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

 Through the ass of this woman I saw the world. (On his series of photographs: “Superimpositions.”) 

Paul Strand
[Photographer, b. 1890, New York, d. 1976, Oregeval, France.]

 The artist is one who makes a concentrated statement about the world in which he lives and that statement tends to become impersonal—it tends to become universal and enduring because it comes out of something very particular. 

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) 

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

 With a camera, one has to love individual cases. 

Ishiuchi Miyako
[Photographer, b. 1947, Gunma Prefecture, Japan, lives in Tokyo.]

 The world only starts to become evident through personal histories. In “Hiroshima,” I don’t photograph the several hundreds of thousands of deaths, but an encounter with just one woman wearing a dress, with the dress arranged so that the woman, who is still missing today, can come home at any time. 

George Bernard Shaw
[Writer, critic, and dramatist, b. 1856, Dublin, d. 1950, Ayot St. Lawrence, Hertfordshire, England.]

 There is a terrible truthfulness about photography that sometimes makes a thing ridiculous... take the case of the ordinary academician. He gets hold of a pretty model, he puts a dress on her and he paints her as well as he can and calls her “Juliet,” and puts a nice verse from Shakespeare underneath, and puts the picture in the Gallery. It is admired beyond measure. The photographer finds the same pretty girl; he dresses her up and photographs her, and calls her “Juliet,” but somehow it is no good—it is still Miss Wilkins, the model. It is too true to be Juliet. 

Richard Avedon
[Photographer, b. 1923, New York, d. 2004, San Antonio, Texas.]

 Sometimes I think all my pictures are just pictures of me. My concern is, how would you say, well, the human predicament; only what I consider the human predicament may simply be my own. 

Tracey Moffatt
[Photographer, b. 1960, Brisbane, Australia, lives in New York.]

 My work may feature brown faces but it could be anybody’s story. 
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