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Jauna fotogrāfu paaudze, kuras ambīcijas sniedzās mākslas jomā, izauga patstāvīgi un lēnām, mazāk meklējot pārmantojamības saiti, vairāk orientējoties uz pieejamo poļu un čehu fotožurnālu ierosmēm. 1962. gadā dibinātais Rīgas Fotoklubs kļuva par pirmo šīs paaudzes apvienotāju un estētiskās platformas izteicēju. Ar to sākotnēji saistīts arī Egona Spura vārds, taču jau 1975.
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Photography had great difficulty in insinuating itself into the art scene of that period. Paradoxically, even the old master Vilis Rīdzenieks, a tireless recorder of the historical and cultural events of the first half of the century and a sophisticated portraitist, was not accorded the status of a professional artist in the environment of new political doctrines. A new generation of photographers with artistic ambitions matured independently and slowly, availing themselves mostly of ideas found in the Polish and Czech photography magazines. The Riga Photography Club (Rīgas Fotoklubs), established in 1962, served as a social and aesthetic platform for this generation. Spuris also joined initially, but in 1975 he established his own aesthetic platform, becoming the artistic director of the Ogre Photography club (Ogres Fotoklubs) where such internationally renowned artists as Andrejs Grants and Inta Ruka developed their photographic thinking. Among the photographers of his generation, Spuris stands out also with a university degree: he graduated from the Riga Polytechnical Institute and worked also as a technical designer.
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