Thanks for that Russ. The two papers are worth the read, and I had thought that I'd maybe got something of the ambiguity/containing a story thing in those photos.
The watcher at the window for instance: Are the couple with their backs to us, looking at the window, or across the street? Is there really someone at the window, or is it the light, or are those white spots the eyes of some spectral apparition (they're not, 'cos spectres don't exist, but ...). I thought that was ambiguity.
The sleeping dog: Whose dog is it? Should it be there? Did it just find a nice, cosy spot? Is the young man looking at it, thinking 'Aw, cute', or is he about to tell it to get out? Yeah, a bit weak I suppose. It was really just about the man looking at the dog - that interaction.
The shop window: Well, no people, but amid the symmetry of the mainly faceless/headless, partially dismembered mannequins, there's the little girl. She's also a mannequin, but looks more alive, because she's got eyes, and because of her juxtapositioning amongst the clearly not-alive figures. There's a slightly nightmarishness about it, hence the title. I'm sure there's a story there somewhere, but maybe it needs Stephen King to tell it.
