Kodak’s Tri-X is the film the great photographers love. Anton Corbijn, Don McCullin and Sebastião Salgado tell Bryan Appleyard why
via 1843: http://moreintelligentlife.com/content/features/bryan-appleyard/tri-x-factor?page=full
Kodak’s Tri-X is the film the great photographers love. Anton Corbijn, Don McCullin and Sebastião Salgado tell Bryan Appleyard why
Celebrated war photographer urges next generation to record UK’s ‘social wars’
via The Independent: http://www.independent.co.uk/arts-entertainment/art/news/forget-foreign-conflicts-chronicle-britain-says-war-photographer-don-mccullin-8947692.html
War photographer Don McCullin has called on the next generation of snappers to cover the poorest communities in Britain in an effort to stop them becoming further marginalised.
Don McCullin explains the curiosity that made him return to war, and the energy and passion of his thirties that led to the success of his career. He speaks to Olivier Laurent
‘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
via British Journal of Photography: http://www.bjp-online.com/british-journal-of-photography/news/2267717/don-mccullin-to-headline-visa-pour-limages-25th-edition
Legendary war photographer Don McCullin will present one of his largest retrospectives ever at this year’s Visa pour l’Image photojournalism festival, the organisers have officially announced today
Photojournalism in the Vietnam War is often said to have had the power to change the course of the conflict. But this power is mythical.
via David Campbell: http://www.david-campbell.org/2013/01/31/mythical-power-understanding-photojournalism-in-vietnam-war/
“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.
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Donna Ferrato brought a quick wit and joie de vivre to an onstage interview with NPR personality Alex Chadwick at the LOOK3 photo festival in Charlottesville on Friday afternoon. A unifying theme of their wide-ranging discussion was Ferrato’s belief in th
Donna Ferrato brought a quick wit and joie de vivre to an onstage interview with NPR personality Alex Chadwick at the LOOK3 photo festival in Charlottesville on Friday afternoon. A unifying theme of their wide-ranging discussion was Ferrato’s belief in the life-affirming power of emotional intimacy and mutual respect that has informed her work and career.
He has, as he puts it, taken “terrible liberties” with his life — dashing through rice paddies in Vietnam to escape snipers’ bullets; jumping up to snap a shot during gun battles — to bring home images that are, at times, excruciating to look at but often unforgettable.
Don McCullin speaks about his ‘accidental career’ in war photography, and how shooting landscapes has granted him a sense of peace
via the Guardian: http://www.guardian.co.uk/artanddesign/video/2010/mar/10/don-mccullin-photography
The acclaimed frontline photojournalist speaks about the horrors of conflict, struggling with ‘this terrible name, war photographer’, and why shooting landscapes instead of battle zones has finally granted him a sense of peace.
This career retrospective shows that time and familiarity have not dulled the impact of photojournalist Don McCullin’s astonishing combat photography, writes Andrew Pulver
via the Guardian: http://www.guardian.co.uk/artanddesign/2010/feb/10/don-mccullin-review
It feels like a state honour: the photojournalist Don McCullin, one-time employee of the Observer and the Sunday Times, is being dignified with a retrospective at a national museum. The venue – the new Libeskind-designed Imperial War Museum North – tells you the emphasis is on his astonishing combat work.
The great war photographer Don McCullin talks to Sean O’Hagan ahead of the major retrospective of his work in Manchester
via the Guardian: http://www.guardian.co.uk/artanddesign/2010/feb/07/don-mccullin-shaped-war-review
“The day I came across that boy was a killer day for me. There were 800 dying children in that schoolhouse. The boy is near death. He is trying to support himself. And to see this kind of pathetic photographer appear with a Nikon around his neck…”
He falls silent again for a moment. “Some times it felt like I was carrying pieces of human flesh back home with me, not negatives. It’s as if you are carrying the suffering of the people you have photographed.”
A couple of years ago I stumbled upon McCullins autobiography ‘Unreasonable Behaviour‘ in Dublin and couldn’t put it down. It’s an unflinching account of his life. I really had no idea about the man at all (indeed might be due a re-read). Truly gripping a life like his defies fiction you really couldn’t make up the reality. A lot of the book does deal with his combat experiences but he also deals with the changing face of journalism and his own demise along with that of the newspapers in Britain during the tumultuous 1980’s.
Sadly people are not really interested in the photographs I take of a rather depressing side of our society –…
via duckrabbit: http://duckrabbit.info/blog/2010/02/picturing-the-homeless-don-mccullin/
In 1989, British photojournalist Don McCullin approached the current affairs programme Newsnight with the idea of a highlighting the growing problem of London’s homeless – a short film that can now been seen on the BBC website.
AMERICANSUBURB X: INTERVIEW: “John Tusa Interviews Don McCullin”:
It can’t be easy bearing the title of the world’s greatest war photographer, but that’s only one of the burdens that Don McCullin carries around with him. But after 20 years of confronting the world with unforgettable images of war, from Congo to Biafra, to Beirut , to Cambodia , and of course to Vietnam , and many, many more, he doesn’t have much alternative. It all used to be addictive too. By his own admission, McCullin used to be ‘a one-war-a-year man’, but then it grew to two, and then to three, until it had it stop; not, you understand because wars stopped, or killing stopped, or inhumanity stopped, but because there came a natural limit to ‘looking at what others can’t bear to see.’
Don McCullin says:
Pictures of the beach near Mullaitivu, the last outpost of Tamil Tiger resistance in Sri Lanka, would have been among the greatest visual images of what war does to people. They would have been, if anybody had been there to take them.
via TOAB
