Don McCullin (1935) - L'équipe de jour, 1963

Rare and magnificent lithographic collection by the king of photojournalism, Don McCullin, titled 'The Day Team.'
Work done in 1963 by one of the most famous British photographers alongside Cartier-Bresson, Capa, and Ronis.

Description :
Photolithography on high-quality paper
Photographer: Don McCullin
Editor: McCullin, Press images contact
Published: 2008
Condition: Excellent (never framed since 2008)
Dimensions: 30 cm x 23.5 cm
Shipping: Professional, careful and secure packaging with tracking number and insurance via UPS or Colissimo.
Worldwide shipping.

About the photographer:

Don McCullin has a complicated relationship with war. He even admits that he chased conflicts like an alcoholic after a beer. Cyprus, Vietnam, Cuba, Cambodia, El Salvador, Ireland... As a pioneer of photojournalism — alongside names like Capa, Jones Griffiths, and Burrows — he has elevated the discipline's reputation. His photos allow an audience to be informed about events happening thousands of miles away; images that move public opinion and consciences.

Born in 1935 in the working-class neighborhood of Finsbury Park in London, Don McCullin began his career almost by chance: in 1959, one of his photos of the gang 'The Guv’nors' was published by The Observer after the murder of a police officer. Violence is at the heart of his fame, but it is not the only aspect of his work. Alongside these reports, McCullin was interested in marginalized populations in his own city, photographing homeless people, migrants, and workers. It is here that his social perspective emerges, inherited from the child of London that he is. That of an early witness to the surrounding misery, who knows how to identify the social fractures of his country, the left-behind of industrialization, and the rejected of globalization.

Anobli in 2017 by the Queen, he is one of the few photographers to have received such an honor, marking an exceptional career. Today, he has settled in Somerset and dedicates himself to landscape photography. A transition that might surprise. But ultimately, not so much. In the cloudy skies of the English countryside, in the tortured ruins of Palmyra, in Syria, Don McCullin continues to see the mark of history and the imprint of violence. His photos, even of peaceful places, are like charged with powder. Like an eternal echo of the war theaters that have irreversibly shaped his outlook.