‘The strange, suggestive forms of rock and sand, the brooding presence of the landscape and the almost surrealist interiors of old buildings are what provide me with visual equivalents to feeling, which I must have to justify a photograph. I am quite unable to explain why I choose particular objects in preference to others, it’s like asking a musician to explain or justify a series of notes. My concern anyway is often more with the shapes, tones and textures objects possess, rather than with any literary overtones they may contain. The message is a visual one.’
— Raymond Moore
In my experience anyway, the discussion of photographs these days is often, perhaps too often, framed in terms of concepts pertaining to written or spoken language. Narrative, referent/index, metaphor. As a counter to this kind of approach, it has been refreshing to observe that the previous generation of British landscape photographers pushed back on such literary frames.
