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).
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,
Rainer Maria Rilke (1875-1926)
In 1940 the Focal Press published Edwin Smith’s ‘All the Photo Tricks‘; this is doubly curious. It is rather at odds with Smith’s photographic mantra of ‘cooperating with the inevitable’ and a somewhat tricky undertaking when the evidence suggests that, as a conscientious objector, he spent much of the War years playing hide and seek with the authorities. This is just one of the curiosities of Smith’s life.
I was initially prompted to add this section on Tony Ray-Jones by two almost coincident articles published about him in 2004. The first was in Source magazine, where Ian Walker conveyed a fascinating tale of detection and discovery entitled ‘Summer of Love’ based around one photograph by Ray-Jones, reproduced on the left.
The second article, by Liz Jobey in the Guardian Weekend magazine (Oct 2004) and entitled ‘The English Seen’ , featured the same photograph leading into a brief biography and synopsis of Ray-Jones’s work and influences linked to the major show of his work held in the UK in late 2004.
Since then, these pages about him have attracted thousands of visits from all over the world, testimony to the enduring legacy of the man and his work.
This article, by Robert Elwall, appeared in Matrix 27 in 2007. It discusses Edwin Smith and Olive Cook’s involvement with The Saturday Book, which he called ‘A Cabinet of Curiosities’ .
In the days when I was printing Edwin Smith’s negatives for Olive Cook, his widow, she would sometimes give me copies of his original prints as gifts. This was always a great honour, as she was extremely protective of the work he left behind, particularly any prints he had made himself.
This is one example, which I received sometime in the early 1990’s. Although given to me framed, I never hung it as the makeshift mount was one made for a landscape print and this was portrait format, so it didn’t look right at all. The frame was also old and battered, so recently I took it apart to cut a new mount and re-frame.
Christopher Howse celebrates the nostalgic photographs of Edwin Smith and the glorious, changing landscape that inspired him 50 years ago.
An article in the Daily Telegraph, 2007, by Christopher Howse
“A photographer who conveys the apparent timelessness of England’s landscape, and its vulnerability, is Edwin Smith”.
These recollections, by people who knew Edwin Smith, where published to accompany the exhibition of his work held at The Minories Gallery, Colchester, in 1974.