Paul Caponigro
[Photographer, b. 1932, Boston, Massachusetts, lives in Cushing, Maine.]

 We always point the lens both outward and inward. 

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. 

Diane Arbus
[Photographer, b. 1923, New York, d. 1971, New York.]

 I remember a long time ago when I first began to photograph I thought, there are an awful lot of people in the world and it’s going to be terribly hard to photograph all of them, so if I photograph some kind of generalized human being, everybody’ll recognize it. It’ll be like what they used to call the common man or something. It was my teacher, Lisette Model, who finally made it clear to me that the more specific you are, the more general it’ll be. 

Marshall McLuhan
[Writer and theorist, b. 1911, Edmonton, Alberta, Canada, d. 1980, Toronto, Canada.]

 Nobody can commit photography alone. 

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) 

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. 

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. 

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. 
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