The full text from the issue of Creative Camera January 1988 published just after Ray Moore’s death in 1987.
The only major London exhibition of Raymond Moore’s photographs was held at the Hayward Gallery, London, from 24th April – 14th June, 1981. It was only the second one-person exhibition by a living photographer to be held there. The first was Bill Brandt in 1970.
The exhibition was reviewed by Roger Mayne in the July 1981 edition of Creative Camera magazine, from which this article is reproduced.
Moore was interviewed just prior to the opening of this show and a transcript may be viewed here: Ray Moore Talking.
I’m finding the task of migrating the website across to here quite taxing in many ways, as every external link has to be checked and, more often than not, amended in some way.
This task also brings some sadness, as whilst doing the link check today I discovered that Bob McClelland had passed away in 2014.
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.
With such a large part of this site devoted to Raymond Moore, I like to include as much information as I can gather on the man to help ‘put the record straight’ on his key role in British photography.
I have nearly all of his published works (not that many were ever published) but one came up on eBay a while ago that I’ve never managed to get hold of before. I bought it, but then promptly mislaid it, only to discover it again during a recent reorganisation.
The 1969 Winter edition of The Anglo-Welsh Review has a cover photograph by Moore and a quite lengthy article within illustrated with eight of his photographs. The cover price of six shillings in 1969 is about £4 today, but in direct translation to modern coinage is only 30p. I got it for 99p, which I guess reflects the lack of awareness of Moore’s legacy and the lack of interest in anything published about him.
It is quite an interesting read – much is reproduced from other sources, but there is some original material written by Moore specifically for inclusion. I have reproduced it in full in this article.
This is a reproduction of the text and images contained in an article that appeared in The Anglo-Welsh Review, Volume 17, No. 40 Winter 1969. It contains a reproduction of part of an article that Moore wrote for Creative Camera magazine that appeared in the November 1968 edition, together with material from him written specifically for this article.
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.
This article was the first time Raymond Moore had work published in a photographic magazine. It is from Issue 36 of Camera Owner in June 1967, the precursor of Creative Camera, and was written by J S Lewinski.
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’.