Danny Lyon
[Photographer, b. 1942, New York, lives in Ulster County, New York.]

 In the collages you can have drama, a beginning, middle, and end, all kinds of things you can’t have in a photograph alone. I mean, I love Walker Evans’ photographs, they’re perfect and I adore them, but life goes on. He made those pictures in the ‘30s, and here we are sixty years later... But it’s hard for me to say, “The single photograph is dead.” That would be pretentious and silly. 

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

 If the photograph, under the influence of the text (or caption), expresses not simply the fact which it shows, but also the social tendency expressed by the fact, then this is already a photomontage. 

Lewis Baltz
[Photographer, b. 1945, Newport Beach, California, d. 2014, Paris.]

 [Mixed-media photography] was genuinely an attempt to take photography beyond the physical limitations of the unaltered photographic print and enhance it with the plasticity, object-hood and visual surface of the other graphic arts. This work failed to gain wide acceptance outside the academic world... the complexity of the fracture usually took precedent over the nominal content of the work. 

Thomas Struth
[Photographer, b. 1954, Geldern, Germany, lives in Dusseldorf.]

 The word “series” is a diminutive attachment. A series is something that pretends as if one picture has no value and you need the series to give it that value. You wouldn’t say, for instance, that James Joyce wrote “a series of books.” 

Minor White
[Photographer, writer, and theorist, b. 1908, Minneapolis, Minnesota, d. 1976, Cambridge, Massachusetts.]

 It is curious that I always want to group things, a series of sonnets, a series of photographs; whatever rationalizations appear, they originate in urges that are rarely satisfied with single images. 

Robert Adams
[Photographer and writer, b. 1937, Orange, New Jersey, lives in Astoria, Oregon.]

 As all photographers know, one good picture next to another good picture and you have a third something. It may be better, it may be worse, but putting pictures next to each other inevitably influences the nature of both pictures. 

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

 Recently, I can’t seem to take a straight photograph without thinking that what I am photographing won’t be the final image—like the world in front of me is not good enough or something. 

Georg Lukács
[Historian, critic, and thinker, b. 1885, Budapest, Hungary, d. 1971, Budapest.]

 In montage’s original form as photomontage, it is capable of striking effects and on occasion it can even become a powerful political weapon. Such effects arise from its technique of juxtaposing heterogeneous, unrelated pieces of reality torn from their context. A good photomontage has the same effect as a good joke. 
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