«Most people consume a large amount of ‘ephemeral’ (here today, gone tomorrow) images each day. The person who creates an image and expects the viewer to study the image for longer than three seconds must often provide a cue or context so that the viewer understands the purpose
or intention behind the image’s creation. Photographs are often passed around straight from a packet of 36 (traditional number) as part of a cultural communication pattern. Because we are used to having to view 36 we glance at them briefly because we know there are another 35 on the way. If you double the size of the image and present it either in a frame or in a folio you are telling people that the image has value – maybe only to you – but the image demands closer attention, comment and appreciation. When a single image cannot hope to communicate what it is you want to say a portfolio of images usually establishes connections and a dialog that is very difficult in a single image.»

Photography foundations for art and design. Mark Galer. P. 21

«The image can act as more than a simple record of a particular landscape at a particular moment in time. The landscape can be used as a vehicle or as a metaphor for something personal the photographer wishes to communicate. The American photographer Alfred Stieglitz called a series of photographs he produced of cloud formations ‘equivalents’, each image representing an equivalent emotion, idea or concept. The British landscape photographer John Blakemore is quoted as saying:

‘The camera produces an intense delineation of an external reality, but the camera also transforms what it “sees”. I seek to make images which function both as fact and as metaphor, reflecting both the external world and my inner response to and connection with it.’
‘Since 1974, with the stream and seascapes, I had been seeking ways of extending the photographic moment. Through multiple exposures the making of a photograph becomes itself a process, a mapping of time produced by the energy of light, an equivalent to the process of the landscape itself.’

John Blakemore 1991»

Ibid. P. 105