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.

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

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.

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.

Every period has its own optical focus.

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

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

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.

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

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

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.