Sergei Tretyakov
[Writer, critic, and artist, b. 1892, Guldiga, Russia (now Kuldigas, Latvia), d. 1939, Moscow.]

 If a more or less random snapshot is like an infinitely fine scale that has been scratched from the surface of reality with the tip of a finger, then in comparison the photoseries or photomontage lets us experience the extended massiveness of reality, its authentic meaning. We build systematically. We must also photograph systematically. Sequence and long-term photographic observation—that is the method. 

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. 

George Grosz
[Artist, b. 1893, Berlin, d. 1959, Berlin.]

 In 1916, when Johnny Heartfield and I invented photomontage in my studio at the south end of the town at five o’clock one May morning, we had no idea of the immense possibilities, or of the thorny but successful career, that awaited the new invention. On a piece of cardboard we pasted a mishmash of advertisements for hernia belts, student song books and dog food, labels from schnaps and wine bottles, and photographs from picture papers, cut up at will in such a way as to say, in pictures, what would have been banned by the censors if we had said it in words. 

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. 

Boris Mikhailov
[Photographer, b. 1938, Kharkov, Ukraine, lives in Kharkov and Berlin.]

 Photographic accident may be more interesting than a consciously constructed collage. 

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? 

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) 

Berenice Abbott
[Photographer, writer, teacher, b. 1898, Springfield, Ohio, d. 1991, Monson, Maine.]

 Suppose we took a thousand negatives and made a gigantic montage; a myriad-faceted picture combining the elegances, the squalor, the curiosities, the monuments, the sad faces, the triumphant faces, the power, the irony, the strength, the decay, the past, the present, the future of a city—that would be my favorite picture. 
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