Protest, Cuban Missile Crisis, Whitehall, London, 1962, by Don McCullin. © The artist

‘I grew up angry,’ says Sir Don McCullin, as a new retrospective of his work – including some of his earliest photographs – goes on show at Tate Britain. He was born in Finsbury Park, north London, in 1935, and spent his childhood sleeping in the same room as his brothers, his mother and his chronically ill father. ‘The way I grew up shaped my life, because I can understand poverty,’ he explains.

“我生气了，”麦克库林爵士说，作为他工作的一项新的回顾，包括他最早的一些照片----在英国举行展览。1935年，他出生在伦敦北部的Finsbury公园，和他的兄弟、母亲和长期生病的父亲在同一个房间里度过了童年。他解释说，“我成长的方式是我的生活，因为我能理解贫困。”

His father died when he was 14, forcing McCullin to drop out of school and bring money in for the family. ‘I was angry about that,’ he says today. He spent his teenage life out on the streets of north London, still in partial ruin after the Second World War Blitz, and peopled by homelessness. He got his first camera – a Rolleicord – while on national service with the RAF in North Africa. ‘I was bound to be angry,’ he notes when recalling the poverty, misery and pain he saw through the viewfinder of that camera. ‘It would be wrong if I wasn’t angry.’

他的父亲在14岁时去世，迫使麦卡林辍学，并为他的家庭带来了钱。他今天说，我对此很生气。他十几岁的时候在伦敦北部的街道上度过了他的一生，二战后，他仍然处于部分废墟中，无家可归的人很多。当他在北非皇家空军服役时，他拿到了他的第一台相机-劳力克(Rolleicord)。“我一定会生气的，”他回忆起他通过摄像机的取景器看到的贫困、痛苦和痛苦时说。“如果我不生气，那就错了。”

McCullin is now 83, and has been photographing consistently for more than 60 years. His new exhibition features over 250 of his photographs over the span of his long career, each of which has been hand-printed by the photojournalist in his darkroom at his home in Somerset. The exhibition is entirely in monochrome. McCullin actively seeks out dark images, and will process them as such. ‘I see darkness as my voice,’ he adds. ‘I sometimes almost believe myself that I am speaking for the victims and the casualties of war.’

麦卡林现年83岁，已经拍摄了60多年。在他漫长的职业生涯中，他的新展览展示了250多张他的照片，每一张都是由摄影记者在他位于萨默塞特的家中的暗室里手工打印出来的。展览完全是单色的。McCullin积极地寻找黑暗的图像，并将它们作为这样的处理。他补充道：“我把黑暗看成是我的声音。”“我有时几乎相信自己是在为战争的受害者和伤亡者说话。”

The Guvnors in their Sunday Suits, Finsbury Park, London, 1958, by Don McCullin. © The artist

1958年伦敦的Finsbury公园的Gudsbury公园的GUVNRS由DonMcCullin提供。（三）艺术家

Yet McCullin hates being categorised as just a war photographer – ‘a reductive term’ he says, when we speak on the phone. The exhibition reflects the many hours McCullin spent as a young man photographing the streets of London. Indeed, his first break with Fleet Street came when a newspaper published a photo of a local gang of street urchins known as the Guvnors, ordered together in a bombed-out house. They had grown boys notorious after the murder of a policeman, but McCullin would routinely knock about with them, and easily got insider access.

然而，麦卡林不喜欢被归类为战地摄影师-他说，这是一个简约的术语，当我们在电话里交谈时。这个展览反映了麦卡林年轻时花在伦敦街道上的许多时间。事实上，他第一次与舰队街决裂是因为一家报纸刊登了一张当地一群名为“卫兵”(Guvnors)的街头顽童的照片，这张照片是在一间被炸毁的房子里共同订购的在警察被杀后，他们已经长大成人，声名狼藉，但麦卡林却经常和他们开玩笑，而且很容易获得内幕消息。

‘I started out in photography accidentally,’ he notes in the exhibition. ‘A policeman came to a stop at the end of my street and a guy knifed him. That’s how I became a photographer. I photographed the gangs I went to school with. I didn’t choose photography, it seemed to choose me, but I’ve been loyal by risking my life for 50 years.’

