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) 

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? 

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. 

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. 

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. 

Louis Aragon
[Artist, poet, and writer, b. 1897, Neuilly, France, d. 1982, Paris.]

 As [John Heartfield] was playing with the fire of appearance, reality took fire around him... The scraps of photographs that he formerly manoeuvred for the pleasure of stupification, under his fingers began to signify. 

Luigi Ghirri
[Photographer, b. 1943, Scandiano, Italy, d. 1992, Reggio Emilia, Italy.]

 Reality is being transformed into a colossal photograph, and the montage already exists: it’s called the real world. 
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