Annette Messager
[Artist, b. 1943, Berck-sur-Mer, France, lives in Paris.]

 I never take a picture of a face because a face is somebody, an arm is not recognizable as somebody. When you take a photograph of someone’s face, it identifies it as somebody, but if you take just a fragment, it’s everybody. It’s not one person. 

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) 

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. 

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. 

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. 

Shomei Tomatsu
[Photographer, b. 1930, Nagoya, Japan, d. 2012, Okinawa, Japan.]

 A single photograph is a mere fragment of an experience and, simultaneously, the distillation of the entire body of one’s experience. 

Hiroshi Hamaya
[Photographer, b. 1915, Tokyo, Japan, d. 1999, Kanagawa, Japan.]

 I like the idea that my work isn’t intended only for the Earth, but for the entire Universe. 

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. 
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