他在展览中写道：“我是偶然从摄影开始的。”一名警察在我的街道尽头停了下来，一个人用刀砍了他。这就是我成为摄影师的原因。我拍下了和我一起上学的帮派。我没有选择摄影，它似乎选择了我，但50年来，我冒着生命危险一直忠心耿耿。

The exhibition is notable for the number of photographs taken in parts of London that now teem with restaurants and cafés and shops and new-build complexes: Shoreditch’s Old Spitalfields Market, Liverpool Street and Commercial Road, for example. When framing the many destitute people he captured in those early years, he remembers: ‘I would make myself unimportant in the presence of such people, to let my eyes meet their eyes, so I could become drawn into their vision.’

此次展览以伦敦部分地区的照片闻名，这些地区现在充斥着餐馆、咖啡馆和商店，以及新建的建筑群：例如肖雷迪奇的老斯皮塔菲尔德市场、利物浦街和商业道路。在他早年捕捉到的许多穷困的人身上，他回忆道：“在这些人面前，我会让自己变得无关紧要，让我的眼睛与他们的眼睛接触，这样我才能被他们的梦想所吸引。”

Near Checkpoint Charlie, Berlin, 1961, by Don McCullin. © The artist

1961年，柏林查理检查站附近，唐·麦卡林著。艺术家

The exhibition includes a series of photos McCullin took of the Berlin Wall as it was first being built in 1961. McCullin was 26, and, in his own words, ‘a rank amateur’. The American and Soviet militaries were eyeball to eyeball in the centre of Berlin. ‘I was sat on the hottest story in the world.’

展览包括麦卡林在1961年第一次建造柏林墙时拍摄的一系列照片。麦卡林26岁，用他自己的话说，是个“业余的等级”。美国和苏联军队在柏林的中心地区是目瞪口呆的。“我坐在世界上最热门的故事上。”

McCullin was straight off the flight from London with roughly £20 in his pocket. He had no knowledge of international affairs, nor had he experience of the aesthetic rigour needed to shoot a story of such calibre and significance. He simply persevered, shooting again and again from as many angles as he could find. The tension and division of the scene (and the Berliners attempts to carry on with their lives as usual) is still bitingly evident in his photographs, even in the serene calm of the Tate Britain.

麦卡林直接从伦敦起飞，口袋里装着大约gb 20。他对国际事务一无所知，也没有体验到拍摄如此有才干和意义的故事所需的审美严谨性。他坚持了下来，从尽可能多的角度一次又一次地射击。现场的紧张和分裂(以及柏林人试图像往常一样继续他们的生活)仍然在他的照片中非常明显，甚至在泰特英国的平静中也是如此。

The Berlin images launched his career in the heyday of the newspaper era. For the next few decades, the photographs of McCullin (and a few of his contemporaries) were often the only thing connecting the British people to the brutal realities of war in faraway places. Some of his images have since become iconic, like the Northern Irish youth in the black suit brandishing a bit of plywood against the occupying British army. Or, of course, the shell-shocked American GI in Hue, Vietnam – ‘he didn’t blink once.’

柏林的形象在报纸时代的鼎盛时期开启了他的事业。在接下来的几十年里，麦卡林(和他的几位同龄人)的照片常常是唯一能将英国人民与遥远地区残酷的战争现实联系在一起的东西。从那以后，他的一些形象就成了标志性人物，比如穿着黑色西装的北爱尔兰青年挥舞着胶合板来对抗占领的英国军队。当然，这枚炮弹震惊了越南顺化的美国士兵，“他一眨眼都没有。”

But there are other pictures in display that have never entered the public consciousness, and, indeed, were not noticed by McCullin until he revisited his contact sheets for this exhibition. One shows a senior Biafran soldier bent over the corpse of a dead comrade. ‘I saw the commander talking to one of the dead soldiers as if he were still alive,’ McCullin says. ‘He was praising the man’s courage and thanking him on behalf of the Biafran nation. It was moving and alarming at the same time.’

