Oscar Rejlander
[Photographer, b. 1817, Sweden, d. 1875, London.]

 I am tired of photography-for-the-public, particularly composite photographs, for there can be no gain and there is no honour, only cavil and misrepresentation. (1859) 

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. 

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. 

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. 

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? 

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. 

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. 

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

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