tone for our study of visual culture. Looking closely at the photograph gives us an opportunity to question some basic assumptions and to establish a common vocabulary for future discussions and writing. Before this class meeting, the students have been asked to come up with three observations about the photograph. We have discussed the differences between observation and inference in our previous class, and students have read the first part of the Introduction. I begin the class by making two columns on the blackboard, one for "Observations" and the other for "Inferences." Each student reads one "observation" and as a class we then discuss which column to place it in. Many "observations" turn out to be inferences. Much of the visual material in this photograph asks the viewers to make deductive connections, so it is an ideal site to point out some key distinctions between observing and inferring. Students see how their own cultural backgrounds influence their perceptions about the photograph. As we discuss the observations/inferences, students often talk about their own cultures and the ways in which they might react to such a scene. The picture gives us clues about class, religion, and ethnic material that the students often comment on. Since this class is taught in a large urban university, many of the students have seen similar scenes (makeshift street memorials, graffiti, deteriorating buildings) and often relate the photograph to their personal experiences. With approximately 25 students in each class, this discussion facilitates students' introductions to each other. These initial revelations take place in an atmosphere of mutual intellectual inquiry and provide a basis on which to build future relationships. This is also a good opportunity to introduce the concept of close reading, particularly as applied to visual material. The many objects, textures, words and pictures within the photograph give rise to a variety of approaches. For example, when prompted to describe the color of the exterior wall, most students simply say "green." This naturally leads to a discussion of the nature of color itself: its hue, intensity, depth, and tone. What vocabulary do we have available for colors? Are such descriptive terms as "light green" or "pale green" sufficient to convey the precise color of this wall? This is a good place to introduce the concepts of simile and metaphor: What objects/feelings could you associate with the color of the wall? This wall is as green as… (Responses are usually original and graphic.) In the final part of this discussion, we move to a consideration of the text within the picture. What does the writing on the wall tell us about the story behind the photograph? How is the painting of the bearded man on the wall related to the text? (Students usually see a religious parallel, often relating the man depicted in the portrait to Jesus.) What other sets of images do these suggest? What sorts of events might conceivably have led up to the creation of the text? Most students find some relationship between the larger printed "WHEN YOU TAKE SOMEONE'S LIFE…" in the center of the photograph and the smaller "Guilty Aug. 23, 1993…" on the right. At this point, we might discuss compositional strategies. How are we asked to "read" the photograph? How does the abandoned building reflect a larger feeling of grief and loss that the image seems to emphasize? This final part of the discussion leads to a follow-up assignment, which is to develop a narrative in which the events leading up to the photograph are described. The fact that students have had the opportunity to explore their ideas together and look at the photograph from several points of view often leads to multidimensional and nuanced writing, which reflects much of the material that they have absorbed from this class.