People are getting hung up on
meaning - thinking that a story must have coherency and describe an event from inception to finality is a mistake. All forms of human creativity have an implied narrative - synonymous with "story". Everything about a made object tells us something about how, when and why it was made, and about its maker; and some made objects carry a more coherent narrative.
Particular forms of made objects are naturally able to impart a clear, strong narrative: books and films come immediately to mind. Other constructions have a less clear story - consider paintings and photographs: in addition to the narrative contained within their construction (when, how and why they were made), they are pictures, and a picture is by definition a slice of narrative, telling us the story of a moment frozen in time, but - unlike most books or films - the past and future of the depicted event are implied.
That the past and future are unknowable in a photograph, thus posing questions, has no bearing whatsoever on whether photography can tell stories: a narrative does not have to have tense, does not have to tell us what happened or what will happen. There are plenty of films and novels that work like photographs, in which the present is described and time does not move.
This is an old argument, discussed and settled many years ago: most famously the critic Clement Greenberg - who helped promote Modernism (and incidentally coined the word "kitsch" for "low culture") - considered photography to be closely allied to literature in its ability to describe, and
commented "let photography be 'literary'" when reviewing the photographs of Edward Weston in 1946. Greenberg was far from a lone voice...
How effective or obscure the narrative is another question.
How important this "narrativity" of the photograph is to a particular photographer is also another matter - you may be utterly disinterested in story-telling through your photographs, but, nonetheless, tell stories they will...