但是，在展览中还有其他一些从未进入公众意识的图片，事实上，直到麦卡林为这次展览重新浏览了他的联系方式之后，他才注意到了这一点。其中一张照片显示，一名高级比阿夫兰士兵俯身在一位死去同志的尸体上。麦卡林说，我看到指挥官在和一名死去的士兵说话，就好像他还活着一样。他赞扬这个人的勇气，并代表比亚夫兰国家感谢他。它在移动和令人震惊的同时。“

Some of the adjoining images, of starving women hopelessly trying to breastfeed their babies, are almost impossible to look at without feeling a deep sense of despair. McCullin says of the Biafra civil war and famine of 1968: ‘It was beyond war, it was beyond journalism, it was beyond photography, but not beyond politicians. We cannot – must not – be allowed to forget the appalling things we are all capable of doing to our fellow human beings.’

一些相邻的图像，饥饿的妇女绝望地试图母乳喂养她们的孩子，几乎是不可能看到没有一种深深的绝望感。麦卡林在谈到1968年的比阿夫拉内战和饥荒时说：“它超越了战争，超越了新闻，超越了摄影，但不是超越了政客。我们不能-绝不能-忘记我们都有能力对人类同胞做的骇人听闻的事情。“

‘I didn’t choose photography, it seemed to choose me, but I’ve been loyal by risking my life for 50 years.’

“我没有选择摄影，它似乎选择了我，但50年来我冒着生命危险一直忠心耿耿。”

The Tate exhibition underpins what a brilliant war photographer McCullin undoubtably is. For he has an ability, amid the violence and the chaos and the endless churn of tragedy, to create imagery that seems elevated by a higher message. ‘I make it possible for you to look at them and try to come to terms with them,’ says McCullin.

这次展览是一个出色的战争摄影师McCullin无疑是如此。McCullin说：“因为他有能力，在暴力和混乱和无休止的悲剧流失中，创造一种似乎被更高的信息提升的图像。”“我可以让你看看他们，并尝试与他们联系。”

Forcing himself to so consistently bear witness in such a way has wrought a great toll. ‘I wasn’t a great family man,’ he reflects. ‘My children were always waving goodbye to me. Would my children look at me and think “Is he not going to come back?” I can’t claim to have been a great father. I sacrificed their childhood for my photography.‘

强迫自己如此一贯地以这种方式作证，已经造成了巨大的损失。“我不是一个伟大的家庭男人，”他回忆道。我的孩子们总是向我挥手告别。我的孩子们会看着我想“他不会回来吗？”我不能自称是个好父亲。我为了我的照片牺牲了他们的童年。“

McCullin has lived in Somerset with his third wife for 35 years. It’s only now, in his eighties, that he has found a degree of peace, and been able to experience his children’s lives, and married life, without the turmoil of knowing he would soon have to return to the frontline.

麦卡林和他的第三任妻子在萨默塞特住了35年。直到现在，在他八十多岁的时候，他才找到了某种程度的平静，并且能够体验他的孩子的生活和婚姻生活，而不知道他很快就要回到前线。

Woods near My House, Somerset, c1991, by Don McCullin. © The artist

伍兹在我家附近，萨默塞特，1991年，唐麦卡林。艺术家

The exhibition ends with the very beautiful photographs McCullin routinely takes of the bucolic landscapes around his adopted home. ‘The landscapes became a process of healing,’ he explains. ‘It was a way to forget about wars and revolutions and dying children.’

展览结束时，McCullin拍摄的非常漂亮的照片例行地拍摄了他在被收养家庭周围的结肠景观。他解释说，“风景变成了疗伤的过程，”他解释道，“这是忘记战争和革命和死亡儿童的一种方式。”

He recalls the experience of re-entering the darkroom for this exhibition, where he developed new prints from the original negatives that pile up in the spare rooms of the house. ‘They actually talk to you,’ he says. ‘They remind you. I take those memories to bed with me, have terrible dreams and wake up in a sweat. They have contaminated that house.’ §

他回忆起为这次展览重新进入暗室的经历，在那里他开发了新的底片，这些底片堆积在房子的备用房间里。他说，他们实际上是在跟你说话。他们提醒你。我带着这些回忆上床睡觉，做可怕的梦，在汗水中醒来。他们污染了那所房子。

1968年，由DonMcCullin，1968年，在美国海军陆战队内部进行的色调城市的战斗。(c)艺术家于1968年由DonMcCullin于1968年为色调、南越和美国海军陆战队的城市进行战斗。（三）艺术家

南海岸海滨码头，英国伊斯特本，1970年，唐·麦卡林著。艺术家在南海岸的海边码头，伊斯特本，英国，1970年，唐麦卡林。艺术家