The Landscape

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After a career spanning sixty years, Sir Don McCullin, once a witness to conflict across the globe, has become one of the great landscape photographers of our time. I look out at the landscape and I can see it's only been formed thousands of years ago by volcanic activity, and it's man who's come along and he's shaped the landscape according to his needs. Often referring to the British countryside as his greatest salvation, McCullin demonstrates the full mastery of his medium with stark black and white images resonating with human emotion. This journey was the culmination of a lifelong ambition to immerse himself in this ever-changing hostile and isolated environment. Großzügiges Format, sehr gute Druckqualität und natürlich vor allem das künstlerische Niveau der Fotos machen diesen Band zu einer echten Freude.

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Some of McCullin’s recent landscapes include photographs from his ongoing “Southern Frontiers” series. the book and photography are breathtaking, what makes it all so much more extraordinary is that this war photographer photographed most of these incredible landscapes near his home. This book brings together for the first time a collection of McCullin's landscape photography, primarily set against the stormy backdrop of Somerset, where he now resides. The years of dodging bullets and photographing subjects on the move trained his eye to be quick, but this slower work hinges more on patience. McCullin is reluctant to place himself in the company of artists, partly because he never wants to feel that he’s ‘arrived’ – ‘The moment that happens, I know I’m finished’ – but also because of the nature of his material.

In the 1970s, burned out and haunted by a decade of photographing war, McCullin turned his attention to England, producing a series of photographs – of Bradford, of Liverpool, of County Durham, of London’s Whitechapel – that laid bare the deep divisions of class and wealth in his home country. There is a plague of development projects impinging on the beautiful landscape where he has found a home. He has an ability to leave out what is not needed, as the modern artist tends to punch in all those digital aspects and fill us with to much detail, often not required. He worked for the Sunday Times for eighteen years and covered every major conflict in his adult lifetime until the Falklands War. He has a lot of stories like this from his youth: the damp basement flat in which his family lived, which contributed to the early death of his asthmatic father; harsh schools with ‘sadistic’ teachers.They are things that neither glossy magazines during the heyday of print journalism nor the accolades showered on him by the British establishment can quite contain.

What they don’t understand is that what was once a great country which stole other people’s resources by colonising, [no longer has] that choice any more to steal from other countries. The physical landscapes are not usually awesome in themselves but McCullin's treatment makes them inspiring subjects for us to enjoy. His photography engages the energy of the land—its history, character and expression—documenting it on film and paper.It’s all yours, no one can say you’re doing the wrong thing morally, there’s not a human being that can come up and say “Why are you taking my picture? He has talked openly in the past about the guilt that comes with taking such photos – that you are ‘stealing’ people’s stories, that you are watching as they suffer or even die in front of you – and the manipulation involved in their selection and presentation to audiences. Regarded as one of the most accomplished war photographers of recent times, McCullin explains, ‘I’ve been to hundreds of places in the world, all over the globe, and it all comes back to here. In October, Jonathan Cape is proud to publish The Landscape - the last in a long series of books, which encompasses the entirety of McCullin's working life.

After a career spanning sixty years, Sir Don McCullin, once a witness to conflict across the globe, has become one of the greatest landscape photographers of our time. The presence of sacred mounds, hill forts, ancient roads and the nearby monuments of the prehistoric era have shaped his sense of nationhood. The Landscape is the last in a long series of books published by Jonathan Cape, which encompasses the entirety of McCullin’s working life. Realizada con la EOS 5D Mark III de Canon con un objetivo EF 24 mm f/2,8 IS USM, la exposición fue de 1/4. The two years he spent in Somerset, however, left him with an ‘idyllic’ memory that he kept with him over the years and which eventually, in the mid 1980s, drew him back.

McCullin first saw Goya’s Black Paintings on a visit to the Prado in Madrid in the early 1980s and was shocked to find a painter who ‘saw what I saw.