Stairway in the Bexhill Seaside Pavillion
gelatin silver print
50.5 x 40.3 cm
1936
View from the Pont Transbordeau, Marseille – Iron Column
gelatin silver print
49.9 x 40.0 cm
1929
special effects for the H.G. Wells – A. Korda film, “Things to Come”
gelatin silver print
18.6 x 23.4 cm
1936
Light display mobile
gelatin silver print
27.3 x 20.8 cm
ca. 1925
László Moholy-Nagy
Light Space Modulator
1922-1930
Model
Light painting on hinged celluloid, (position 1)
gelatin silver print
19.1 x 24.0 cm
1936
But what of his camera photography? Even today Moholy’s published and exhibited camera photographs are invariably images he made in Europe. Photo historians appear to assume that Moholy gave up camera photography after he arrived in Chicago. Yet he did continue to photograph, primarily with a 35 mm Leica camera he had acquired in England. The main cause of this historical misconception is that Moholy no longer appeared interested in bringing his camera images before the public. Although a few black and white images intended as advertisements have survived, most are personal records of his family. Another important factor is that during the 1940s, Moholy photographed primarily in color. He continued to experiment with the new Kodachrome slide film that had come on the market in 1937. He made hundreds of 35 mm color slides, of which a remnant has survived. They depict all of the subjects of his earlier black/white photographs: travel pictures, portraits, formalist compositions, as well as documentation of the activities of the School. He made beautiful abstract images, successfully creating works of art from nothing but light and color. But the processes of color reproduction of that time were simply not up to his standards and so his latest camera photography is still virtually unknown.
[Extract : Biography The Moholy-Nagy Foundation]
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