Raymond Moore (1920-1987) has been gone a long time.
Yet this important and influential British photographer, considered a key player in the development of photographic practice in the UK, is not just gone but also almost forgotten. Photo-historians and academics do their best to bring his work to the attention of students; curators and gallery owners would love to be able to get their hands on his prints to exhibit or sell; publishers often wish to include his work in books on the history of photography. But, due to a still unresolved legal issue following his death, his archive of images languishes in some vault, hopefully well-protected, while his achievements and the importance of his contribution fade from memory.
This is an attempt to give a tentative time-line of Raymond Moore’s life. It undoubtedly contains some errors as information about him is relatively hard to track down. If you can add to or correct it in any way, please contact me.
Everything beckons us to perceive it, murmurs at every turn, “Remember me” Rainer Maria Rilke (1875-1926)
This article is reproduced from Creative Camera Magazine, November 1968. In it, Raymond Moore explains something of his approach to and feelings about photography at the time. It was published at the time that Moore had the first exhibition by a living photographer to be organised and sponsored by the Arts Council (Wales).
The work of Raymond Moore – an appraisal by the late Bob McClelland, published in The British Journal of Photography in 1969. This was only the second review of Moore’s work ever to be published in a mainstream journal (the first was in Camera Owner in 1967), bringing him to the attention of a wide sector of the British photographic community.
This article was first published in the March/April 1981 edition of Creative Camera magazine, a special double issue entitled ‘British Photography Now’. Moore was talking to art historian Ian Jeffrey, and the interview took place just prior to the opening of Moore’s major retrospective, held at London’s Hayward Gallery. This show was only the second exhibition by a living British photographer to be held there. The first had been Bill Brandt in 1970.
Back in 1983, the BBC made a short film about the photographer Raymond Moore as part of a series called ‘Coast to Coast’.
Called ‘Every So Often’, it was unusual firstly for being a film about a photographer, still a rarity at that time, and secondly because Moore was not then considered to be a ‘famous’ figure in the medium, although he certainly had an ardent following amongst the up-coming generation of ‘art’ photographers in Britain.
I made a copy of the programme on VHS tape at the time of broadcast, unfortunately with the first minute or two missing. I never got around to adding it to YouTube, but now Raymond Moore’s son, David, has uploaded it in its entirety.
It is provided in three parts and the quality is not great, but it’s still perfectly watchable and is a valuable record of this unique photographer and his work.
In 1984, in the September 15 edition of Amateur Photographer, David Brittain (later to become editor of Creative Camera) wrote an article entitled ‘Moore Land’.
Whilst inevitably geared in part to the kind of readership that Amateur Photographer attracts, the article was a thorough and enlightening look into Moore’s approach to making what he himself called ‘shots’.
When I visited the Solway Coast region in 2011 it was really to explore the area that the late Raymond Moore made his own through a remarkable series of photographs made in the 1970s and 1980s.
An iconic image from this series, about which much has been written, is shown on the left. The photograph was included in one of the only two books of Moore’s work published, entitled ‘Every So Often’. The complete set from this book may be found elsewhere on this site, together with images from his few other published sources.
Peter Marshall is a London-based photographer and educator whose work may be seen here and here. He also runs the extremely informative My London Diary site. This essay is taken from a presentation given by him in Poland in 2005.