The point is that good photographs frequently respect the world-as-landscape. And this is no small matter, particularly in the so-called postmodernist period where urban consciousness generally rules against landscape as a foreign territory and against respect as a mode of perception too short on irony. The loss is, regrettably, large, as it always is whenever the concrete loses ground to the abstract. The subject of a photograph shifts from the bright landscape of the real world to a murky "inner" landscape, and what once determined the worth of an image - the elusive and compelling and almost measurable tension between the thing itself and its shape as metaphor - gives way to the indefinite process of a psychology claiming whatever it wants.