The landscape once again offered him asylum, and he has now been living there for the past three decades. For 60 years, he has reported on battles and destruction, chronicled starvation and inner-city poverty, and traveled the world working for newspapers including the Observer and the Sunday Times Magazine.

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 documenting conflict for over sixty years, iconic war photographer Don McCullin now focuses on documenting the landscape. Batcombe Vale 1992-93Having been evacuated to the safety of Somerset during the blitz, McCullin has had a lifelong connection with the open farmland and hill country of the south-west, feeling at peace within the solitude of the expansive landscape. The photographs are selected from throughout McCullin’s long career, which began in the 1950s and has taken him all over the world, from devastating conflicts to key moments in British post-war popular culture – but the majority of the photos on show have been taken within a few miles of his house. He worked for the Sunday Times for eighteen years and covered every major conflict in his adult lifetime until the Falklands War.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.

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. Canon Professional Network | Español - Película con Don McCullinViñedo cerca del pueblo de Laurens, región de Languedoc-Roussillon, Francia. McCullin has been taking landscape photographs since the 1990s, capturing scenes from across the United Kingdom, Europe, and Asia when not on assignment. McCullin’s landscapes take simple elements – trees overhanging water, a pond, a flooded field – and transform them, through his use of light and dark, into dramatic, clashing compositions on his characteristic monochrome prints.

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