The extensive book and ephemera collection built up over the years by the Australian art researcher , the late Margaret Vine , included the first volume in a series on contemporary photographers, covering the work of David Moore, seen here at Ernabella , South Australia, in l977. Published by Richmond Hill Press, Melbourne , Victoria , 1980, the series general editor , Ian McKenzie , said it was planned to document those photographers, often unrecognised, who had contributed to Australian photography from the l930s to the l980s.
Moore , born Sydney , l927 , his father an architect and painter , joined the Russell Roberts Studio in l947 and linked up with Max Dupain who pioneered modernism in photography . Working his way by ship to London , he based himself there as a freelance photo-journalist , doing shoots for The Observer, Time, Life , Fortune , Look . His assignments took him to Europe, Africa and the United States.
Returning to Sydney in l958, he did specialist work for American magazines and industrial clients . There was extensive travel to the USA, Canada , Europe, Asia , Antarctica and the Pacific . For Sports Illustrated , he captured the thirsty outback bar at the Beetoota Races , Queensland , in l961 .
Involved with Wesley Stacey in developing the Australian Centre for Photography , over the years he held exhibitions , his work in collections in New York, Paris, Washington , Melbourne and Canberra. The book includes contributions by Max Dupain , art critic Daniel Thomas and a thoughtful piece by Moore himself about the changes he witnessed in the field of photography and its future .
A Moore photograph entitled Landscape nude 1, l973 brings to mind the famous Dupain 1937 beach Sunbaker study which came to symbolise the relaxed Australian way of life .
