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

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

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. 

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. 

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? 

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. 

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. 
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