Wolfgang Tillmans
[Photographer, b. 1968, Remscheid, Germany, lives in London.]

 I am interested not in individual readings, but in constructing networks of images and meanings capable of reflecting the complexity of the subject. 

Dziga Vertov
[Artist and filmmaker, b. 1896, Bialystok, d. 1954, Moscow.]

 I take from one person the strongest and deftest hands, from another I take the strongest and swiftest legs, from a third the most beautiful and expressive head and I create a new, perfect man in montage. 

Herbert Bayer
[Artist, graphic designer, theoretician, b. 1900, Haag, Austria, d. 1985, Montecito, California.]

 We live in a time of the greatest precision and of maximum contrasts: photomontage offers us a means to express this. It shows ideas: photography shows us objects. 

Joan Fontcuberta
[Photographer, b. 1955, Barcelona, lives in Barcelona.]

 Among photojournalists there is still a sense that doing a photomontage is far graver than adding a filter. I am against this type of hierarchy that demonizes some options over others, demonizes them in respect to, what—ideology or moral code? 

Robert Heinecken
[Photographer, b. 1931, Denver, d. 2006, Albuquerque, New Mexico.]

 I am interested in what I term gestalts; picture circumstances which bring together disparate images or ideas so as to form new meanings and new configurations. 

David Hockney
[Artist, b. 1937, Bradford, England, lives in Bridlington, Yorkshire; London; and Los Angeles.]

 The best portrait photographs are those that capture in a fraction of a second a period of time that looked as though it had been longer. Yet this also results in a certain static aspect to the face. The face must not be caught in a bearing that is too suggestive of a short period of time... for over an hour and a half, I tried to include a variety of looks, glances and expressions, all of which might synthesize into a living portrait of that person. 

Francis Galton
[Polymath, explorer, anthropologist, inventor, meteorologist, statistician, b. 1822, Birmingham, England, d. Haslemere, Surrey, England.]

 [My composite portrait process] represents no man in particular, but portrays an imaginary figure possessing the average features of any group of men. These ideal faces have a surprising air of reality. Nobody who glanced at one of them for the first time, would doubt its being the likeness of a living person, yet, as I have said, it is no such thing; it is the portrait of a type and not of an individual. (1879) 

Idris Khan
[Artist, b. 1978, Birmingham, England, lives in London.]

 I try and grasp the essence of a particular work, fuck about with it on the computer, and then display all the essence of a complete work on the wall. 
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