Chronologically they fall into three groups: Moholy-Nagy considered the "mysteries" of the light effects and the analysis of space as experienced through the photogram to be important principles that he experimentally explored and advanced in his teaching throughout his life.
[citation needed] Moholy-Nagy approached the light-sensitive photographic paper as a blank canvas and used light to paint on the surface with and without the interference of an intervening object.
[11] Associated with them was Heinrich Heidersberger who made 'rhythmogrammes' with a machine devised to control the motion of a light globe swinging repeatedly across the surface of photographic paper to create looping and arrayed patterns.
Their series entitled Luminograms from around 2007 to 2011, are harmonograms of colours arranged in a concentric 'target' pattern and others made by illuminating direct-positive photographic paper to produce an edge-to-edge gradated tone.
[15] Oliver Chanarin and Adam Broomberg used the luminogram in their approach to imaging war, in a project The Day that Nobody Died (2008)[16] in which they adopted the conceptual, pragmatic strategy of exposing a roll of photographic paper directly to ‘front line’ Afghan light and filming British troops, with whom they were embedded, carrying the heavy cardboard box containing it.
[17] The wittingly ludicrous video documentation of the journey of the box and the content-free, but suggestive, luminogram brings to the fore the legitimacy of art as a representation of the theatre of war.