Don McCullin has seen enough of war and suffering to last a lifetime. From Cyprus to the Congo, he has captured some of the most powerful photographs of our time. The shell-shocked U.S. Marine gripping his gun with a long, bewildering stare. A starving tw
The duty of a photojournalist, according to many, is to remain detached in a moment of crisis, to compartmentalize scenes of violence and war from the goings on of everyday life. As suggested by Italian journalist Mario Calabresi in his extraordinary book
'To have such a distinguished 25-year-old festival, which has a huge following, invite me to have an exhibition there, I feel honoured and proud,' says photographer Don McCullin, who spoke to BJP ahead of Visa pour l'Image's press conference. 'I'm going t
The power of both book and film come as much from McCullin's words as from his photographs. Don expresses his utter disgust, not only with war but with his having to cover it, as a "war junkie." The film is unforgiving of mankind, most of all of McCullin himself. He loathes the idea of being called a War Photographer
"This is significant for photojournalism’s understanding of its historical role and potential power. Many of the visual icons we now associate with the war – the photographs of Larry Burrows, Philip Jones Griffiths, Don McCullin and others – were either rejected by the American media, published after the event, or were simply unrepresentative of the majority coverage.