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

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.

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

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

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

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

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 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 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.

Every period has its own optical focus.

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.