Don McCullin is one of the great photojournalists of our times. In recent years, his travels have taken him to some of the world’s remotest regions, and his skill and empathy have gained him access to tribes on the edge of civilization. Over the last two years, he has traveled from Addis Ababa in Ethiopia to the valley of the Omo River leading to the border with Sudan. There he entered the tribal lands of the Suma, the Gheleb, the Bume, the Erbore, the Bene, the Bodi, the Karo, the Hamar, and the Mursi. Beyond dignity, there is a heroic aspect to his subjects; we, the viewers, can be amazed by their strength and beauty, and all the more so because McCullin’s compassionate artistry enables us to understand their vulnerability.
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"... stunningly produced.... You turn page after page of his piercing images open-mouthed... this book is worth every penny." -- The Independent
"No one has surpassed—in breadth, in directness, in intimacy, in unforgettability— the work produced by Don McCullin." -- Susan Sontag
“A transporting look at the cultural riches of the least–traveled lands in Africa.” -- People
“Every page of McCullin's book brings a shock of pleasure.” -- People
“McCullin is a British photojournalist who has been taking exceptional pictures of people and conflicts since the 1950s.” -- Library Journal
"No one has surpassed—in breadth, in directness, in intimacy, in unforgettability— the work produced by Don McCullin." -- Susan Sontag
“A transporting look at the cultural riches of the least–traveled lands in Africa.” -- People
“Every page of McCullin's book brings a shock of pleasure.” -- People
“McCullin is a British photojournalist who has been taking exceptional pictures of people and conflicts since the 1950s.” -- Library Journal
From the Publisher
Don McCullin is one of the great photojournalists of our times. In recent years, his travels have taken him to some of the world's remotest regions, and his skill and empathy have gained him access to tribes on the edge of civilization. Over the last two years, he has traveled from Addis Ababa in Ethiopia to the valley of the Omo River leading to the border with Sudan. There he entered the tribal lands of the Suma, the Gheleb, the Bume, the Erbore, the Bene, the Bodi, the Karo, the Hamar, and the Mursi. Beyond dignity, there is a heroic aspect to his subjects; we, the viewers, can be amazed by their strength and beauty, and all the more so because McCullin's compassionate artistry enables us to understand their vulnerability. Award-winning photographer Don McCullin worked for the London TIMES for nearly two decades; among his previous books are Don McCullin and India.
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7 of 7 people found the following review helpful
By Te Stanworth
Format:Hardcover
I ordered this blind, generally liking Don McC's work. I ordered a dozen used photo books and this was the one I was most indifferent to BEFORE it arrived. As a lover of fine art landscape, still life, street/reportage I doubted that this work would really hold me. WOW!!!! The book is beautifully made and the image reproduction absolutely spot on (better than the vast majority of quality photo books I own). The shots are first rate from cover to cover and the mood conveyed throughout truly captivating and constant. The cohesion is amazing, yet the images for me did not become repetitive. For those with experience of Africa or the desire to go and get beyond the tourist trail, this book will resonate strongly. I got mine for $29 used mint. That has to be a steal for a book that leaves a permanent mark. The image on the front cover in no way conveys the far better quality of the content. This sort of stuff has been done time an time again and i thought that it would be typical of the work done by a 'retired' reportage guy, ie lacking in purpose and true insight. I am blown away.....
2 of 3 people found the following review helpful
Format:Hardcover
i possess already a important collection of africa books and i can say this is a collector's item very good Patrick dauwe Belgium
Format:Hardcover|Amazon Verified Purchase
This is a large format book of black and white photographs, all of which take the entire page. The many textures of landscape are evident in the vast and sprawling African plains. The photographs are of those regions of Africa least impacted by contact with outside civilization and thus reveal humanity in more basic circumstances. The photographs in the book reflect his journey from Addis Abada in Ethiopia to the Omo River valley down to the border with Sudan. There he photographed the tribal peoples in several tribes including the Gheleb, Dassanech, Bume, Erbore, Bene, Bodi, Karo, Hamar, and Mursi tribes. The photographs show the use of extensive body and face paint and adornment through large lip and ear plates. The photographs show women with the large plates inserted in their extended lips as well as women who have taken out the plate and the lower lip hangs like a rope across the chin. In one photograph an elderly woman smokes a gourd and there is a tiny thin scar like lower lip that has developed and which helps her hold the gourd to her mouth. Face painting is seen on all genders and ages including elderly men and women as well as babies. Young Surma males are shown in the river putting stripes of river clay on their nude bodies before engaging in battles with other males from other villages. The battles are shown as large groups of men fight with long white sticks. The photographs are taken from an elevation that allows the viewer to see into the ring of fighters and to observe the various patterns of head shaving among the men. Since tribal economies are entirely based on cattle, these livestock play a major role in the lives of the people and are evident in the photographs. There are some tribes that also have goats. The people are nomadic moving from grazing and watering areas. These areas of water are totally necessary for survival and the people lie near the water for survival purposes. They drink the milk but also drink the blood of the cattle, as well as eat the meat. There are photographs of the practice of cutting the neck of the cattle to bleed them into pots so that the blood can be consumed. The cattle are used as currency to purchase wives or weapons. Younger men have difficulties accumulating the 30 cows needed to buy a wife and thus the older men may have more of the wives. Photographs of family groupings often include a husband with several women and their children. The clothing that was present is mostly rags. The young men engage in stick battles between villages which is all out, resulting in loss of eyes and broken limbs. There are photographs of tribesmen, holding guns, surrounded by children, seeming to reside in a casual Eden. Unfortunately murder is a part of their culture with acts of violence and counter acts of revenge. There is a photograph of two Surma men, born from the same generation, who drink milk and blood together from the same bowl to symbolize the strong bond between them. Men and women smoke gourd pipes. Women do the manual labor of planting, weeding, and harvesting. They brew a corn beer for the men but the women do not drink it. Body scars and painting is common, as well as sever tattoos and scarification. Male circumcision is practiced by some of the tribes as is female circumcision, a terrible act of mutilation. The Gheleb people appeared to live in even more harsh conditions than the Surma. The women, with gigantic bundles on their heads, are photographed against odd little huts, built on stick platforms and topped with almost whimsical hat like straw roofs. The Dassanech also live in villages where round, inverted bowl huts are built upon long poles and the people drape their bodies with cloth, possibly for protection from the elements. The children are more likely to have clothing than are the Surma children. One young woman of about 14 has a bell around her waist hanging in front of her genitals. She appeared to be aware of her youthful attractiveness. The Dassanech people are thin and tall and seem to be aware of their striking appearance. Bead jewelry was present on both men and women as well as elaborate hairdressings. This was especially evident in the Erbore and Bene people with large beaded strands around neck, arm, waist, forearms, and legs. In many tribes, the females were most often the models for photographs. Among the Bodi, there is a contrast between the natural beauty of the young women in their prime and the spare clothes that wrap their bodies. Males, as in pictures of the Karo people, tended to pose for photographs with their wives or with weapons or both. McCullin's tendency is to photograph family units which may have been a culturally appropriate way to engage with these tribal people. Subtle differences can be observed from tribal group to group such as whether the subjects are more comfortable standing or sitting for a photograph or whether animal skins or woven cloth is used for clothing. Overall, the collection was skillfully arranged, marking a journey and documenting the people along the way.
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