Looking for Moore - part 1 of 1 2 3

by Tony Moore Published 01/04/2018


As the magazine editor, all of the images destined for the PoY finals pass across my desk at some stage ahead of the judging. The finals are judged anonymously and to preserve the integrity as far as possible I try not to look at the names of authors. This is relatively easy because we place low-resolution proxy files, needing only the bleed marks for accurate alignment to the page. What we judges cannot avoid is noticing a particular style of imagery especially when it is very distinctive. This in many ways is the ultimate accolade, we know we have seen the work of an author before but cannot recall who it is!

And so it was for the latest 2017 judging. Tony Moore’s shot jumped out of the pack and created a distinct impression that we had ‘seen it before’. Small wonder as Tony won the competition last year with a similar style (and he has a stack of golds to boot!) – some of us remember pictures if not names quite so well!

Fast forward and Tony was seated at my table at the Convention dinner. This was a slice of luck because there had been much debate at the judging about just how the image was accomplished: was the dog real, was the dog there, did the building exist like that and why was it set out in the way it is? I was anxious to learn more (pardon the pun) about the man with the magic light!


Tony’s winning shot from last year is a stylistic twin of this year’s entry and bears the same sense of fun!

If I had to categorise Tony Moore’s architectural style for this type of image it would include a nod to Aaron Jones who invented the Hosemaster system back in the 1980s. Jones’ system used a fibre optic light wand to ‘paint’ the subject with the (film camera) shutter open and was very successful during the 1990s running into the early 2000s. To a considerable extent it has been outflanked by the arrival of digital, with all that can be done with HDR, Layer Masking, Luminance Masking and the like. Tony’s work, though, is characterised by a high level of technical expertise and a fine eye for blending to produce a slightly surreal, but believable, result which is well regarded by his clients.

We re-engineered the winning image over Skype with Tony, obtained his layered files and here is the story

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1st Published 01/04/2018
last update 21/07/2022 08:46:25

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