Absolutely. The interviews with Harold Evans also showed that it was a body of work that was as much about campaigning against war as it was about aesthetics.wOw, just watched the programme there. Shocking reportage from all the different wars he's captured/documented, the man is an utter genius. He's seen decades of 'on the spot dangerous' photography. Utter respect for him, I wonder how he sleeps at night with those horrendous memories.
This programme was so amazing on several different levels. Besides the incredible stills and archive footage, and McCullin's profound vision, the reminders about how war reporting has changed were also excellent. The editorial shift that happened when Andrew Neil took over the magazine, and McCullin's references to the change in the US military's policy on press coverage of armed conflicts, are also important points that shouldn't be forgotten. It seemed to me that the programme was not just a reminder of some of the worst atrocities in the past 40 years but also a reminder of what's been lost in our media. Well done Imagine for reminding us about this.It was good to learn that he is in the process of getting his archive together as a lasting legacy for future generations. There is no doubt that his photojournalism is of global importance.It does makes you wonder just how different the Falklands war would have been viewed had he been allowed to sail with the troops and, as he said himself, how different our views of Iraq and Afghanistan would be if proper photojournalists were allowed the freedom that he had in Vietnam etc.
Out of all his photographs - the most haunting for me is the albino boy in the Biafran camp - absolutely heartbreaking even now.
I think it's a Fuji 645 with lots of bits tacked on - but may be way off beam there...The last five minutes of his (excellent) tv documentary Don was shooting with some kind of a medium format/land camera, did anyone see what the camera make/model was he was shooting his relaxed landscape photography with at all ?