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.

Oft sind es eher unspektakuläre, unscheinbare Motive (Landschaften in der Nähe des Wohnorts des Fotografen in der englischen Provinz), die durch die eingefangenen Lichtverhältnisse und die Wolkenformationen am Himmel atmosphärisch sehr dicht und reizvoll wirken. This countryside gave him refuge during World War II, when he and other children were evacuated there from London during the Blitz. There’s a shadow that comes over my life when I think […] that I’ve earned my reputation out of other people’s downfall. Unsurprisingly, a darkness pervades the images, and he says some people are confused about whether he is trying to frighten them or bring them pleasure. McCullin has never had trouble motivating himself to work – he talks of photography choosing him, rather than the other way round – but just recently, he says, he has found his mind beginning to drift.The Landscape ] comes as a timely reminder of the photographer’s darkness of touch … the large-scale pictures take the reader with McCullin on a landscape journey both at home and abroad. Not far from here is the probable site of the Battle of Edington, where King Alfred repelled an army of Vikings. The pictures in this room are documents of historical events, but they are also history in their own right. 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. McCullin’s photos helped create the visual language of suffering that pervades media culture in our own century, from humanitarian appeals to modern-day refugee crises.

A master printer, he tears up scores of prints he considers inferior, because ‘When I die I don’t want people to find prints that aren’t good enough.The thing about mythology is that it’s heavily overloaded; most stories over time have been packed with embellishment. The landscape once again offered him asylum, and he has now been living there for the past three decades. And although the majority of the images featured are from Great Britain, it also includes stunning scenes from Syria, Iraq, France, Morocco, Sudan, India and Indonesia.

He is still sharp in his 80s, and teases people with gallows humor, cracking jokes about his own death. I’ve cleared all the crap out of there and I’ve set the dishes up to go in there on Monday morning next week. Nice to see some early if naive shots from the 60s to the more up to date images, just a few new images. The physical landscapes are not usually awesome in themselves but McCullin's treatment makes them inspiring subjects for us to enjoy.

I’ve photographed dead people and I’ve photographed dying people, and people looking at me who are about to be murdered in alleyways. Beginning in the early 2000s, McCullin began documenting physical remains of the colossal Roman Empire in North African and Levantine landscapes, including the ancient site of Palmyra. 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. 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. You could see this in the Tate exhibition last year; even among the crowds of tourists, these are images that stop you in your tracks, forcing you to confront the people or places they show.