Laszlo Moholy-Nagy Quotes

Designing is not a profession but an attitude... Thinking in relationships.

The enemy of photography is the convention, the fixed rules of 'how to do'. The salvation of photography comes from the experiment.

The illiterate of the future will be the person ignorant of the use of the camera as well as the pen.

Designing is not a profession but an attitude. Design has many connotations. It is the organization of materials and processes in the most productive way, in a harmonious balance of all elements necessary for a certain function. It is the intergration of technological, social, and economical requirements, biological necessities, and the psychological effects of materials, shape, color, volume and space. Thinking in relationships.

Design is the organization of materials and processes in the most productive way, in a harmonious balance of all elements necessary for a certain function.

The organization of light and shadow effects produce a new enrichment of vision.

Every period has its own optical focus.

Design... is the integration of technological, social, and economical requirements, biological necessities, and the psychological effects of materials, shape, color, volume and space.

The reality of our century is technology: the invention, construction and maintenance of machines. To be a user of machines is to be of the spirit of this century. Machines have replaced the transcendental spiritualism of past eras.

The experience of space is not a privilege of the gifted few, but a biological function.

A dwelling should be not a retreat from space, but life in space.

My talent lies in the expression of my life and creative power through light, colour and form. As a painter I can convey the essence of life.

The photographer is a manipulator of light; photography is a manipulation of light.

The photogram, or camera-less record of forms produced by light, which embodies the unique nature of the photographic process, is the real key to photography.

The magic possibility of framing a certain space and time is what brought me to photography. This process of recording elements of 3 dimensions in the flow of time, and fixing them in a 2 dimensional image, creates a new context for the elements of the photograph.

In photography we possess an extraordinary instrument for reproduction. But photography is much more than that. Today it is [a method for bringing optically] some thing entirely new into the world.

Photography, when used as a representational art, is not a mere copy of nature. This is proved by the rarity of the 'good' photograph.

The invention of photography destroyed the canons of representational, imitative art.

In photography we must learn to seek, not the 'picture,' not the aesthetic of tradition, but the ideal instrument of expression, the self-sufficient vehicle for education.

Everyone will be compelled to see that which is optically true, is explicable in its own terms, is objective, before he can arrive at any possible subjective position. This will abolish that pictorial and imaginative association pattern which has remained unsuperseded for centuries and which has been stamped upon our vision by great individual painters.

We have - through a hundred years of photography and two decades of film - been enormously enriched... We may say we see the world with entirely different eyes.

The photogram, image formation outside the camera is the real key to photography,it embodies the essence... that allows us to capture light on light sensitive material without the use of any camera.

The photograph, now they are detached from their original surroundings, they are involved in a close world in which they only relate to each other: all the rest of 'reality' has vanished. This allows us to see those elements from a new point of view and perhaps to reach a better understanding.

When the true qualities of photography are recognized, the process of representation by mechanical means will be brought to a level of perfection never before reached.

It cannot be too plainly stated that it is quite unimportant whether photography produces 'art' or not. Its own basic laws, not the opinions of art critics, will provide the only valid measure of its future worth.