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’.
Reproduced in full here is the introduction to Ray-Jones’ first and ground-breaking book ‘A Day Off‘, the book that he did not live long enough to see published. Written by Ainslie Ellis, a contributing editor for The British Journal of Photography at the time, and used in that journal two years previously, it gives an excellent overview of Ray-Jones’ life and work.
Peter Marshall is a London-based photographer and educator whose excellent documentary 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.
As far as I can ascertain, the first time that non-assignment photographs by Tony Ray-Jones were published in the UK was in the October 1968 issue of Creative Camera magazine, then under the editorship of Bill Jay.
The magazine featured on the cover one of the photographs Ray-Jones had made during his stay in America and the article comprised a statement by him, together with a comment on the work by Frank Charlton. These are reproduced in full below.
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.
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. Continue reading “In Search Of Ray Moore”
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.