Donald McCullin
[Photographer, b. 1935, Finsbury Park, London, lives in Somerset, England.]

 The colleges are turning out photographers like strings of sausages. 
 I felt I had seen so much horror that it was likely to destroy me…. Yet… I cannot do without the head-on collision with life I have when I am working. 
 Photography will screw you every time it gets a chance to screw you, every time you put a roll into the camera... Sometimes I come back and find that the film has been damaged or that the camera’s back has been leaking. I don’t get angry, I don’t smash the camera, I just laugh and think: “It didn’t respect me, I wasn’t meant to have it.” 
 Who needs great pictures when somebody’s dying and he’s only five years old? (On his own photographs of starvation in Biafra) 
 I don’t make any protest other than to take photographs and show how bad it is. 
 There is no doubt that my photographs have a very strong religious overtone, they are like twentieth century icons. When human beings are suffering, they tend to look up, as if hoping for salvation. And that’s when I press the button. 
 Photography for me is not looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures. 
 I don’t want to be called an artist, I don’t have the right to practice creativity at the expense of human suffering. Nevertheless I shoot my pictures to the best of my ability. 
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