I started out on photography accidentally. A policeman came to a stop at the end of my street, and a guy knifed him at the end of my street. That's how I became a photographer. I photographed the gangs that I went to school with.
Don MccullinRead
I've spent most of my life embracing violence in wars and revolutions. Even a famine is a form of violence. Because I photograph people in peril, people in pain, people being executed in front of me, I find it very difficult to get my head around the art narrative of photography.
Interpretation
The quote reflects on the struggle to reconcile the harsh realities of violence with the artistic practice of photography.
Don McCullin, a renowned war photographer, expresses the challenges he faces in aligning his experiences of capturing human suffering in war and famine with the broader narrative of photography as an art form. Through his lens, he confronts the brutality of violence and the ethical dilemmas of portraying it, suggesting that the act of photographing suffering is both a responsibility and a profound challenge to the concept of beauty in art.
In practice
This quote can be used in a discussion about the ethics of war photography in a university art class.
I started out on photography accidentally. A policeman came to a stop at the end of my street, and a guy knifed him at the end of my street. That's how I became a photographer. I photographed the gangs that I went to school with.
In my photography, I always lean towards the underprivileged because that's where I came from. When I went to the wars, I attempted to go and stand by those who were being trodden on. By that, I mean people like the Palestinians. When I go to India, I see really the poorest people, and I tend to be drawn to them.
I am sometimes accused by my peers of printing my pictures too dark. All I can say is that it goes with the mood of melancholy that is induced by witnessing at close quarters such intractable situations of conflict and joylessness.
Photography is the truth if it’s being handled by a truthful person.
When I take a black-and-white portrait, it's not particularly meant to please you. It's meant to talk to you; it's meant to shame you. It's meant to scream out at you, and it has a message.
I'm from England, and like every other great empire who stole bits of the world, there is a price to pay. And I was born in 1935. So, since I've been conscious of the world, I've either been in, or been on the periphery of, a war zone.
Blue is the male principle, stern and spiritual. Yellow the female principle, gentle, cheerful and sensual. Red is matter, brutal and heavy and always the colour which must be fought and vanquished by the other two.
I am an artist, and I have the ability and the free will to choose the way the world will envision me.
A rapid rendering of a landscape represents only one moment of its existence. I prefer, by insisting upon its essential character, to risk losing charm in order to gain greater stability.
No translation can possibly be perfect. Every production and every performance is a different path up the mountain, and nobody ever makes it all the way to the summit.
As a novelist, where do you go to tap into memories, and impressions, and sensations? It's usually, in my experience, your early life, before you started thinking of yourself as a writer, because somehow those experiences are unadulterated.
I doubt that I could create a character I loathed simply because when a character takes life, it is impossible not to be a little amazed by the phenomenon, and to find that the amazement has something of the quality of delight.
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