This philosophy also extended to Moholy-Nagy's alternative processes of
photography: photograms, film, and photomontages. He began collaborating with
his wife, Lucia, on photograms in 1922. These abstract images of objects exposed onto
light-sensitive paper were, in his eyes, a new creative means, and linked to the extension
of vision into the areas of x-rays and spectography. His interest in kinetic light effects
found the ultimate expression in his Light-Space Modulator,
a sculpture he developed from 1922-1930, and the subject of the Lichtspiel film.